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The chautauqua movement was a truly American phenomenon, providing education and entertainment for millions of people and employing thousands of musicians in the process. While scholars have previously explored various facets of the chautauqua movement, this is the first book to trace the place of music in the movement from its inception through its decline. Drawing upon the rich collections of ephemera left by several chautauqua bureaus, this study profiles several famous musicians and introduces the reader to lesser-known musical acts that traveled the chautauqua circuits. In addition, it explores music's role in defining the chautauqua movement as "high culture," legitimizing the movement in the eyes of community leaders and setting it apart from vaudeville and other competing amusements. Finally, it addresses music's role in establishing chautauqua's identity as an American institution, specifically in the years surrounding World War I.
This book traces the rise and decline of what Theodore Roosevelt once called the "most American thing in America." The Chautauqua movement began in 1874 on the shores of Chautauqua Lake in western New York. More than a college or a summer resort or a religious assembly, it was a composite of all of these—completely derivative yet brilliantly innovative. For five decades, Chautauqua dominated adult education and reached millions with its summer assemblies, reading clubs, and traveling circuits. Scholars have long struggled to make sense of Chautauqua's pervasive yet disorganized presence in American life. In this critical study, Andrew Rieser weaves the threads of Chautauqua into a single story and places it at the vital center of fin de siècle cultural and political history. Famous for its commitment to democracy, women's rights, and social justice, Chautauqua was nonetheless blind to issues of class and race. How could something that trumpeted democracy be so undemocratic in practice? The answer, Rieser argues, lies in the historical experience of the white, Protestant middle classes, who struggled to reconcile their parochial interests with radically new ideas about social progress and the state. The Chautauqua Moment brings color to a colorless demographic and spins a fascinating tale of modern liberalism's ambivalent but enduring cultural legacy.
This study of brass chamber music in lyceum and chautauqua fills a lacuna in brass history. It explores the forgotten phenomenon of the many chamber brass ensembles that entertained millions of Americans from coast to coast from 1877 to 1939 and presents histories of sixty-one ensembles that performed music for brass trio, brass quartet, brass quintet, and brass sextet for lyceum and chautauqua audiences. The author also writes about the large repertoire of music for small brass ensembles that he discovered was published in America from 1875 through the 1920s. This First American Chamber Brass School is discussed in one of five overviews of the principal eras in brass chamber music history that form the most comprehensive history of brass chamber music written in fifty years. Hardbound.
A major three-volume bibliography, including an additional supplement, of an annotated listing of American Studies monographs published between 1900 and 1988.
Georges Barrère (1876-1944) holds a preeminent place in the history of American flute playing. Best known for two of the landmark works that were written for him--the Poem of Charles Tomlinson Griffes and Density 21.5 by Edgard Varèse--he was the most prominent early exemplar of the Paris Conservatoire tradition in the United States and set a new standard for American woodwind performance. Barrère's story is a musical tale of two cities, and this book uses his life as a window onto musical life in Belle Epoque Paris and twentieth-century New York. Recurrent themes are the interactions of composers and performers; the promotion of new music; the management, personnel, and repertoire of symphony orchestras; the economic and social status of the orchestral and solo musician, including the increasing power of musicians' unions; the role of patronage, particularly women patrons; and the growth of chamber music as a professional performance medium. A student of Paul Taffanel at the Paris Conservatoire, by age eighteen Barrère played in the premiere of Debussy's Prelude to the Afternoon of a Faun. He went on to become solo flutist of the Concerts Colonne and to found the Sociètè Moderne d'Instruments á Vent, a pioneering woodwind ensemble that premiered sixty-one works by forty composers in its first ten years. Invited by Walter Damrosch to become principal flute of the New York Symphony in 1905, he founded the woodwind department at the Institute of Musical Art (later Juilliard). His many ensembles toured the United States, building new audiences for chamber music and promoting French repertoire as well as new American music. Toff narrates Barrère's relationships with the finest musicians and artists of his day, among them Isadora Duncan, Yvette Guilbert, André Caplet, Paul Hindemith, Albert Roussel, Wallingford Riegger, and Henry Brant. The appendices of the book, which list Barrère's 170 premieres and the 50 works dedicated to him, are a resource for a new generation of performers. Based on extensive archival research and oral histories in both France and the United States, this is the first biography of Barrère.
In this extensively illustrated volume, Simpson (author, and contributing editor to Architectural Digest) and photographer Solomon present text and photographs (both color and bandw) that pay tribute to the cultural heritage of the unique community that for 125 years has been shaped by a vision of education and opportunity. It celebrates Chautauqua as the home of the oldest summer arts festival in America, a National Historic Landmark, and a lakeside vacation retreat that combines music, art, drama, religion, stimulating discussion, history, and recreation. Annotation copyrighted by Book News, Inc., Portland, OR
Includes Part 1, Number 2: Books and Pamphlets, Including Serials and Contributions to Periodicals (July - December)