1-4 of 4 Results  for:

  • All: American Indian Dance Theater x
  • Instrument Maker x
Clear all


Robert E. Eliason

included the jew’s harp, which was traded to the Indians in great quantities; Aeolian harps (string instruments sounded by natural wind), advertised by Robert Horne in New York; and Benjamin Franklin 's armonica of 1762 , an important improvement on the musical glasses then popular in Europe. 2. 1780–1810. Although opera and concert performances were suppressed during and for a time after the Revolutionary War, military bands flourished, since they played for a variety of activities, including concerts and dancing. As theaters reopened and concerts resumed after the war


Richard Kassel

insts, 1949–50 rev. as Ring Around the Moon The Wooden Bird (incid. music, W. Leach), 1v, insts, 1950, collab. B. Johnston; Charlottesville, VA, 10 Jan 1951 Plectra and Percussion Dances Castor and Pollux, a Dance for the Twin Rhythms of Gemini, 1952, rev. 1968 Ring Around the Moon, a Dance Fantasm for Here and Now (Partch), 1952–3 Even Wild Horses, Dance Music for an Absent Drama (A. Rimbaud: A Season in Hell ), vv, large ens of orig. insts, 1949–52 Berkeley, CA, 19 Nov 1953 King Oedipus (1, after W.B. Yeats, after Sophocles), 10 solo vv, chorus, large


Jody Diamond

Benary, Barbara ( b Bay Shore, NY , April 7, 1946 ). American composer , performer , instrument builder and ethnomusicologist. She received the BA from Sarah Lawrence College, and the MA and PhD from Wesleyan University, where she studied Indonesian and Indian music. She has performed with the ensembles of Philip Glass, Jon Gibson, Alvin Lucier, Philip Corner and Daniel Goode. In 1976 she co-founded, with Corner and Goode, the Gamelan Son of Lion, New York, a new music collective and repertory ensemble under her direction. In addition, she has


Stephen Ruppenthal

revised by David Patterson

Rosenboom, David ( b Fairfield, IA , Sept 9, 1947 ). American composer , performer and designer and maker of electronic instruments. He studied music at the University of Illinois ( 1965–7 , composition with Binkerd and Martirano, electronic and computer techniques with Hiller) and also privately, learning various instruments, conducting and Indian music. In 1967–8 he went to the Center for Creative and Performing Arts at SUNY, Buffalo, and from there to New York University as a guest lecturer ( 1968–70 ). He was director of computer and electronic