Volume 13, Number 1 - October 1932

Volume 13, Number 1 – October 1932. 22 pages including covers and advertisements. Who\u27s Who Herein Conaty, Edward L. The Rendevouz-Keeper Poole, Jr., Frederick E. Some Yearn for Fame - A Story My Song LaCroix, John L. Midsummer Lullaby Norback, Howard G. The American Literary Heritage Barrett, Rene H. Impromptu - A Story Editorials Higgins, Daniel J. Merely Players Haylon, William D. Checkerboard Skenyon, Francis J. & Tebbetts, George R. Athletic

Franz Werfel\u27s Great Dilemma

Frederick C. Ellert investigates Franz Werfel\u27s crisis of faith based on Werfel\u27s Between Heaven and Earth, Paul Among Jews, Barbara, The Song of Bernadette and Star of the Unborn

Voice Department Songbook Recital, October 28, 2011

This is the concert program of the Voice Department Songbook Recital performance on Friday, October 28, 2011 at 1:15 p.m., at tje Boston University Concert Hall. Works performed were Under the Greenwood Tree by Thomas Arne, Take, O Take Those Lips Away by Virgil Thomson, Orpheus with his Lute by Ralph Vaughan Williams, Take, Oh, Take Those Lips Away by Amy Cheney Beach, An Sylvia by Franz Schubert, The Willow Song by Arthur Sullivan, Come Unto These Yellow Sands by Frederick Ayres, From Five Ophelia Lieder by Johannes Brahms, O Mistress Mine by Roger Quilter, and At the Moated Grange by Thomas Pasatieri. Digitization for Boston University Concert Programs was supported by the Boston University Humanities Library Endowed Fund

Volume 10, Number 7 – April 1930

Volume 10, Number 7 – April 1930. 46 pages including covers and advertisements. Hickey, Carroll, Symphony of Song (verse) Kelly, Frederick P., Speed Hickey, Carroll, Easter (verse) Flanagan, William F., Bright Locks Sheehy, John J., The Flaming Arrows Daniels, Ralph S., Editorial Hickey, Carroll, Exchange Gorman, John P., Alumni Quirk, Charles C., Chronicle Krieger, John E., Athletic

Self Expression Through Music

Positive self expression is a familiar concept to people of every origin, so there are recognizable expressions of positive emotions that span across cultures, song and dance being two of those forms. When voices are raised in song or bodies are seen moving in rhythm (or off rhythm) to a beat, it is natural for people’s minds to jump right to “celebration!” However, what are often times considered forms of joyous expression become expressions of passionate pain in dark times. The darkest time in American history was when slavery was practiced, so for slaves, singing was not an expression of joy as some assumed, it was an expression of sorrow. Frederick Douglass (1845/2005) addressed this very subject in his published work, Narrative of the life of Frederick Douglass, an American slave: “Slaves sing most when they are most unhappy. The songs of the slave represent the sorrows of his heart; and he is relieved by them, only as an aching heart is relieved by its tears” (ch. 2). Song, something that is often times associated with high spirits, became a channel to express deep sadness brought about by a wicked institution. The dance performed by Apartheid protesters in South Africa was called the toyi-toyi, and it emphasized their passion as they moved through the streets (Michie 2018). Nelson Mandela (1994/2010) said that not until April 27, 1994, did “the black majority….go to the polls to elect their own leaders” (241). Life for blacks in South Africa during Apartheid was cruel and unfair, so protesters used passionate dance to express their pain and desire for change. Self expression in the forms of song and dance offers an opportunity to release unwanted feelings and make powerful statements

Frederick Douglass’ Narrative of the Life of Frederick Douglass: Between the Expressions of Unpleasant Feeling and Freedom Gaining on Slavery

