Boston University Chorus and Chamber Singers and Boston University Women's Chorus, November 23, 1965

This is the concert program of the Boston University Chorus and Chamber Singers and Boston University Women's Chorus performance on Tuesday, November 23, 1965 at 8:30 p.m., at the Concert Hall, 855 Commonwealth Avenue. Works performed were Hymn to St. Cecilia by Benjamin Britten, The Silver Swan by Orlando Gibbons, Draw On, Sweet Night by John Wilbye, Luci serene e chiare by Carlo Gesualdo, Moro lasso al mio duolo by C. Gesualdo, Ecco mormorar l'onde by Claudio Monteverdi, Si, ch'io vorrei morire by C. Monteverdi, Nun danket alle Gott by Johann Pachelbel, Four songs for women's voices, Op. 17 by Johann Brahms, Songs of the Auvergne, Op. 117 by Gardner Read, and Sixty-seventh Psalm by Charles Ives. Digitization for Boston University Concert Programs was supported by the Boston University Humanities Library Endowed Fund

Boston University Women's Chorale, Concert Choir, and Chamber Chorus, December 4, 2006

This is the concert program of the Boston University Women's Chorale, Concert Choir, and Chamber Chorus performance on Monday, December 4, 2006 at 8:00 p.m., at Marsh Chapel, 735 Commonwealth Avenue, Boston, Massachusetts. Works performed were A Ceremony of Carols, Op. 28 by Benjamin Britten; Nach dir, Herr, verlanget mich, BWV 150 by Johann Sebastian Bach; Lord, Thou hast been our refuge by Ralph Vaughan Williams; Some Thoughts on Keats and Coleridge by Earl Kim; Five Hebrew Love Songs by Eric Whitacre; and Five Mystical Songs by R. Vaughan Williams. Digitization for Boston University Concert Programs was supported by the Boston University Center for the Humanities Library Endowed Fund

Boston University Concert Choir, Women's and Chamber Chorus, April 16, 2005

This is the concert program of the Boston University Concert Choir, Women's and Chamber Chorus performance on Saturday, April 16, 2005 at 8:00 p.m., at the Concert Hall, 855 Commonwealth Avenue. Works performed were "O Rubor Sanguinis" by Hildegard von Bingen, "Dostóyno yest," Op. 9 No. 12 by Pavel Chesnokov, "Four Russian Peasant Songs" by Igor Stravinsky, "Aure Volanti" by Francesca Caccini, "Salut Printemps" by Claude Debussy, "Vierstimmige Gesänge" by Franz Joseph Haydn, "As Torrents in Summer" from "King Olaf," Op. 30 by Edward Elgar, "Spanish Serenade," Op. 23 by E. Elgar, "Three European Folk Songs" by Mack Wilberg, and "Singet dem Herrn ein neues Lied," BWV 225 by Johann Sebastian Bach. Digitization for Boston University Concert Programs was supported by the Boston University Center for the Humanities Library Endowed Fund

On the Composition of Women's Songs

Coote delves into the differences inherent to Serbo-Croatian folksongs, namely how they are subdivided into heroic songs (the gusle, sung exclusively by men) and women's songs (which can be sung by both women and young men) which encompasses everything else

Boston University Men's Chorus, Women's Chorale and Chamber Chorus, February 7, 2004

This is the concert program of the Boston University Men's Chorus, Women's Chorale and Chamber Chorus performance on Saturday, February 7, 2004 at 8:00 p.m., at the Boston University Concert Hall 855 Commonwealth Avenue. Works performed were Part-Songs for male chorus by Franz Schubert, Romanzen für Frauenstimmen, Op. 69 by Robert Schumann, Vier Gesänge, Op. 17 by Johannes Brahms, and Zigeunerlieder, Op. 103 by Johannes Brahms. Digitization for Boston University Concert Programs was supported by the Boston University Center for the Humanities Library Endowed Fund

Boston University Women's Chorale and Concert Choir, February 9, 2007

This is the concert program of the Boston University Women's Chorale and Concert Choir performance on Friday, February 9, 2007 at 8:00 p.m., at Marsh Chapel, 735 Commonwealth Avenue, Boston, Massachusetts. Works performed were Ave Maria from Triptych by Alan Hovhaness, Unterschale (Four Russian Peasant Songs) by Igor Stravinsky, Salut Printemps by Claude Debussy, Choral Dances from Gloriana, Op. 53 by Benjamin Britten, and Requiem, Op. 48 by Gabriel Fauré. Digitization for Boston University Concert Programs was supported by the Boston University Center for the Humanities Library Endowed Fund

