Canadian University Music Review最新文献_第2页

"Reflections in an Eastern Mirror, or Performance of a French Vaudeville in Russia" “东方镜中的映像，或在俄罗斯的法国杂耍表演”

Canadian University Music Review Pub Date : 2013-03-06 DOI: 10.7202/1014519AR

M. Woodside

引用次数: 0

The Celluloid Waltz: Memories of the Fairground Carousel 赛璐珞华尔兹:游乐场旋转木马的回忆

Canadian University Music Review Pub Date : 2013-03-06 DOI: 10.7202/1014518AR

Teresa Magdanz

引用次数: 1

Franz Joseph Haydn and the Five-Octave Classical Keyboard: Registral Extremes, Formal Emphases and Tonal Strategies 海顿与五八度古典键盘:音域极值、形式重音与调性策略

Canadian University Music Review Pub Date : 2013-03-06 DOI: 10.7202/1014521AR

J. Mackay

引用次数: 1

Modèles linguistiques et analyse des structures musicales 语言模型与音乐结构分析

Canadian University Music Review Pub Date : 2013-03-06 DOI: 10.7202/1014517AR

J. Nattiez

引用次数: 4

Metrical Reinterpretations in Ursula Mamlok's Panta Rhei, IV (1981) 乌苏拉·马姆洛克《大喜》IV(1981)中的格律重新诠释

Canadian University Music Review Pub Date : 2013-03-06 DOI: 10.7202/1014522AR

Roxane Prevost

引用次数: 0

CanCon and the Canon 康康和正典

Canadian University Music Review Pub Date : 2013-03-06 DOI: 10.7202/1014524AR

Robin Elliott

引用次数: 0

Music in Edmonton, 1880-1905 埃德蒙顿的音乐，1880-1905

Canadian University Music Review Pub Date : 1900-01-01 DOI: 10.7202/1014091AR

W. Berg

{"title":"Music in Edmonton, 1880-1905","authors":"W. Berg","doi":"10.7202/1014091AR","DOIUrl":"https://doi.org/10.7202/1014091AR","url":null,"abstract":"Helmut Kallmann has suggested that the main impression created by a study of musical beginnings in western Canada is that of \"amazing speed and variety of development\" (Kallmann 1960:170). Kallmann's account deals chiefly with Victoria, Vancouver, Regina, and Winnipeg, but it will become apparent that most of the factors responsible for this rapid growth were also at work in Edmonton. The presence of well-educated settlers, including many women who had learned to play the piano, the associated need to compensate for the hardships and cultural privation of pioneer life, and the influence of geographical isolation help to explain why musical establishments were, according to Kallmann, so quick to grow in western cities. It will also become clear that the presence of one energetic and talented person was often sufficient to act as a nucleus and catalyst for musical activities once the basic requirements for such activities were present. In addition, Edmonton's early years show how institutions of various kinds can be important in bringing such persons to a community and in providing continuity in times of transition. Historical background Edmonton House was first established on the banks of the North Saskatchewan River in 1795 as part of the rivalry between the North West Company and the Hudson's Bay Company. The two companies were amalgamated in 1821 and under the guidance of John Rowand, Edmonton House quickly became one of the most important furtrading posts in the Northwest, the depot for expeditions to the Pacific and to the Mackenzie (MacGregor [1967] 1975: 36). In spite of its importance, it was small. When Paul Kane, the artist whose journal and paintings give us such a vivid record of life on the prairies and west coast in the middle of the nineteenth century, visited Edmonton House in 1847, there were 130 people living in the fur-trading post (Kane [1859] 1925: 92-93). These were mainly Hudson's Bay Company employees engaged in the fur trade, their wives, almost without exception native women, and a few others who made their living hunting, farming, cutting firewood and freighting for the Company. By 1880 the population had grown very little: the Edmonton area now had a population of 275 (Edmonton Bulletin 27 December, 1880: 1). In other ways, however, there had been very significant changes. When Paul Kane had passed down the North Sasktachewan with the Hudson's Bay Company flotilla he saw thousands of buffalo. When John McDougall came to the Edmonton area in 1862 with his father, the Rev. George McDougall, there were still countless thousands of buffalo, and one of his main occupations in the winter was either hunting buffalo or trading with the Cree or Blackfoot Indians for buffalo meat to keep their missions at Victoria and Pigeon Lake supplied with food (McDougall [1903] 1983). By 1880 the buffalo were gone, the Indians, former lords of the Plains, were starving, and a transcontinental railroad was about to open the prairies to large ","PeriodicalId":224798,"journal":{"name":"Canadian University Music Review","volume":"95 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124819185","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 2

