2024-03-29T10:19:18Z
http://ir.lib.uwo.ca/do/oai/
oai:ir.lib.uwo.ca:musicresearchpres-1001
2012-03-23T00:14:46Z
publication:musicresearch
publication:musicresearchpres
publication:faculties
The Fifth Beatle: George Martin & The Beatles' Acid Rock Records (Part 2)
Hodgson, Jay
Lecture
2010-12-09T08:00:00Z
George Martin
The Beatles
Acid rock
Music
Music
<p>Music professor, Jay Hodgson, discusses the role George Martin, known as the “fifth Beatle,” played in shaping the band’s sound. By examining records such as "Strawberry Fields Forever" and "I Am The Walrus,” Hodgson shows Martin did much more than simply translate Beatles' songs into recorded realities.</p>
<p>This lecture took place at London Music Club, London, ON on Dec. 9, 2010. It was part of the Classes without Quizzes series.</p>
https://ir.lib.uwo.ca/musicresearchpres/1
oai:ir.lib.uwo.ca:musicresearchpres-1000
2012-03-23T00:15:06Z
publication:musicresearch
publication:musicresearchpres
publication:faculties
The Fifth Beatle: George Martin & The Beatles' Acid Rock Records (Part 1)
Hodgson, Jay
Lecture
2010-12-09T08:00:00Z
George Martin
The Beatles
Acid rock
Music
Music
<p>Music professor, Jay Hodgson, discusses the role George Martin, known as the “fifth Beatle,” played in shaping the band’s sound. By examining records such as "Strawberry Fields Forever" and "I Am The Walrus,” Hodgson shows Martin did much more than simply translate Beatles' songs into recorded realities.</p>
<p>This lecture took place at London Music Club, London, ON on Dec. 9, 2010. It was part of the Classes without Quizzes series.</p>
https://ir.lib.uwo.ca/musicresearchpres/2
oai:ir.lib.uwo.ca:musicresearchpres-1002
2012-03-23T00:13:04Z
publication:rwkex
publication:rwkex_presentationrecordings
publication:musicresearch
publication:musicresearchpres
publication:faculties
Music and Politics
Ansari, Emily Abrams
Lecture
2011-11-17T08:00:00Z
Music
Politics
Democratic capitalism
Music
Political Science
<p>How does music influence politics? During the Cold War, the U.S. government used music as a tool to promote democratic capitalism overseas. Emily Abrams Ansari, professor in Western's Don Wright Faculty of Music, examines these efforts alongside other political appropriations of music during this period.</p>
<p>This lecture took place at London Music Club, London, ON on Nov. 17, 2011. It was part of the Classes without Quizzes series.</p>
https://ir.lib.uwo.ca/musicresearchpres/3
oai:ir.lib.uwo.ca:delaquerriere_album-1003
2015-10-15T20:53:09Z
publication:musicresearch
publication:delaquerriere_album
publication:musicresearchpres
publication:faculties
Jose-Album-03
Western University
<p>Le choix des documents contenus dans l’Album de Louis Delaquerrière, mon grand-père (1856-1937), relève uniquement de l'ntérêt qu’il voyait en eux au moment où il les y a placés. La plupart viennent directement de ce qu’il avait décidé de conserver au cours des ans. Certains textes sont adressés à ma grand-mère Louise de Miramont avant son mariage à Louis (1845-1911); elle était déjà connue comme cantatrice et professeur de chant et avait son propre cercle d’amis et ses contacts à Paris et à Étretat.</p>
<p><strong>Dr. Liliane Delaquerrière Richardson</strong></p>
2014-01-01T08:00:00Z
Arts and Humanities
History
Music
<p>See the rest of this book gallery for selected photographs of pages within the scrapbook album. You will find the full 800 images of the scrapbook album at <a href="https://www.flickr.com/photos/western-libraries/sets/72157646556035150/" target="_blank" title="Western Libraries Flickr feed">Western Libraries Flickr feed</a></p>
Image
https://ir.lib.uwo.ca/delaquerriere_album/6
https://ir.lib.uwo.ca/delaquerriere_album/1003/thumbnail.jpg
oai:ir.lib.uwo.ca:delaquerriere_album-1005
2015-10-15T20:50:55Z
publication:musicresearch
publication:delaquerriere_album
publication:musicresearchpres
publication:faculties
Gounod ALS (1887)
Western University
<p>Le choix des documents contenus dans l’Album de Louis Delaquerrière, mon grand-père (1856-1937), relève uniquement de l'ntérêt qu’il voyait en eux au moment où il les y a placés. La plupart viennent directement de ce qu’il avait décidé de conserver au cours des ans. Certains textes sont adressés à ma grand-mère Louise de Miramont avant son mariage à Louis (1845-1911); elle était déjà connue comme cantatrice et professeur de chant et avait son propre cercle d’amis et ses contacts à Paris et à Étretat.</p>
<p><strong>Dr. Liliane Delaquerrière Richardson</strong></p>
2014-01-01T08:00:00Z
