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Article

Edward Strickland

revised by Mark Alburger

Cambridge, MA, American Repertory Theater (ART), 24 May 2003 Waiting for the Barbarians (op, 2, Hampton, after the novel by J. M. Coetzee), 2005 Erfurt, Germany, Erfurt Theater, 10 Sept 2005 Appomattox (op, C. Hampton), 2007 San Francisco, War Memorial Opera House, 5 Oct 2007 Kepler (op, M. Winkel), 2009 Linz, Austria, Landestheater Linz, 20 Sept 2009 Dance Dance Nos. 1–5 (multimedia perf., choreog. Childs), 1979 Amsterdam, 19 Oct 1979 Mad Rush (dance piece, choreog

Article

Stephen Banfield

and Toccata, pf (1948) Tarantelle, 2 pf (1948) Festival Scherzo, pf, str orch, 1951 (1964) Sonata, 2 pf (1951) March: for the New Year, pf (1954) Caribbean Dance (Tempo Tobago), 2 pf/1 pf (1959) Dance Suite, pf (1961): Italian Dance [also arr. 2 pf/ob, pf], West Indian Dance [also arr. 2 pf], American Dance, Waltz Finale; Polka (fl/ob, pf)/pf (1962) Colour Suite, pf (1963) Danza gaya, 2 pf/ob, pf (1965) 3 Dances, pf, 1968 (1981) Trio, fl, ob, pf, 1968 (1970) Valse française, pf/2 pf (1980) 3 Pieces: WIB Waltz, Sarabande, Tango, fl, pf (1983) Waltz, ob, pf (1983) Suite

Article

Sabine Feisst

and solo instrumental Always Very Soft, 3 perc, 1973, rev. 2007 Green Corn Dance, 6 perc, 1974 songbirdsongs, 2 pic, 3 perc, opt. vn, 1974–80 Strange Birds Passing, fl ens, 1983 Giving Birth to Thunder, Sleeping with his Daughter, Coyote builds North American, nar, E♭ cl + cb cl, vn, db, 4 perc, 1986–90 5 Yup’ik Dances, pf/hp, 1991–4 Strange and Sacred Noise, perc qt, 1991–7 5 Athabascan Dances, hp, perc, 1992, arr. gui, hp, perc, 1996 Crow and Weasel (after B. Lopez), pic + b cl, 4 perc

Article

James Pritchett, Laura Kuhn and Charles Hiroshi Garrett

(Cummings), 1v, 2 perc, 1942 [for dance by Erdman] Totem Ancestor, prep pf, 1942 [for dance by Cunningham] And the Earth shall Bear Again, prep pf, 1942 [for dance by V. Bettis] The Wonderful Widow of Eighteen Springs (J. Joyce), 1v, closed pf, 1942 Primitive, prep pf, 1942 [for dance by W. Williams] In the Name of the Holocaust, prep pf, 1942 [for dance by Cunningham] 4 Dances, 1v, prep pf, perc, 1943 Amores, 2 prep pf, 2 perc trios, 1943 Ad Lib, pf, 1943, unpubd [for dance by Cunningham] Our Spring Will Come, prep pf, 1943 [for dance by P. Primus] She is Asleep, 1943:

Article

Donna K. Anderson

voice and piano, based on five- and six-tone scales. Published in 1917 as Five Poems of Ancient China and Japan op.10, they were the first works in Griffes's ‘oriental’ style. Among the artists who were important to this aspect of his career were the Ballets Russes dancer Adolf Bolm, the Japanese dancer and pantomimist Michio Ito and the soprano Eva Gauthier. Gauthier spent several years in the orient, and she gave Griffes some Japanese melodies which she had copied in Japan. These he used for Sho-jo , a Japanese pantomime in one scene, commissioned by Bolm for the

Article

Kyle Gann and Kurt Stone

City Portrait (ballet), New York, 1940 Fantasy and Caprice, vn, orch, 1940 The Great American Goof (ballet excerpts), 1940 Rhapsody, va, orch, 1940 Vn Conc., 1940 Downtown Suite, 1942 Sym., 1942 [1st and 2nd movts withdrawn, last movt entitled An Adventure] The 1930s, sym., 1945 Dedication in Memory of Franklin D. Roosevelt, 1945 Statements in Jazz, cl, dance orch, 1945 Jazz Cl Conc., cl, jazz band, 1946 The Promised Land, sym., 1947 Street

