Diana Doherty

2020 ◽  
pp. 40-43
Author(s):  
Michele Fiala
Keyword(s):  
New York ◽  
Early Life ◽  
Symphony Orchestra ◽  
Music Competition ◽  
Prague Spring ◽  
International Aspects

Diana Doherty is principal oboe of the Sydney Symphony Orchestra (Australia). She won first prize at the Prague Spring International Music Competition in 1991 and was a joint winner of the 1995 Young Concert Artist auditions in New York. In this chapter, she discusses her early life, the international aspects of her career, and reeds. She also talks about how she warms up on the instrument and offers advice on developing finger technique and articulation. She shares her inspirations and memorable concerts

Anna Clyne The Seamstress, Barbican Hall, London; Anna Clyne This Lunar Beauty, Wigmore Hall, London

Tempo ◽  
2016 ◽  
Vol 70 (277) ◽  
pp. 89-90
Author(s):  
Robert Stein
Keyword(s):  
New York ◽  
Symphony Orchestra ◽  
Violin Concerto ◽  
Chicago Symphony Orchestra

‘Old mythologies’ have been important for some time to Anna Clyne, and they come into play again in two of her most recent works: the violin concerto The Seamstress and her brief Auden setting, This Lunar Beauty, for soprano and ensemble. The young British composer (b. 1980) has for many years been a resident of New York; she studied with Julia Wolfe in Manhattan and since 2010 has been the composer in association with the Chicago Symphony Orchestra.

scholarly journals Leon Festinger

Psychology ◽  
2014 ◽  
Author(s):  
Elaine Hatfield ◽  
Megan Carpenter ◽  
Paul Thornton ◽  
Richard Rapson
Keyword(s):  
High School ◽  
New York ◽  
Early Life ◽  
Jewish Immigrants ◽  
Number Of Authors

Leon Festinger was born in Brooklyn, New York, on 8 May 1919 to Russian-Jewish immigrants, Alex Festinger and Sara Solomon Festinger. Leon’s father, an embroidery manufacturer, had left Russia an atheist and a radical, and he remained faithful to these convictions throughout his life. In his youth, Leon attended Boys’ High School, in Brooklyn. A number of authors have penned comprehensive biographies of his early life. Among the best are those written by his colleagues Jack W. Brehm and George A. Milite (see Brehm 1998, Milite 2001, both cited under Legacy).

Clinical Electroencephalography of Children Vol. II, edited by Peter Kellaway and Ingemar Peterśen. New York/London: Grune & Stratton, Inc., 1968, 332 pp., $16.75

PEDIATRICS ◽  
1969 ◽  
Vol 44 (5) ◽  
pp. 785-786
Author(s):  
Cesare T. Lombroso
Keyword(s):  
New York ◽  
Central Nervous System ◽  
Nervous System ◽  
Early Life ◽  
Normal Development ◽  
Clinical Neurophysiology ◽  
The Central Nervous System ◽  
The Subject

This book contains twenty papers read in the summer of 1967 at a conference in Gäteborg, Sweden. This was the second symposium within the span of 4 years on the subject of electroencephalognaphy and clinical neurophysiology relating to early life. The holding of the conference is certainly an index of the great surge of interest among pediatricians, neurologists and neurophysiologists in matters pertaining to the normal development of the central nervous system as well as in the pathologic deviations of this system.

Black Song, Dance, and Theater in pre-World War I New York City

2021 ◽  
Author(s):  
David Gilbert
Keyword(s):  
New York ◽  
New York City ◽  
World War I ◽  
York City ◽  
Musical Theater ◽  
Labor Union ◽  
Symphony Orchestra ◽  
Development Stage ◽  
World War ◽  
Performance Space

Between 1896 and 1915, Black professional entertainers transformed New York City’s most established culture industries—musical theater and popular song publishing—and helped create two new ones: social dancing and music recording. While Black culture workers’ full impact on popular entertainment and Black modernism would not be felt until after World War I, the Harlem Renaissance and the Jazz Age were decades in the making. Stage performers Williams and Walker and their musical director Will Marion Cook introduced full-scale Black musical theater to Broadway between 1902 and 1909; songwriters-turned-performers Cole and Johnson expanded the style and substance of ragtime songs along Tin Pan Alley; James Reese Europe created a labor union for Black musicians that got hundreds of players out of Black nightclubs into high-paying White elites’ homes, eventually bringing a 200-person all-Black symphony orchestra to Carnegie Hall for the first concert of its kind at the august performance space. James Europe’s Clef Club Inc. also caught the ears of Manhattan’s leading social dancers, the White Irene and Vernon Castle, in ways that helped disseminate Europe’s ragtime dance bands across America and, by 1913, became the first Black band to record phonographs, setting important precedents for the hit jazz and blues records of the postwar era. While James Europe would go on to win renown as the musical director of the Harlem Hell Fighters—the most-decorated infantry unit to fight in World War I—his prewar community of professional entertainers had already successfully entered into New York City’s burgeoning, and increasingly national, commercial culture markets. By studying some of the key figures in this story it becomes possible to get a fuller sense of the true cultural ferment that marked this era of Black musical development. Stage performers Williams and Walker and Cole and Johnson, behind-the-scenes songwriters Will Marion Cook and James Weldon Johnson, and musicians such as James Reese Europe’s artistic and entrepreneurial interventions made African Americans central players in creating the Manhattan musical marketplace and helped make New York City the capital of U.S. performance and entertainment.

