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The Nineteenth Century and the Great War

Edited by Karin Pendle Indiana University Press ePub

and the
Great War

Nancy B. Reich

The political, social, and economic events that followed in the tumultuous aftermath of the French Revolution offered women many opportunities in musical life but also presented them with additional problems. Patronage of the arts, formerly a prerogative of the aristocracy, was moving to the middle class. The consequent growth of public concerts; the establishment of music festivals, concert halls, and concert societies; and the increasing numbers of opera houses open to paying audiences enabled musicians, both men and women, to reach an expanding public. The founding of music schools throughout Europe brought a new professionalism to the art. The development of such transportation facilities as railroads and steamships made it possible for touring artists to travel with greater ease. Imperialist expansions encouraged musicians to tour not only on the European continent but throughout the world, and tour they did, journeying by steamer and traveling by carriage, camel, or elephant to bring European music to Africa, Australia, the Americas, and India.

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Medium 9781574412734

Chapter 7 • Working the West Coast 1958

Helene LaFaro-Fernandez University of North Texas Press PDF


Chapter 7  •

Working the West Coast


As I was now living with my girl friends in Hollywood, when

Scotty returned to Los Angeles he shared Victor’s digs in Manhattan Beach. The big scene was still at the Lighthouse in Hermosa.

Scotty would sit in regularly and met a lot more musicians who were doing the same. Drummer Eddie Rubin, who later worked with Neil Diamond, remembers that Scotty always had a bag of sunflower seeds in his pocket and nibbled them constantly. He did one casual gig with Scott and said that over the years all the bass players he met were envious that he got to meet and play with

Scott, that he was an idol to all of them. Eddie said, “Scotty was a virtuoso, he just had it. Came out of nowhere and was way ahead of his time. His approach, concept, chops. He was a prodigy, had something special.You thought he was playing a violin or a guitar.

No one played the bass like he did, what he got out of it. There has never been a trio like that Evans trio. If Bird was alive then,

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XII The Moment of Creation: Op. 28, Op. 31 Nos. 2 and 3

Kenneth O. Drake Indiana University Press ePub

As musicians, would we choose to have lived in another time? During the 1780s in Vienna to hear Mozart play his own concertos? Or London in the 1790s to hear Haydn conduct from the keyboard? Or Vienna in March 1807 to hear Beethoven premiere the Fourth Concerto? Or conduct the Ninth Symphony? Or hear Chopin play a mazurka or a nocturne? Or attend a Schubertiad?

One could go on and on. Looking at a score is like reading the road signs beside dry creek beds in the American Southwest that warn of swollen streams. Dry ink on a white page is the only trace of the ideas that swept through the composer’s mind. Each of the three sonatas in this chapter—Op. 28 and Op. 31 Nos. 2 and 3—begins as though out of nowhere, as though grasped in the act of preludieren (to use Czerny’s term) and stilled as a specimen of a moment in Beethoven’s imagination. Even if one had been alive at the time, it would hardly have been possible to approach any more closely the freshness of the first moment.

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Medium 9781574413298


Robert Earl Hardy University of North Texas Press ePub


No Lonesome Tune

JOHN TOWNES VAN ZANDT GREW up between the end of World War II and the coming of Elvis Presley, a great cusp of the old and the new in America. It was on this cusp that the boy, who went by his middle name, formed his first impressions of the world, gathered his first memories, and began to try to make sense of his life.

Harris and Dorothy Van Zandt provided a solid family-centered environment, strongly rooted in the extended Van Zandt and Townes families in Fort Worth and Houston. While there were branches of both sides of the family that were considered wealthy, Harris and Dorothy lived relatively modestly. “We were the Dido Van Zandts,” says their second son, William Lipscomb Van Zandt. Bill was born in 1949, namesake of the grandfather who had originally moved his branch of the family out to the small farming community of Dido. There always “seemed to be enough” money for the family to be comfortable, but “there was never a bunch” of money, sister Donna recalls. “I remember my dad telling stories about how the Depression had absolutely no effect on his family, except all of a sudden their neighbors were as poor as they were.” She remembers her father telling the family how he had never had ice cream until he was in college, then adding, “you don’t miss it if you’ve never had it.”1

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Medium 9780253011794

20. Brass Chamber Music

Elisa Koehler Indiana University Press ePub

20  Brass Chamber Music

When compared to other genres, chamber music was truly the final frontier of artistic brass playing in terms of repertoire and status. The trumpet and the cornet had succeeded as solo instruments since the late nineteenth century and had become leading voices in bands, orchestras, and jazz ensembles, but there was no mainstream brass equivalent to the piano trio, the string quartet, or the woodwind quintet until the mid-twentieth century. The slow and winding development of chromatic brass instruments outlined in earlier chapters understandably delayed the formation of brass trios, quartets, and quintets; however, other factors concerning playing technique, endurance demands, social norms, and suitable repertoire also played a role.