Article

Klaus Döge

the eighth Slavonic Dance from the orchestral set op.46 ( b 172) and the piano piece Klid (‘Silent Woods’, b 173). At Mrs Thurber’s request he wrote the Te Deum ( b 176) for the celebration of the 400th anniversary of Columbus’s discovery of America. On 15 September 1892 Dvořák left Prague with his wife, his daughter Otilie and his son Antonín; they arrived in New York on 26 September after an Atlantic crossing of nine days on the SS Saale . Dvořák was officially welcomed to the National Conservatory on 1 October and made his first American appearance as a conductor

Article

J. Peter Burkholder, James B. Sinclair and Gayle Sherwood Magee

Pan Alley ragtime songs, and he was one of the first composers to integrate its gestures into classical genres. In such works, Ives was writing music about music, evoking the sounds and spirit of American music-making, placing both himself and his listeners in the role of spectators. The many guises the Ragtime Dances would eventually assume—from a set of dances for theater orchestra to movements in his Piano Sonata no.1, Set for Theatre Orchestra , and Orchestral Set no.2 , and passages in his second Quarter-Tone Piece for two pianos—illustrate again his penchant

Article

Nicole Labelle

characteristically Rousselian rhythmic motives. Padmâvatî represents the culmination of Roussel's fascination with India, in its subject matter – the legend of the Queen of Chitor – and in its masterful integration of an Indian modal language into the composer's harmonic style. Dark, brooding orchestral colours, emotionally effective choruses and danced numbers, and poignant solo writing all evoke the majesty of Hindu temples and the tragic destiny of the characters. Roussel reached a turning-point as the 1920s dawned. He looked for a style and new techniques that would

Article

Gerard Béhague

carnival celebration in Rio de Janeiro, by means of highly infectious rhythmic and timbral play and a large number of thematic ideas drawn from choro , children's songs and other popular types. The work also contains aspects of Villa-Lobos's earlier interest in evoking the dances of South American Indians. It was well-received at its Paris première and performed frequently subsequently. Of all the pieces in the series, Chôros no.10 (‘Rasga o coração’) is generally considered his masterpiece. The subtitle comes from a modinha by the poet Catulo da Paixão Cearense, which

Article

Hugh Macdonald

Wright : Carmen: Dossier de presse parisienne (Weinsberg, 2001) L.A. Wright : ‘Bizet’s Ivan: Formed but not Finished’, Das Fragment im (Musik-)Theater: Zufall und/oder Notwendigkeit? , ed. Csobádi and others (Salzburg, 2005), 407–22 H. Lacombe : Les voies de l’opéra français au XIXe siècle (Paris,1997) R.P. Locke : ‘Spanish Local Color in Bizet’s Carmen: Unexplored Borrowings and Transformations’, Music, Theater, and Cultural Transfer: Paris, 1830-1914 , ed. Annegret Fauser and Mark Everist (Chicago, 2009), 316–60 D: Other studies R. Laparra

Article

John Warnaby

revised by Nicholas Jones

Vesalii icones , where a male dancer established links between the Stations of the Cross and a sequence of 16th-century anatomical drawings, the work concluding with a mock resurrection accompanied by a foxtrot. Foxtrots were equated with bad taste – a clear indication of falsity – and elsewhere in the work were associated with the same Victorian hymn tune as in both versions of Missa super L’homme armé . In St Thomas Wake ( 1969 ), foxtrots were allocated to a small ensemble functioning as a kind of concertino, interposing 1930s dance-band material into the main

