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Relevant bibliographies by topics / Cowell, Henry

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Academic literature on the topic 'Cowell, Henry'

Author: Grafiati

Published: 4 June 2021

Last updated: 9 February 2022

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Journal articles on the topic "Cowell, Henry"

1

PAUL, DAVID C. "From American Ethnographer to Cold War Icon: Charles Ives through the Eyes of Henry and Sidney Cowell." Journal of the American Musicological Society 59, no. 2 (2006): 399–457. http://dx.doi.org/10.1525/jams.2006.59.2.399.

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Abstract Scholars have recognized that Henry Cowell was one of the most ardent promoters of Charles Ives, but the fact that Cowell's conception of Ives shifted over time has been overlooked. During the late twenties, Cowell portrayed Ives as a fundamentally social artist with the sensibilities of a musical ethnographer. By the fifties, in the writings Cowell coauthored with his wife Sidney, Ives came to be depicted as a paragon for the liberating power of individualism. Close scrutiny of Cowell's published writings, along with letters and manuscripts from the Henry Cowell Collection of the Mus

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Hicks, Michael. "The Imprisonment of Henry Cowell." Journal of the American Musicological Society 44, no. 1 (1991): 92–119. http://dx.doi.org/10.2307/831729.

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Thus far, published references to Henry Cowell's imprisonment consistently obscure the facts of his case and overlook virtually all of the essential primary sources, including court documents, correspondence, psychological evaluations, and even Cowell's own writings on the subject. Although Cowell acceded to a charge that he had engaged in homosexual activities with a minor, the charge was distorted by newspapers and both exaggerated and minimized by his friends. The extraordinary prison sentence Cowell received resulted largely from a misleading letter by a juvenile probation officer, written

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Yang, Mina, Michael Hicks, and Carol J. Oja. "Henry Cowell, Bohemian." American Music 21, no. 2 (2003): 246. http://dx.doi.org/10.2307/3250567.

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Carl, Robert (Robert E. ). "Henry Cowell, Bohemian (review)." Notes 60, no. 1 (2003): 176–78. http://dx.doi.org/10.1353/not.2003.0091.

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MILLER, LETA E. "Henry Cowell and John Cage: Intersections and Influences, 1933–1941." Journal of the American Musicological Society 59, no. 1 (2006): 47–112. http://dx.doi.org/10.1525/jams.2006.59.1.47.

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Abstract This article explores, through examination of correspondence and other primary sources, the close interaction between Henry Cowell and John Cage from 1933 to 1941 in the areas of percussion music, dance, world musics, the prepared piano, electronic sounds, micro-macrocosmic forms, sliding tones, and elastic composition. Several works are examined in detail, among them Cowell's Pulse (which anticipated Cage's micro-macrocosmic forms in the Constructions) and Cage's Imaginary Landscape No. 1 (whose electronic slides addressed Cowell's prediction that the “future of music” lay in the per

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Hicks, Michael. "The Imprisonment of Henry Cowell." Journal of the American Musicological Society 44, no. 1 (1991): 92–119. http://dx.doi.org/10.1525/jams.1991.44.1.03a00040.

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Nicholls, David. "Review: Essential Cowell: Selected Writings on Music by Henry Cowell." Music and Letters 84, no. 3 (2003): 516–17. http://dx.doi.org/10.1093/ml/84.3.516.

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Johnson, Steven. "Henry Cowell, John Varian, and Halcyon." American Music 11, no. 1 (1993): 1. http://dx.doi.org/10.2307/3052445.

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Schedel, Margaret. "Anticipating interactivity: Henry Cowell and the Rhythmicon." Organised Sound 7, no. 3 (2002): 247–54. http://dx.doi.org/10.1017/s1355771802003047.

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In the early 1930s, maverick composer Henry Cowell collaborated with inventor Leon Theremin to build an electronic instrument capable of producing intricate polyrhythms. This instrument, dubbed the Rhythmicon, can be considered a rudimentary example of an interactive music system. Cowell and Theremin created the machine to fulfil a compositional need, but it ultimately failed to become a successful musical instrument. The Rhythmicon was one of the first electronic music instruments to use technology to extend performers' musical capacities, anticipating the interactive computer music movement

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Sammarco, G. James. "Henry R. Cowell, MD, PhD (1933-2017)." Foot & Ankle International 39, no. 3 (2018): 388. http://dx.doi.org/10.1177/1071100718760850.

