30,449 research outputs found

    Music in the church school (Outline of a course for teachers)

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    Thesis (Ed.M.)--Boston Universit

    Kyiv Theological Academy Professors at the Beginning of the 20th Century: At the Intersection of Cultures

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    This article attempts to reveal intercultural connections at the Kyiv Theological Academy at the beginning of the 20th century by reconstructing the spiritual biographies of two theological academy professors: Archimandrite (later, Archbishop of Berlin and Germany) Tykhon (Tymofii Liashchenko) and Petro Kudriavtsev. The article demonstrates how different cultural traditions intersected and combined in the spiritual experience of these figures. The author of the article argues that, as a result of revolutionary events in 1917–1919, both Kyiv Theological Academy professors experienced transformations in personal cultural identity, and their spiritual biographies reveal a transition from Russian to Western European and a combination of both (Tykhon (Liashchenko) identities), and from Russian to Ukrainian ideological cultural orientation (Petro Kudriavtsev)

    Chronology and Itinerary of the Career of James Reese Europe: Materials for a Biography

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    James Reese Europe (1880-1919) was an American ragtime and early jazz bandleader, arranger, and composer. He was the leading figure on the African-American music scene of New York City in the 1910s. During World War I, Europe obtained a commission in the New York Army National Guard, where he saw combat as a lieutenant with the 369th Infantry Regiment (the Harlem Hellfighters ). He went on to direct the regimental band to great acclaim. In February and March 1918, James Reese Europe and his military band travelled over 2,000 miles in France, performing for British, French and American military audiences as well as French civilians. Europe\u27s Hellfighters also made their first recordings in France for the Pathé brothers. The first concert included a French march, and the Stars and Stripes Forever as well as syncopated numbers such as The Memphis Blues , which, according to a later description of the concert by band member Noble Sissle ... started ragtimitis in France

    NATIVE AMERICAN BOARDING SCHOOL BANDS AND THEIR BANDMASTERS. Project File 5: NATIVE AMERICANS ON THE CHAUTAUQUA CIRCUITS: THE ROLE OF THURLOW LIEURANCE AND LINCOLN’S UNIVERSITY SCHOOL OF MUSIC

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    This is the fifth of five on-line text files in which I assemble my research notes about boys’ bands and their bandmasters at the US government’s Native American off-reservation inter-tribal boarding schools. The present document began as an off-shoot from that project into local history concerning the School of Music associated with the University of Nebraska in Lincoln, NE around 1915-1925 and its role in preparing Native American young adults to appear on Circuit Chautauqua programs. They were often graduates of boarding school band programs, and the Haskell school band, in particular, made major Circuit Chautauqua tours with Native American soloists. I principally have put into some kind of order a mass of data that draws upon online digital newspapers and genealogy databases. What follows here is not a finished, polished document. Everything on offer is still work in progress, inconsistent in formatting and with missing data and the occasional typographical error. I invite queries, amplifications, and corrections, which may be directed to [email protected]. The present document is a first draft of December 2022. This digital file begins with an introduction and then presents a chronology and itinerary of the career of American musician Thurlow Lieurance and his wife Edna Wooley Lieurance. Then there follows some brief biographical sketches of the professional lives of the principal Native American theatrical performers whose careers relate to boarding school musical training, Thurlow Lieurance, the University School of Music associated with the University of Nebraska, lyceum touring, and Circuit Chautauqua. Pearl Archiquette, Oneida (“Godje”) Fred Cardin, Quapaw-Miami (“Pejawah”) Sansa Carey, Cherokee (“Teweta”) Brazilia Dunn, Choctaw Florence Evans, Creek (“Princess Tsianina”) George La Mere, Ho-Chunk (“Hotonga”) Lucy Nicolar, Penobscot (“Princess Watahwaso”) William Reddie, Hayda (“Yelaye”) Eloita Stidham, Creek (“Princess Oyapela”) Mary Stone, Chickasaw (“Princess Ataloa”) Elizabeth Thompson, Sioux (“Donanwin”) Mary Thompson, Chickasaw (“Princess Te Ata”) Joseph Bayhylle Shunatona, Pawnee-Otoe (“Charging Buffalo”) Hannah Blue Gene Burton Leota Combs Gladys Gooding Margaret Mulowney Minnie Stalder Fannie Weinstoc

