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Appendix E Extended Bibliography

Stephen Gamble and William Lynch University of North Texas Press PDF

APPENDIX

E

Extended Bibliography

1. Concert Programs and Souvenir Booklets

Unless otherwise stated, these concert programs are in Stephen Gamble’s collection. This is not a complete list of Dennis Brain’s concerts. Not all have been referred to in this book but are included for the reader’s interest to give a more complete picture of Brain’s busy concert schedule.

Souvenir Booklet of the Thirteenth Bristol Music Festival

Colston Hall

October 23–26 1912

Photograph of Marion Beeley and a short article about her career on page 15.

This copy once belonged to Ernest Hall, principal trumpet in the BBC Symphony

Orchestra and is inscribed in ink in the front: “Ernest Hall Bristol Festival October 23rd to

26th 1912.”

St. Paul’s School, London

Musical Society

Thursday, December 19 1935 at Eight p.m.

The program included:

Pianoforte solo: Sonata in G—Beethoven (First Movement) D. Brain

Musical Society

Tuesday, December 21 1937 at Eight p.m.

The program included:

Trio for Oboe, Horn and Pianoforte—Paul Rogers, Leonard Brain, Dennis Brain, and

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8 A New York Professional

Harvey Phillips Indiana University Press ePub

CHAPTER EIGHT

A New York Professional

AFTER MY DISCHARGE from the Army, Carol and I took an apartment at 42-25 80th Street in Elmhurst, Long Island, one block away from Elmhurst Hospital. A lot of musicians had apartments in that big building. The owner and manager of the building was very musician-friendly. If someone came to complain about musicians practicing at all hours of the night, he’d tell them to move. He said, “I’ve never been stiffed by a musician.”

New York musicians often said, “If you want to learn the art of music, go to Juilliard. If you want to learn the profession and business of music, go to the Manhattan School of Music.” I had the good fortune to attend both schools, but my motivation for enrolling in the Manhattan School of Music was so I could leave the Army in time for the start of the 1956–1957 concert season, which began in mid-September. After completing four years of music studies at Juilliard, I didn’t feel like I was in dire need of academia. By the time I returned to New York, I had more than twenty gigs booked already, including the rodeo, ice show, the New York City Ballet, and the New York Brass Quintet.

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2 A Star Is Born

Monika Herzig Indiana University Press ePub

2    A Star Is Born

While Jazz Singer Janet Lawson was on tour in Latvia in the 1990s, she was given a book to read by a friend. It was A Woman in Amber, a memoir about the destruction of Agate Nesaule’s home in Latvia during World War II and her subsequent immigration to Indianapolis. While reminiscing with her mother about washing dishes and working in the cannery in order to support their graduate studies at Indiana University, they mention a busboy named David at LaRue’s Supper Club, who was so crazy about music. During the early 1950s attitudes toward the black and immigrant populations were similar, and Nesaule was expected to be grateful for any job and assumed to have little potential for higher achievements. Despite such humiliating conditions, Nesaule and busboy David excelled in their academic careers, encouraging each other in the kitchen at LaRue’s in 1950. She recalls, “He had to hear every day about Negroes and natural rhythm, and they laughed that a black man talked about music theory and wanted to be a professor.”1

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Chapter 7. The Sarabande

Meredith Little Indiana University Press ePub

BWV 817

The sarabande had had a long, illustrious, even tawdry history by the early eighteenth century.1 From its probable origins in Spanish and New World folk arts—it was a dance accompanied by singing and instruments—the sarabande appeared in Italy in the early seventeenth century as a colorful, tempestuous, exotic dance. It was accompanied by castanets and by a guitar or guitars playing continuous variations on a series of harmonies, the chords punctuated by the fiery rosqueado strums and rhythms so loved by the passionate. Its opponents called the sarabande “lascivious” and wrote tracts against it.

The French tamed the sarabande, at least in theory. In its noble form at the French Court, the extant choreographies reveal a dance that seems calm, serious, and sometimes tender, but ordered, balanced, and sustained. The step-units are generally the same as those used in most other dances—terns de courante, pas de bourée, various forms of the coupé (Fig. VII-1). There is no step-unit particularly associated with the sarabande, though many choreographies incorporate elegant leg gestures—battements and pirouettes—which can be impressive at a slow tempo.

