Composing Legacy: Nadia Boulanger

The article delves into Nadia Boulanger's artistic legacy in Romania, examining the profound influence of her teachings and the nuanced ways in which her distinctive personality resonated with Romanian musicians. Nadia Boulanger, a figure of intricate complexity, defies easy categorization, yet her indelible impact on the 20th century remains unquestionable. A composer, conductor, and educator, she became a beacon for virtually every prominent musician of her era. Moreover, her significance is heightened by the fact that she was one of the pioneering women in the field of composition. Nevertheless, there were also select Romanian artists who were fortunate recipients of her guidance. Through the prism of testimonials and meticulously preserved archival documents, we will summon their presence: Maria Cernovodeanu, Dinu Lipatti, Florica Musicescu, Cornel Țăranu. This commemoration stands as our tribute to 30 years of Francophonie in Romania and the craftsmen who contributed to it.

Intersections: Canadian Journal of Music, 2017

Ce document est protégé par la loi sur le droit d'auteur. L'utilisation des services d'Érudit (y compris la reproduction) est assujettie à sa politique d'utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l'

Mini-conférence introduisant un concert proposant des oeuvres de deux compositrices : Fanny Mendelssohn ; Graciane Finzi. Ce concert clôturait un colloque organisé à l'École des Mines de Paris

1999

This book, the first full-length history of school-based writing instruction, demonstrates that writing instruction in 19th-century American schools was more important than has previously been assumed in the overall history of writing instruction. Drawing on primary materials that have not been considered in previous histories of writing instruction (little-known textbooks and student writing that includes prize-winning essays, journal entries, letters, and articles written for school newspapers), the book shows that in 19th-century American schools the voices of the British rhetoricians that dominated college writing instruction were attenuated by the voice of the Swiss education reformer Johann Heinrich Pestalozzi. It was partly through the influence of Pestalozzi's thought that writing instruction for children in schools became child-centered, not just a replica or imitation of writing instruction in the colleges. These 19th-century schools prefigured some contemporary composition practices: free writing, peer editing, and the use of illustrations as writing prompts. The book features a chapter on the agency of textbook iconography, which includes illustrations from 19th-century composition books as well as a cultural analysis of those illustrations. Contains an extensive bibliography of 19th-century composition textbooks and student and school newspapers. (NKA) Reproductions supplied by EDRS are the best that can be made from the original document. * Studies in Writing and Rhetoric In 1980 the Conference on College Composition and Communication established the Studies in Writing and Rhetoric (SWR) series as a forum for monograph-length arguments or presentations that engage general compositionists. SWR encourages extended essays or research reports addressing any issue in composition and rhetoric from any theoretical or research perspective as long as the general significance to the field is clear. Previous SWR publications serve as models for prospective authors; in addition, contributors may propose alternate formats and agendas that inform or extend the field's current debates. SWR is particularly interested in projects that connect the specific research site or theoretical framework to contemporary classroom and institutional contexts of direct concern to compositionists across the nation. Such connections may come from several approaches, including cultural, theoretical, field-based, gendered, historical, and interdisciplinary. SWR especially encourages monographs by scholars early in their careers, by established scholars who wish to share an insight or exhortation with the field, and by scholars of color. The SWR series editor and editorial board members are committed to working closely with prospective authors and offering significant developmental advice for encouraged manuscripts and prospectuses. Editorships rotate every five years. Prospective authors intending to submit a prospectus during the 1997 to 2002 editorial appointment should obtain submission guidelines from Robert Brooke, SWR editor,

2002

This collection of essays and scores is intended to be neither a treatise on methods of composition, nor an attempt to defend my work as a student. I have no desire to placate critics, as others' opinions of my work are largely irrelevant to the greater goal of honoring my God. Instead, with these writings, I hope to present a clearer picture of my motives, methods, and approach to composition as well as my own analysis and commentary on the best compositions from my college career. While the language is occasionally technical in nature, I have also attempted to include anecdotes and reflections that might be of interest even to those with a limited knowledge of music theory and terminology. The compositions are presented in chronological order as a partial catalog of my collegiate career. Originally, I intended the collection to include some of my less than favorites as well as a few arrangements and pop songs. However, after spending a great deal of time on my best "art music," I was left with over fifty pages of narrative and a hundred pages of scores. Thus, I chose to limit the scope for this project, leaving my so-called "less scholarly" work for later publication. Beginning with Rag for Two Marimbas and Two Xylophonists and culminating with The Vancouver Suite for string quartet, this offering is a journey through the orchestra, the choir, and even a few soloists. You will find brushes with extended and poly-tonality, word painting, jazz, pop, and various other influences. However, I hope that the most brilliant stroke upon my canvas will be nothing directly related to music, but instead, the message of God woven amongst the notes, dynamics, and phrases. As J.S. Bach wrote so many years ago, my music is S.D.G.: Solo Deo Gloria-to the glory of God alone. Before I get to the music, allow me to offer a few brief words of thanks to a few people who have helped me to make it this far. To Mrs. Josephine, Mrs. Rummel, Dr. Luther, Dr. Brunell, Dr. Batey, and Dr. Stutzenberger who led me through dangerous waters of music education. To my church families who have allowed and encouraged me to share the music of my heart. To the many friends who listened to, commented on, and proofread both text and tune. To Dr. Jacobs who gave me the freedom to explore myself by not allowing me to be anyone else. To my parents who encouraged me to persevere by making me stick with it. Most importantly, to the supreme and eternal Creator who saw fit to bless me with ideas and opportunities; may my feeble attempts to channel His inspiration serve only to glorify Him. In the Shadow of Agony . ..