Arts and Humanities
History
Music
<p>See the rest of this book gallery for selected photographs of pages within the scrapbook album. You will find the full 800 images of the scrapbook album at <a href="https://www.flickr.com/photos/western-libraries/sets/72157646556035150/" target="_blank" title="Western Libraries Flickr feed">Western Libraries Flickr feed</a></p>
Image
https://ir.lib.uwo.ca/delaquerriere_album/4
https://ir.lib.uwo.ca/delaquerriere_album/1005/thumbnail.jpg
oai:ir.lib.uwo.ca:delaquerriere_album-1006
2014-09-11T18:30:15Z
publication:musicresearch
publication:delaquerriere_album
publication:musicresearchpres
publication:faculties
Poulbot, D-Pg099A
Western University
<p>Poulbot</p>
<p>"<strong><em>mais . . .quand on nous appellera la guerre sera fini"</em></strong></p>
<p>Le choix des documents contenus dans l’Album de Louis Delaquerrière, mon grand-père (1856-1937), relève uniquement de l'ntérêt qu’il voyait en eux au moment où il les y a placés. La plupart viennent directement de ce qu’il avait décidé de conserver au cours des ans. Certains textes sont adressés à ma grand-mère Louise de Miramont avant son mariage à Louis (1845-1911); elle était déjà connue comme cantatrice et professeur de chant et avait son propre cercle d’amis et ses contacts à Paris et à Étretat.</p>
<p><strong>Dr. Liliane Delaquerrière Richardson</strong></p>
2014-01-01T08:00:00Z
Cultural History
European History
<p>See the rest of this book gallery for selected photographs of pages within the scrapbook album. You will find the full 800 images of the scrapbook album at <a href="https://www.flickr.com/photos/western-libraries/sets/72157646556035150/" target="_blank" title="Western Libraries Flickr feed">Western Libraries Flickr feed</a></p>
Image
https://ir.lib.uwo.ca/delaquerriere_album/7
https://ir.lib.uwo.ca/delaquerriere_album/1006/thumbnail.jpg
oai:ir.lib.uwo.ca:delaquerriere_album-1002
2015-10-15T20:55:03Z
publication:musicresearch
publication:delaquerriere_album
publication:musicresearchpres
publication:faculties
Louis Delaquerrière
Western University
<p>Louis Delaquerriere</p>
<p>Le choix des documents contenus dans l’Album de Louis Delaquerrière, mon grand-père (1856-1937), relève uniquement de l'ntérêt qu’il voyait en eux au moment où il les y a placés. La plupart viennent directement de ce qu’il avait décidé de conserver au cours des ans. Certains textes sont adressés à ma grand-mère Louise de Miramont avant son mariage à Louis (1845-1911); elle était déjà connue comme cantatrice et professeur de chant et avait son propre cercle d’amis et ses contacts à Paris et à Étretat.</p>
<p><strong>Dr. Liliane Delaquerrière Richardson</strong></p>
2014-01-01T08:00:00Z
Arts and Humanities
History
Music
<p>See the rest of this book gallery for selected photographs of pages within the scrapbook album. You will find the full 800 images of the scrapbook album at <a href="https://www.flickr.com/photos/western-libraries/sets/72157646556035150/" target="_blank" title="Western Libraries Flickr feed">Western Libraries Flickr feed</a></p>
Image
https://ir.lib.uwo.ca/delaquerriere_album/3
https://ir.lib.uwo.ca/delaquerriere_album/1002/thumbnail.jpg
oai:ir.lib.uwo.ca:delaquerriere_album-1001
2015-10-15T20:55:49Z
publication:musicresearch
publication:delaquerriere_album
publication:musicresearchpres
publication:faculties
Delaquerriere studio
Western University
<p>Louis Delaquerriere, studio</p>
<p>Le choix des documents contenus dans l’Album de Louis Delaquerrière, mon grand-père (1856-1937), relève uniquement de l'ntérêt qu’il voyait en eux au moment où il les y a placés. La plupart viennent directement de ce qu’il avait décidé de conserver au cours des ans. Certains textes sont adressés à ma grand-mère Louise de Miramont avant son mariage à Louis (1845-1911); elle était déjà connue comme cantatrice et professeur de chant et avait son propre cercle d’amis et ses contacts à Paris et à Étretat.</p>
<p><strong>Dr. Liliane Delaquerrière Richardson</strong></p>
2014-01-01T08:00:00Z
Arts and Humanities
History
Music
<p>See the rest of this book gallery for selected photographs of pages within the scrapbook album. You will find the full 800 images of the scrapbook album at <a href="https://www.flickr.com/photos/western-libraries/sets/72157646556035150/" target="_blank" title="Western Libraries Flickr feed">Western Libraries Flickr feed</a></p>
Image
https://ir.lib.uwo.ca/delaquerriere_album/2
https://ir.lib.uwo.ca/delaquerriere_album/1001/thumbnail.jpg
