South Central Music Bulletin ISSN 1545-2271 Volume IV, Number 2 (Spring 2006) Refereed Journal of the South Central Chapter – The College Music Society __________________________________________________________________________________________ Editor: Dr. Nico Schüler, Texas State University Music Graphics Editor: Richard D. Hall, Texas State University Editorial Review Board: Dr. Paula Conlon, University of Oklahoma Dr. Cina Crisara, Texas State University Dr. Cynthia Gonzales, Texas State University Dr. Lynn Job, University of North Texas Dr. Kevin Mooney, University of Texas at Austin Sunnie Oh, Texas State University Dr. Robin Stein, Texas State University Dr. Paolo Susanni, Clavier Werke School of Music (Austin) Dr. Lori Wooden, University of Central Oklahoma Subscription: Free This Journal can be downloaded from http://www.music.org/southcentral.html or from http://www.txstate.edu/scmb/ Publisher: South Central Chapter – The College Music Society c /o Nico Schüler, Ph.D. Texas State University-San Marcos School of Music 601 University Drive San Marcos, TX 78666 USA __________________________________________________________________________________________ © Copyright 2006 by the Authors. All Rights Reserved. South Central Music Bulletin IV/2 (Spring 2006) _________________________________________________________________________________________ Table of Contents Message from the Editor by Nico Schüler … Page 4 Visit the CMS South Central Website … Page 4 Visit the South Central Music Bulletin (SCMB) Website … Page 4 Articles: Just “a composer of blackboard music”? Paul Hindemith in the United States by Rüdiger Jennert … Page 5 On National Identity in Slovenian Music in the Globalization Processes Since 1991 by Leon Stefanija … Page 12 Diatonic Expansion and Chromatic Compression in Charles Ives’ Psalm XXIV by Paolo Susanni … Page 23 Punta Rock & the Garinagu: Evolution, Migration, and Identity by Riannan Wade … Page 29 Performance Report: La Sonnambula at Caramoor by Richard Davis … Page 34 CD Reviews: Barbara Meister: Twentieth-Century American Music by Christopher Bell … Page 36 Elaine Greenfield Shines with Debussy Preludes by Madeline Elizondo … Page 37 Brasileira: Piano Music by Brazilian Women by Maria Dewi … Page 38 Musica Del Arte: Masterworks for Guitar by Latin American Composers by Jeffrey L. Martin … Page 40 Paul Kim Performs Olivier Messiaen’s Catalogue d’oiseaux, La Fauvette des jardins, and Petites Esquisses d’oiseaux by Jacquelyn Shepherd … Page 41 Olivier Messiaen’s Vingt Regards sur l’Enfant-Jesus Recorded by Paul Kim by Dane Richardson … Page 42 Paul Kim’s Elucidating Messiaen: Visions de l’Amen, Quatre Études de rythme, Cantéyodjayâ by Elizabeth H. Schwab … Page 43 Messiaen Authority Paul Kim Completes 25-year Cycle by Megan C. Eyden … Page 44 2 South Central Music Bulletin IV/2 (Spring 2006) _________________________________________________________________________________________ Splendors of the 20th Century by Rachel Albrecht … Page 45 Book Review: Roger Hickman’s Reel Music: Exploring 100 Years of Film Music by Richard D. Hall … Page 47 3 South Central Music Bulletin IV/2 (Spring 2006) _________________________________________________________________________________________ Message from the Editor Nico Schüler, Texas State University, E-Mail: [email protected] I would like to thank all authors for their submis- - short responses to articles published in this or sions. Furthermore, I would like to sincerely thank previous issues; all members of our peer-review board for their hard - bibliographies on any music-related topic, es- work and excellent suggestions for improving each pecially (annotated) bibliographies related to the article. mission of CMS and / or to our region; The Fall 2006 issue of SCMB, to be released - reviews of books, printed music, CDs, and in October, will again contain articles and an- software; and nouncements in the following categories: - reports on recent symposia, conferences, and - articles with a special focus on local music concerts. traditions; I would like to call for submissions that fit any of - articles that deal with issues related to the mis- these categories. Submissions by students and / or sion of CMS and / or with our region (generally, by non-CMS South Central members are, as always, all music-related topics are being considered); very welcome. The submission deadline for the - opinion articles that are part of, or provide the Fall 2006 issue is July 31st, 2006. All submissions basis for, discussions on important music topics; are expected via e-mail with attachments in Word - composer portraits that may or may not in- format or in Rich Text Format. For detailed submis- clude an interview; sion guidelines see http://www.txstate.edu/scmb/. Visit the CMS South Central Website: Go to http://www.music.org/southcentral.html Visit the South Central Music Bulletin (SCMB) Website: Go to http://www.txstate.edu/scmb/ 4 South Central Music Bulletin IV/2 (Spring 2006) _________________________________________________________________________________________ Articles Just “a composer of blackboard music”? classroom, something about it intrigued him. And he 1 Paul Hindemith in the United States took it home [...]