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Article

Edward Strickland

process of Song I and II to the pristine lyricism of jazz-flavoured ballads such as ‘Mont Blanc’, from Voyage of the Beagle . Works Stage Voyage of the Beagle (music theatre, J.A. Akalaitis), 1983–7 Extensions (dance score, choreog. L. Childs), s sax, tape, 1980 Q-Music (dance score, choreog. Childs), small ens, 1980 Relative Calm (dance score, choreog. Childs), small ens, tape, 1981 Vocal Running Commentary (A–Z), 1 or more vv, 1980–87 Running Commentary (Arbitrary Excerpts), 1v, small ens, 1992 Talk is Cheap, 1v, small ens, 1996 Big Fish Little

Article

Paul Attinello

musics and First World electronic experimentation. The dense, muted timbres, complex repetitive rhythms and sophisticated heterophony of his output after 1977 have been influential to musicians working in genres that cross between popular and art styles. His compositions include dance scores for Merce Cunningham, MOMIX, Dai Rakuda Kan and Alvin Ailey, and collaborations with Brian Eno, Peter Gabriel, Talking Heads, David Sylvian and the West African ensemble Farafina; his stage works often involve gently political attitudes. The Jon Hassell Concert Group has performed

Article

David Nicholls and Joel Sachs

latina, band, 1939 [arr. pf; 579a, lost] 587 ‡Pastoral and Fiddler’s Delight, 1940; cond. L. Stokowski, New York, 26 July 1940 594 American Melting Pot Set for Chbr Orch, 1940: 1 Chorale (Teutonic-American), 2 Air (Afro-American), 3 Satire (Franco-American), 4 Alapna (Oriental-American), 5 Slavic Dance (Slavic-American), 6 Rhumba with added 8th (Latin-American), 7 Square Dance (Celtic-American); cond. F. Petrides, New York, 3 May 1943 595 58 for Percy, band, 1940 [< f :595a] 597 ‡Ancient Desert Drone, 1940; cond. Grainger

Article

Steven Ledbetter and Victor Fell Yellin

themes of American Indians found in others of the time. The Padrone is an opera of modern life, reflecting the current social situation. Had it been produced, it might well have pointed the way to a new manner of operatic composition in the USA, one making the most of Americans’ traditional directness and realistic outlook. Instead the score was turned down by the Metropolitan Opera and a possible production in Chicago fell through when the impresario there suddenly died. The Padrone was performed, fittingly, by the New England Conservatory Opera Theater under the

Article

James Lincoln Collier

revised by Barry Kernfeld and Howard Rye

with Henry Goodwin and Sandy Williams among the members of the band. He undertook many equally obscure engagements, but played with prominent ad hoc all-star bands for Eddie Condon’s first concert at Town Hall ( 21 February 1942 ) and for later such concerts at Town Hall and the Ritz Theater ( 1944–5 ), and in 1945 in Boston became involved in a notoriously contentious stand as a co-leader with Bunk Johnson. He held several residencies at Jimmy Ryan’s in New York, where his sidemen included the pianist Lloyd Phillips and Freddie Moore in 1947 , and Big Chief Russell

Article

Sabine Feisst

Postcard Theater (multimedia event), 1972 What to Do, pfmrs, sonic and mixed media, 1972 Crow Two (ceremonial op), 1974 Theatre of Substitution, 1 pfmr, 1975 Bonn Feier, 1977 Theatre of Substitutions: Blind/Dumb/Director, 1977 Yellow River Map, 50 or more pfmrs, 1977 Travelling Companions, dancers, perc ens, 1980 Dream Horse Spiel, radio play, vv and sound effects, 1988 Njinga the Queen King, 1993 Tribute to Jerry Hunt, accdn, video, 1994 Ghost Dance, tape, ens, dancer, actors with

Article

Ronnie Pugh

revised by Travis D. Stimeling

Feb 15, 1975 ). American country music fiddler . Taking up the fiddle at an early age to entertain neighbors at dances and house parties, Robertson left home at the age of 16 to work as a professional fiddler, performing at first in medicine shows throughout the Indian Territory. He became adept at trick fiddling, a useful skill at fiddlers’ contests. In 1906 he settled near Amarillo, Texas, and tuned pianos for the Total Line Music Company. He continued to play in fiddlers’ contests, and for a time accompanied silent films in Texas theaters. In April 1922 Robertson

Article

John Edward Hasse

three-note motif. It became one of the most successful ragtime compositions, appearing 31 times on 78 r.p.m. recordings alone, and entered the aural tradition of country, string-band and bluegrass music. His Iola ( 1906 ) helped create a fashion for ‘Indian intermezzi’ – piano pieces that supposedly evoked American Indian culture; words were later added, and the piece eventually sold more than 1,200,000 copies. Several of Johnson’s rags became popular during the ragtime revival of the 1970s and 80s. In 1919 he wrote the successful song, Sweet and Low , but by the