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Dissertations / Theses on the topic "Cowell, Henry"

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Schimpf, Peter John. "A transcultural student, teacher, and composer : Henry Cowell and the music of the world's peoples /." Abstract and electronic version Publication number: AAT 3248815 Electronic version, 2006. http://proquest.umi.com/pqdweb?did=1268603461&sid=1&Fmt=2&clientId=12010&RQT=309&VName=PQD.

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Rischitelli, Victor Emanuel, and res cand@acu edu au. "Henry Cowell (1897-1965) and the Impact of His First European Tour (1923)." Australian Catholic University. School of Arts and Sciences, 2005. http://dlibrary.acu.edu.au/digitaltheses/public/adt-acuvp130.17052007.

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In 1923, American composer and pianist, Henry Cowell (1897-1965) gave his first highly successful concert tour of Europe, playing his own unique compositions. This thesis details this tour and discusses its impact. Considering the enormous impact of Cowell’s tour, it has only been discussed briefly. Cowell performed in many European cities, especially in Vienna, Berlin, Paris and London, achieving positive reviews and some notoriety. I discuss how and why he created such an impact, not only during the tour but also immediately following it, in relation to musical life in Europe and the differe

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Lechner, Ethan Neff Severine. "Composers as ethnographers difference in the imaginations of Colin McPhee, Henry Cowell, and Lou Harrison /." Chapel Hill, N.C. : University of North Carolina at Chapel Hill, 2008. http://dc.lib.unc.edu/u?/etd,1842.

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Thesis (Ph. D.)--University of North Carolina at Chapel Hill, 2008.<br>Title from electronic title page (viewed Dec. 11, 2008). "... in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music." Discipline: Music; Department/School: Music.

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Wathen, Chessa Catherine. "Henry Cowell, The Great Experimenter: Uncovering the Catalysts that Generated a Composer’s Ultramodernist Piano Techniques." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/scripps_theses/859.

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In the scholarship surrounding piano repertoire, Henry Cowell is seen as a kind of “one-hit-experimental-wonder,” being know mostly for his astonishingly progressive piece The Banshee. However, Cowell was an enigmatic composer, a diverse scholar, an influential proponent new music, as well as a music theorist and comparative musicologist. Therefore in order to gain a more complete understanding of Cowell and his deeply influential piano works, this project seeks to explore the philosophical, cultural, and non- Western musical influences that inspired Cowell’s novel experimentation at the piano

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Brown, Jeremy Scott. "A selected annotated list of wind band works by Henry Cowell and a performance edition of his Hymn and Fuguing Tune No.1 for Symphonic Band." The Ohio State University, 1993. http://rave.ohiolink.edu/etdc/view?acc_num=osu1335455406.

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Stallings, Stephanie Noel Von Glahn Denise. ""New growth from new soil" Henry Cowell's application and advocacy of modern musical values /." Diss., 2004. http://etd.lib.fsu.edu/theses/available/etd-04142005-124248/.

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Thesis (M.M.) Florida State University, 2004.<br>Advisor: Denise Von Glahn, Florida State University, College of Music. Title and description from dissertation home page (viewed 7-13-07). Document formatted into pages; contains 70 pages. Includes biographical sketch. Includes bibliographical references.

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Teng, Yu-ling, and 鄧伃伶. "The New Techniques in Henry Cowell''s Piano Solo Music." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/81488755446952151557.

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碩士<br>國立中山大學<br>音樂學系研究所<br>98<br>Henry Cowell (1897-1965), American composer in 20th century, is the first who proposed the concept of tone clusters and placed many new techniques in his piano music. Innovative music theories and unique thoughts were displayed in his compositions and critiques. For developing both new visual and audio effects of piano music, Cowell played tone clusters with arms, palms, and fists, and also played strings inside piano to give new gesture and timbre of piano. This thesis is divided into three parts besides introduction and conclusion. The first part describes th

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Molano, Ruiz Andrés Felipe. "O pensamento futurista no repertório para piano solo de Leo Ornstein, Henry Cowell e George Antheil." Doctoral thesis, 2021. http://hdl.handle.net/10773/31991.

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El Futurismo fue un movimiento artístico que buscó romper con lo instituido, las condiciones y restricciones del pasado, particularmente establecidas por el Romanticismo. Al surgir a principios del siglo XX en Italia, rápidamente se extendió a otros países de Europa y del mundo, siendo un movimiento que intentó acabar con lo que diversos autores señalaron como la muerte del arte y de un academicismo dominante. Emergió entonces como una corriente artística con una evidente trascendencia y vigencia en su tiempo. Al analizar a sus participantes, puedo afirmar con firmeza que este movimiento tuvo

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"Performance Guide: Henry Cowell’s Three Irish Legends and Six Ings, and John Cage’s The Perilous Night." Doctoral diss., 2020. http://hdl.handle.net/2286/R.I.62720.

