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Journal Article
Black Sacred Music (1991) 5 (2): 70–74.
Published: 01 September 1991
... are of the past, but their treatment shows features which become decisive for the future.Paul Bekker, The Story of Music From R. Nathaniel Dett, Program Notes, Concert by the Hampton Institute Choir, Carnegie Hall, New York, April 161 1928. #oles fD tlte Hampton Choir Ill Carnegie Hall 71 Russian Liturgical...
Journal Article
Black Sacred Music (1991) 5 (2): 75–80.
Published: 01 September 1991
... decisive for the future. Paul Bekker, The Story of Music "Now Thank We All Our God" is not included in this discussion because it has been reharmonized by Mendelssohn. However its melody is tonal rather than modal. #oles lo "'8 Hampton Cltoir of Symphony Hall 11 Russian Liturgical Anthems Of all...
Journal Article
Black Sacred Music (1991) 5 (2): 81–83.
Published: 01 September 1991
.... In composed Russian music often the superstructure is raised upon the foundation of folk music. That there is a kinship, at least in spirit, between Russian and Negro folk music, no one can deny. It may be that it is the frequent abandonment to one type of rhythm or the similarity of certain scale formations...
Journal Article
Black Sacred Music (1991) 5 (2): 34–41.
Published: 01 September 1991
... University, 1920. 1'le Delfelopment of #egro Religious Music 35 minded people against the adoption of the undeveloped Negro folk song for dignified or formal church service. Attention is called to the way in which the Russian church in this country has treated the idea of exploitation of its music...
Journal Article
Black Sacred Music (1988) 2 (1): 65–71.
Published: 01 March 1988
... church service . Attention is called to the way in which the Russian church in this country has treated the idea of exploitation of its music . There is little reason to doubt that Russian choirs could fill protracted seasons of engagements because of their wonderful voices, excellent training, the rare...
Journal Article
Black Sacred Music (1991) 5 (2): 133–138.
Published: 01 September 1991
... unappreciated in, 34, 118; stereotyped, 10, 24, 58, 90, 123; worship, 5960 black folk song, compared to Russian, 12, 71-72, 77, 78, 82, 89, 112, 119, 126 black music: characteristics of, 32, 38, 108; stereotype of, 84, rn4 Black Patti's Troubadours, 29 blues, viii, 30, 51-5 3; versus the spirituals, 5, 52...
Journal Article
Black Sacred Music (1992) 6 (2): 189–191.
Published: 01 September 1992
... Copyright © 1992 by Duke University Press 1992 Towards a Broader American Culture In a climate of internationalism, American culture has gone back­ ward instead of forward during the last twenty-five years. We have not forgotten it, but we certainly went overboard on Russian musical...
Journal Article
Black Sacred Music (1991) 5 (2): 114–119.
Published: 01 September 1991
... that the publication of the spirituals in broad dialect has been an influence operating to keep the songs from formal religious worship; especially since dialect has been one of the peculiarly American means of obtaining a laugh not only at the Negro's but at almost anybody's expense. The success of the Russian...
Journal Article
Black Sacred Music (1991) 5 (2): 84–90.
Published: 01 September 1991
... European success by giving solo recitals on the clarinet, and Madame Helen F. Burney. Many members of the Russian Ballet, who, in the afternoon had been waiting their tum while we were using the stage, returned that evening to express appreciation for our use of Russian numbers. While in Paris we made two...
Journal Article
Black Sacred Music (1991) 5 (2): 1–19.
Published: 01 September 1991
... particularly expressive and human. There was absolute mastery of the most difficult passages, incomparable blending, beauty of subtle shading, marvelous discipline, all united into the finest cohesion. We can compare the Hampton choir with the best Russian choruses and it has something even more deeply moving...
Journal Article
Black Sacred Music (1991) 5 (2): 20–22.
Published: 01 September 1991
... Russian, and Tchaikovsky's work forms one of the finest examples we have of the use of folk tunes in the more elaborate phases of art-form development. Something of My Early Years I played the piano ever since I can remember. No one taught me; I just "picked it up." I used to follow my two older brothers...
Journal Article
Black Sacred Music (1990) 4 (2): 65–67.
Published: 01 September 1990
..., it was a conception that embraced the compatibility of his singing (on the same concert program) black spirituals and the Russian "People's Battle Song" lakin to the compatibility current prophetic pragmatists find in Christianity and Marxism). Robeson soon came to realize that his personal success would not lead his...
Journal Article
Black Sacred Music (1991) 5 (2): 108–113.
Published: 01 September 1991
... Scale. "Father Abraham" (an unusual song) is cast in the Byzantine 1h Aulltenlicifr ol lhe Spiriluol 111 mode, familiarized to most of us as the basis of "Marche Slav," the Russian folk tune developed for orchestra by Tschaikowski. "Run to Jesus" and "Calvary's Mountain" have only the notes of the old...
Journal Article
Black Sacred Music (1992) 6 (2): ix–xv.
Published: 01 September 1992
... is given in the bibliogra­ phy of Still's published articles at the back of the volume, where the six articles coauthored by his wife, Verna Arvey are also identified. Arvey (1910-87), the daughter of Russian Jewish immigrants, was a concert pianist, journalist, and author, as well as Still's longtime...
Journal Article
Black Sacred Music (1992) 6 (1): 146–154.
Published: 01 March 1992
..., the 1943 concert was a benefit performance for Russian refugees, nicely blending these concerns. And with Black, Brown. and Beige, Ellington brought into being the composition which more than any other would serve as the lyrical cornerstone of the later sacred music edifice. This tune, 11Come Sunday...
Journal Article
Black Sacred Music (1991) 5 (2): 120–129.
Published: 01 September 1991
... the Spiritual's originality, since the Moody and Sankey hymns, long supposed to be the Spiritual's progenitors, exhibit no such basic scale relationship. Unlike any other folksong expression save that of the Russian peasants, the Negro Spiritual sprang into being fully harmonized. Years of study have convinced me...
Journal Article
Black Sacred Music (1991) 5 (2): 56–67.
Published: 01 September 1991
... or group variation? Yet there does seem to be a difference in the singing by members of various races, which seems especially noticeable in group-singing. The Negro choir has a certain rich quality, as has also the Russian choir, when compared with choruses of other peoples. This, the writer is convinced...
Journal Article
Black Sacred Music (1991) 5 (2): 91–101.
Published: 01 September 1991
... by ancient and modem composers, particularly those of the Russian School, created equal enthusiasm. The singing by such a group was new to these audiences and I cannot help feeling that we really did make a serious contribution to the fame of American musical art by this unusual trip. Bom of Simplicity...
Journal Article
Black Sacred Music (1994) 8 (1): 13–35.
Published: 01 March 1994
..., but will embrace the realm of redemption also, the restoration of the broken image. He illustrates his proposals by demonstrating such a unitive and integrative function of icons in the Russian Orthodox church and in the unification of spiritual and artistic disciplines characterizing Zen Buddhism. Like Burch...
Journal Article
Black Sacred Music (1994) 8 (1): 178–201.
Published: 01 March 1994
.... Drawing perhaps on some misty notion of ancient Russian rites, a mythic pagan ceremony is portrayed which celebrates the elan vital, spontaneous emotional life. And as Eksteins continues: "Art, in this outlook, is a life force; it has the invigorating power of religion; it acts through the individual...