Martin Adams. Henry Purcell: The Origins and Development of His Musical Style. Cambridge: Cambridge University Press, 1995. xii, 388 pp. ISBN 0-521-43159-x (hardcover) 马丁·亚当斯。亨利·珀塞尔:他的音乐风格的起源和发展。剑桥:剑桥大学出版社，1995。12, 388页。ISBN 0-521-43159-x(精装)

Canadian University Music Review Pub Date : 1900-01-01 DOI: 10.7202/1014698AR

Wendy Grant

引用次数: 0

Articulations of Locality: Portraits and Narratives from the Toronto-Cuban Musicscape 地方的表达:来自多伦多-古巴音乐景观的肖像和叙事

Canadian University Music Review Pub Date : 1900-01-01 DOI: 10.7202/1014451AR

Annemarie Gallaugher

引用次数: 1

Judith Tick. Ruth Crawford Seeger: A Composer's Search for American Music. New York and Oxford: Oxford University Press, 1997. xiv, 457 pp. ISBN 0-195-06509-3 (paperback) 朱迪思。露丝·克劳福德·西格:一位作曲家对美国音乐的探索。纽约和牛津:牛津大学出版社，1997。xiv, 457 pp. ISBN 0-195-06509-3(平装本)

Canadian University Music Review Pub Date : 1900-01-01 DOI: 10.7202/1014510AR

A. Clarkson

{"title":"Judith Tick. Ruth Crawford Seeger: A Composer's Search for American Music. New York and Oxford: Oxford University Press, 1997. xiv, 457 pp. ISBN 0-195-06509-3 (paperback)","authors":"A. Clarkson","doi":"10.7202/1014510AR","DOIUrl":"https://doi.org/10.7202/1014510AR","url":null,"abstract":"Judith Tick. Ruth Crawford Seeger: A Composer's Search for American Music. New York and Oxford: Oxford University Press, 1997. xiv, 457 pp. ISBN 0-195-06509-3 (paperback).1 By 2001, when the centenary of the birth of Ruth Crawford Seeger was celebrated far and wide, her presence in the front rank of twentieth-century composers was assured. A large part of the increased understanding and knowledge of the composer was the work of Judith Tick, whose editions of the music and superb biography have done so much to form our knowledge and understanding of Crawford's life and creative gifts. Tick had a remarkably challenging task, for in a dictionary of musical biography there could really be two entries, one for Ruth Crawford and the other for Ruth Seeger. The career divides so readily down the middle that to keep both halves in focus, as Tick has done, is a major achievement. Ruth Crawford was endowed with exceptional gifts as a performer, composer, teacher, and writer, and was already a ranking avant-garde composer before she met Charles Seeger in 1929. She was his student, then collaborated with him in writing a book, before they were married in 1932. As Ruth Seeger she took on several more occupations - wife, mother (three children from Charles's first marriage and four of their own), piano teacher (to keep the family above the poverty line), folklorist, and author (several editions of folksongs). Ruth's indomitable spirit led her to believe that she could do it all if she only could work hard enough. She worked beyond hard, but the anticipated return to composing concert music was foreclosed when cancer struck her swiftly down in 1953. The need and desire to be Ruth Crawford was a haunting pressure through her life as Ruth Seeger. That she created a life as Ruth Crawford Seeger must be counted as one more of her accomplishments. Charles Seeger was a polymath with a handful of careers in his own right-composer, theorist, comparative musicologist, teacher, philosopher, folklorist, and administrator. But he did not have the knack of turning his abundant gifts into a living for his large family. Though recognition was long delayed, he lived to glimpse it by the time he died in 1979 aged 93. That Ruth and Charles found each other was more than a domestic romance, for their professional lives took shape in ways that were products of their combined talents and interests. Her gifts as a composer and his intellectual gifts combined in their writing a book on dissonant counterpoint. Their work together as folklorists resulted in editions of folksongs for the general reader that are still models of scholarly precision and sensitive arrangements. In addition to publications their collaboration extended to the next generation, with three of their children taking up the cause of the folksong revival and bringing traditional musics into the classrooms, living rooms, and concert spaces of the nation. Tick weaves a life story with many layers and facets. Combining ","PeriodicalId":224798,"journal":{"name":"Canadian University Music Review","volume":"20 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125544706","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0