scholarly journals Walter Kaufmann and the Winnipeg Ballet: A Fruitful Collaboration Soon Forgotten

2014 ◽  
Vol 14 (2) ◽  
pp. 89-99
Author(s):  
Albrecht Gaub
Keyword(s):  
Documentary Film ◽  
Symphony Orchestra ◽  
Early Years ◽  
Original Music ◽  
Artistic Achievement ◽  
History Of ◽  
Founding Director ◽  
German Jewish ◽  
National Film Board ◽  
Canadian Composers

The early years of the Royal Winnipeg Ballet (RWB), the era of its founding director Gweneth Lloyd (1901–1993), remain a “dark age” because in 1954, all possessions of the company perished in a fire. Earlier attempts at writing the history of this institution, such as Max Wyman’s book The Royal Winnipeg Ballet: The First Forty Years (Toronto, Doubleday, 1978) and Jeff McKay and Patti Ross Milne’s documentary film 40 Years of One Night Stands (2008), suffer from a general neglect of the music used by the company. The RWB mounted several ballets to original music, typically by Canadian composers. Walter Kaufmann (1907–1984), a German-Jewish composer exiled after 1934, living in Canada from 1947, and appointed conductor of the Winnipeg Symphony Orchestra in 1948, received commissions for Visages, an abstract ballet for the company’s tenth anniversary in January 1949, and The Rose and the Ring, a “children’s Xmas ballet” (RWB), first performed in December of the same year. Creation, aesthetics, and reception of these ballets are evaluated on the basis of Kaufmann’s surviving autograph scores at Indiana University in Bloomington and of contemporaneous documents, especially press reviews and, in the case of Visages, a documentary film by the National Film Board of Canada, Ballet Festival (1949). Visages was immediately hailed as a major artistic achievement and remained a staple of the RWB’s repertory until the 1954 fire. The RWB showcased Visages at the Canadian Ballet Festivals in Toronto (1949) and Montréal (1950), drawing praise from renowned critic Anatole Chujoy, and regularly presented it on its tours, including one to Washington, D.C. (1954). Referring to Anna Blewchamp’s reconstruction to Lloyd’s ballet The Wise Virgins, which was also lost in the 1954 fire, chances for a revival of Visages are assessed.

Emanzipation von der jüdischen Orthodoxie. Die Jugend- und Lehrjahre 1862-1890 des Leo Wertheimer alias Constantin Brunner

Aschkenas ◽  
2019 ◽  
Vol 29 (2) ◽  
pp. 313-349
Author(s):  
Matthias Springborn
Keyword(s):  
Intellectual Development ◽  
Early Years ◽  
Informal Networks ◽  
Major Focus ◽  
German Empire ◽  
Self Image ◽  
Childhood And Youth ◽  
History Of ◽  
German Jewish ◽  
Jewish Intellectuals

Abstract This biographical essay is designed to give a survey of Constantin Brunnerʼs early years, from his childhood and youth until the end of his student days, based on the available letters, manuscripts and published writings. A major focus is on Brunnerʼs intellectual development from protected child, spiritually shaped by Jewish orthodoxy, to aspiring religious scholar and finally to the secular philosopher known today. The article is therefore a contribution to a range of research topics: to the field of German-Jewish biography during the period of the German Empire; but also to the history of ideas, particularly in relation to the secularization of religious minorities. It also touches upon developments inside the Jewish community: the way different intellectual and religious currents are related to each other, the informal networks between Jewish intellectuals and how national (German or Jewish) identity is related to the Jewish self-image.

Child Composers in the Old Conservatories

2020 ◽  
Author(s):  
Robert O. Gjerdingen
Keyword(s):  
Teaching Methods ◽  
Classical Music ◽  
Colleges And Universities ◽  
Mental Ability ◽  
Original Music ◽  
Innovative Teaching ◽  
Musical Works ◽  
History Of ◽  
Youtube Videos ◽  
Typical Day

The original music conservatories were orphanages. Through innovative teaching methods the masters of these old institutions were able to transform poor and often illiterate castoffs into elite musicians, many of whom became famous in the history of classical music. The book tells the story of how this was done. It shows what the lessons were like, what a typical day was like for an orphan, and how children progressed from simple lessons to ones more advanced than any seen today in colleges and universities. Recent rediscoveries of thousands of the old lessons have allowed us to understand how children’s minds were systematically developed to be able to “think” in music. That is, the lessons slowly built up the mental ability to imagine the interplay of two or more voices or instruments. Today we think of Mozart as having a miraculous ability to imagine musical works in his head, but in truth many of the conservatory graduates of that era had attained a similar level of controlled musical imagination. They could improvise for hours at the keyboard, and they could quickly compose whole works for ensembles. The book is accompanied by 100 YouTube videos so that readers can hear what the lessons sounded like.