oai:ir.lib.uwo.ca:delaquerriere_album-1004
2015-10-15T20:52:14Z
publication:musicresearch
publication:delaquerriere_album
publication:musicresearchpres
publication:faculties
Hubay Lettre
Western University
<p>Le choix des documents contenus dans l’Album de Louis Delaquerrière, mon grand-père (1856-1937), relève uniquement de l'ntérêt qu’il voyait en eux au moment où il les y a placés. La plupart viennent directement de ce qu’il avait décidé de conserver au cours des ans. Certains textes sont adressés à ma grand-mère Louise de Miramont avant son mariage à Louis (1845-1911); elle était déjà connue comme cantatrice et professeur de chant et avait son propre cercle d’amis et ses contacts à Paris et à Étretat.</p>
<p><strong>Dr. Liliane Delaquerrière Richardson</strong></p>
2014-01-01T08:00:00Z
PZ-Hubay-TLS-(15-Dec-1935)
Arts and Humanities
History
Music
<p>See the rest of this book gallery for selected photographs of pages within the scrapbook album. You will find the full 800 images of the scrapbook album at <a href="https://www.flickr.com/photos/western-libraries/sets/72157646556035150/" target="_blank" title="Western Libraries Flickr feed">Western Libraries Flickr feed</a></p>
Image
https://ir.lib.uwo.ca/delaquerriere_album/5
https://ir.lib.uwo.ca/delaquerriere_album/1004/thumbnail.jpg
oai:ir.lib.uwo.ca:delaquerriere_album-1000
2015-10-15T21:51:26Z
publication:musicresearch
publication:delaquerriere_album
publication:musicresearchpres
publication:faculties
Louis Delaquerrière and Family
Western University
<p>Louis Delaquerrière en famille</p>
<p>Le choix des documents contenus dans l’Album de Louis Delaquerrière, mon grand-père (1856-1937), relève uniquement de l'ntérêt qu’il voyait en eux au moment où il les y a placés. La plupart viennent directement de ce qu’il avait décidé de conserver au cours des ans. Certains textes sont adressés à ma grand-mère Louise de Miramont avant son mariage à Louis (1845-1911); elle était déjà connue comme cantatrice et professeur de chant et avait son propre cercle d’amis et ses contacts à Paris et à Étretat.</p>
<p><strong>Dr. Liliane Delaquerrière Richardson</strong></p>
2014-01-01T08:00:00Z
Arts and Humanities
History
Music
<p>See the rest of this book gallery for selected photographs of pages within the scrapbook album. You will find the full 800 images of the scrapbook album at <a href="https://www.flickr.com/photos/western-libraries/sets/72157646556035150/" target="_blank" title="Western Libraries Flickr feed">Western Libraries Flickr feed</a></p>
Image
https://ir.lib.uwo.ca/delaquerriere_album/1
https://ir.lib.uwo.ca/delaquerriere_album/1000/thumbnail.jpg
oai:ir.lib.uwo.ca:delaquerriere_album-1007
2015-10-15T21:55:28Z
publication:musicresearch
publication:delaquerriere_album
publication:musicresearchpres
publication:faculties
Stamp: Album Pg102-B-poster-stamp-Fraipont-1919
Western University
2014-01-01T08:00:00Z
Arts and Humanities
History
Music
<p>See the rest of this book gallery for selected photographs of pages within the scrapbook album. You will find the full 800 images of the scrapbook album at <a href="https://www.flickr.com/photos/western-libraries/sets/72157646556035150/" target="_blank" title="Western Libraries Flickr feed">Western Libraries Flickr feed</a></p>
Image
https://ir.lib.uwo.ca/delaquerriere_album/8
https://ir.lib.uwo.ca/delaquerriere_album/1007/thumbnail.jpg
oai:ir.lib.uwo.ca:delaquerriere_album-1008
2015-10-15T20:47:12Z
publication:musicresearch
publication:delaquerriere_album
publication:musicresearchpres
publication:faculties
Album de Louis DELAQUERRIÈRE (1856-1937) Ténor à l’Opéra-Comique de Paris, professeur de chant : Survol / Overview
Liliane Delaquerrière Richardson
<p>Louis Achille Delaquerrière (1856-1937) was a tenor at the <em>Opéra-Comique</em>, Paris. Born in Normandy, he attended the Petit Séminaire de Rouen - where he obtained his <em>Baccalauréat ès Lettres</em> - and was a choir boy in the Maîtrise de la cathédrale de Rouen. His vocal teachers included Louise de Miramont and Jean-Baptiste Faure. He married his teacher, soprano Louise de Miramont (1845-1911) in 1880.</p>
<p>Delaquerrière’s stage career began at the<em> Opéra-Comique</em> in<strong> <em>Le Chalet</em></strong> (1881); his roles included: ‘Almaviva’ - <strong><em>Barber of Seville</em></strong>, ‘Don José’ - <strong><em>Carmen</em></strong>; he also appeared in <strong><em>Mignon</em></strong> (A. Thomas), <strong><em>La Dame Blanche</em></strong> (Boieldieu), <strong><em>La Traviata</em></strong> (Verdi), <strong><em>L’Ombre</em></strong> (Flotow) and <strong><em>Le Postillon de Lonjumeau</em></strong> (Adam). He created the roles of ‘le Comte de Nangis’ in Chabrier’s <strong><em>Le roi malgré lui</em></strong> (1887) and that of “Pierre” in Messager’s <strong><em>Madame Chrysanthème</em></strong> (1893); he sang the première of Flon’s <strong><em>Le panache blanc</em></strong> (Brussels, 1884).</p>