Article

Gerald Bordman

revised by William A. Everett and Deane L. Root

publishers: Boston, Famous, Harms, Robbins, G. Schirmer Bibliography S. Green : The World of Musical Comedy (New York, 1960, rev. and enlarged 4/1980) D. Ewen : Composers for the American Musical Theater (New York, 1968) Record of the Works of Rudolf Friml (New York, c 1968) [list of works] G. Bordman : American Operetta from H.M.S. Pinafore to Sweeney Todd (New York, 1981) R. Traubner : Operetta: a Theatrical History (Garden City, NY, 1983)

Article

Marcello Piras

married again. In 1923 the Syncopators made it to New York; re-christened “The Washingtonians,” they landed a four-year job in floor shows with singers and dancers at the Hollywood Inn, later Club Kentucky. Their earliest records ( 1924 ) showcase bubber Miley (cornet), a major influence on Ellington, alongside clumsy, immature arrangements. A musician, artist, and lyricist, Ellington felt drawn to musical theater, and resorted to studying composition and orchestration with Cook and Vodery. His first show was Chocolate Kiddies ( 1925 ). Meanwhile, his Club Kentucky

Article

Peter Holman and Robert Thompson

King Arthur ’, MQ , vol.74 (1990), 83–97 J. Muller : Words and Music in Henry Purcell's First Semi-Opera, ‘Dioclesian’ (Lewiston, NY, 1990) A. Pinnock : ‘Play into Opera: Purcell's The Indian Queen ’, EMc , vol.18 (1990), 3–21 S.E. Plank : ‘“And now about the Cauldron Sing”: Music and the Supernatural on the Restoration Stage’, EMc , vol.18 (1990), 392–407 M.A. Radice : ‘Theater Architecture at the Time of Purcell and its Influence on his “Dramatick Operas”’, MQ , vol.74 (1990), 98–130 M. Goldie : ‘The Earliest Notice of Purcell's Dido and Aeneas ’, EMc , vol

Article

Jeremy Dibble and Jennifer Spencer

1880, US-Bp (1880), suite no.2, London, Proms, 1914 Sinfonietta, A, 1881 In the Olden Time, str orch, 1883 In Fairyland, suite de ballet, 1896 (1896) 4 Old English Dances, set i, 1896, set ii, 1905 Concertstück, pf, orch, London, Philharmonic Society, 1900 (1900) A Phantasy of Life and Love, Gloucester Festival, 1901 (1901) 2 Morceaux: Melodie, A l'espagne (Vienna, 1901) Coronation March, 1902 Indian Rhapsody, Hereford Festival, 1903 Rêverie, vn, orch, 1903 (1903) Childhood, Girlhood, 2 pieces, small orch, 1903 Chamber and piano Minna-Waltz, pf, 1858

Article

Dorothea Redepenning

regularly appeared in American concert halls. He also performed in Canada in 1919 , and took account of the wish for older music by, for instance, arranging a Buxtehude organ fugue for piano, and at Stravinsky’s suggestion adapting some of Schubert’s waltzes and ländler into a suite. Interest shown in Prokofiev’s works by American publishing firms caused him to write two collections of piano pieces: Skazki staroy babushki (‘Old Grandmother’s Tales’, op.31, 1918 ), and four dances (op.32, 1918 ). However, they were not published in America, because Prokofiev would

Article

Jennifer Doctor, Judith LeGrove, Paul Banks, Heather Wiebe and Philip Brett

Morris Dance, from Gloriana [1953], arr. I. Holst, 2 descant rec (1957) March, from Gloriana [1953], arr. I. Holst, descant rec (1959) Concord, from Gloriana [1953], arr. C. Norton, pf (1989) Most MSS at GB-ALb Principal publishers: Boosey &Hawkes, Faber, OUP, Chester For further details see Banks (B1999) Writings † repr. in Britten on Music (Oxford, 2003) ‘“As You Like It”: Walton’s Music’, World Film News , 1/7 (1936), 46 only† ‘An English Composer sees America’, Tempo [New

Article

François Lesure and Roy Howat

performed together. On his return from a tour to Vienna and Budapest in 1910 , Debussy agreed to compose Le martyre de Saint Sébastien , a ‘mystery’ in five acts by Gabriele D’Annunzio, for the dancer Ida Rubinstein. He wrote it in two months, with Caplet’s help for the orchestration ( 1911 ), but critical opinion was divided about its success. A commission from another dancer, the Canadian Maud Allan, led him to compose a ballet, Khamma , on a scenario set in ancient Egypt, but tiring of Allan’s demands he left the orchestration to Charles Koechlin. A request from

Article

during this Indian summer of the 1930s and 1940s, and the Corelli Variations were in a sense preparatory exercises for the Rhapsody on a Theme of Paganini ( 1934 ), a much more tautly constructed piece than the often diffuse Fourth Piano Concerto ( 1926 ). Like the Paganini Rhapsody, the other late works with orchestra – the Three Russian Songs ( 1926 ) and the Third Symphony ( 1935–6 ) – reveal Rachmaninoff’s interest in individual instrumental tone qualities, and this is highlighted by his use of an alto saxophone in his last work, the Symphonic Dances ( 1940 ). In