The Early Years of Republic

2018 ◽  
Author(s):  
R.V. Vaidyanatha Ayyar
Keyword(s):  
Educational Development ◽  
Early Years ◽  
Modern Education ◽  
British Raj ◽  
University Development ◽  
Regulatory Policies ◽  
Education In India ◽  
History Of ◽  
Post War ◽  
The University

The chapter is a prologue to the main narrative of the book. It offers an evaluation of Macaulay’s minute which paved the way for introduction of modern education in India, the idea of National System Of Education which dominated Indian thinking on education for over sixty years from the Partition of Bengal (1905) to the Kothari Commission (1964), and the division of responsibility between the Central and Provincial Governments for educational development during British Raj. It offers a succinct account of the key recommendations of the landmark Sarjent Committee on Post-War Educational Development, the Radhakrishnan Commission on University Development, and the Mudaliar Commission on Secondary Education, of the drafting history of the provisions relating to education in the Constitution, the spectacular expansion of access after Independence, the evolution of regulatory policies and institutions like the University Grants Commission (UGC), and of the delicate compromise over language policy.

Race, Religion, and Documentary Film

2018 ◽  
Author(s):  
Judith Weisenfeld
Keyword(s):  
Native Americans ◽  
Documentary Film ◽  
Religious Practices ◽  
Independent Films ◽  
History Of ◽  
Race And Religion

This chapter uses Ingagi and The Silent Enemy, both independent films released in 1930, to examine the intersections of race and religion in the context of American documentary film conventions. The filmmakers claimed documentary status for their films, despite the fact that both were largely scripted and contained staged representations. Many audience members and critics nevertheless took their representations of the religious practices of Africans and Native Americans to be truthful and invested in the films’ authenticity because their visual codes, narratives, and advertising confirmed accepted stereotypes about race, religion, and capacity for civilization. Examining these two films in the context of the broader history of documentary representations of race and religion—from travelogues, adventure, ethnographic, and expeditionary films through more recent productions—this chapter explores how the genre has helped to shape and communicate ideas about race and religion.

Programming the Common Market: The Making and Failure of a ‘Dirigiste’ Europe, 1957–1967

2021 ◽  
pp. 1-15
Author(s):  
Hugo Canihac
Keyword(s):  
European Integration ◽  
European Economic Community ◽  
Early Years ◽  
Practical Reasons ◽  
Economic Governance ◽  
Economic Community ◽  
European Economic ◽  
History Of ◽  
The Common

This article contributes to the debate about the history of the political economy of the European Economic Community (EEC). It retraces the efforts during the early years of the EEC to implement a form of ‘European economic programming’, that is, a more ‘dirigiste’ type of economic governance than is usually associated with European integration. Based on a variety of archives, it offers a new account of the making and failure of this project. It argues that, at the time, the idea of economic programming found many supporters, but its implementation largely failed for political as well as practical reasons. In so doing, it also brings to light the role of economists during the early years of European integration.

Hooke recommemorated

1996 ◽  
Vol 50 (1) ◽  
pp. 139-140
Keyword(s):  
Social Life ◽  
Royal Society ◽  
Early Years ◽  
Domestic Life ◽  
Robert Hooke ◽  
Arts And Sciences ◽  
Personal Interaction ◽  
The Arts ◽  
Christ Church ◽  
History Of

Richard Nichols, The Diaries of Robert Hooke, The Leonardo of London, 1635-1703 . Lewes, Sussex: The Book Guild, 1994, Pp. 185, £15.00. ISBN 0- 86332-930-6. Richard Nichols is a science master turned historian of science who celebrates in this book Robert Hooke’s contributions to the arts and sciences. The appreciation brings together comments from Hooke’s Diaries , and other works, on each of his main enterprises, and on his personal interaction with each of his principal friends and foes. Further references to Hooke and his activities are drawn from Birch’s History of the Royal Society, Aubrey’s Brief Lives , and the Diaries of Evelyn and of Pepys. The first section of the book, ‘Hooke the Man’, covers his early years of education at home in Freshwater, at Westminster school and at Christ Church, Oxford, where he soon joined the group of experimental philosophers who set him up as Curator of the Royal Society and Professor of Geometry at Gresham College, Bishopsgate. Hooke’s domestic life at Gresham College is described - his intimate relationships with a series of housekeepers, including his niece, Grace Hooke, and his social life at the College and in the London coffee houses.