    Chronology and Itinerary of the Career of James Reese Europe: Materials for a Biography

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    James Reese Europe (1880-1919) was an American ragtime and early jazz bandleader, arranger, and composer. He was the leading figure on the African-American music scene of New York City in the 1910s. During World War I, Europe obtained a commission in the New York Army National Guard, where he saw combat as a lieutenant with the 369th Infantry Regiment (the Harlem Hellfighters ). He went on to direct the regimental band to great acclaim. In February and March 1918, James Reese Europe and his military band travelled over 2,000 miles in France, performing for British, French and American military audiences as well as French civilians. Europe\u27s Hellfighters also made their first recordings in France for the Pathé brothers. The first concert included a French march, and the Stars and Stripes Forever as well as syncopated numbers such as The Memphis Blues , which, according to a later description of the concert by band member Noble Sissle ... started ragtimitis in France

    The Transculturation of American Poetry in China, 1917-1937

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    This paper offers a critical overview of the reception of American poetry in China from 1917 to 1937. Drawing on Maria Tymoczko’s theory of transculturation, it shows how in order to meet local poetic and ideological demands, America’s New Poetry Movement, Left poetry, and Black poetry were “performed” in (relay) translations by Chinese authors. Understudied to date, these texts reveal a fascinating literary and political process in which American poetry and Chinese poetry were mutually shaped through translation

    Chronology and Itinerary of the Career of Will Vodery: Materials for a Biography

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    WILL VODERY (October 8, 1884 to November 18, 1951) Arranger and orchestrator, composer, conductor; club owner. Celebrated most as a legendary orchestrator and arranger (including a credit as the first black arranger in Hollywood), then next as a bandleader and trainer of choirs, and then as a composer. (Tellingly, he was not a member of ASCAP.) Vodery mostly worked in musical theatre, but he was also a conductor, composer, and arranger of instrumental dance music. Worked with everyone. A protege of Will Marion Cook and Bert Williams. Cook and Vodery were mentors to Ellington. Vodery was mentor to Gershwin and William Grant Still. Tucker rightly calls him a preeminent African-American musician of his generation (cit. Tucker dict. art.) Salem Tutt Whitney writes the following in his Timely Topics column, under the heading Impressions of Musicians (Chicago Defender, October 11, 1930, p. 5): Will Vodery heads the list of arrangers. Composer of many beautiful songs and a jolly good fellow. Knows what he knows and is getting $35,000 a year for knowing it. Close friends and associates included Oscar Hammerstein, Noble Sissle, Flo Ziegfeld, George Gershwin, Duke Ellington, Florence Mills, Jerome Kern, Don Voorhees, Billy Rose, Fannie Brice, etc. (Pittsburgh Courier, December 1, 1951, p. 5

    Will Marion Cook: Threads and Themes

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    This document is a supplement to Chronology and Itinerary of the Career of Will Marion Cook, a 2017 document which is mounted on-line at http://digitalcommons.unl.edu/musicfacpub/66/. It draws out of that resource some material on five themes or threads that are constant elements over Cook\u27s career, concerning the history of African American music and dance, and the promotion of schools and professional troupes for African American musicians and actors. Occasionally there is more information below than in the 2017 document, but readers are cautioned that more often, the older document will have additional detail not simply cut and pasted here. This re-assembling by theme or thread is not a finished, polished effort; it represents work in progress, complete with repetitions, missing data, and the occasional typographical error. I invite queries, amplifications, and corrections, which may be directed to [email protected]. The present document is a first draft of November 2018
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