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abstract: This research will explore the compositional approaches of Henry Cowell and John Cage to reveal piano techniques for the practice and performance of selected works. The discussion will focus on Henry Cowell’s Three Irish Legends and Six Ings, as well as John Cage’s The Perilous Night. An important contribution of Cowell was to further the use of tone clusters, applied in his Three Irish Legends by playing directly with the forearm, fists, and palm. Cowell’s Six Ings employ rhythmic experimentation, particularly in the first, second, and sixth pieces. He also uses tone color to portra

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Yang, Yu-Sheng, and 楊聿聖. "Exploring Charles Seeger & Henry Cowell’s Compositional Theories, taking Cowell’s Quartet Romantic as an example." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/j754ca.

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碩士<br>國立臺北藝術大學<br>音樂學研究所碩士班<br>96<br>Charles Seeger, one of the leading musicologists in 20th century America, endeavored to compose music and to conceive his dissonant counterpoint from the 1910s through the mid-1930s. His two prominent students, Henry Cowell and Ruth Crawford, wrote many experimental compositions using dissonant counterpoint. What exactly are the details of dissonant counterpoint? Why did they intend to systematize their compositional methods and embody the system to compose? In the present thesis, two prominent theoretical books are summarized, the first one being Seeger’s

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Books on the topic "Cowell, Henry"

1

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

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

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

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Higgins. Henry Cowell. Music Sales Corp, 1998.

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

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1953-, Oja Carol J., Allen Ray, and Brooklyn College. Institute for Studies in American Music., eds. Henry Cowell's musical worlds: A program book for the Henry Cowell Centennial Festival. 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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Sachs, Joel. Henry Cowell: A Man Made of Music. Oxford University Press, 2015.

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Book chapters on the topic "Cowell, Henry"

1

Kurth, Ulrich. "Cowell, Henry Dixon." In Komponisten Lexikon. J.B. Metzler, 2003. http://dx.doi.org/10.1007/978-3-476-05274-2_69.

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Kurth, Ulrich. "Cowell, Henry Dixon." In Metzler Komponisten Lexikon. J.B. Metzler, 1992. http://dx.doi.org/10.1007/978-3-476-03421-2_71.

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Brown, Jeremy S. "Cowell on His Own: Sublime Wind Band Music." In The Wind Band Music of Henry Cowell, edited by Michael J. Budds. Routledge, 2018. http://dx.doi.org/10.4324/9781351239264-6.

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Brown, Jeremy S. "Introduction: Destined to Compose for Wind Band." In The Wind Band Music of Henry Cowell, edited by Michael J. Budds. Routledge, 2018. http://dx.doi.org/10.4324/9781351239264-1.

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Brown, Jeremy S. "“Simplification with Substance”: 1950-1965." In The Wind Band Music of Henry Cowell, edited by Michael J. Budds. Routledge, 2018. http://dx.doi.org/10.4324/9781351239264-10.

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Brown, Jeremy S. "Conclusions." In The Wind Band Music of Henry Cowell, edited by Michael J. Budds. Routledge, 2018. http://dx.doi.org/10.4324/9781351239264-11.

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Brown, Jeremy S. "The Genesis of the Early Band Works." In The Wind Band Music of Henry Cowell, edited by Michael J. Budds. Routledge, 2018. http://dx.doi.org/10.4324/9781351239264-2.

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Brown, Jeremy S. "Celtic Set for Band: The Countless California Confluences." In The Wind Band Music of Henry Cowell, edited by Michael J. Budds. Routledge, 2018. http://dx.doi.org/10.4324/9781351239264-3.

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Brown, Jeremy S. "The Celtic Set Letters from Cowell to Grainger, 1937–1940." In The Wind Band Music of Henry Cowell, edited by Michael J. Budds. Routledge, 2018. http://dx.doi.org/10.4324/9781351239264-4.

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Brown, Jeremy S. "Celtic Set—Composed by Cowell, Edited by Grainger, Rescored by Goldman." In The Wind Band Music of Henry Cowell, edited by Michael J. Budds. Routledge, 2018. http://dx.doi.org/10.4324/9781351239264-5.

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