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Richard Taruskin

shown to be the remains of an unrealized project to compose an opera or oratorio on the subject of Longfellow’s Hiawatha , was intended as a Herderian object lesson to the Americans on how they might achieve a distinctive ‘school’ of composition. As quoted by the critic Henry Krehbiel, Dvořák urged that they submit the indigenous musics of their country, namely native-American (‘American Indian’) melodies and ‘plantation songs’ (alias ‘Negro spirituals’), ‘to beautiful treatment in the higher forms of art’. But of course higher forms that would justify and canonize


Edwin Seroussi, Joachim Braun, Eliyahu Schleifer, Uri Sharvit, Sara Manasseh, Theodore Levin, Tang Yating, Kay Kaufman Shelemay, Jehoash Hirshberg, Philip V. Bohlman, Israel J. Katz, Bret Werb, Walter Zev Feldman, Don Harrán, Alexander Knapp, David Bloch and Emily Thwaite

(Westport, CT, 1985) S.B. Cohen : ‘Yiddish Origins and Jewish-American Transformations’, From Hester Street to Hollywood (Bloomington, IN, 1986) M. Yardeini : Vort un klang [Words of music] (New York, 1979; Eng. trans., abridged, 1986) E.G. Mlotok : Mir trogn a gezang! Favorite Songs of Our Generation (New York, 1987) E.G. Mloteck and J. Mlotek : Pearls of Yiddish Song (New York, 1988) I. Heskes , ed.: The Music of Abraham Goldfaden: Father of Yiddish Theater (New York, 1990) I. Heskes : Yiddish American Popular Songs, 1895–1950 (Washington DC, 1992) B. Korzeniewski


Irén Kertész Wilkinson

( phari gili ) – a classification also used in Bulgarian traditional music – which are mostly laments in Romani language, or Romani mixed with Turkish or Bulgarian; ‘slow-songs’ ( loki gili ), which are slower versions of čoček dance melodies and ‘dance-songs’ ( khelimaski gili ), comprising adaptations of Bulgarian and Serbian dance-songs. ‘Heavy-songs’ follow the Bulgarian epic ( na trapeza ) but add Romani topics of loneliness, loss and sorrow. Song structure has a wider tonal range than other Bulgarian songs, reaching a 7th or an octave, with highly ornamented


Richard Henninger

revised by Elaine Keillor

Interlude in an Artist’s Life, 1943 Our Canada (Music for Radio no.1), 1943 Divertimento no.1, fl, str, 1946 Edge of the World (Music for Radio no.2), 1946 Divertimento no.2, ob, str, 1948 Red Ear of Corn (ballet), 1949 Round Dance, band, 1950 Vn Conc., 1951–4 Sym. Ode, 1958 Divertimento no.3, bn, str, 1960 Divertimento no.5, tpt, trbn, wind, 1961 Pf Conc., 1966 Harp Conc., 1967 Divertimento no.4, cl, str, 1968 Dummiyah (Silence),