Glancing Back, Striding Ahead

2003 ◽  
Vol 93 (4) ◽  
pp. 315-320 ◽  
Author(s):  
Richard T. Bouché
Keyword(s):  
American Academy ◽  
Present State ◽  
Sports Medicine ◽  
Early Years ◽  
Comprehensive Review ◽  
History Of ◽  
Time Periods ◽  
Future Direction

This article provides a succinct but comprehensive review of the history of the American Academy of Podiatric Sports Medicine. Three time periods are described: the pre-academy era, the early years of podiatric sports medicine leading up to the academy’s founding, and the academy’s founding and the 1970s. An appreciation of the academy’s past facilitates understanding of its present state and future direction. (J Am Podiatr Med Assoc 93(4): 315-320, 2003)

scholarly journals ‘There Must Be a Poetry of Sound That None of Us Knows…’: Early British documentary film and the prefiguring of musique concrète

2017 ◽  
Vol 22 (2) ◽  
pp. 172-186
Author(s):  
Geoffrey Cox
Keyword(s):  
Case Studies ◽  
Electronic Music ◽  
Documentary Film ◽  
Post Office ◽  
Coal Face ◽  
Avant Garde ◽  
History Of ◽  
Relationship Of ◽  
The Relationship ◽  
Musique Concrete

Standard histories of electronic music tend to trace the lineage of musique concrète as lying mainly in the Futurists’ declarations of the 1910s, through Cage’s ‘emancipation’ of noise in the 1930s, to Schaeffer’s work and codifications of the late 1940s and early 1950s. This article challenges this narrative by drawing attention to the work of filmmakers in the 1930s that foreshadowed the sound experiments of Pierre Schaeffer and thus offers an alternative history of their background. The main focus of the article is on the innovations within documentary film and specifically the sonic explorations in early British documentary that prefigured musique concrète, an area ignored by electronic music studies. The theoretical and philosophical underpinnings of the documentary movement’s members, particularly their leader John Grierson, will be compared with those of Pierre Schaeffer, and the important influence of Russian avant-garde filmmaking on the British (and musique concrète) will be addressed. Case studies will focus on the groundbreaking soundtracks of two films made by the General Post Office Film Unit that feature both practical and theoretical correspondences to Schaeffer: 6.30 Collection (1934) and Coal Face (1935). Parallels between the nature and use of technologies and how this affected creative outputs will also be discussed, as will the relationship of the British documentary movement’s practice and ideas to post-Schaefferian ‘anecdotal music’ and the work of Luc Ferrari.

Kharkiv Scenography School of O. Khvostenko-Khvostov: The Experience of Professionalization

2021 ◽  
Vol 2021 (02) ◽  
pp. 85-95
Author(s):  
V. Chechyk ◽  
Keyword(s):  
Material Culture ◽  
Teaching Practice ◽  
Early Years ◽  
Music And Literature ◽  
Avant Garde ◽  
Theatrical Design ◽  
Outstanding Teachers ◽  
History Of ◽  
Compulsory Subject ◽  
The City

The article is devoted to the early years of formation of Kharkiv scenography school and to the creative and pedagogical activities of Olexander Khvostenko-Khvostov (1895–1967). It was reported that the bold experiments of this artist, in the field of theatrical design of 1918–1922, made him one of the central figures of Kharkiv avant-garde scene (“Mystery Buff”; “The Army in the City”; “Lilyuli”, etc), strengthening the reputation of an innovator and causing the beginning of pedagogical activity at the Kharkiv Art College in 1921. The theatrical and decorative workshop was opened at the faculty of painting at the Kharkiv Art College in 1922, it was headed by A. Khvostenko-Khvostov. Among the first graduates were such bright alumni as A. Volnenko, P. Suponin, V. Ryftin, A. Bosulaev, B. Chernyshov, and others. Fundamental provisions of the educational program, which A. Khvostenko borrowed from the teaching practice of A. Exter (Kyiv Studio, 1918–1920), reflected the formation idea of future theater artist’s synthetic thinking. It is known that the education program of the Theater and Scenery Workshop of KAC, equally with the Studio of A. Exter, in addition to the subjects common to all students of painting and drawing faculty as special subjects (theatrical scenery, technique and technology of the stage, etc.) included also the history of theater (I. Turkeltaub), material culture, costume, music and literature (A. Beletsky). O. Khvostenko paid special attention to theoretical and practical issues of composition. He introduced the course of fundamentals of directing (V. Vasilko) as a compulsory subject. Much of what the students mastered at the Workshop was tested on the professional stages of Kharkiv theaters. Associated with the Kharkiv Art School for a quarter of a century (1921–1946), O. Khvostenko-Khvostov has not still been included in the pantheon of its outstanding teachers.

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