1-9 of 9 results  for:

  • 21st c. (2000-present) x
  • Music Education and Pedagogy x
  • Scholarly and Professional Societies x
Clear all

Article

The music department is a part of the Research Institute of the Arts, which also includes Fine Art Studies, Theatre Studies, Screen Arts Studies (after 1988), and Architectural Studies (since 2010). The music department existed independently until 1988 as an Institute of Music. The Institute of Music was established in 1948 as the Research Institute of Music with the Museum at the Bulgarian Academy of Sciences with two staff members: Petko Staynov (director) and Andrey Stoyanov. The task of the Institute of Music is to collect, preserve, and publish the Bulgarian folksong heritage. Subsequently the collectors and researchers of folk songs and traditions Ivan Kachulev, Andrey Andreev (1950), Rayna Katsarova, and Elena Stoin (1951) were appointed at the Institute. A separate section for folk music was established at the Institute, led by Rayna Katsarova (1952–67) and, since 1967, Prof. Kaufmann. In 1952 the first volume of the first research journal of the Institute, ...

Article

Suzanne Flandreau

[CBMR]

The Center for Black Music Research (CBMR) was founded in 1983 at Columbia College Chicago by Samuel A. Floyd, Jr. Its mission has remained the same since its inception: to document, preserve, and promote the music of the African Diaspora. This mission is accomplished through publications, conferences and symposia, performances, research fellowships, and the Library and Archives, housing books and research collections.

The Center’s flagship publication, Black Music Research Journal (1980–), antedates Floyd’s move to Columbia College. The Center has also published Lenox Avenue (1995–1999), the scholarly journal for a grant-funded project which explored music’s role in the arts of the African Diaspora. Various newsletters, including Black Music Research Newsletter/CBMR Bulletin (1977–1990), and CBMR Digest (1990–) informed members about the Center’s activities. Kalinda! (1994–1997), Stop-Time (1998–2000), and Cariso! (2003–2006) were published for specific grant-funded projects. The Center’s publications also include a bibliographic and reference series consisting of five CBMR monographs, ...

Article

John M. Geringer

Article

Romanian conservatory founded in 1919 in Cluj-Napoca in central Transylvania. It comprises today three main faculties: musical performance, music theory, and musical theatre. Since 1998, a fourth branch has been founded in the city of Piatra Neamţ, situated in a different region in northeast Romania. Initially founded as the Conservatory for Music and Dramatic Arts, the institution was also named the Academy of Music and Dramatic Arts (from 1931) and the Gheorghe Dima Music Conservatory (from 1950); since 1990 it has regained its title of academy in its current form—the Gheorghe Dima Music Academy. The institution has borne for 60 years the name of its first rector, the composer Gheorghe Dima, who is praised for his role in the founding of musical higher-education in Transylvania.

The history of the institution begins in an effervescent social and cultural period, shortly after the Union of Transylvania with Romania (1918...

Article

American music research institute. Founded in 1971 as The Institute for Studies in American Music, the Institute was renamed in 2008 to honor its founding director. It is a research center at Brooklyn College, CUNY, New York, and is also affiliated with CUNY’s Graduate Center. As Hitchcock stated, the Institute was established “to provide a suitable academic framework in which to encourage, support, propagate, and evaluate research projects in American music.” Hitchcock led the Institute until his retirement in 1993; during this time the center also functioned as the world headquarters of the Charles Ives Society. The Institute has been directed by Carol J. Oja (1993–7), Ellie M. Hisama (1997–2005), and Jeffrey Taylor (2007–present). Hitchcock’s extensive files at the Institute and materials related to Henry Cowell were bequeathed to the Performing Arts Division of the New York Public Library upon his death in December 2007...

Article

Paul R. West

United States-based collective founded in 1984 by David Doty, Henry Rosenthal, and Carola Anderson. The Just Intonation Network’s membership has attracted a wide-ranging group of musicians including composers, theorists, performers, and instrument designers and builders as well as hobbyists whose work is primarily focused on just intonation. Dealing with the physical properties of sound, just intonation is an expandable tuning system in which pitches are derived from the overtone series of a specific fundamental pitch and are expressed in relation to said fundamental. As a collective, the group has served as a forum for just intonation on an international scale. In addition to providing a meeting ground for musicians, the Just Intonation Network has published several works including Doty’s The Just Intonation Primer (San Francisco: 1993, 1994, 2002) and has made available three compilation recordings of members’ compositions: Tellus 14: Just Intonation (1986, a volume of the Tellus audio cassette magazine), ...

Article

[MACCM]

Organization founded in 1987 to promote the performance, composition, study, and appreciation of new music. Based in the College of Musical Arts of Bowling Green State University in Ohio, MACCM (https://www.bgsu.edu/musical-arts/maccm.html) supports the University’s contemporary music programs, including the New Music Ensemble and Music Technology and Recording Studios, established by Burton Beerman and Donald M. Wilson in 1971, and the annual New Music Festival, inaugurated by Beerman in 1980. MACCM’s directors have included Marilyn Shrude, Beerman, Mikel Kuehn, and Jacqueline Leclair.

Widely regarded as the largest and most successful university-based festival of contemporary music in the United States, the New Music Festival has performed music by some 600 composers to an annual audience estimated at 2000. In addition to presenting some eight concerts over four days, the Festival offers panels, lectures, master classes, paper sessions, and art exhibitions (1986–2008). Prominent academic and industry music journals have noted the quality of its performances and diversity of its programming....

Article

John Shepard

revised by Michael Mauskapf

Organization founded in 1930 “to train American orchestra musicians in orchestral techniques and repertoire, providing them with the necessary experience and level of expertise to enter professional orchestra careers.” Originally called the American Orchestral Society and later reorganized by Mary Flagler Cary, Franklin Robinson, and Léon Barzin, the Association gave its first concert at Carnegie Hall on 28 October 1930, making it the oldest training orchestra in the United States. Barzin, who later became founding music director of the New York City Ballet, led the Association until 1958 and again from 1970–76. He remained involved with the organization into his 90s, and an annual award has been given in his honor. The orchestra has not only explored the standard repertory but has also given more than 60 world premieres, 25 American premieres, and 60 New York premieres. It has rehearsed and performed under such guest conductors as Aaron Copland and Bernard Haitink, and has accompanied soloists such as Emanuel Feuermann, Myra Hess, Philippe Entremont, and Itzhak Perlman. During World War II, the orchestra played at army camps and hospitals and gave 25 war-bond concerts over the New York radio station WQXR. It was the official orchestra of the Festival of Two Worlds in Spoleto in ...

Article

Aja Burrell Wood

National nonprofit organization founded in 1996 by University of Michigan graduates Aaron P(aul) Dworkin and Carrie Chester. Dworkin and Chester sought to increase cultural diversity in the field of classical music and simultaneously overcome cultural stereotypes. The mission of the organization is, first, to increase the participation of blacks and Latinos as students in music schools, as professional musicians, and as classical music audiences; and second, to administer youth development initiatives in underserved communities through music education and by providing high-quality musical instruments.

The Sphinx Competition, a cornerstone program, began in 1998 as an annual string competition for black and Latino classical string players, from junior high through college, who compete for prizes and scholarships. The organization has since expanded to include an additional 13 professional, educational, community outreach, and performance initiatives under their Artist Development, Sphinx Prep, Sphinx Performance Academy, Sphinx Legacy Project, and Sphinx Presents programs. Sphinx also currently maintains three ensembles comprised of critically acclaimed professionals: The Sphinx Symphony, Sphinx Virtuosi, and Catalyst Quartet. The organization also regularly commissions, programs, and archives works by black and Latino composers....