<p>Delaquerrière’s pedagogical career spanned some twenty-five years; his students were recruited by the <em>Paris Opéra</em> and <em>Opéra-Comique</em>, and included: Lucienne Bréval, Paul Franz, Paul Visconti, Jeanne Campredon, Jacques Isnardon, Germaine Lubin, as well as his own son José Delaquerrière.</p>
<p>Louis Delaquerrière’s Album contains mementos of his career, including: newspaper clippings; letters and cards from composers, performers, librettists, poets, painters, sculptors, caricaturists, and students; manuscript scores; menus; programmes; sketches; invitations to serve as a juror for the Paris Conservatoire’s admissions juries and examinations; an invitation to Gounod’s funeral; and photographs. In particular, several of the composers’ letters offer insights into contemporary vocal performance practice.</p>
2007-01-01T08:00:00Z
Liliane Delaquerrière Richardson
London
Delaquerrière
tenor
France
opera
SURVOL
index
Arts and Humanities
History
Music
<p>SURVOL INITIAL ET RAPIDE Recherche et rédaction : Liliane Delaquerrière Richardson London Ontario, Canada, juillet 2002- février 2004</p>
<p><em>Mise à jour : Nov. 2007</em></p>
<p>See the rest of this book gallery for selected photographs of pages within the scrapbook album. You will find the full 800 images of the scrapbook album at <a href="https://www.flickr.com/photos/western-libraries/sets/72157646556035150/" target="_blank" title="Western Libraries Flickr feed">Western Libraries Flickr feed</a></p>
Album Overview
https://ir.lib.uwo.ca/delaquerriere_album/9
https://ir.lib.uwo.ca/delaquerriere_album/1008/thumbnail.jpg
oai:ir.lib.uwo.ca:delaquerriere_album-1009
2016-02-10T14:58:11Z
publication:musicresearch
publication:delaquerriere_album
publication:musicresearchpres
publication:faculties
Album Index to the Louis Achille Delaquerrière Album
Philpott, Lisa
<p><strong>This is a detailed index to the Album, alphabetized by name. </strong></p>
<p><strong>Please note the <em>Read Me</em> file for an explanation of the Album index.</strong></p>
2009-01-01T08:00:00Z
London
Arts and Humanities
History
Music
<p>Please note the Read Me file for an explanation of the index.</p>
Index
https://ir.lib.uwo.ca/delaquerriere_album/10
https://ir.lib.uwo.ca/delaquerriere_album/1009/thumbnail.jpg
oai:ir.lib.uwo.ca:delaquerriere_album-1010
2015-05-29T18:52:46Z
publication:musicresearch
publication:delaquerriere_album
publication:musicresearchpres
publication:faculties
Liszt MS : Preludio, S-164j
Western University
<p>Franz Liszt manuscript Preludio 14 August 1842</p>
<p><strong>S-164j </strong>Searle Catalogue</p>
1842-01-01T07:52:58Z
London
Franz Liszt
manuscript
Preludio
14 August 1842
S-164j
Searle Catalogue
Arts and Humanities
History
Music
Image
https://ir.lib.uwo.ca/delaquerriere_album/11
https://ir.lib.uwo.ca/delaquerriere_album/1010/thumbnail.jpg
oai:ir.lib.uwo.ca:ungradawards_2015-1000
2015-11-04T17:30:34Z
publication:rwkex
publication:rwkex_researcharticles
publication:ungradawards_2015
publication:musicresearch
publication:ungradawards
publication:musicresearchpres
publication:faculties
publication:campusunits
A “New Harmony”: Intertextuality and Quotation in Toru Takemitsu’s Folio III
Shaw, Rebecca
Article
2015-01-01T08:00:00Z
Intertextuality
Quotation
Music Theory
Guitar
Postmodernism
Music Theory
<p>The last in a set of three pieces, Folio III (1974) by Toru Takemitsu (1930–1996) was the composer’s first foray into solo classical guitar composition. Although Takemitsu’s guitar works are often overlooked or examined sparingly at best, Folio III is a complex composition that warrants exploration. It combines aspects of chromatic saturation and octatonicism with Baroque-era tonality via the quotation of Chorale No. 72 “O Haupt voll Blut und Wunden” from the St. Matthew Passion (1727) by Johann Sebastian Bach (1685–1750). This essay blends theoretical analysis with aspects of Takemitsu’s philosophy to clarify the significance of the chorale’s quotation to the overall composition. In the Passions, chorales—due to their origins in a communal performance practice—provide links between complex music and that understood by the common population. In Folio III, the quotation of the chorale enables similar dialogues between tonal and post-tonal music; classical guitarists and the larger classical music community; and, the past and the present. Through intertextuality and quotation, Takemitsu’s Folio III reconciles these dichotomies to create an environment of mutual understanding, rather than isolation and exclusion.</p>