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3. Disposition

Estelle R. Jorgensen Indiana University Press ePub

 

 

 

People tend to act in particular ways almost habitually, unconsciously, or naturally. Thinking holistically about a teacher’s disposition is important, but it is also crucial to consider some of the specific dispositions that are needed for teaching. By the word disposition, I mean the tendency to act or be in a particular way. In this chapter, I reflect on those that I see as crucial to a teacher’s life and work: namely, tact, compassion, patience, enthusiasm, and integrity. We may show these dispositions in various ways and our differing personalities may predispose us to acquire or possess some of them more naturally than others. Still, irrespective of our natural proclivities and the particular ways in which we reveal them, it is important to cultivate and nurture these dispositions if we are to cope and thrive as teachers.

Dispositions are located at the nexus of our ideas, beliefs, attitudes, commitments, and values and the phenomenal world in which we act.1 They are not only rooted in intellectual assent or intention but evidenced in practical ways. Their presence is demonstrated by what we do and the impact our actions have on others rather than by what we say or intend to do. This is so because of discontinuities between intentions and the realities of how our actions affect others. Since we work with others as music teachers, we need to be concerned primarily with how our actions affect these others in the phenomenal world. Although we may intuitively recognize dispositions when we see them enacted, it is also possible that we may be mistaken and misinterpret what we see and hear. Such ambiguities and possible misinterpretations arise out of the unexpected, unintended, and even undesirable results of our actions and misinterpretations of our best intentions by others in the face of our own and others’ imperfect and limited knowledge.

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6 — Eleven Easy Pieces

Joan Benson Indiana University Press ePub

The following miniature pieces are included for your enjoyment as you advance from exercises to music. In order to apply and perfect what you have learned, proceed slowly and attentively.

1. Begin by playing a single voice, one phrase at a time, omitting the ornaments. Aim for clear, singing sounds that stay on pitch.

2. For pieces of two parts, play one voice and sing the other. Then play both parts, noting how they combine.

3. Later, you may add ornaments, first playing them alone and then listening to how they can enhance the music.

4. Feel free from the first to respond to the music’s mood.

You already know of Türk as a clavichord master and follower of Emanuel Bach. His delightful, much appreciated Little Pieces for Future Clavichordists (Kleine Handstücke für angehende Klavierspieler) appeared in two volumes in 1792.

EXAMPLE 6.1 Daniel Gottlob Türk, “Die beyden Siechen” (Two languishing ones)

EXAMPLE 6.2 Daniel Gottlob Türk, “Leise nur, wie Zephrs Hauch” (Gentle, like Zephyr’s breath)

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Dancing

Timothy J. McGee Indiana University Press ePub

By calling upon all the information at our disposal, it is now possible to speculate a bit about the general nature of the dances that were accompanied by the music in this volume.

The very names “round” and “carol” furnish some idea of these two dances. Both were danced in a group and involved a formation in the round for at least part of the dance. In the Siena and Florence frescoes (Plates 1 and 2), the dancers’ feet are shown close to the ground; the artists have suggested graceful motions rather than vigorous leaping steps. In both works the circle is broken, suggesting that the round formation is only a basic position from which other formations proceed. In the Siena fresco the dancers are threading their way under a “bridge” formed by two dancers with hands joined; and in the Florence work there are two formations: a closed circle of four dancers and a line of three, each group holding hands. The music for the dancers in both scenes is provided by a lone tambourine player standing in their midst, her mouth open, presumably singing the carol verse, to which the dancers would join in singing the refrain. This conforms to the passage from Boccaccio quoted earlier, and even more closely to the French practice as described by Maillart:

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4 - Kenton Presents Mel Lewis

Chris Smith, John Mosca and John Riley University of North Texas Press ePub

In September of 1954, twenty-five-year-old Mel Lewis flew to Los Angeles and joined the reorganized Stan Kenton Orchestra. After four days of rehearsal the Kenton Orchestra set out on the second installment of their nationwide tour named The Festival of Modern American Jazz. The tour began in San Diego on September 16 and Mel quickly adapted his musical concepts into the Kenton Orchestra. He often told the story of his first night with the band, stating, “When I joined Kenton, that very first night, he came over and yelled, ‘Hey Mel, can you play louder?’ And I said, ‘No.’ He said, ‘Okay, I just thought I'd ask.’”1 For the remainder of his time with Kenton, Mel's softer dynamics and bebop-influenced style of big band drumming were a major influence on the band's sound.