Romanticism in America coincided with the period of national expansion and the emergence of a distinctive American voice triggering the American Renaissance. It was exactly when many American writers were able to express Americans’ new expressions such as imaginative expression over emotion and individual, defense of individual potential and individual freedom as they were rarely vocalized during the former era.The upcoming idea of egalitarianism which is based on the American Liberalism urged Afro-American writers to spread out the spirit of freedom and egalitarianism. They describe several stories about living as a slave. Frederick Douglas has a leading role in the abolishment of slavery in the history of America with his masterpiece Narrative of the Life of Frederick Douglass. That is why the researchers want to find out the spirit of the Romanticism by proving how the social background had taken a part in creating well-known narratives.Using the Sociology of Literature approach, this research is assumed to give effect on shaping the meaning of Narrative of the Life of Frederick Douglass, where his work expresses liberalism in the period of Romanticism and could also be used to characterize the Romanticism. That is why literary discussion can not be separated from the issue when and where a work was written. The question when the literature was written is only a part of the discussion about this period including the remarks of the work and the question where it is associated with the society or sociological background where the work was created.Insecure feeling is one main feature of the Romanticism found in Narrative of the Life of Frederick Douglass. Douglass actualizes the correlation of song and slavery where song is depicted as an escape from the insecure feeling as experienced by slaves. The first objective is to show that when a slave is feeling insecure in his surroundings, then he will try to cheer himself up by singing and will become romantic, too. The second one is the strong spirit of the Romanticism thoroughly found in Narrative of the Life of Frederick Douglass that is the spirit of Liberalism – almost all his narratives express his greatest dream of abolishing slavery trademark of his own. Meanwhile, the sociological background reflected in revolutionary movement took place in Douglass’ surroundings and he accidentally experienced it himself. Then, he made his words to set the slaves free and slavery must be abolished for goodness

Late-Victorian Decadent Song Literature

This article considers the Victorian and Edwardian vogue for setting late-Victorian decadent poetry to music. It examines the particular appeal of Ernest Dowson's and Arthur Symons's verse to the composers Cyril Scott and Frederick Delius, whose Songs of Sunset (1911) was regarded as the “quintessential expression of the fin-de-siècle spirit,” and discusses the contribution of women composers and musicians—particularly that of the Irish composer and translator Adela Maddison (1866–1929)—to the cross-continental tradition of decadent song literature and the musical legacy of decadence in the late-Victorian period and beyond

Concert recording 2021-10-28

[Track 1]. À la manière de Schumann / Jean-Michel Defaye -- [Track 2]. Bushes and briars / Ralph Vaughan Williams ; arranged by Richard Myers-- [Track 3]. Now is the month of Maying / Thomas Morley-- [Track 4]. Concerto in one movement / Alexey Lebedev -- [Track 5]. Suite of Lieder. I. Lob der Einsamkeit ; II. Grab und Mond ; III. Widersprich / Franz Schubert ; arranged by Rowell -- [Track 6]. The song of King David / Norman Bolter -- [Track 7]. Leviathan / Jack Wilds -- [Track 8]. -- Ave Maria / Anton Bruckner ; arranged by Donald R. Frederick -- [Track 9]. Prelude, op. 34, no. 19. / Dimitri Shostakovich-- [Track 10]. A canzona concoction / Allen Molineux

Book Reviews

My Ecchoil1g Song: Andrew Marvell\u27s Poetry of Criticism (Rosalie L. Colic) (Reviewed by Michael McCanles, Marquette University)Rabelais: A Study in Comic Courage (Thomas M. Greene) (Reviewed by Gerard J. Brault, The Pennsylvania State University)Psychoanalysis and Literary Process (Frederick Crews) (Reviewed by Leonard F. Manheim, University of Hartford)The Expanded Voice: The Art of Thomas Traberne (Stanley Stewart) (Reviewed by George R. Guffey, University of California, Los Angeles)Harold Pinter: The Poetics of Silence (James R. Hollis) (Reviewed by James M. Ware, California State Polytechnic College, Pomona)Modern American Poetry: Essays in Criticism (Jerome Mazzara) (Reviewed by Merle E. Brown, The University of Iowa

K\"ahler-Ricci Flow on Projective Bundles over K\"ahler-Einstein Manifolds

We study the K\"ahler-Ricci flow on a class of projective bundles $\mathbb{P}(\mathcal{O}_\Sigma \oplus L)$ over compact K\"ahler-Einstein manifold $\Sigma^n$. Assuming the initial K\"ahler metric $\omega_0$ admits a U(1)-invariant momentum profile, we give a criterion, characterized by the triple $(\Sigma, L, [\omega_0])$, under which the $\mathbb{P}^1$-fiber collapses along the K\"ahler-Ricci flow and the projective bundle converges to $\Sigma$ in Gromov-Hausdorff sense. Furthermore, the K\"ahler-Ricci flow must have Type I singularity and is of (\C^n \times \mathbb{P}^1)-type. This generalizes and extends part of Song-Weinkove's work \cite{SgWk09} on Hirzebruch surfaces.Comment: revised version for publication, to appear in Trans. Amer. Math. So