<p>Image by <a href="https://flic.kr/p/9jmeKq">Mrugesh Karnik</a>, posted with a <a href="https://creativecommons.org/licenses/by-nc-nd/2.0/">CC BY-NC-ND 2.0</a> license.</p>
https://ir.lib.uwo.ca/ungradawards_2015/1
oai:ir.lib.uwo.ca:musicresearchpres-1004
2020-11-18T16:50:47Z
publication:musicresearch
publication:musicresearchpres
publication:faculties
Analysis of the Preludium of the Rosary Sonata No. 1 in D minor for violin and basso continuo The Annunciation by H. I. F. von Biber: An Angelic Dialogue
Lopez Cesena, Frangel
Article
2020-07-01T07:00:00Z
Biber
Rosary Sonatas
The Annunciation
Musical Signification
Theory of Virtual Agency
The Music Times
13
Composition
Music
Music Performance
<p>When I was preparing my final undergraduate recital at the Escuela Superior de Música del Instituto Nacional de Bellas Artes in la Ciudad de México I was asked to add a baroque piece to my repertoire. My violin teacher, Maestro Cuauhtémoc Rivera Guzmán suggested that I look at the work of a unique Bohemian- Austrian composer, Biber. I started my research and found the Rosary Sonatas. They captured my attention not because of their rare tuning, beautiful copper engravings of the original, and unique copy of the manuscript, but for their representational clarity, something I noticed and experienced upon first hearing the Sonata No. 1, ̈The Annunciation”, particularly its Preludium. Through the virtuoso and intricate line of the violin I was able to ̈see ̈ in my mind, the Archangel Gabriel revealing God ́s will to a frightened Mary. I imagined a concerned and fearful Virgin Mary answering to the angel.</p>
<p>In summation, I witnessed an angelic dialogue by listening to the music. I identified musical elements as biblical characters with determined acting roles. These characters have an agency and reside in a certain level of musical subjectivity that virtually exists in the world as creations of composers and performers. To explain this, I will base my reflections on the recent Theory of Virtual Agency for Western Art Music by the music theorist Robert S. Hatten.</p>
https://ir.lib.uwo.ca/musicresearchpres/4
oai:ir.lib.uwo.ca:musicresearchpres-1005
2020-12-02T16:07:08Z
publication:musicresearch
publication:musicresearchpres
publication:faculties
Opera or oratorio?: Metastasio's sacred opere serie
Neville, Don
Article
1998-01-01T08:00:00Z
Early Music
596
607
10.1093/em/26.4.596
Music
<p>Metastasio's first <a href="https://go-gale-com.proxy1.lib.uwo.ca/ps/i.do?p=AONE&u=lond95336&id=GALE|A53461626&v=2.1&it=r#" id="x-glossaryID3" title="Related articles for'Oratorios'">oratorios</a> for Vienna fit into the tradition of the unstaged oratorio al sepolcro, a one-part work based on the Crucifixion and using costumes and scenery, at least a Holy Sepulchre model. Opera and oratorio and the theatrical genres in Vienna, by the time Metastasio got there, 1730, had become accepted as demonstrations of the Habsburg image of majesty, to include piety, divine favor, and power and order, among other things. These were to be put forward at the Hofkapelle and then reported. Opera and oratorio had reached Vienna in the early 17th century from Italy. In distinguishing between oratorio and sepolcro, scholars show that to a great extent certain sacred works were staged. That narrows the gap between them and theatrical counterparts. Any complete Metastasian drama, whether sacred or secular, staged or not, read, with or without music, was a moral drama, and complete in itself.</p>
https://ir.lib.uwo.ca/musicresearchpres/5
oai:ir.lib.uwo.ca:musicresearchpres-1006
2020-12-02T16:37:09Z
publication:musicresearch
publication:musicresearchpres
publication:faculties
METASTASIO AND COURT STUDIES
Neville, Don
Article
1996-01-01T08:00:00Z
Court Historian
16
21
10.1179/cou.1996.1.3.004
Music
https://ir.lib.uwo.ca/musicresearchpres/6
oai:ir.lib.uwo.ca:musicresearchpres-1008
2022-02-09T19:33:54Z
publication:musicresearch
publication:musicresearchpres
publication:faculties
Music diplomacy in an emergency: Eisenhower's "secret weapon," Iceland, 1954-59
Ansari, Emily Abram
Article