The Festival of Modern American Jazz featured the Kenton Orchestra, along with the several other groups such as the Art Tatum Trio, Charlie Ventura's Quartet, and Shorty Rogers and His Giants.2 The drummer touring with Shorty Rogers's group was former Kenton drummer Shelly Manne. By 1954, Manne was the top call jazz drummer on the West Coast, having gained national exposure and fame playing with Kenton from February 1946 to December 1951.3 During his time with Kenton, Manne had provided the blueprint for how a drummer could add dynamics and color to the oftentimes loud Kenton Orchestra. The two-month tour gave Mel the opportunity to watch and learn from Manne every night. Mel later recalled the specific advice Manne gave him during the tour:

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Appendix C. A Performer's Guide to Renaissance Music: Contents

Jeffery Kite-Powell Indiana University Press ePub

APPENDIX C

A Performer's Guide to Renaissance Music

Jeffery Kite-Powell, editor

Contents

LIST OF ILLUSTRATIONS
PREFACE TO THE SECOND EDITION
PREFACE TO THE FIRST EDITION

PART I. VOCAL/CHORAL ISSUES

1. The Solo Voice in the Renaissance ELLEN HARGIS

2. On Singing and the Vocal Ensemble I ALEXANDER BLACHLY

3. On Singing and the Vocal Ensemble II ALEJANDRO PLANCHART

4. Practical Matters of Vocal Performance ANTHONY ROOLEY

PART 2. WIND, STRING, AND PERCUSSION INSTRUMENTS

5. Recorder HERBERT MYERS

6. Renaissance Flute HERBERT MYERS

7. Capped Double Reeds: Crumhorn-Kortholt-Schreierpfeif JEFFERY KITE-POWELL

8. Shawm and Curtal ROSS DUFFIN

9. Racket: Rackett, Rankett (Ger.), Cervelas (Fr.), Cervello (It.) JEFFERY KITE-POWELL

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15 Summer-Fall 1914: War

Galina Kopytova Indiana University Press ePub

AUER’S SUMMER TEACHING SEASON in Loschwitz began early that year and students flocked there from all over Russia. The Heifetzes arrived in May and sent a postcard to Kiselgof. On Sunday, June 1 (NS June 14) he answered them from St. Petersburg:

I received your letter and was very, very glad. But I’m still in stuffy and dusty Piter and I’m not getting out of here until Wednesday. How horrible! But I’m glad for you, my friends, that you are already there, in a cultured, clean country, and are enjoying the beautiful nature and pleasant surroundings. I was in Pavlovsk again, but did not ride my bike—I was too lazy. I saw Achronchik [Isidor Achron] and passed along your greetings. He very much regrets that he did not see you at the station. Now I will wait from Vitebsk for your letter (Generalnaya, d. 3). From there I will write in more detail. Let me know your permanent address.1

Kiselgof sent the postcard to the home of Dorothea Grosse in Dresden since she knew how to contact the Heifetzes that summer. Conveniently, Jascha and his family stayed at the same residence as the previous year: Kurhaus “Neue Rochwitz,” 8 Hauptstrasse, Bergschlösschen. Having already spent a summer in Loschwitz, the Heifetzes quickly settled into the routine of lessons, forest walks, tennis matches, and trips to the Russian library in Dresden. Meanwhile, Jascha was never separated from his beloved Leica camera.

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Twentieth Century to 2010

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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5 Music and National Identity

Merih Erol Indiana University Press ePub

5    Music and National Identity

THE DISCOURSE ON music and its representation of the nation was, in fact, part of a larger discourse on identity in the Greek Orthodox populations of the Ottoman Empire who, especially in the second half of the nineteenth century, strove to come to terms with the meaning of Greekness and the conceptions of East and West. The Greek Orthodox learned elite presented traditional ecclesiastical chant and anonymous folk music as the two main repositories of the memory and authentic self of the ethnos (ethnic-religious community). The boundaries of the ethnos, of course, encompassed the Orthodox Christian populations living in Ottoman Anatolia and the Balkans and were targeted by the leaders of the Greek Orthodox millet, who pursued the goal of disseminating Greek language and culture as well as Orthodox faith to those communities.