Chamber music, as a genre, developed during the Classical era, when wind bands were in their infancy and brass instruments mostly traveled in packs rather than as groups of mixed instruments. There were horns for the hunt (trompes du chasse), trumpets for the military, and trombones in church, but only the horn (using hand-stopping technique) and the keyed trumpet participated in genuine chamber music during the Classical era. Although the repertoire of cornetto and sackbut ensembles was adapted for modern brass quintets in the twentieth century, Renaissance wind bands precede the notion of chamber music under consideration here, but they did of course play a form of chamber music in their day.

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Medium 9780253007872

CHAPTER 1: Venerating the Veil: The Madonna of Miracles at Santa Maria presso San Celso

Getz, Christine Indiana University Press PDF

Chapter 1


Venerating the Veil

The Madonna of Miracles at Santa Maria presso San Celso

“This most sacred virgin, as the tabernacle of God, was the idea of perpetual virginity, the form of everlasting honesty, the school of every virtue.”

—Paolo Morigia 1

History of the Cult of the Madonna of Miracles

Directly south of the Duomo of Milan on the Corso Italia stands the imposing church of Santa Maria presso San Celso. One of the most popular pilgrimage sites in early modern Milan, Santa Maria presso

San Celso is the home of the Madonna of Miracles, an image credited with healing numerous devotees of their infirmities and relieving the city of the devastating plagues of 1485 and 1576.2 The edifice originated as a small chapel that marked the location where St. Nazarenus, who, along with St. Celsus, was martyred around 395. According to the surviving accounts, the construction of the original chapel was initiated by St. Ambrose, who recovered both bodies and transferred that of St.

Nazarenus to the Chiesa degli Apostoli in the Porta Romana (now San

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Medium 9780253021342

5. In the House of Stories: Village Aspirations and Heritage Tourism

David Afriyie Donkor Indiana University Press ePub

THIS CHAPTER EXAMINES the intersection between Anansesεm performance and heritage tourism in neoliberal Ghana. As mentioned before, the 1990s saw a rise in popular trepidation about the Ghanaian government’s divestiture of state-owned enterprises and its courtship of foreign direct investment. Public concerns about external influences in the government and fears of foreign profiteering detracted from the political legitimacy of J. J. Rawlings’s administration. In order to undermine and confuse this opposition, the neoliberal regime sought to co-opt the stylistic rhetoric of pan-African cultural revival, which previously had been a feature of the anti-colonial movement. One aspect of this strategy of cultural legitimation was that the Rawlings regime began to strongly promote international black heritage tourism in Ghana, thereby making foreign involvement in the country appear less offensive. The regime proposed (in partnership with foreign investors) that the development of the country’s tourism industry, including the associated hotels, resorts, transportation, and infrastructure projects, could be tied to courting African diaspora tourists who would return to Ghana to experience “traditional” sites and cultural events.

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Medium 9781574412109

Chapter 5. Workin' Man's Blues: June 1963-December 1967

Ron Forbes-Roberts University of North Texas Press PDF


Workin’ Man’s Blues

June 1963–December 1967

“He took the jobs at CBC so the kids and I could have a good life.

Not that he wanted to be a studio guitar player; he didn’t. But he did that for his family.”

—Valerie Breau-St. Germain

“He seemed different when he came back from Toronto. He seemed to be in a different world like . . . more locked in than being wide open. Before it was like everything was ‘yeah, yeah!’

He came back from Toronto and it was like he was scared and turned inward. It seemed like he’d had a bad experience and he kept it to himself. To deal with that he played more outwardly to release whatever was upsetting him inside.”

—George Reznic

Lenny returned to Winnipeg with little more than his leather suit and a recently acquired hipster patois heavy on expressions like “dig it,”

“like man,” and “cool.” Valerie was now living in an apartment on

Jamison Street, a few miles from downtown Winnipeg, and that’s where Dave Shaw brought Lenny after picking him up at the airport one afternoon in late May. After a few words with Valerie and hugs for his kids, he and Shaw left to meet Erlendson at the Towers

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Medium 9780253010223


Maurice Hinson Indiana University Press ePub


This section is divided into multiple groupings, each arranged alphabetically by title. Anthologies and collections grouped into historical periods include music from different countries written over one to three centuries. The “Tombeaux, Hommages” section catalogs those collections written in honor of a composer. The last and largest category consists of collections of various nationalities, sometimes divided into pre-twentieth century and twentieth century. The “Bach” section (under “German”) lists collections which include music by more than one member of the Bach family. Single-composer collections are listed under the composer's name in the main part of the book.

Initial articles and Arabic numerals (A, An, Das, Der, I, Le, Les, The, 15, 24, 30) are ignored in alphabetization. Composers’ names are given in the spelling used in the collection being described. The Title Index of Anthologies and Collections at the end of the volume lists all the collections in one alphabetic sequence. Only dates for composers not included earlier are included here.

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Medium 9781574412666

I. Sorcerer’s Apprentice

Vince Bell University of North Texas Press PDF


Sorcerer’s Apprentice


’ve played music since I was a B-flat cornetpacking kid. I’ve grown up in music, worked to distraction in music, married unsuccessfully in music, and I’ve been at it for several wifetimes. High musical seasons and adventurous women they were. But even before those delightfully shaped dreadnoughts tacked through my life and always in their wake, there had been only one guitar. It leaned up against a wall or a speaker box and cast ever-blooming, ever-changing melodies from an honored niche in all their houses.