2015-04-15T07:00:00Z
Music and International History in the Twentieth Century
166
188
https://doi.org/10.2307/j.ctt9qctrx.12
Music
https://ir.lib.uwo.ca/musicresearchpres/8
oai:ir.lib.uwo.ca:musicresearchpres-1007
2021-04-08T22:51:32Z
publication:musicresearch
publication:musicresearchpres
publication:faculties
The sound of a superpower: Musical Americanism and the cold war
Ansari, Emily Abrams
Article
2018-01-01T08:00:00Z
American exceptionalism
Americanism
Anti-communism
Cold war
Cultural diplomacy
Musical nationalism
Politics of style
Serialism
State department
Tonality
The Sound of a Superpower: Musical Americanism and the Cold War
1
274
10.1093/oso/9780190649692.001.0001
Music
<p>© Oxford University Press 2018. All rights reserved. Classical composers seeking to create an American sound enjoyed unprecedented success during the 1930s and 1940s. Aaron Copland, Roy Harris, Howard Hanson, and others brought national and international attention to American composers for the first time in history. In the years after World War II, however, something changed. The prestige of musical Americanism waned rapidly as anti-Communists made accusations against leading Americanist composers. Meanwhile, a method of harmonic organization that some considered more Cold War-appropriate-serialism-began to rise in status. For many composers and historians, the Cold War had effectively “killed off” musical Americanism. In this book, the author offers a fuller, more nuanced picture of the effect of the Cold War on Americanist composers. She shows that the ideological conflict brought both challenges and opportunities. Some leftist Americanist composers struggled greatly in this new artistic and political environment, especially as American nationalism increasingly meant American exceptionalism. But composers of all political stripes would find in the federal government a new and unique channel through which to ensure the survival of musical Americanism, as the White House sought to use American music as a Cold War propaganda tool and American composers as cultural diplomats. The Americanists’ efforts to safeguard the reputation of their style would have significant consequences. Ultimately, they effected a rebranding of musical Americanism, with consequences that remain with us today.</p>
https://ir.lib.uwo.ca/musicresearchpres/7
oai:ir.lib.uwo.ca:musicresearchpres-1009
2021-04-08T22:53:40Z
publication:musicresearch
publication:musicresearchpres
publication:faculties
Musical americanism, cold war consensus culture, and the U.S.-USSR composers' exchange, 1958-60
Ansari, Emily Abrams
Article
2014-01-01T08:00:00Z
Musical Quarterly
360
389
10.1093/musqtl/gdu006
Music
https://ir.lib.uwo.ca/musicresearchpres/9
oai:ir.lib.uwo.ca:musicresearchpres-1011
2020-12-02T20:03:14Z
publication:musicresearch
publication:musicresearchpres
publication:faculties
Shaping the Policies of Cold War Musical Diplomacy: An Epistemic Community of American Composers
Ansari, Emily Abrams
Article
2012-01-01T08:00:00Z
Diplomatic History
41
52
10.1111/j.1467-7709.2011.01007.x
Music
https://ir.lib.uwo.ca/musicresearchpres/11
oai:ir.lib.uwo.ca:musicresearchpres-1010
2020-12-02T20:49:42Z
publication:musicresearch
publication:musicresearchpres
publication:faculties
"Vindication, cleansing, catharsis, hope": Interracial reconciliation and the dilemmas of multiculturalism in Kay and Dorr's Jubilee (1976)
Ansari, Emily Abrams
Article
2013-01-01T08:00:00Z
American Music
379
419
https://doi.org/10.5406/americanmusic.31.4.0379
Music
https://ir.lib.uwo.ca/musicresearchpres/10
oai:ir.lib.uwo.ca:musicresearchpres-1012
2020-12-02T20:00:56Z
publication:musicresearch
publication:musicresearchpres
publication:faculties
Aaron copland and the politics of cultural diplomacy
Ansari, Emily Abrams
Article
2011-08-01T07:00:00Z
Journal of the Society for American Music
335
364
10.1017/S1752196311000162
Music
<p>Scholars have largely ignored Aaron Copland's lengthy career as a cultural diplomat, although the documentation surrounding it sheds new light on his political views. Through a consideration of his work with the U.S. government during World War II and the Cold War this article argues that a brand of universalist internationalism, rooted in his earlier musical experiences in Europe and in his leftist politics, motivated many of Copland's political activities at home and overseas during this period. Copland remained committed to this perspective both before and after his McCarthy hearing in 1953, but the Cold War inevitably brought new challenges to a man with such an outlook. Copland's work with the U.S. Information Agency during this period shows that although his beliefs and attitudes remained unchanged, he felt the need to participate in a reconstruction of his image that better matched the new climate. His music written during the Cold War, furthermore, provides an artistic realization of this interaction between pragmatism and idealism. © 2011 The Society for American Music.</p>
