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Peggy Glanville-Hicks' Opera Sappho, A Critical Examination, Fiona Campbell

Theses: Doctorates and Masters

Over the past ten years there has been a considerable amount of renewed interest in the life and work of Australian-born composer Peggy Glanville-Hicks who wrote five operas and a substantial body of chamber music. Although most of her career as a composer was accomplished abroad, her works were a significant contribution to the development of Australian opera. There is a growing body of literature written about Peggy Glanville-Hicks, but nothing substantial has been written about her last great work, Sappho. The purpose of this minor thesis, therefore, is to examine this last grand, yet unperformed opera. This thesis will …

Hillbilly Music & Early Live Radio Programming In Bowling Green & Glasgow, Kentucky: Country Music As A Local Phenomenon, James Nelson

Masters Theses & Specialist Projects

In this study, the author examines the development of country music in the area surrounding Bowling Green and Glasgow, Kentucky, from approximately 1930 to 1960 and its relation to the newly emerging medium of radio. Emphasis is placed on several performers whose careers were linked to the radio stations which began to broadcast in Bowling Green and Glasgow during the 1940s.

In the past, country music scholarship has tended to focus on phonograph records as a source of material for study and as the primary means of musical transmission. As a result, the careers of many of the lesser known …

July 1992

Shake, Rattle & Roll

Vol. II, no. 1 featured Shawn Lane, the Kronos Quartet, and an article about women in the music business.

Representing African Music, Kofi Agawu

Publications and Research

Of all the currents of change that have swept the humanities during the last half-century, the most far-reaching revolve around language. Philosophy, history, and literary criticism, among other language-based disciplines, have developed what is often presented as a largely unprecedented self-consciousness about representation. The message to scholars in nonlanguage-based disciplines is clear: to be taken seriously, one can no longer view language as a transparent window to an objective reality but must confront the foundational political and ideological baggage of the medium itself, as well as its constant slippage in the hands of the producer.

August 1991

Shake, Rattle & Roll

Issue 3 featured Clearance Giddens, "The Black Elvis," Jimi Jamison, Todd Snider, and the Voodoo Village People.

July 1991

Shake, Rattle & Roll

The second issue featured Memphis band Come In Berlin, guitarist Eric Gales, and a follow up on Sweet, Sweet Connie.

Variation Procedures In Northern Ewe Song, V. Kofi Agawu

Publications and Research

The major organizational principle of Northern Ewe song is one shared by numerous African, Oriental, and European musical traditions: a small number of models (variously described as "basic shapes," "archetypes," "background structures," "basic designs," "core patterns," "deep structures") is transformed in a wide variety of ways during performance. Variation takes place on different hierarchic levels both within and between songs and includes practically all of a song's dimensions (rhythm, interval, register, contour, harmony, and so on). This principle, although widely demonstrated in the literature on African song (see, among others, Jones 1976; Kauffman 1984; Schmidt 1984; and Erlmann 1985), is …

Tone And Tune: The Evidence For Northern Ewe Music, V. Kofi Agawu

Publications and Research

Abstract:

One of the most intriguing features of most African languages is that of tone, by which variations in speech tone generate different meanings (Pike, 1948, offers a valuable introduction to this subject and includes an extensive bibliography; Fromkin, 1972, is a comprehensive evaluation of specialised studies). In the Ewe language, for example, the word to [H] pronounced with a high tone means ‘ear’, as in To le venye (HLMM), ‘I have an earache.’ To can also mean ‘through’, Meto akɔnta me [MHLHML], ‘I have gone through the accounts.’ But as soon as the high tone is replaced by a …

Music In The Funeral Traditions Of The Akpafu, V. Kofi Agawu

Publications and Research

"Nna lo senu kuwe, fie oresire somoloo?" ("Who laid a mat for him, so that he slept so deeply?") With this rhetorical question, the Akpafu of Southeastern Ghana initiate a period of public mourning occasioned by the death of one of their number.1 The philosophic significance of death in Akpafu culture is twofold. First, it marks the completion of the earthly cycle of existence, birth-circumcision-puberty-marriage-death. Second, it opens the door to a higher, spiritual realm in which the deceased, as an ancestor, takes his place alongside the lesser gods and the Supreme Being in the higher reaches of the hierarchy …

The Rhythmic Structure Of West African Music, V. Kofi Agawu

Publications and Research

The music of Africa has long intrigued many Westerners. From scattered comments in the accounts of explorers of the so-called Afrique Noire to the full-fledged ethnomusicological studies of the last fifty years, the constant theme has been the fundamental role of music-making in African life and society. And of all the elements of that music, rhythm has received the most attention.

There is something to be gained from looking closely at the early writings on African music, for although they represent the work of non-specialists, and for all their ethnocentricism and anthropocentricism, these accounts touch on the fundamental questions regarding …

"'Gi Dunu,' 'Nyekpadudo,' And The Study Of West African Rhythm", V. Kofi Agawu

Publications and Research

Rhythm has remained the focus of much study of West African music since the pioneering studies of Ward (1927), Hornbostel (1928), Waterman (1948), Brandel (1951), Cudjoe (1953), Merriam (1959), and Jones (1959).