Journal of Singing, 2008

Listening to Kathryn Mishell's recent interview of composer Joan Tower, one is struck by Tower's spunky frankness as she deftly responded to a query so frequently posed, known simply as the "woman composer question": "I do like the fact-and I do mention it-that that I am a woman composer, and living!"1 She continued: I'm a fighter for both of these issues: the living composer and the woman composer. I ask audiences, have you heard a woman composer? Two hands go up. They are just not aware of this as a fact at all. See, this is just a fact, it's just a reminder that they are leaving out things. Well, how many living composers have you heard? Three [hands]. And how many [living] women? None! . . . I think that the statistics, if you look at them, are pretty miserable. I've never had any overt-you know, signs of-"we don't want you, you're a woman." But all you have to do is look at the statistics, and then you can see what is fa...

This paper will examine scores which present processes that constitute the composition and prerequisite or cause the formation of temporary or permanent collectivities. Formation of collectivity before or/and during the performance can be traced as common element in compositions such as Burdocks (Christian Wolff, 1971), Sonic Meditations (Pauline Oliveros, 1971), One minute is more than one minute (Porfiriadis, 2011/12). In Burdocks and in One minute is more than one minute, the musicians must decide about the macrostructure and the microstructure of their performance all together (Wolff, Porfiriadis). In the case of a large number of performers, the ensemble may also decide by choosing representatives (Wolff) or by working in smaller groups (Porfiriadis). In Sonic Meditations, Oliveros states that her verbal score is intended for groups whose performers work together for a long time and meet regularly. In all three cases, composition is synonymous with the process. In Wolff’s piece the performer is invited to be in constant and direct contact with her fellow players (through cueing techniques). In Oliveros’s piece s/he is invited to act in an esoteric way (through techniques of meditation) maintaining contact with her fellow players and the environment while in my score the performers are invited to create collectively a specific structure with the material given. Two of the compositions (Oliveiros’s and mine) make use of verbal notation, while Wolff’s composition in addition to verbal notation makes use of graphic notation as well as elements of conventional notation. The musical and social implications of such practices will be explored through the analysis of these three pieces, while the performance of my score will hopefully trigger a conversation on the meaning of composition as a process.

Clara Schumann Studies, 2021

The interpretation of pianoforte music as taught by my great teacher, Clara Schumann, is a matter of tradition; and tradition meant very much in those days now so far off. We were not guided merely by editions brought out, more or less responsibly, by contemporary musicians. Tradition, as we all know, is that which is handed down from father to son, or from teacher to pupils who themselves turn into teachers, and Clara Schumann may be said to have had this in direct descent from Bach and Beethoven. As for Schumann, Chopin and Mendelssohn, the one was her husband and the other two were friends close enough for her to remember what it was they wanted. 1 Adelina de Lara, 'Clara Schumann's Teaching' Schumann's pedagogical significance has long been acknowledged. 2 Specialized studies have mined her students' memoirs and recordings to build arguments for historically informed performance practices. 3 Her influence transcended her pupils, shaping not only piano performance, but concert culture and, indeed, the understanding of music's aesthetic role, for over a century. 4 From a music-historiographical perspective,

HAL (Le Centre pour la Communication Scientifique Directe), 2015

Navigating Historical Perspectives of Women Composers: Bringing Research , 2014

Textbooks often fail to integrate the remarkable musical contributions and historical narratives of women composers, creating the perception that women have added very little to bodies of creative and intellectual production. Although many strong women composers are writing today, they continue to be insufficiently represented in concert halls, classrooms, and recordings. In order to create an inclusive curriculum, I modeled research on a woman composer and created an interactive lesson plan involving students doing their own research on women composers. Part I of this thesis documented my archival study and new findings on Maria Rosa Coccia, an 18th-century Italian composer. Ten extemporaneous fugues were discovered in Rome attached to Coccia's biography. This may show Coccia's direct involvement in the dispute over her status as the first female Maestra di Cappella. Another previously unknown work of Coccia's, Vingt Menuets Pour le Clavecin, was found in a Neapolitan convent, leading to more knowledge about Coccia's attempt to find patronage during a time when her work was being publicly criticized. Part II of my work brought the study of women composers into the classroom by demonstrating the process of ongoing inquiry. Using Coccia as example of a current investigation, the students researched their own women composer through a set of interactive tasks. They wrote and performed short dramatizations of their composer's life, ending with letters written from the student's composer to Coccia. The dramas about these women composers and the subsequent letters reflected feelings of encouragement, anger, warmth, support, friendship, esteem, and empathy. Coccia became the confidante of the students as they stepped into the shoes of other women and took on this correspondence. This provided female students with embodied awareness of their past, allowing for a richer understanding and basis for self-knowledge. By expanding conceptions of the historical and contemporary experiences of woman, students were freed to examine their own lives within this framework. Students understood that an active role is needed in the discovery and interpretation of women's musical history.