https://ir.lib.uwo.ca/musicresearchpres/12
oai:ir.lib.uwo.ca:musicresearchpres-1013
2021-04-08T22:49:12Z
publication:musicresearch
publication:musicresearchpres
publication:faculties
Music at Hand : Instruments, Bodies, and Cognition
De Souza, Jonathan
Book
2017-01-01T08:00:00Z
Oxford Studies in Music Theory
Music
<p>From prehistoric bone flutes to pipe organs to digital synthesizers, instruments have been important to musical cultures around the world. Yet, how do instruments affect musical organization? And how might they influence players' bodies and minds?<br /><br /><em>Music at Hand </em>explores these questions with a distinctive blend of music theory, psychology, and philosophy. Practicing an instrument, of course, builds bodily habits and skills. But it also develops connections between auditory and motor regions in a player's brain. These multi-sensory links are grounded in particular instrumental interfaces. They reflect the ways that an instrument converts action into sound, and the ways that it coordinates physical and tonal space. Ultimately, these connections can shape listening, improvisation, or composition. This means that pianos, guitars, horns, and bells are not simply tools for making notes. Such technologies, as creative prostheses, also open up possibilities for musical action, perception, and cognition.<br /><br />Throughout the book, author Jonathan De Souza examines diverse musical case studies-from Beethoven to blues harmonica, from Bach to electronic music-introducing novel methods for the analysis of body-instrument interaction. A companion website supports these analytical discussions with audiovisual examples, including motion-capture videos and performances by the author. Written in lucid prose, <em>Music at Hand </em>offers substantive insights for music scholars, while remaining accessible to non-specialist readers. This wide-ranging book will engage music theorists and historians, ethnomusicologists, organologists, composers, and performers-but also psychologists, philosophers, media theorists, and anyone who is curious about how musical experience is embodied and conditioned by technology.</p>
<h2>Table of Contents</h2>
<p>Contents</p>
<p>Acknowledgments</p>
<p>Introduction</p>
<p><em>About t<a href="https://global.oup.com/us/companion.websites/9780190271114/" target="_blank">he Companion Website </a></em></p>
<p>1. Beethoven's Prosthesis</p>
<p>2. Sounding Actions</p>
<p>3. Idiomaticity; or, Three Ways to Play Harmonica</p>
<p>4. Voluntary Self-Sabotage</p>
<p>5. Compositional Instruments</p>
<p>6. Horns To Be Heard</p>
<p>References</p>
<p>Index</p>
https://ir.lib.uwo.ca/musicresearchpres/13
oai:ir.lib.uwo.ca:musicresearchpres-1015
2022-02-09T19:26:02Z
publication:musicresearch
publication:musicresearchpres
publication:faculties
Art, intention, and the constitutive “I”
Goehring, Edmund J.
Article
2018-01-01T08:00:00Z
Studies in Eighteenth Century Culture
223
227
10.1353/sec.2018.0018
Music
https://ir.lib.uwo.ca/musicresearchpres/15
oai:ir.lib.uwo.ca:musicresearchpres-1014
2022-02-09T19:12:03Z
publication:musicresearch
publication:musicresearchpres
publication:faculties
In bruges as boschean allegory
Goehring, Edmund J.
Article
2018-06-01T07:00:00Z
Allegory
Carter burwell
Film music
Franz schubert
Hieronymus bosch
In bruges
Martin mcdonagh
Film International
76
92
10.1386/fiin.16.2.76_1
https://ir.lib.uwo.ca/musicresearchpres/14
oai:ir.lib.uwo.ca:musicresearchpres-1016
2022-02-09T19:27:35Z
publication:musicresearch
publication:musicresearchpres
publication:faculties
The jesuit and the libertine: Some early reception of Mozart's Don Giovanni
Goehring, Edmund J.
Article
2013-06-12T07:00:00Z
Studies in Eighteenth Century Culture
49
79
10.1353/sec.2013.0017
Music
https://ir.lib.uwo.ca/musicresearchpres/16
oai:ir.lib.uwo.ca:musicresearchpres-1017
2022-02-09T19:28:39Z
publication:musicresearch
publication:musicresearchpres
publication:faculties
A "Don Juanized" Macbeth on Austria's enlightened stage: Its genesis, its critical fortunes
Goehring, Edmund J.