Formal Structure In Popular Music As A Reflection Of Socio-Economic Change, Peter L. Manuel

Publications and Research

No abstract provided.

The Impact Of Language On Musical Composition In Ghana: An Introduction To The Musical Style Of Ephraim Amu, V. Kofi Agawu

Publications and Research

In most cultures of the world, the creative act of composition may be defined simply as the transformation of pre-existing material into new, individualized structures. The precompositional resource may be a system such as the hierarchical arrangement of triads that forms the basis of Western tonality, a set of formulas that generates such genres as Gregorian chant and West African storytelling, or even a rigidly defined set of relationships such as those inherent in a twelve-tone row. In each case, the precompositional elements provide a framework for the analysis and interpretation of the composition.

Rubellite Kawena Johnson's Review Of Elizabeth Tatar's Nineteenth Century Hawaiian Chant, Rubellite Kawena Johnson

Pacific Studies

No abstract provided.

Vol. 6 No. 2 (1983): Pacific Studies Full Issue, The Jonathan Nāpela Center For Hawaiian And Pacific Islands Studies

Pacific Studies

Pacific Studies is published two times a year by The Jonathan Nāpela Center for Hawaiian and Pacific Studies, Brigham Young University Hawai‘i #1979, 55–220 Kulanui Street, Lāʻie, Hawai‘i 96762, but responsibility for opinions expressed in the articles rests with the authors alone. Subscription rate is US$40.00 yearly, payable to The Jonathan Nāpela Center for Hawaiian and Pacific Studies. The Jonathan Nāpela Center for Hawaiian and Pacific Studies (formerly The Pacific Institute) is an organization funded by Brigham Young University Hawai‘i. The Center assists the University in meeting its cultural and educational goals by undertaking a program of teaching, research, and …

Books Received And Books Notices, The Jonathan Nāpela Center For Hawaiian And Pacific Islands Studies

Pacific Studies

Book Listing for the Vol 6, No 2 Spring Edition of the Pacific Studies Journal

Vol. 6 No. 2 (1983): Pacific Studies Front Matter, The Jonathan Nāpela Center For Hawaiian And Pacific Islands Studies

Pacific Studies

acific Studies is published two times a year by The Jonathan Nāpela Center for Hawaiian and Pacific Studies, Brigham Young University Hawai‘i #1979, 55–220 Kulanui Street, Lāʻie, Hawai‘i 96762, but responsibility for opinions expressed in the articles rests with the authors alone. Subscription rate is US$40.00 yearly, payable to The Jonathan Nāpela Center for Hawaiian and Pacific Studies. The Jonathan Nāpela Center for Hawaiian and Pacific Studies (formerly The Pacific Institute) is an organization funded by Brigham Young University Hawai‘i. The Center assists the University in meeting its cultural and educational goals by undertaking a program of teaching, research, and …

The Musical Language Of Kindertotenlieder No. 2, V. Kofi Agawu

Publications and Research

Three times during his compositional career, Mahler turned to the medium of the orchestral song cycle either to experiment with or to refine certain technical procedures. This resulted in a variety of methods for establishing large-scale tonal coherence, using song as a resource for later symphonic composition, and stylizing folk material, melodically and rhythmically. These compositional techniques are clearly exemplified in Mahler's three cycles, Lieder eines fahrenden Gesellen (1883-85), Kindertotenlieder (1901-04), and Das Lied von der Erde (1907-08).

Fiddle Songs And Banjo Songs: A Description Index, Gilbert Wayne Howard

Masters Theses & Specialist Projects

English-language texts associated with fiddle and banjo in the southern United States are described and then indexed for comparative reference. The fiddle songs are typically humorous, very brief, highly variable and disunified. The same is true of many banjo songs associated with the banjo. Ballads in the fiddle and the banjo repertory are not indexed if previously catalogued by Child or Laws.

Fiddle and banjo songs are defined as texts associated with fiddle or banjo playing, either through instrumental accompaniment or because informants mentally associate them with the fiddle or banjo. Various ways of performing the songs are enumerated, with …

If I'D Been Polish, I Guess I'D Be Playing Polkas: An Examination Of The Social Contexts Of Traditional Irish Music In Rochester, New York, George Stoner

Masters Theses & Specialist Projects

Anthropologists, folklorists and popular writers have, in general, neglected to describe. the social contexts in which traditional Irish music is played. Although the dance was probably the most important context for traditional Irish music in Rochester, as elsewhere in the United States and Ireland, interest among Irish-born Americans and Irish- Americans in traditional dancing has waned. At present, the most important social contexts for Irish music in Rochester are the session, the Feis, and various representational contexts. The session is by far the most important, and has developed as interest in the dance has declined. Unlike the dance, it is …