The nationalization of the ethnic-religious community mentioned here is different from nation-state–sponsored nationalism. Large segments of the Ottoman Orthodox Christian populations did not identify themselves with the irredentism of the Hellenic state. Indeed, these communities who lived in Anatolia were generally far from seeing themselves as extensions of the Hellenic nation; nor can they be seen as cohesive communities of coreligionists. In many of them, the uniting and homogenizing role of the common Greek language and Orthodox faith was limited.1 Moreover, particularly among Turkishspeaking Orthodox Christians, locality, birthplace, occupation, and experiences of religious syncretism were more decisive in the everyday lives and choices of individuals rather than their imagined ties to remote political entities and collectivities.

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Mental Discipline

Essays by John James Haynie, Compiled and Edited by Anne Hardin University of North Texas Press PDF

JOHN DEWEY’S SPIRIT OF CHANGE

AND OTHER GUIDING PRINCIPLES

When I was a student at the University of Illinois, I took an education class that focused on the philosophies of John Dewey.

Only one of his sayings stayed with me over the years, and it is this: “Without change there is no learning.” There was little, if any, explanation in the classroom of this powerful and positive statement. It haunted me. Therefore, I took the following steps in trying to understand the full impact of that simple directive.

To apply this quotation to various situations, let us make a checklist and find the meaning of the two key words, “change” and “learning.”

Change:

To make different in some particular way

To transform

To give a different position, course, or direction

To reverse

To replace with another

To make a shift from one to another

To become different

To transfer

To alter

To substitute

Learning:

To gain knowledge or understanding of or skill in by study, instruction, or experience

To come to be able

To come to realize

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2 Thinking about Music and Thinking in Music: Pattern, Meaning, Analogy, Metaphor, and Hierarchies

Steve Larson Indiana University Press ePub

As noted in chapter 1, the central argument of this book is that our experience of physical motion shapes our experience of musical motion in specific and quantifiable ways – so that we not only speak about music as if it were shaped by musical analogs of physical gravity, magnetism, and inertia, but we also actually experience it in terms of “musical forces.” Chapter 1 also suggested that the concepts of pattern, meaning, analogy, metaphor, and hierarchy provide useful tools for explaining how that experience arises. Chapter 2 explores each of these concepts in greater detail. To do so, it begins by distinguishing between “thinking about music” and “thinking in music.”

We use our minds in many different ways. For example, we may think in words, but we can also think in pictures or in sounds. If to think in pictures is to “visualize,” then to think in sounds is to “auralize.”1 When I write about “auralizing” in this book, I am referring to what happens when we hear music in our heads – especially when the music is not actually sounding. For example, if I ask you to hear the melody of “Happy Birthday” in your head, you will probably be able to auralize that tune. I use the term “thinking in music” to mean the same thing, because it is something we do with our minds; it is a kind of thinking. And because that thinking involves pitches and durations instead of something else (such as words or pictures), it is thinking in music.

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20. Mixed Ensembles

Jeffery KitePowell Indiana University Press ePub

JAMES TYLER

An abundance of instrumental ensemble music survives from the sixteenth century. Some of it was composed expressly for the lushly scored, magnificently splashy court and civic entertainments of the period—the festivals, funerals, coronations, and wedding celebrations—about which extensive eyewitness coverage exists and, thus, several excellent studies have been written (see Brown, Sixteenth-Century; Bowles, Musical; and Saslow, Medici for listings). The majority, however, was intended for ordinary, everyday courtly and domestic use—about which relatively little information from the period survives and, thus, no comprehensive study has been undertaken.

Because modern writers have tended to concentrate on the extraordinary and exceptional, it is easy to assume that the well-documented practices that applied to the extraordinary and exceptional also applied to everyday music making. The aim of this chapter is to present whatever shreds of practical information are included in the writings of contemporary theorists, the few scattered references to specific instrumentations found in the original music sources, and the evidence provided in contemporary iconography, so that decisions on the performance of sixteenth-century “chamber” and dance music can be made that are both practical and appropriate.

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