Article
2012-12-01T08:00:00Z
Eighteenth-Century Studies
237
254
10.1353/ecs.2012.0014
Music
<p>In 1772, a leading Viennese playright wrote an adaptation of Macbeth to replace a banned Don Juan scenario that had run for decades during the Octave of All Souls. If Macbeth and Don Juan strike the modern mind as an odd pairing, such was also the case in Enlightened Vienna: the playwright himself wrote a lengthly apologia, invoking the authority of Aristotle, Marmontel, and Moses Mendelssohn, to rationalize the moral monstrosity of his tragic protagonist. The Viennese Macbeth and its commentary generated considerable controversy, and from this conflict arise the first sustained attempts to articulate a poetics of Don Juan theater, a repertory that the critical community had hitherto largely passed over in silence.</p>
https://ir.lib.uwo.ca/musicresearchpres/17
oai:ir.lib.uwo.ca:musicresearchpres-1018
2022-02-09T19:29:50Z
publication:musicresearch
publication:musicresearchpres
publication:faculties
Much ado about something; or, così fan tutte in the romantic imagination: A commentary on and translation of an early nineteenth-century epistolary exchange
Goehring, Edmund J.
Article
2008-01-01T08:00:00Z
Eighteenth-Century Music
75
105
10.1017/S1478570608001206
Music
<p>Among the gems buried in Johann Friedrich Reichardt's short-lived Berlinische musikalische Zeitung is a ‘Musikalischer Briefwechsel’ that appeared over three volumes in September 1805. The text, cast as an epistolary exchange between the fictional characters Arithmos and Phantasus, argues the merits of Mozart's Così fan tutte. (The opera had recently returned to the Berlin stage after a thirteen-year absence.) The exchange has received little scholarly attention, and yet it is a remarkable document for the glimpse it gives both into Berlin's musical politics and, most of all, the reception history of Mozart's opera. The authorship of the ‘Briefwechsel’, which appeared pseudonymously, has been attributed to Georg Christian Schlimbach, a frequent contributor to the journal. This article, in contrast, argues that Reichardt himself makes the more likely author: the correspondence more closely reflects his personality, his ambitions for the advancement of opera in the Prussian capital and his theory of art. Indeed, arising from his defence of Mozart's opera is an extraordinary claim in the history of Così's reception: that the work exemplifies romantic irony. E. T. A. Hoffmann is famous for his terse praise of the opera's ‘ergötzlichste Ironie’. Reichardt, however, goes further by showing how the opera amalgamates, in quintessentially romantic fashion, the opposing forces of the comic and serious. Employing a Shakespearean conceit, he argues that Mozart's music amounts to more than ‘much ado about nothing’. Reichardt's move is the more significant given that he builds his reading not on Da Ponte's libretto but on German adaptations by Bretzner and Treitschke, translations that modern scholarship has widely faulted for lacking the original's subtlety. Thus, although Così fan tutte has generally been viewed as a work that runs counter to romantic tastes, Reichardt's ‘Briefwechsel’, along with some newly discovered material, provides a basis for revisiting that claim about the opera's place in nineteenth-century thought. © 2008, Cambridge University Press. All rights reserved.</p>
https://ir.lib.uwo.ca/musicresearchpres/18
oai:ir.lib.uwo.ca:musicresearchpres-1019
2022-02-09T19:30:53Z
publication:musicresearch
publication:musicresearchpres
publication:faculties
The lamentations of Don Juan and Macbeth
Goehring, Edmund J.
Article
2005-01-01T08:00:00Z
PMLA
10.1632/003081205x73371
Music
<p>This article investigates how eighteenth-century writers used the figure of the castrato as a privileged metaphor for the negotiation of class conflicts, gender concepts, and the nature of art. A reading of Johann Jakob Wilhelm Heinse's novel Hildegard von Hohenthal shows that Heinse uses the character of the (fake) castrato to celebrate the artificiality of gender, desire, and art, but his novel leaves class boundaries intact. Friedrich Schiller's poem "Kastraten und Männer" attacks aristocratic supremacy but naturalizes gender codes and equates masculinity and art. (EK) © 2005 BY THE MODERN LANGUAGE ASSOCIATION OF AMERICA.</p>
https://ir.lib.uwo.ca/musicresearchpres/19
oai:ir.lib.uwo.ca:musicresearchpres-1020
2023-09-15T19:31:23Z
publication:musicresearch
publication:musicresearchpres
publication:faculties
Bedroom Rapper: Cadence Weapon on Hip-Hop, Resistance and Surviving the Music Industry by Rollie Pemberton (Book)
McCallum, Duncan
Article
2023-06-02T07:00:00Z
CAML Review / Revue de l'ACBM
24
https://doi.org/10.25071/1708-6701.40459
Music
https://ir.lib.uwo.ca/musicresearchpres/20