Volume 75, Number 05 (May-June 1957), Guy Mccoy

The Etude Magazine: 1883-1957

Josef Hofmann, 1876-1957

Igor Stravinsky, Approaching his 75th Birthday, is Truly a Colossus of Modern Music

Music in the High School Gym

Good Vocal Habits (interview with Renata Tebaldi)

What Power Professional Criticism

Thalberg's Erard: A Discovery

An Intriguing Account of the Various Operational Details Requiring Careful Attention . . . Behind the Opera Curtain

Books on American Music: A Selected Bibliography

Music in the Schools

Choral Potential From the Baroque Era

Music to Link Mankind: The Story of the Formation of an Important Body Having to Do with International Relations

Volume 75, Number 04 (April 1957), Guy Mccoy

The Etude Magazine: 1883-1957

Folk Music and Art Music

Playing with Orchestra (interview with Alec Templeton)

Community Solves its Music Crisis: The Inspiring Story of The Bronx Symphony

Orchestra Genius Lies in the Individual

Miniature Opera from Salzburg

Kostelanetz on Conducting, Conductors and Batons

Drama in Song: A Discussion of the Importance of Clear Enunciation on the Part of Singers

A Glimpse of the Inner Workings of One of the Largest Summer Music Camps is Gained from These Day to Day Entries . . . From the Music Camp Office

Henry Cowell—Musician and Citizen, Part 3

Richard Rodgers on Current Trends in Popular Music

Volume 75, Number 03 (March 1957), Guy Mccoy

The Etude Magazine: 1883-1957

Hail and Farewell to The Grand Old Man of Music Confusion

Confounded: An Objective Explanation of Some Frequently Perplexing Musical Terms

Singing Must be Natural (interview with Victoria de los Angeles)

Music's Part in Social Integration

Mariachis of Mexico

Henry Cowell—Musician and Citizen, Part 2

Music in the Schools High School Symphony Orchestra . . . How It Is Made

New Studio

Volume 75, Number 02 (February 1957), Guy Mccoy

The Etude Magazine: 1883-1957

International Aspect of Folk Music

Candlelight Concerts in Colonial Williamsburg

Don't Shy Away From Adult Beginners

Singing on Television (interview with Lois Hunt) Impressions of Musical Education in the United States

Henry Cowell—Musician and Citizen Shape Notes, New England Music and White Spirituals, Part 2

We Can Co-operate

Staccatos for the Sightless New Vistas in Music Programming for Radio

Volume 75, Number 01 (January 1957), Guy Mccoy

The Etude Magazine: 1883-1957

Philadelphia's Academy of Music . . . One Hundredth Anniversary

Story of Roy Harris—American Composers, Part 2

Some Impressions of Music Education in Japan

Louis Moreau Gottschalk—First American Concert-Pianist

Shape Notes, New England Music and White Spirituals

Approach to Chopin's Etudes (interview with Ruth Slenczynska)

Music in the Schools

Madrigal Group is Fun Composer, Conductor, Comedian . . . That's Jackie Gleason

American School Music: An Assessment

Volume 74, Number 10 (December 1956), Guy Mccoy

The Etude Magazine: 1883-1957

Obituary - Guy Maier (1890-1956)

Béla Bartók and Hungarian Folk Music

Story of Roy Harris—American Composer

Cradle of Music: A Brief Visit to One of the Most Interesting of Old-World Music Publishing Houses

Some Basic Issues in Music Education

Operas of Hugo Weisgall

Volume 74, Number 09 (November 1956), Guy Mccoy

The Etude Magazine: 1883-1957

Carl Orff's Musical Theatre

World Ballad of Bady Doe

Responsibility of Music Education to Music—A Reply

Opera for all America: Chandler Cowles, General Manager of NBC Opera Company, Outlines His Ideas Concerning the Project

Volume 74, Number 08 (October 1956), Guy Mccoy

The Etude Magazine: 1883-1957

Folk Music in Civilization

In Memorium - Mrs. Eduard MacDowell (1857-1956)

Wallingford Riegger—Composer and Pedagog

Loring Club

Bach of High Fidelity (interview with Robert D. Darrell)

Glenn Gould, A Début and a Personality

Volume 74, Number 07 (September 1956), Guy Mccoy

The Etude Magazine: 1883-1957

Music in Focus

Responsibility of Music Education to Music

Music in the American Wilderness

Picture Painted in Sound: Alden B. Dow Creates a New Art Visualizing Music

Pianist's Page

Waltz and Brahms' Opus 39

Volume 74, Number 06 (July-August 1956), Guy Mccoy

The Etude Magazine: 1883-1957

Music in Focus

Daylight and Darkness: Robert Schumann and the Years after Leipzig

Lieder Singer (interview with Irmgard Seefried)

Charles E. Ives, Part Two

Robert Schumann: Across the Years