Boston University Concert Choir and Women's Chorale, March 27, 2004

This is the concert program of the Boston University Concert Choir and Women's Chorale performance on Saturday, March 27, 2004 at 8:00 p.m., at the Boston University Concert Hall, 855 Commonwealth Avenue, Boston, Massachusetts. Works performed were Cantata No. 150, 'Nach dir Herr, verlanget mich,' BWV 150 by Johann Sebastian Bach, Six Choruses, Op. 15 by Serge Rachmaninoff, Folk Songs of the Four Seasons by Vaughan Williams, and Spring Cantata, Op. 94 by Vincent Persichetti. Digitization for Boston University Concert Programs was supported by the Boston University Center for the Humanities Library Endowed Fund

Understanding the history of women's lives in Zanzibar through song and story: a gendered perspective

This dissertation and the accompanying performance explore women's history through the song genre dandaro learned from women's singing groups in present-day Zanzibar. The study aims to show that songs, a part of oral tradition, are an effective way of adding to the minimal understanding we have of women's lives in Zanzibar and the Indian Ocean. The dissertation transcribes both the lyrics and the music of the dandaro songs and analyses them in relation to theoretical perspectives on archive and gender realities, as well as in the context of the history of Zanzibar. It also describes how and why I created a performance that reflected both the journey of my research as well as what the women and men I met shared with me. The dissertation and performance form a whole and the performed work is incorporated into the dissertation to show how the performance deepened the approach to the theory and data and vice versa. This study of dandaro songs reveals the existence of a transgenerational archive of information that preserves and transmits the image of strong womanhood and woman's agency, where women subvert gender norms and express their solidarity with each other

Southern Women, Southern Voices: Civil War Songs by Southern Women

"This document considers the lives and works of thirty women living in the Confederate States during the American Civil War. The works they produced are songs published as sheet music in the South during and shortly after that conflict. Some wrote lyrics, some music, some both, and one arranged the lyrics and music of her husband for the piano. These works reflect the women's feelings regarding the conflict, their perceptions of women's roles in relation to it, their definitions of the South as their country, and their identities as Southerners. The material is organized in six chapters and arranged topically and in more or less chronological order. After the introductory Foreword of Chapter One, Chapter Two deals with the initial burst of patriotism expressed in the songs produced early in the war. These songs define the South as a country and invoke the blessings of Deity. The songs discussed in Chapter Three, also produced early in the war, extol the new flag and early victories. The songs in Chapter Four reflect the onset of war's harsh realities that plagued Southerners by the middle of the war: separation anxiety,loneliness, death, and deprivations. The songs of Chapter Five are calls for peace and post-war tributes to the dead. An Afterword concludes the document in Chapter Six. One concludes from the study of these women's lives and works that they harbored strong feelings about the war and that the writing and publishing of poetry and music was seen as an acceptable means of expressing those feelings. The literacy and/or musical training demonstrated in these songs reflect a level of education typical of middle and upper-class women of the period. Additional biographical study reveals the perseverance with which these women faced not only the war and its outcome, but also the professional limitations and the social restrictions with which they had to contend."--Abstract from author supplied metadata

Song Literature IV-20th Century Music Class Recital, April 23, 1993

This is the concert program of the Song Literature IV-20th Century Music Class Recital on Friday, April 23, 1993 at 6:00 p.m., at the Concert Hall, 855 Commonwealth Avenue. Works performed were "Love, Love, Love" from "Private Collection" by John Weinzwieg, The Sleeper by George Crumb, "Where the Bee Sucks" from "Songs for Ariel" by Michael Tippett, "Chanson d'Orkenise" from "Banalités" by Francis Poulenc, Circus Band by Charles Ives, "So-Fei Gathering Flowers" from "5 Poems of Ancient China and Japan" by Charles Griffes, "An Incident" from "War Scenes" by Ned Rorem, Sleep and Spring from "Six Elizabethan Songs" by Dominick Argento, "Je garde une medaille d'elle" from "Clairières dans le Ciel" by Lili Boulanger, "Let No Charitable Hope" from "Women's Voices" by N. Rorem, Excerpt from "Aria" by John Cage, "A Silken Cradle" from "Opal's Diary" by Gary Smart, Aria from "Chanticleer" by Seymour Barab, My Poems from "Six Poems of Marina Tsvelayeva" by Dmitri Shostakovich, Excerpts from "Sequenza III" by Luciano Berio, Chere, mo lemmé toi, Fais do do, and Dansé conni conné from "Creole Folk Songs" by Camille Nickerson, Love Song and Song for Fine Weather from "Songs of the Haida Indians" by Jean Coulthard, "On Parting" from "Three Poems of Theodore Ramsay" by Thomas Pasatien, Letters Found Near a Suicide by Earl Kim, and "Let The Florid Music Praise!" from "On This Island" by Benjamin Britten. Digitization for Boston University Concert Programs was supported by the Boston University Humanities Library Endowed Fund