Volume 69, Number 05 (May 1951)

Music at the Festival of Britain: Performers and Listeners Will Gather in England this Month for a Gala Once-in-a-Century Celebration Singing Patrolmen: New York\u27s Finest Sing to Prevent Traffic Accdients, to Welcome Visiting Dignitaries, and Just for the Fun of Singing There\u27s Music in Your Piano Singer\u27s Voice and the Sinuses of the Nose Teaching is Selling Planning a Choral Rehearsal: For Best Results, Each Step Should be Carefully Mapped Out in Advance Immortal Trifles, of Gilbert & Sullivan Master Lesson on Beethoven\u27s Sonata Pathétique Program Note for Aaron Copland\u27s Appalachian Spring How Sweet Adeline Got Its Name: America\u27s Favorite Barber-shop Quartets Began as a Salute to a Touring Prima Donnahttps://digitalcommons.gardner-webb.edu/etude/1139/thumbnail.jp

Research and development of a music-movement syllabus for gymnasts and gymnastic coaches

Personal participation in floor exercise choreography and performance, observation of performances by other gymnasts, and conversations \u27With other; coaches, and gymnasts· have intensified the author\u27s awareness of a widespread lack of knowledge and understanding about the interpretation and use of music in floor exercise. When choreographing optional floor exercise routines, coaches and gymnasts have difficulty selecting appropriate music, interpreting the music, and choreographing routines to complement the music. Even after routines are finally developed, many of them lack style, originality, amplitude, flow, precision of rhythm and execution, and expressiveness. Many of these qualities are also lacking in the performance of compulsory routines, partially because gymnasts are not able to accurately and aesthetically interpret the music. Concern for this problem stimulated the author to investigate available literature on floor exercise. The literature indicated the importance of the proper use of music as well as skill in tumbling, dance, and acrobatic movements; however, it did not emphasize that gymnasts be trained in the fundamentals of music, which may enable them to accurately and aesthetically interpret music for their routines. After further investigation of the literature in the areas of floor exercise, physical education, dance education, music education, and rhythm education, it was concluded that the development of a music-movement Syllabus with supportive audio-visual aids, for training gymnasts and gymnastic coaches, could be of value in improving floor exercise training programs

Monochord to moog : a study of the development of stringed keyboard instruments with special reference to popularity trends

The object of the present work has been to trace the evolution of stringed keyboard instruments from the monochord to the present day piano forte. So many inventions have occurred that a chronology of these would be both tedious and of little added value to the existing literature. In the present work the emphasis has been on those innovations which achieved some measure of popularity and can be regarded as essential steps in arriving at the products and methods of modern piano manufacturers. In order to bring this work up to date, visits have been paid to John Broadwood & Sons and the British Piano Museum in London; to the Essex Institute and Pingree House in Salem, Massachusetts; the Smithsonian Institute (Division of Musical Instruments) in Washington; the various Yamaha Factories in Hamamatsu, Japan; and the Piano Manufacturing Company in Wellington, South Africa. Special attention has also been paid to the development and popularity trends of mechanical, pneumatic and electric pianos. In the last Chapter of this study, the information gained is applied to the identification and dating of stringed keyboard instruments found in South Africa or referred to in newspapers or Africana

Volume 35, Number 11 (November 1917)

Cure for Musical Pessimism Simplifying Counting Why Not Encourage Everyone to Play? Nervousness in Public Performance and How to Overcome It Practical Thoughts on Modern Pianoforte Study Two Ways of Using the Metronome Some Foundation Principles of Piano Technic, Which May Be Applied to Any Method Economy of Time at Lessons Keeping the Brain Strong and Fit How to Judge a New Piece High Lights from a Musical Convention: Extracts from Important Addresses Made at the Last Convention of the Music Teachers\u27 National Association How to Keep Your Piano in Playable Condition Some Essential Points in Beautiful Playing and How to Attain Them Five-Four Time a Century Ago Amateur\u27s Repertoire Review Day Brahms as a Man and a Friend Missing Links in Music Study Are You Standing Still, Sliding Backward or Going Ahead? An Interesting Musical Embellishment: The Slide and How It Should Be Played Position, Breathing and Poise for Pianists Nature\u27s Music Inflection in Music Avoiding Deafness Masters at Play Muscular Alertness Negro in the World of Music Get to Work Dealing with the Ragtime Fadhttps://digitalcommons.gardner-webb.edu/etude/1640/thumbnail.jp

Benjamin Britten's Creative Relationship with Russia

This thesis considers Britten’s creative relationship with Russia, in the sense of aspects of Russian culture and politics, across his creative life. It makes particular use of the composer’s collection of scores, the full text of his diaries from 1928 to 1938 and his correspondence in the Britten-Pears Library, Aldeburgh. The author has also conducted over twenty interviews with those with a perspective on this aspect of Britten’s creative sensibility, some of which are included as appendices, and carried out two research visits to Russia and Armenia. Particular attention is given to Britten’s lifelong admiration for Tchaikovsky and to his creative relationship with Shostakovich. The latter is considered both in the 1930s and the 1960s by means of Britten’s diaries, the correspondence between the two composers, Shostakovich’s collection of Britten scores, and a series of articles about Britten published in the Soviet Union in the 1960s. An attempt is made to consider the relationship between Britten’s and Shostakovich’s vocal and instrumental works during this latter period, with particular reference firstly, to the influence of Mstislav Rostropovich and Galina Vishnevskaya and secondly, to the topic of death. Finally, the thesis considers Britten’s creative relationship with Russia as an integrated phenomenon and explores some of the ambiguities inherent in Britten’s response and the wider question of Russian influence on his music

Catalogue of Rollins College, 1941-1942

Rollins College catalogue 1941-1942 with list of faculty and students and courses by department

1991-1992 Bulletin

Volume 102, Number 4. Scanned from the copy held in the Registrar\u27s Office.https://ecommons.udayton.edu/bulletin/1035/thumbnail.jp

1997-1998 Bulletin

Volume 108, Number 4. Scanned from the copy held in the Registrar\u27s Office.https://ecommons.udayton.edu/bulletin/1039/thumbnail.jp