20 July 2014

MFA Graduation Recital Program Notes (viii):

Barzun, Jacques. 1969. Berlioz and the Romantic Century, Vol. 1. New York: Columbia University Press.

Block, Debbie Galante. 2008. “Concert Programs Can Double as Advocacy Tools.” Teaching Music 16. 2 (Oct 2008): 20.

Bird, Gary, ed. 1994. Program Notes for the Solo Tuba. Bloomington and Indianapolis: Indiana University Press.

Botstein, Leon. 1985. Music and Its Public: Habits of Listening and the Crisis of Musical Modernism in Vienna, 1870-1914. Thesis (Ph.D.)--Harvard University.

Botstein, Leon. 1992. “Listening Through Reading: Music Literacy and the Concert Audience.” 19th-Century Music, Vol. 16, No. 2, Music in Its Social Contexts (Autumn, 1992): 129-145.

Cairns, David, ed. 1969. Memoirs of Hector Berlioz. New York: Alfred A. Knopf.

Cairns, David. 1999. Berlioz, Vol. 1: The Making of an Artist. Berkeley: University of California Press.

Carse, Adam. 1940. The Orchestra in the XVIIIth Century. Cambridge: W. Heffer and Sons Ltd.

Cook, Nicholas. 2001. ‘Theorizing Musical Meaning.’ Music Theory Spectrum, Vol. 23, No. 2 (Fall 2001): 170-195.

Cone, Edward T., ed. 1971. Fantastic Symphony: An Authoritative Score, Historical Background, Analysis, Views and Comments. New York: W.W. Norton.

Dale, Catherine. 2003. ‘The Analytical Concert Programme Note: Its Growth and Influence in Nineteenth-Century Britain.’ In Music Analysis in Britain in the Nineteenth and Early Twentieth Centuries. Ashgate: Aldershot, 35-70.

Downie, Gordon. 2008. ‘Cultural Production as Self-Surveillance: Making the Right Impression.’
Perspectives of New Music 46. 1 (Winter 2008): 194-224.

Fogg, Ryan. 2011. ‘The lost art of program notes.’ Clavier Companion 3. 6 (Nov 2011): 36-38.

Foster, Myles Birket. 1912. History of the Philharmonic Society of London 1813-1912. London: John Lane at the Bodley Head.

Gann, Kyle. 2010. 'Cakes for Oneself.'
Web. Accessed March 10, 2014.

Gann, Kyle. 2013. ‘What Writing Has Taught Me about Composing.' Web. Accessed February 8, 2014.

Gorzelany-Mostak, Dana C. 2009. ‘Writing Program Notes: A Guide for Teachers of Undergraduate Voice Students.’ Journal of Singing - The Official Journal of the National Association of Teachers of Singing 65. 4 (Mar 2009): 431-440.

Grove, George. 1962. Beethoven and His Nine Symphonies. New York: Dover.

Hennenberg, Fritz. 1962. The Leipzig Gewandhaus Orchestra. Leipzig: Edition Leipzig.

Henry, Michelle L. 2002. ‘Program Notes: Myriad Benefits for Audience and Choir.’ Choral Journal 43. 5 (Dec. 2002): 53-55.

Huron, David Brian. 2006. Sweet Anticipation: Music and the Psychology of Expectation. Cambridge, Mass: MIT Press.

Kerman, Joseph. 1980. ‘How We Got into Analysis, and How to Get out.’ Critical Inquiry, Vol. 7, No. 2 (Winter, 1980): 311-331.

Krehbiel, H. Edward. 1892. The Philharmonic society of New York. New York and London: Novello, Ewer & co.

Lewis, George E. 2008. A Power Stronger Than Itself: The AACM and American Experiemental Music. Chicago: U of Chicago Press.

Mendelssohn-Bartholdy, Felix, ed. Rudolf Elvers, trans. Craig Tomlinson. 1986. Felix Mendelssohn, a Life in Letters. New York: Fromm.

Moore, Robin. 1992. ‘The Decline of Improvisation in Western Art Music: An Interpretation of Change.’ International Review of the Aesthetics and Sociology of Music. 23 (1): 61-84.

Pasler, Jann. 2008. ‘Concert Programs and Their Narratives as Emblems of Ideology.’ In Writing Through Music: Essays on Music, Culture, and Politics. Oxford: Oxford University Press, pp. 365-416.

Petteys, Leslie. 1992. ‘Theodore Thomas's “March to the Sea.”’ American Music, Vol. 10, No. 2 (Summer, 1992), pp. 170-182.

Porter, Cecelia Hopkins. ‘The New Public and the Reordering of the Musical Establishment: The Lower Rhine Music Festivals, 1818-67.’ 19th-Century Music, Vol. 3, No. 3 (Mar., 1980): 211-224.

Riley, Matthew. 2003. ‘Johann Nikolaus Forkel on the Listening Practices of 'Kenner' and 'Liebhaber.'’ Music & Letters, Vol. 84, No. 3: 414-433.

Saffle, Michael. 1998. ‘Promoting the Local Product: Reflections on the California Musical Press, 1874-1914.’ In Saffle, Michael, ed. Music and Culture in America, 1861-1918. Garland: New York and London, 167-196.

Schabas, Ezra. 1989. Theodore Thomas: America's Conductor and Builder of Orchestras, 1835-1905. Urbana and Chicago: University of Illinois Press.

Scholes, Percy A., ed. Ward, John Owen. 1964. The Concise Oxford Dictionary of Music. London: Oxford University Press.

Shanet, Howard. 1975. Philharmonic: A History of New York's Orchestra. New York: Doubleday.

Small, Christopher. 1998. Musicking: The Meanings of Performing and Listening. Middletown, CT: Wesleyan University Press.

Sonneck, O.G. 1907. Early Concert Life in America (1731-1800). Leipzig: Breitkopf and Härtel.

Thomson, Virgil. 1939. The State of Music. Westport, CT: Greenwood Press.

Walker, Alan. 1987. Franz Liszt, Vol. 1: The Virtuoso Years 1811-1847. Ithica: Cornell University Press.

Waxman, Jonathan. 2012. Prefacing Music in the Concert Hall: Program Books, Composer Commentaries, and the Conflict over Musical Meaning. Thesis (Ph. D.), New York University.

Weber, William. 1975. Music and the Middle Class: The Social Structure of Concert Life in London, Paris and Vienna. New York: Holmes and Meyer.

No comments: