Stravinsky the global dancer via Bibliolore by RILM on 4/20/11 Stravinsky the global dancer: A chronology of choreography to the music of Igor Stravinsky is a free online database that aims to list all dances choreographed to Stravinsky’s works, with references to about 100 compositions, about 1250 dances, and about 700 choreographers. Compiled by Stephanie Jordan and Larraine Nicholas, it is searchable by title of composition, year of composition, year of choreography, name of choreographer, dance company, and country. Jordan’s “The demons in a database: Interrogating Stravinsky the global dancer” (Dance research XXII/1 [summer 2004] pp. 57–83) presents analyses of findings in the database regarding the distribution of new Stravinsky dance productions over the years, incidence of choreographing the narrative vs. the concert scores, distribution by choreographer, and distribution by country, along with case studies of the choreographic histories of Le sacre du printemps, Apollo, and Agon. Above, the composer in his Ballets Russes days with Serge Diaghilev and Serge Lifar, who originated the role of Apollo. Below, the Houston Ballet performs an excerpt from Balanchine’s choreography for that work.
Call for papers Leeds College of Music is pleased to announce its inaugural International Terezin Music Conference which will take place at the College on the 26th and 27th February 2012. It will also mark the official launch of the Terezin Music Hub. Part of the College’s Postgraduate Studies and Research Centre, the Hub will aim to provide a focal point in the UK for the study of music and musicians interred at the Terezin (Theresienstadt) concentration camp during WW2, through creative practice, research and collaboration. Its brief will also encompass related disciplines, including music during the Holocaust in particular, and creativity in adversity in general.
The conference organizers are delighted and privileged to announce that the event will be opened by His Excellency the Ambassador to the Czech Republic, who has also agreed to be Honorary Patron of the Hub. The conference will commemorate the centenary of the birth of Eliska Kleinova (1912-1999), which falls on 27th February. She was the sister of the composer and pianist Gideon Klein, who played such a seminal role in Terezin’s cultural life. Professor Kleinova, herself a Terezin prisoner and Auschwitz survivor, became a greatly respected Prague-based music pedagogue.
A concert on the centenary day will include Klein’s Piano Sonata, written in Terezin, and dedicated to his sister. The conference will be honored by having Michael Beckerman and Murry Sidlin as distinguished keynote speakers. Maestro Sidlin will be conducting a performance of Beethoven’s Choral Symphony in the days following the conference.The main focus of the conference will be on musical performance and composition in Terezin.
Papers, all of which will be presented orally, are invited on these specific aspects. Topics covering other areas of musical performance and composition during the Holocaust will also be considered. Papers should be no more than 20 minutes duration, and the usual audio/visual conference resources, plus piano and internet access, will be available in the main auditorium where papers are to be presented. There will not be any poster sessions. Abstracts of c.350 words, plus a brief biography, should be sent by e-mail to firstname.lastname@example.org by Friday 16th September, to where informal inquiries can also be made. Decisions will be made by the end of that month.
The conference’s co-ordinator, Dr. David Fligg, will be at the AMS Annual Conference in San Francisco in November, should any potential transatlantic delegates wish to discuss matters in person. He can also be contacted at the e-mail address above. The conference website, with draft programme and booking details, will be available later this summer. In the meantime, to receive updates, send an email with ‘Conference updates’ in the subject line to the e-mail address above, and keep checking the College website at www.lcm.ac.uk .
From Music Online, Alexander Street Press:
Wolfgang Amadeus Mozart’s “Clarinet Concerto, K. 622“
This week’s featured download from Classical Music Library is Wolfgang Amadeus Mozart’s Clarinet Concerto, K. 622, performed by the Théâtre National de l’Opéra de Paris, Michael Arrignon, soloist. More information about this piece is available on the Music Online blog.All tracks downloaded through this promotion are owned by Alexander Street Press and are available to legally download, free of cost to the user.
Based on Professor Richard Greene’s excellent site, “Classical Music Recordings of Black Composers“, “Black Composers – Scores“ provides links of composers’ names to library holdings of scores of Black composers of classical music. Clicking on a name will yield the composer’s scores in Worldcat, the combined online catalogs of thousands of libraries worldwide. Clicking on the title of a work will show the libraries that own the work. Musicians wishing to perform a work can check if a local library has the score to a particular work, or request a score on interlibrary loan. It is our hope that this tool will encourage increasing numbers of performances of this beautiful and overlooked repertoire. Enjoy!
Michael Jackson news from the New York Times
Michael Jackson 1958-2009 from CNN.com
All Music Guide: Michael Jackson
Rock and Roll Hall of Fame: Michael Jackson
Rolling Stone: Michael Jackson
Michael Jackson Channel on YouTube
Jefferson, Margo. On Michael Jackson. New York : Pantheon Books, c2006.
Paley Stacks ML420.J175 J44 2006
Online Encyclopedia Articles
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“Michael Jackson.” Contemporary Musicians, Volume 44. G
ale Group, 2004. Reproduced in Biography Resource Center. Farmington Hills, Mich.: Gale, 2009.
“Michael Jackson.” Contemporary Black Biography. Vol. 53. Thomson Gale, 2006.
Reproduced in Biography Resource Center. Farmington Hills, Mich.: Gale, 2009.
“Michael Jackson.” St. James Encyclopedia of Popular Culture. 5 vols. St. James Press, 2000. Reproduced in Biography Resource Center. Farmington Hills, Mich.: Gale, 2009.
“Michael Jackson.” Notable Black American Men. Gale Research, 1998.
Reproduced in Biography Resource Center. Farmington Hills, Mich.: Gale, 2009.
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Baker, Danny. The great Greenland mystery: Michael Jackson. Meaty beaty big & bouncy!” Classic rock and pop writing from Elvis to Oasis. London: Sceptre, 1997. 157-178 pp.
Abstract: An interview with Michael Jackson and his brothers first published in New musical express on 4 April 1981.
Burnett, Robert and Bert Deivert. Black or White: Michael Jackson’s Video as a Mirror of Popular Culture. Popular Music and Society 19:3 (Fall 1995) p.19-40. Paley Stacks ML1 .P69457
Buschmann, Gerd. Der Sturm Gottes zur Neuschöpfung: Biblische Symboldidaktik in Michael Jacksons Mega-Video-Hit Earth Song. Katechetische Blätter. Vol. 121, no. 3, pp.187-196. 1996.
Abstract: Jackson’s 1995 video Earth song plays with central biblical themes including creation, the fall from grace, the prayer of lamentation, theophany, prophecy, and resurrection. In terms of form and content,the video corresponds to a psalm of lamentation, with three parts: lament, plea, and help. Jackson appears as a prophet and modern Christ-like figure.
Campbell, Melissa. Saying the Unsayable: The Non-Verbal Vocalisations of Michael Jackson. Context 26 (Spring 2003) p.17-26.
Dyson, Michael Eric. A postmodern Afro-American secular spirituality: Michael Jackson. The theology of American popular music: Proceedings of the first conference in theomusicology, 7-8 April 1989
Abstract: The achievements of Michael Jackson are viewed as representing a postmodern form of black American secular spirituality that is primarily televisual and performance-oriented in its medium of expression, and that wrestles in poignant fashion with moral themes that reflect black cultural and religious consciousness.
Dyson, Michael Eric. Wanna Be Startin’ Something? Two Sharp Minds Contemplate the Significance of the Michael Jackson Trial. VIBE 13:10 (October 2005) p.128-131.
Early, Gerald. Three notes on the roots of rhythm. Conjunctions. Vol. 16, pp.197-208. 1991
Abstract: The success of Chubby Checker’s The twist with white audiences and the role of music in Shirley Temple’s and Michael Jackson’s films help to explain the cultural context of American rhythm and blues.
Epstein, Debbie and Deborah Lynn Steinberg. The Face of Ruin: Evidentiary Spectacle and the Trial of Michael Jackson. Social Semiotics; Dec2007, Vol. 17 Issue 4, p441-458, 18p
Garry, George. At home with Michael Jackson. Very Seventies: A cultural history of the 1970s, from the pages of Crawdaddy New York, NY: Fireside/Simon &Schuster, 1995. 87-92 pp.
Abstract: Interview with a 13-year-old Michael Jackson originally published in
Harvey, Lisa St. Clari.Temporary insanity: Fun, games, and transformational ritual in American music video. Journal of popular culture. Vol. 24, no. 1, pp.39-64. (summer 1990)Abstract: Music video relies heavily on viewer reactions and perceptions. Video may be related to the masked ball, in which excess and indulgence in the usually forbidden are expected. Music video allows viewer participation at a vicarious level. The dream world of video may represent a collage of aspects of society. Videos of Michael Jackson, Lionel Richie, Tina Turner, Cyndi Lauper, and Duran Duran are summarized.
Hills, Mattl. Michael Jackson Fans on Trial? “Documenting” Emotivism and Fandom in Wacko About JackoSocial Semiotics; Dec2007, Vol. 17 Issue 4, p459-477, 19p
Ihlemann, Lisbeth. Michael Jackson: Monster, maskine, myte, menneske? Musik & forskning. Vol. 23, pp.110-25. Abstract: The pop star Michael Jackson draws attention not only to his music, but also to himself as a star and a person. Jackson’s image is explored in relation to star theories developed by media studies scholars. In contrast to most stars, Jackson’s persona seems to exhibit only the extraordinar
y: He is most often perceived as a freak or an alien. Jackson’s save-the-world attitude and obvious attraction to aggressive masculinity are explored.
Lau, Thomas. Idole, Ikonen und andere Menschen: Madonna, Michael Jackson und die Fans. “Alles so schön bunt hier”: Die Geschichte der Popkultur von den Fünfzigern bis heute. Stuttgart, Germany: Reclam, 1999. 241-253 pp. Abstract: In pop culture, the idol relies on the fan as much as the fan relies on the idol. Still, the relationship between the two has changed considerably in the past 20 years, also in light of the advent of techno culture.
Mayfield, Geoff. Over the Counter: Jackson Set Still Thrilling after All These Years. Billboard – The International Newsweekly of Music, Video and Home Entertainment 120:9 (1 March 2008) p.37.
Mittel,Jason. A Cultural Approach to Television Genre Theory Cinema Journal; Spring2001, Vol. 40 Issue 3, p3, 22p.
Abstract: Argues that genres are cultural categories that surpass the boundaries of media texts and operate within the industry, audience and cultural practices. Obstacle to the development of television-specific genre theory; Types of discursive practices; Goal in analyzing generic discourses; Genre analysis with Michael Jackson’s music videos; Principles of cultural genre analysis.
Nathan, David. Feature: Michael Jackson; A “Thriller” of a Career. Blues & Soul 1004 (6 March 2008)
Olligs, Ursula. Die rhythmisch-energetische Struktur von Michael Jacksons Tanz. Musik-, Tanz- und Kunsttherapie. Vol. 9, no. 2, pp.72-86. 1998.
Abstract: As no other pop idol, Michael Jackson bases his success on dance. By means of three video-tapes, the dance-psychological research of his dancing and body language tracks sources and characteristics of this way of movement. Reference to the dance therapeutically aspects are made.
Paoletta, Michael. UpFront: Music – Michael Jackson: Now What? Billboard – The International Newsweekly of Music, Video and Home Entertainment 117:26 (25 June 2005) p.7-8.
Silberman, Seth Clark. Presenting Michael Jackson™. Social Semiotics; Dec2007, Vol. 17 Issue 4, p417-440.
Sonnega, William. Morphing borders: The remanence of MTV. TDR: The drama review. Vol. 39, no. 1, pp.45-61. spring 1995.
Abstract:World beat, a musical genre combining melodic and rhythmic features from various world cultures into a single form, has become commonplace in contemporary popular music, and has worked to break down cultural barriers. Implicit in its multilayered culturalism is the Futurist notion of a technologically generated utopia. In the past decade Music Television (MTV) has successfully capitalized on incorporating world beat into its programming, becoming a model that other artistic agencies have followed, as exemplified in the Michael Jackson music video Black and white and a recent theatrical production of Thornton Wilder’s play The skin of our teeth.
Stewart, Elizabeth and Theresa Buckland. Dance; music video. Parallel lines: Media representations of dance. London, England: Arts Council of Great Britain, 1993. 51-79 pp.
Abstract: The role of dance in music video extends across a spectrum. At one end of the spectrum is the dramatic mode, where dance operates prominently s an expressive tool; at the other end is the fragmentary dance mage, nondiegetic, unconnected to the musical producers, and perhaps nly flitting briefly across the scene. Here the moving body interacts ith video technology to form abstract visual and rhythmic patterning. his style is rarely used to present the dancing pop star, since ilmic treatment of the star is constrained primarily by the onstructive techniques of stardom. Videos featuring Kate Bush, Paula bdul, Michael Jackson, and Janet Jackson are analyzed.
Tischer, Rolf. “Heal the World”: Religion in der kommerziellen Rock- und Popmusik am Beispiel von Michael Jackson.Gotteslob im Klang der Zeit: Rolf Schweizer zum 65. Geburtstag München: Strube, 2001. 122-142 pp. Abstract: The process of secularization would seem to be unstoppable in modern society, and yet there is a constant need for religiousness. This is reflected in contemporary pop and rock music. This is exemplified by a song and video clip by Michael Jackson: In Heal the world, he appears as a messiah. Such phenomena within supposedly superficial pop culture should be taken seriously.
Tucker, Mark. Behind the beat: Michael Jackson and Prince. ISAM newsletter. Vol. 14, no. 1, pp.12-14. Nov 1984 Abstract: An examination of recent songs performed by Michael Jackson and Prince (Prince Rogers Nelson), including Billie Jean (from Michael Jackson’s 1982 album Thriller) and When doves cry (from Prince’s 1984 release Purple rain).
RL: Resource Locationhttp://depthome.brooklyn.cuny.edu/isam/NewsF84.pdf
Walls, Richard C. Bruce Springsteen; Michael Jackson: Through time and space with the changeling gods. Creem. Vol. 19, no. 6. Feb 1988
Wenzel, Ulrich. Pawlows Panther: Zu Rezeption von Musikvideos zwischen bedingtem; Reflex und zeichentheoretischer Reflexion. VIVA MTV! Popmusik im Fernsehen.Frankfurt am Main, Germany: Suhrkamp, 1999. 45-73 pp.
Abstract: A discussion of the poststructuralist debate, which has been intensely connected with videos and music television, drawing on the description of Michael Jackson’s video Black or White.
Are you registered to vote? The deadline to register in the State of Pennsylvania is Monday, October 6th! Find out how to register and more at Temple Library’s new Voter’s Information Guide – Election 2008. Easily keep up with information on the candidates, the issues, fact checkers, news feeds, commentary, election history, and political humor. Comment on positions, candidates, and resources. There’s even a guide for first-time voters. All the info that you need to make the right decision on November 4th is in one place, at the touch of your fingertips, @ your library!
In celebration of Women’s History Month, legendary jazz performers Katherine “Kittye” DeChavis and Trudy Pitts spoke and performed at Paley Library on March 5th, 2008. After the performance, Ms. DeChavis and Ms. Pitts joined librarian Anne Harlow for questions and conversation recorded on this Library Podcast.
In the podcast, Katherine “Kittye” DeChavis describes her earliest musical experiences. She recalls the musical environment of Philadelphia that provided many opportunities to learn, to perform, and to listen to various kinds of music. Ms. DeChavis describes her move to Montreal, and then to New York, working at the Paradise and the Apollo Theaters. She tells the story of how she unexpectedly came to record the hits “Hucklebuck” and “Be Anything but Be Mine.” Ms. DeChavis expresses heartfelt concern for young people today, and offers advice for students who are studying to be performers.
Trudy Pitts, a native Philadelphian, performs and records extensively on jazz organ. She has degrees from the Philadelphia Music Academy, Temple University, and Juilliard, and is currently on the piano faculty of the University of the Arts. In the podcast, Trudy recalls her extensive training in classical music, and how growing up in a musical family in Philadelphia influenced her music. She talks about her transition from classical music to jazz, and how she incorporates classical elements into her performances. Trudy shares her philosophies of being a wife, mother, and professional musician, and gives warmhearted guidance for aspiring young musicians.
Special thanks to Sebastian Derry, Media Services Librarian, for serving as the sound engineer for the podcast and to Dr. Diane D. Turner, Curator of the Charles L. Blockson Afro-American Collection, for planning today’s program and reaching out and inviting these two extraordinary women to come to the library today. And thank you to Kittye DeChavis and Trudy Pitts for sharing their experiences and insights with us.
Ms. Trudy Pitts takes a bow after her performance at Temple University’s Paley Library, March 5, 2008.
Curator of the Blockson Collection Dr. Diane Turner, WRTI radio announcers Harrison Ridley and Bob Perkins, and University Librarian Larry Alford with Tracy Pitts and Kittye DeChavis.
Temple University Libraries is pleased to announce the addition of new online streaming audio resources.
American Song contains over 50,000 songs in every style, period, and genre. Genres represented include Blues, Tin Pan Alley, Cajun, Cowboy, Ragtime, African-American songs, Bluegrass, sacred, and choral music. One can browse the database by historical events such as D-Day, the Cuban Missile Crisis, or the first moon landing. Also included are presidential campaign songs from 1789-1996.
Contemporary World Music provides twentieth and twenty-first century music from everywhere in the world. Genres include reggae, world beat, Balkanic jazz, African film, Bollywood, and Arab swing as well as more traditional genres such as Indian Classical, fado, flamenco, klezmer, gospel, and more. One can search or browse genre, people groups, instruments, geographic location, and performer.
Database of Recorded American Music (DRAM) is a non-profit initiative funded by the Robert Sterling Clark Foundation, the Andrew W. Mellon Foundation, and other organizations. This database provides streaming audio of American music from New World Records, CRI, Albany, Innova, Cedilla, XI, Pogus, Deep Listening, and Mutable Music labels. A wide array of genres is represented: folk, Native American, jazz, 19th century classical, early rock, musical theater, contemporary, electronic, and more. Searching and browsing by composer, instrument, performer, record labels, and titles of compositions is available.
These databases provide depth and variety to the repertoire offered by Temple’s online audio resources.
For a list of streaming audio resources provided by Temple University Libraries see guides.temple.edu/music.
Please feel free to contact me for further information about these resources.
On September 6th, 2007, opera singer Luciano Pavarotti, arguably the most amazing tenor since Caruso, died at age 71 of pancreatic cancer at his home in Modena, Italy. Pavarotti had a voice that was immediately recognizable; tender, expressive, and yet brilliant and clear at the same time. Born in Modena, his father an amateur singer and baker and his mother a worker in a cigar factory, Pavarotti transcended his modest beginnings and had a persona that was in many ways larger than life. He broke barriers between the frequently perceived high-brow culture of opera and, through his gregarious personality and exquisite voice, opened up the art form to be enjoyed by non-expert listeners everywhere. To accomplish this, Pavarotti, much to the chagrin of classical critics, performed in large stadiums, combined popular songs with serious operatic arias in concerts such as the series of “The Three Tenors”, and performed with the Spice Girls, Sting, Elmo on Sesame Street, and on Saturday Night Live with Vanessa Williams. He constantly reached out to bring the public into the concert hall. Pavarotti’s efforts were so successful that he enjoyed the popularity and celebrity normally associated only with rock stars. Music lovers around the world joined together to mourn and to commemorate this much-beloved musician, who will be greatly missed.
In Philadelphia, Pavarotti established the Pavarotti International Voice Competition in the 1980’s. Young singers competed in cities around the world and winners traveled to Philadelphia to participate in final rounds. Winners received financial rewards, concert contracts, and a role singing alongside Pavarotti in upcoming Opera Company of Philadelphia performances. One such performance, the 1982 performance of La Bohème, won an Emmy for the “best classical program in the performing arts”.
In addition to his work to encourage young talent, Pavarotti was also a great humanitarian. He worked tirelessly to provide funds for victims of wars in Bosnia, Guatemala, Kosovo, and Iraq. With Diana, Princess of Wales, he helped raise funds to eliminate land mines. His humanitarian efforts won him numerous awards including the Freedom of London Award, the Red Cross Award for Services to Humanity, and the Nansen Medal from the UN High Commission for Refugees.
Although Pavarotti is no longer here physically, his voice continues to live through countless sound recordings and videorecordings of his performances, widely available commercially and in libraries. Pavarotti was careful that nearly all of his performances were recorded in some fashion, leaving behind a legacy for listeners to continue to enjoy.
Paley Library has books about the great maestro, in addition to recordings of his performances on discs, and DVD’s. Streaming audio to some of his recordings is provided in the databases Classical Music Library (Verdi Requiem) and Naxos Music Library.
For more information see
Temple University Libraries is pleased to announce the addition of Theatre in Video to its online resources. Theatre in Video is an entirely different kind of database, offering streaming video of entire plays. Included in the repertoire are the BBC’s productions of the entire works of Shakespeare, as well as plays from antiquity to modernity, unlimited by geographic origin. In addition to plays,Theatre in Video contains documentaries about notable playwrights and directors such as August Wilson, Bertolt Brecht, Henrik Ibsen, Eugene O’Neill, Arthur Miller, Konstantin Stanislavsky, Tennessee Williams, and many more. Productions range in date from 1936 to 2005.
Theatre in Video is easy to access and to use. Viewers can do a general search for a particular play, performer, playwright, or director, or browse lists of productions, documentaries, people, genres, companies, theatres, and dates. Students and professors can make personal playlists of clips which can be shared.
Theatre in Video is an exciting new kind of database, opening a new dimension in online offerings from Temple University Libraries, useful for instruction in many disciplines, as well as for enjoyment.
If you have any questions concerning Theatre in Video, feel free to contact me, Anne Harlow, email@example.com.