An Abiding Affection

2021 ◽  
pp. 7-14
Author(s):  
Thomas E. Schindler
Keyword(s):  
New York ◽  
Early Life ◽  
Biblical Hebrew ◽  
Laboratory Research ◽  
South Bronx ◽  
E Coli ◽  
Academic Tenure ◽  
K 12 ◽  
Richard Feynman ◽  
Mycology Laboratory

This chapter provides a brief outline of Esther Zimmer’s early life. Born in 1922 to immigrant Jewish parents who had moved from Manhattan’s Lower East Side to the South Bronx, she demonstrated a talent for languages at an early age, learning biblical Hebrew from her grandfather and later distinguishing herself in Spanish and French. Despite her professors’ expectations that she become a foreign language teacher, Zimmer chose to become a scientist. Her love affair with microorganisms began in the mycology laboratory of the New York Botanical Gardens, her abiding affection for bacteria, especially E. coli K-12, memorialized in the beach house named Kappa Dodici, Italian for K-12. For Esther, this particular bacterial strain displayed the treasures of bacterial sex uncovered by her research. Esther cherished the joy of discovery far beyond academic tenure or recognition. Like renowned physicist Richard Feynman, her prime motivation for doing laboratory research was “the sheer pleasure of finding things out.”

Ortiz, William (1947--)

2018 ◽  
Author(s):  
Marysol Quevedo
Keyword(s):  
New York ◽  
New York City ◽  
Puerto Rico ◽  
York City ◽  
Symphony Orchestra ◽  
New York State ◽  
San Juan ◽  
Black Mountain College ◽  
Morton Feldman ◽  
The Arts

Born in Salinas, Puerto Rico, William Oritz was raised in New York City. He studied composition at the Conservatory of Music of Puerto Rico under Héctor Campos Parsi and Amaury Veray. He holds a master’s degree from SUNY at Stony Brook (1976), where his professors included Billy Jim Layton and Bülent Arel, and a PhD from SUNY at Buffalo (1983), where Lejaren Hiller and Morton Feldman were his professors. Ortiz served as assistant director of Black Mountain College II, NY, also teaching composition and music theory at the school. He has held the position of chair of the department of humanities and has served as band conductor for the University of Puerto Rico at Bayamón. As a music critic he has contributed to The San Juan Star. Among his many works Oritz has completed commissions for the Casals Festival, the Guitar Society of Toronto, the Puerto Rico Symphony Orchestra, and the New York State Council of the Arts. His approach to composition is characterized by an eclectic adoption of popular and urban music genres as part of his compositional palette. Early on he incorporated elements from urban street music, found mostly in the Latino and Black neighbourhoods of New York City and in the poorer neighbourhoods of San Juan, as reflected in Street Music (1980), Graffiti Nuyorican (1983), De Barrio Obrero a la Quince (1986), and Bolero and Hip-Hop en Myrtle Avenue (1986).

Conversations in Leningrad, 1988

Tempo ◽  
1989 ◽  
pp. 15-20
Author(s):  
Claire Polin
Keyword(s):  
New York ◽  
United Nations ◽  
Choral Music ◽  
Symphony Orchestra ◽  
Children's Theatre ◽  
Avant Garde ◽  
New York Philharmonic ◽  
The Third ◽  
Violin Music ◽  
The Many

Certainly it was the year to visit the USSR, as one rubbed shoulders with pre-Summit reporters awaiting Reagan/Gorbachev, and pilgrims celebrating the millennium of Christianity in Russia. Wandering up the Nevsky Prospekt, you saw musicians hurrying with instrument cases in hand; and whichever way you crossed the Neva or the canals, the babel of language sounded like a session at the United Nations. As Tikhon Khrennikov (still Chairman of the Composers Union 40 years after its notorious 1948 Congress) pointed out in his welcoming address at the opening concert, the Festival's purpose was ‘for building spiritual bridges between nations using music as the unique and indispensable means of communication’. Stylistic restrictions were withdrawn so that listeners would get an unusually broad idea of the ‘many-sided panorama of modern musical art’. Thus, not only ‘serious’ music but also pop, jazz, folk, and traditional musics were performed. Having attended the previous two Festivals, it was very interesting to observe the progressive attitude of the Third. Not only was there more of everything, but more variety: not only symphonic, chamber, and choral music events, but also organ recitals, modern violin music, opera, children's theatre, a song evening, and even one for light music. Not only did the best Soviet conductors and performers participate, but also the New York Philharmonic, the BBC Welsh Symphony Orchestra, jazz groups of the USSR and elsewhere, and the British avant-garde vocal group ‘Electric Phoenix’. Although the concerts were heavily weighted with Soviet works, still almost 40 countries were represented (from Cuba to Mongolia) with works by more than 150 living composers.

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