My guitar and I began like a storm in the screened-in second story of a house in the Montrose, an older part of Houston. It was a lawless, hip world-within-the-world, an attitude as much as a place to live, and an anything-goes lifestyle with a soundtrack familiar to everyone in jeans under 30. The musical messages that spoke to us were broadcast from one of several radio stations downtown or on Lovett

Boulevard. I was 19 years old when I moved lock, stock, and bicycle into a filthy, roach-infested little flat there. The rest of the city outside the loop dissolved into irrelevance.

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Medium 9780253006622

9 Libby Larsen

Denise Von Glahn Indiana University Press ePub



Music exists in an infinity of sound.
I think of all music as existing in the substance of the air itself.
It is the composer’s task to order and make sense of sound, in time and space,
to communicate something about being alive through music.


Of the composers studied thus far, Libby Larsen is among a very few to ascribe extramusical intent to her works. In contrast to Victoria Bond, whose music making is, by her own admission, not driven primarily by political issues, Libby Larsen acknowledges that many of her pieces were conceived with clear agendas, although they aren’t always audible to listeners. About a 1992 composition Larsen explained: “I have been political about ecology through my music. In the Marimba Concerto: After Hampton, in the orchestral part I embedded Morse Code for ‘save the rain forest’ in the percussion part.” About Missa Gaia, composed around the same time, she asserted: “It is ecology, and meant to be about ecology,” but as this chapter will demonstrate, the piece is about much more as well.2

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Medium 9780253016416

Appendix 1. Von Huene Family Tree

Geoffrey Burgess Indiana University Press ePub
Medium 9780253011046

1 From the History of Graphic Sound in the Soviet Union; or, Media without a Medium

Edited by Lilya Kaganovsky and Masha Sal Indiana University Press ePub

Nikolai Izvolov

Translated from the Russian by Sergei Levchin

TYPICALLY, THE TERM cinema is reserved exclusively for moving images captured on a filmstrip by means of a photographic (i.e., positive-negative) process, capable of reproducing physical reality. Until now very little has been written about another, equally expressive and significant cinematic technique of the “optical period,” designed to synthesize a new and wholly novel audiovisual environment.1 Perhaps the most widely recognized name in this field of drawn animation is that of Canadian animator Norman McLaren, though he was neither the originator of this technique nor its sole practitioner.2

Notably, the possibility of this technique was never discussed in early theoretical writings on cinema. In 1945, one of the most insightful theorists of film, Béla Balázs, wrote: “Sound cannot be represented. We see an actor’s likeness on the screen, but never his voice. Sound is reproduced, rather than represented; it may be manipulated in some manner, but even then it retains the same reality.”3 Thus, the ontology of sound was equated with that of the voice or of music; no distinction was made between its acoustic and communicative aspects. One wonders whether Balázs’s actor was actually represented on film or merely reproduced there. This attitude seems especially perplexing when we take into account that Balázs collaborated on at least two films that made use of drawn sound.

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Medium 9780253003072

9. Imitation and Innovation in the Music, Dress, and Camps of Tanzanian Youth

ERIC CHARRY Indiana University Press ePub


The imitation of foreign music has been central to the formation of several Tanzanian popular music genres. In the late 1800s, taarab, a genre that imitated Egyptian song, appeared as royal court music in Zanzibar. In the 1920s, dansi, a form of upbeat dance music that remains popular in Tanzania, originated as a form of ballroom dance music for expatriate Europeans living in Tanganyika. And kwaya, a mixture of European Christian choral music with local rhythms and melodies, started as a form of hymn singing at missionary facilities throughout the country. A general pattern for these genres was to imitate foreign styles, localize the sounds, words, and meanings into Tanzanian culture, and then innovate on the newly formed genres in distinctive ways. Over time, composers and performers of these genres purged some of the Western sounds and incorporated more local, national, and pan-African aesthetics into their music, a process which helped move these genres toward being regarded as distinctly Tanzanian or East African musical forms.

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Medium 9780253006677

1 Prelude

Jean Ngoya Kidula Indiana University Press ePub

Music and religion are both incarnational processes and archival resources. As processes, they narrate themselves in lived experiences as dynamic forms; as resources, they inscribe, crystallize, and document social identity. Starting in the nineteenth century, music practices in Africa have been transformed by contact with modern Christianity. These practices are as diverse as the religious, ethnic, and national groups found in Africa. The individuality of the musics might be concealed under a historical association arising from an overarching ‘Christian’ umbrella. However, the varieties of Christianity and African ethnic groups underscore distinctive musical identities. These musics have struggled for recognition in music studies given that European church music is, and was, recognized as a category of European art and folk music, whereas African church musics neither fit indigenous molds nor gained acceptance in the canon of European church, popular, or art musics. Nonetheless, the musics are vibrant religious, artistic, and popular expressions on the continent and in other spaces.

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