Article

Ralph P. Locke

revised by Hugh Macdonald

Gounod and Bizet to Saint-Saëns, Franck, and their Followers’, The Nineteenth-Century Symphony , ed. D.K. Holoman (New York, 1997), 163–94 R.P. Locke : ‘Cutthroats and Casbah Dancers, Muezzins and Timeless Sands: Musical Images of the Middle East’, The Exotic in Western Music , ed. J. Bellman (Boston, 1998), 104–36, 326–33 M. Pisani : ‘“I’m an Indian Too”: Creating Native American Identities in Nineteenth- and Early Twentieth-Century Music’, The Exotic in Western Music , ed. J. Bellman (Boston, 1998), 218–57 A. Millard : Félicien David et l’aventure

Article

Annegret Fauser, Patrick Gillis and Hugh Macdonald

Benedictine order but has only his street entertainment skills to offer to the Almighty, while around him the monks are poets, artists and musicians. It is the monastery’s corpulent cook, Boniface, who persuades Jean that all skills are equal sub specie aeternitatis , even cooking, even dancing. The musical pastiche is here imprecisely medieval/Renaissance, with a charming parody of a choral rehearsal and a lively street scene in the first act. At the New York première the tenor role of Jean was sung by the soprano Mary Garden, by which Massenet confessed he was ‘somewhat

Article

Joshua Kosman

Eckert), 1985–8 Figaro Gets a Divorce (incid music), 1986 Home (Pt 2) (dance score, choreog. M. Jenkins), tape, 1986 Once it Touches the Rain (dance score, choreog. Jenkins), tape, 1987 Rhythmia (dance score, choreog. S. Mordine), tape, 1987 Shelf Life (dance score, choreog. Jenkins), 1987 Tamina (dance score, choreog. B. Way), tape, 1987 The Tempest (incid music, W. Shakespeare), 1987 Loose the Thread (dance score, choreog. Way), chbr ens, 1988 Power Failure (op, 2, Eckert), 1989

Article

John C. Francis

for str qt; orch suites; tone poems Kbd (pf, unless otherwise stated) 2 Dances (1895) Ballet Waltz (1899) [from the Economites] From Edgeworth Hills, suite (1903) 2 Impromptus to the Memory of Edward MacDowell (1914) Southern Sketches (1923) Chanson triste, org (1925) other descriptive pieces Bibliography ‘Explains Berlin’s Attack upon Poia ’, Musical America , 12/2 (1910) 25 only [interview] A. Nevin : ‘Two Summers with the Blackfeet Indians of Montana’, MQ , 2 (1916), 257–70 N. Slonimsky : ‘Musical Oddities’, The Etude

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

Stephen J. Adams

revised by Megan E. Hill

(Dordrecht, 1985), 87–98 The Thinking Ear: Complete Writings on Music Education (Toronto, 1986) Patria and the Theatre of Confluence (Indian River, ON, 1991); repr. Descant , 22 (Summer 1991) A Sound Education: 100 Exercises in Listening and Sound-Making (Indian River, ON, 1992) Voices of Tyranny: Temples of Silence (Indian River, ON, 1993) Patria: the Complete Cycle (Toronto, 2002) Works Music THEATER Loving (Schafer), 1963–6 Patria 1 Wolfman (The Characteristics Man) (Schafer), 31 actors

Article

to libretto and lyric writing that influenced all the major theatre songwriters of the postwar American theatre, and his works, particularly Show Boat and those with Rodgers, remain in the popular musical theatre repertory. Works ( selective list ) composers in parentheses; dates those of the first New York performance unless otherwise stated Stage Wildflower (V. Youmans, H. Stothart), Casino, 7 Feb 1923 Rose-Marie (R. Friml), Imperial, 2 Sept 1924 [incl. Indian Love Call, Rose-Marie; films, 1936, 1954] Sunny (J. Kern), New Amsterdam, 22 Sept 1925 [incl.

Article

Paul R. Laird and David Schiff

Bernstein, Leonard [ Louis ] ( b Lawrence, MA , Aug 25, 1918 ; d New York, NY , Oct 14, 1990 ). American conductor and composer . His accomplishments as a conductor, composer of musical theater and concert works, and musical educator through television mark Bernstein as an unusually versatile figure. Among his most lasting contributions are his tenure as music director of the New York Philharmonic and the score to the Broadway musical West Side Story . 1. Early life. Bernstein’s parents, Samuel Bernstein and Jennie