Currents, Vol.14, No.4 (Dec.1995)

Greenwood Ends Years of Service at USM--Looking Back on LA College Years--Ken Brooks: 1917-1995--Professional Staff New in 1995--Alternative View of Economicshttps://digitalcommons.usm.maine.edu/currents/1048/thumbnail.jp

Jacques Labrecque et la diffusion de la chanson traditionnelle : Quand le répertoire folklorique prend des airs d’opéra

Cet article rend compte du parcours de Jacques Labrecque (1917-1995), un diffuseur de la chanson folklorique québécoise. De la fin des années 1930 au début des années 1990, Labrecque chante un répertoire d’inspiration traditionnelle sur plusieurs scènes québécoises et étrangères, délaissant graduellement l’image de l’artiste lyrique au profit de celle d’un personnage coloré évoquant la tradition. Au cours de sa carrière, Labrecque entretient des rapports tantôt étroits et tantôt plus conflictuels avec le milieu artistique, avec l’institution universitaire — dont il s’approprie les travaux — ainsi qu’avec divers organismes gouvernementaux. L’analyse de sa trajectoire met aussi en lumière l’ambiguïté du terme « folkloriste » tel qu’il est utilisé dans l’usage courant pour désigner des chanteurs au profil similaire à celui de Labrecque. Son répertoire est brièvement présenté, de même que son travail d’édition sonore.This article gives an account of the career of Québec folk singer, Jacques Labrecque (1917-1995). From the late 1930s to the beginning of the 1990s, Labrecque performed a folk-inspired repertoire throughout Québec and abroad, gradually abandoning the image of a lyrical artist and taking on that of a colourful character who evoked folk tradition. Throughout his career, Labrecque maintained a love/hate relationship with the artistic community, university institutions — from whom he appropriated material — and government agencies. A review of his career also sheds light on the ambiguity of the term “folklorist” as it is commonly used in reference to singers who have a profile similar to that of Labrecque. His repertoire is presented briefly, as are his accomplishments as an editor of vocal works

Esyllt T. Lawrence: una gal·lesa a Catalunya (Una antologia de textos)

Esyllt Thomas Lawrence (1917-1995) se'ns presenta, d'entrada, amb una trajectòria força singular: una dona que naix a Gal·les, s'educa universitàriament a Anglaterra, viu casada amb un diplomàtic a EUA en plena Segona Guerra Mundial, recomença una nova vida a Mèxic enlluernada per un soldat republicà exiliat català, i acaba vivint sota una dictadura en una altra nació sense estat com Gal·les i amb una nova llengua: el català. Finalment retorna al seu país nadiu amb estades periòdiques a Catalunya on s'implica en la política nacionalista i la llengua i cultures gal·leses fins els darrers dies

Isang Yun's musical bilingualism: serial technique and Korean elements in Fünf Stücke für Klavier (1958) and his later piano works

Isang Yun (1917-1995) was a Korean composer residing in Germany after 1957. Reflecting his musical training in both the East and West, Yun's music integrates serial techniques with elements of Korean traditional music. Yun's piano music merits attention for developing this combination in great depth, as perhaps best exemplified by Fünf Stücke für Klavier (1958). His later piano works, Shao Yang Yin (1966) and Interludium A für Klavier (1982) emphasize aspects of Korean traditional music more strongly. This study intends to assist pianists to develop an informed interpretation of these works based on an understanding of Yun's musical bilingualism

Análisis de la deseabilidad social de los roles de género / Analysis of the Social Desirability of Gender Roles

RESUMEN: El estudio tiene como finalidad realizar un análisis de la deseabilidad social de los 60 ítems que contiene el Sex Role Inventory de Sandra Bem (BSRI) elaborado 1974. Esta escala es uno de los instrumentos de medida más utilizados en las investigaciones que analizan los constructos conceptuales relacionados con la identidad de género dado que, el BSRI mide la autoatribución de características que socialmente son deseables para una persona u otra en función de su sexo. Un análisis de estos ítems permite conocer si existen o no cambios en las atribuciones de los roles de género. Para ello, se comparan los valores medios obtenidos por Bem en 1974 con los resultados de esta investigación, a partir de los datos recogidos de estudiantes de la Universidad de Extremadura. El análisis de estos datos refleja que existen diferentes formas de concebir la masculinidad y un solo imaginario para ser mujer. ABSTRACT: The purpose of the study is to realize an analysis of the social desirability of the 60 items of the Sex Role Inventory Sandra Bem (BSRI) made in 1974. This scale is one of the most widely used measurement instruments in investigations of gender identity. The BSRI measures the self-attribution of characteristics that are socially desirable for each person based on their sex. An analysis of these items reveals whether there are changes in the attributes of gender roles. The objective is to compare the mean values obtained by Bern in 1974 with our results with students from the University of Extremadura. The analysis of these data shows that there are different ways of understanding masculinity and one imaginary for women

Ulysses Kay Archive: Columbia University Rare Book and Manuscript Library

African–American composer Ulysses Kay (1917–1995) wrote more than one hundred forty compositions in a wide range of forms—five operas, over twenty large orchestral works, more than thirty choral compositions, fifteen chamber works, a ballet, and numerous other compositions for voice, solo instruments, film, and television. Born in Tucson, Arizona to a musical family, Kay was encouraged by both his mother and her brother, Joe “King” Oliver, to study piano, violin and saxophone. He entered the University of Arizona in 1934, receiving the Bachelor of Music in 1938. For the next two years he studied composition at the Eastman School of Music, University of Rochester, with Bernard Rogers and Howard Hanson, and received the Masters in Music in 1940. From 1941 to 1942 he studied with Paul Hindemith at Tanglewood and at Yale University. Compositions from this period include the “Sinfonietta for Orchestra,” the ballet “Danse Calinda,” and “Three Fanfares for Four Trumpets.

Time's Arrow Ensemble, January 16, 2008

This is the concert program of the Time's Arrow performance on Wednesday, January 16, 2008 at 8:00 p.m., at the Marshall Room, 855 Commonwealth Avenue. Works performed were "Instruments II" by Morton Feldman, "Nonet for Instrumentalists" by Jacob Mashak, selections from "Piri" by Isang Yun, "Quartet for 4 Flutes" by Sophia Gubaidulina, and "Music in Similar Motion" by Philip Glass. Digitization for Boston University Concert Programs was supported by the Boston University Center for the Humanities Library Endowed Fund

D. José Álvarez Sáenz de Buruaga (1917-1995)

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