. Hindemith completed other compositions on the by Rüdiger Jennert blackboard, for example Enthusiasm for flute and University of Würzburg piano (1941), but he erased them at the end of the E-Mail: [email protected] lesson. However, students had sometimes copied “A more monotonous and arid three movements it has them before the composer could have taken the rarely been my lot to sit through. I got to wondering if sponge. Sometimes, there was a close “interaction” maybe Hindemith wasn’t just another Max Reger, a between Hindemith and his Yale students with re- faucet of counterpoint plain and fancy. By the end I had gard to his compositions, but also with regard to the practically convinced myself that he was, though one work on his textbooks. Because of the composer’s knows that no two composers of that degree of mastery are, ever really duplicates. So I compromised myself by lack of time, some of his students had to assist him calling him a composer of blackboard music.” (Thom- with the preparation of performance materials. Once son 1941, 13.) they were asked to copy the instrumental parts of Symphonia serena (which was premiered in Dallas These few lines about Paul Hindemith were pub- on February 1, 1947, with Antal Dorati conducting). lished in the New York Herald Tribune on January A few of his advanced students worked on prepar- 10, 1941, and they refer to his Violin Concerto ing the piano arrangements of some orchestral (1939), which had been performed by the Boston works. In Hindemith’s theory classes, students at Symphony Orchestra at Carnegie Hall, with Ruth times regarded themselves as “guinea pigs” in doing Posselt as soloist, the day before. Hindemith – a exercises that would later appear in textbooks like A “composer of blackboard music”? Concentrated Course in Traditional Harmony or Hindemith had been teaching music theory Elementary Training for Musicians. Therefore, in and composition at Yale University since summer this respect, Hindemith was without a doubt a 1940, primarily on the basis of his Unterweisung im “composer of blackboard music,” because he com- Tonsatz (which was, at that time, in the process of posed music in class and he also involved students being translated into English, and later became The in his creative work whenever he felt it was neces- Craft of Musical Composition). As quite a few of sary. his students reported, Hindemith indeed composed Naturally, the statement in the Herald Trib- music on the blackboard. Some of these “class une goes far beyond these mere facts about Hin- compositions” developed into “grown-up” works, demith as a composer and teacher. In this review for example the Sonata for two pianos, four hands about the Violin Concerto, the music critic Virgil (1942). This sonata was, as Hindemith’s student Thomson first of all describes Hindemith’s music, Ward Davenny reported in an interview, its effect on the listener in particular. Then he fits the work into a larger historical and stylistic context “the direct result of a classroom exercise ..., in which he and finally draws an individual conclusion – in this took an anonymous verse from the Oxford Book of [English Verse] [...] and tried to illustrate through it a case a more negative than positive one, admittedly. free, non-metrical setting of the melodic line that the This conclusion, however, corresponds very closely poem would suggest [...]. [...] And he wrote this thing, to a more general picture with regard to Hindemith I’m told, on the board [...]. And instead of erasing it as he perhaps had done with a lot of other things in the 1 Ward Davenny in an interview with Caitriona Bolster, Yale University, June 3, 1975, in: Oral History American Music, Yale School of Music and Library (Vivian Perlis, Director), Typoscript, p. 29. 5 South Central Music Bulletin IV/2 (Spring 2006) _________________________________________________________________________________________ and his music as mirrored in the American press. Hindemith was mentioned, at least those people in- The following criticism, which is here stated in the- volved in any kind of contemporary compositions ses, could widely be read in American daily news- knew immediately how this music would sound. papers and music periodicals in the 1930s and In 1941, a piano piece was written with