Książki na temat „Henry Cowell”

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1

The music of Henry Cowell: A descriptive catalog. Brooklyn, N.Y: Institute for Studies in American Music, Conservatory of Music, Brooklyn College of the City University of New York, 1986.

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2

MacDougall, Laurie. Henry Cowell and his family (1819-1955): A brief history. San Francisco, Calif: S.H. Cowell Foundation, 1989.

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3

Piwarzyk, Robert W. Valley of redwoods: A guide to Henry Cowell Redwoods State Park. Felton, CA: Mountain Parks Foundation, 2006.

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4

Higgins. Henry Cowell. Music Sales Corp, 1998.

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5

Henry Cowell: A Biography. Oxford University Press, 2007.

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6

Brown, Jeremy. Wind Band Music of Henry Cowell. Taylor & Francis Group, 2020.

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7

Henry Cowell's musical worlds: A program book for the Henry Cowell Centennial Festival. New York: Institute for Studies in American Music, 1997.

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8

1953-, Oja Carol J., Allen Ray i Brooklyn College. Institute for Studies in American Music., red. Henry Cowell's musical worlds: A program book for the Henry Cowell Centennial Festival. Brooklyn, NY: Institute for Studies in American Music at Brooklyn College, City University of New York, 1997.

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9

Henry Cowell, Bohemian (Music in American Life). University of Illinois Press, 2002.

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10

Sachs, Joel. Henry Cowell: A Man Made of Music. Oxford University Press, 2015.

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11

The Wind Band Music of Henry Cowell. Routledge, 2018.

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12

1955-, Nicholls David, red. The whole world of music: A Henry Cowell symposium. Australia: Harwood Academic Publishers, 1997.

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13

Henze, Eric. The Complete Guide to Henry Cowell Redwoods State Park. Gone Beyond Guides, 2015.

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14

Osterberg, Deborah. Historic Tales of Henry Cowell Redwoods State Park: Big Trees Grove. Arcadia Publishing, 2020.

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15

David, Nicholls. Whole World of Music: A Henry Cowell Symposium (Contemporary Music Studies). Routledge, 1998.

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16

Whole World of Music: A Henry Cowell Symposium (Contemporary Music Studies). Routledge, 1998.

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17

Paul, David C. Songs of Our Fathers. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037498.003.0003.

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This chapter focuses on Henry Cowell's advocacy of Charles E. Ives and his music between the years 1927 and 1947. Cowell's ideas about Ives can be grouped into two periods: those produced prior to the sentence he served at San Quentin State Prison for a 1936 conviction on a morals charge, and those produced after his release in 1940. This chapter first considers Cowell's portrait of Ives as a New England musical ethnographer before discussing the views of anthropologists, folklorists, and musical modernists about folk music. It then examines how Cowell became interested in folk music, along with his influence on Ives. It also looks at the notion of a usable past, advanced by Van Wyck Brooks in his essay “On Creating a Usable Past,” in which he called for a rewriting of the history of American literature. The chapter concludes with an assessment of Ives's “Concord” Sonata and Ives's commitment to freedom (in the sense of refusing to impose a fixed final form on his works).
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18

Piekut, Benjamin. Afterword. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190842741.003.0016.

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This chapter discusses how a US-focused mainstream concept of American experimental music within the art music tradition was cemented in the 1950s through the work of John Cage at a moment when he established professional connections with the European avant-garde. The chapter recognizes that before this moment, composers such as Henry Cowell had thought of American experimentalism in a more hemispheric way and included the activities of composers like Carlos Chávez, Alejandro García Caturla, and Amadeo Roldán in their genealogies. Rather than arguing for a revisionist type of history to include Latin Americans in these narratives about American experimental music, the chapter’s goal is to show that taking into account historical and contemporary Latin@ and Latin American understandings of experimentalisms not only may help us in redefining the social and political meaning of what has been constructed as mainstream musical experimentalism but also may play a central role in critically rethinking post–World War II narratives about music.
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19

Paul, David C. Introduction. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037498.003.0001.

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This book explores the changing images of American composer and music icon Charles E. Ives across the twentieth and twenty-first centuries, paying particular attention to issues of agency (how an idea transfers from one person to another) and constituency (the nature and size of the audience to which a person speaks). Ives has been, at various times, considered a hero, victim, villain—sometimes singly, sometimes simultaneously. He had been portrayed, for example, as a pioneer of American musical modernism and a symbol of American freedom, but at the same time the perpetrator of one of the greatest musical hoaxes of all times. This book examines the way Ives has been imagined by the critics, composers, performers, and scholars who have had the most impact in shaping the various conversations about him, from Leonard Bernstein and Henry Cowell to Aaron Copland and Elliott Carter. It argues that the history of Ives's reception is not only a series of portraits of an unusual composer, but also a series of mirrors that reflect the way Americans have viewed themselves.
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20

Cassidy, Victor M. Henry Chandler Cowles: Pioneer Ecologist. Kedzie Press, 2007.

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21

Ezell, Margaret J. M. Single-Authored Volumes of Verse. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780191849572.003.0005.

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Although the Interregnum has been described as a dark period in the promotion of the arts, an unusual number of single-authored volumes of verse were printed, often by Humphrey Mosley. Among the published poets whose reputations were established before the war were Sir John Suckling, Robert Herrick and Abraham Cowley while new voices include Henry and Thomas Vaughan, several women poets including Margaret Cavendish, Anne Bradstreet, ‘Eliza’, Anna Trapnel, and Elizabeth Major.
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22

Four Augustan Science Poets: Abraham Cowley, James Thomson, Henry Brooke, Erasmus Darwin. Anthem Press, 2020.

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23

Series, Michigan Historical Reprint. The minor prophets; with notes, critical, explanatory, & practical, designed for both pastors & people. By Rev. Henry Cowles... Scholarly Publishing Office, University of Michigan Library, 2005.

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24

Paul, David C. Winning Hearts and Minds. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037498.003.0004.

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This chapter examines how Charles E. Ives emerged as a Cold War icon, and more specifically as a champion of the liberating powers of individualism, during the period 1947–1965. It begins with a discussion of Lou Harrison's role in pushing Ives from the modernist peripheries of the American musical world toward its center, and in helping the composer win the Pulitzer Prize in 1947. It then considers how Ives and his music were drawn into a discussion about the nature of freedom against the backdrop of the Cold War. In particular, it explores how Ives's music was programmed on concerts designed to promote the artistic products of “cultural freedom,” citing the presentation of his work at an arts festival in Paris that was held under the auspices of the Congress for Cultural Freedom. It also looks at Henry Cowell's book Charles Ives and His Music, written in collaboration with his wife Sidney, and concludes with an assessment of Ives's musical legacy as a function of his commitment to transcendentalism.
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