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Journal articles on the topic 'Cowell, Henry'

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Published: 4 June 2021

Last updated: 9 February 2022

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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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

SPILKER, JOHN D. "The Origins of “Dissonant Counterpoint”: Henry Cowell's Unpublished Notebook." Journal of the Society for American Music 5, no. 4 (2011): 481–533. http://dx.doi.org/10.1017/s1752196311000290.

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AbstractHoused in the Henry Cowell Papers at the New York Public Library for the Performing Arts is Cowell's unpublished notebook that comprises written instructions for using “dissonant counterpoint” along with forty-three exercises. Beyond providing information about the technique during its early development (1914–17), the archival source documents Cowell's active involvement in devising a compositional practice that has heretofore been exclusively attributed to Charles Seeger. The notebook also provides evidence of Cowell's work habits and values that challenge current scholarly depictions

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12

Brooks, William, and William Lichtenwanger. "The Music of Henry Cowell: A Descriptive Catalog." Notes 45, no. 4 (1989): 751. http://dx.doi.org/10.2307/941222.

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13

Feisst, Sabine. "Henry Cowell und Arnold Schonberg - eine unbekannte Freundschaft." Archiv für Musikwissenschaft 55, no. 1 (1998): 57. http://dx.doi.org/10.2307/930957.

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14

Miller, Leta E. "Henry Cowell and Modern Dance: the Genesis of Elastic Form." American Music 20, no. 1 (2002): 1. http://dx.doi.org/10.2307/3052241.

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15

Robinson, S. "Percy Grainger and Henry Cowell: Concurrences Between Two "Hyper-Moderns"." Musical Quarterly 94, no. 3 (2011): 278–324. http://dx.doi.org/10.1093/musqtl/gdr007.

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16

Quinn, Iain. "Henry Cowell: A Man Made of Music by Joel Sachs." Notes 70, no. 1 (2013): 135–37. http://dx.doi.org/10.1353/not.2013.0102.

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17

Silva, Ricardo. "Sobreposição de unidades temporais: Os novos recursos musicais de Henry Cowell." Percepta - Revista de Cognição Musical 6, no. 1 (2018): 47–66. http://dx.doi.org/10.34018/2318-891x.6(1)47-66.

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18

Sheppard, W. Anthony. "Continuity in Composing the American Cross-Cultural: Eichheim, Cowell, and Japan." Journal of the American Musicological Society 61, no. 3 (2008): 465–540. http://dx.doi.org/10.1525/jm.2008.61.3.465.

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Abstract Japanese music has repeatedly served as an exotic model for those American composers seeking “ultra-modern” status. Henry Eichheim's and Henry Cowell's engagements with Japan offer rich case studies for reconsidering our common critical approaches to cross-cultural works, prompting us to question the temporal, geographic, generic, and high/low boundaries typically employed in modernist taxonomy. I find that attempts to employ categorically such terms as “appropriation” and “influence” and “modernist” and “post-modernist” in evaluating cross-cultural compositions limits our experience

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19

Lee, Young-hee. "An Evolution of New Piano Technique: Henry Cowell, John Cage George Crumb." Yonsei Music Research 2 (May 30, 1992): 183–201. http://dx.doi.org/10.16940/ymr.1992.2.183.

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20

Boziwick, George. "Henry Cowell at the New York Public Library: A Whole World of Music." Notes 57, no. 1 (2000): 46–58. http://dx.doi.org/10.1353/not.2000.0009.

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21

Johnson, Bret. "Henry Cowell: ‘A Man Made of Music’ by Joel Sachs. Oxford University Press, $45.00." Tempo 67, no. 266 (2013): 94–95. http://dx.doi.org/10.1017/s0040298213001058.

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22

Bick, Sally. "In the Tradition of Dissent." Journal of the American Musicological Society 66, no. 1 (2013): 129–90. http://dx.doi.org/10.1525/jams.2013.66.1.129.

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Abstract As an institution of higher learning, the New School for Social Research was widely regarded as unorthodox. From its inception in 1919, its guiding principle was freedom: freedom of opinion, of teaching, of research, of publication. Initially focusing on the social sciences, by 1927 it introduced music as a significant part of that program. The School's social science perspective, its educational unorthodoxies, and its liberal philosophical ideals set a distinctive tone, nurturing an unfettered and accepting haven for a progressive community of musical personalities. Most prominent am

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23

Nketia, Kwabena. "Entrevista a Ricardo Tacuchian." Revista Música 2, no. 2 (1991): 141. http://dx.doi.org/10.11606/rm.v2i2.55031.

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O prof. Kwabena Nketia, após seus estudos fundamentais em Gana, transferiu-se, em 1944, para Londres, onde estudou Lingüística e Música Ocidental (isto é, teoria, musicologia e piano). Em 1949 retomou para sua terra natal onde assumiu uma posição de pesquisador de Música Africana, na Universidade de Gana, durante dez anos. Em 1958 recebeu uma bolsa da Rockfeller Foundation e foi estudar na Julliard School of Music, tendo entre outros professores, o compositor Henry Cowell. Em 1968, Nketia assumiu uma posição na UCLA. Em 1982, transfere-se de Los Angeles para a University of Pittsburgh onde tra

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24

NEFF, SEVERINE. "An Unlikely Synergy: Lou Harrison and Arnold Schoenberg." Journal of the Society for American Music 3, no. 2 (2009): 155–93. http://dx.doi.org/10.1017/s1752196309090129.

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AbstractThis essay addresses the unlikely but profound synergy between Arnold Schoenberg and Lou Harrison. Despite their personal rapport and mutual interests in visual art, they held antithetical beliefs about the nature of musical composition. Schoenberg maintained that a composition was the presentation of a metaphysical “Idea.” Harrison saw composition as the process of systematically gathering and assembling resources and techniques.After studying with Henry Cowell and Schoenberg, Harrison displayed a fascination with musical resources that led him to compose twelve-tone works using dispa

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25

Rao, Nancy Yunhwa. "Henry Cowell: A Man Made of Music. By Joel Sachs. New York: Oxford University Press, 2012." Journal of the Society for American Music 9, no. 3 (2015): 363–66. http://dx.doi.org/10.1017/s1752196315000255.

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26

Rao, N. "American compositional theory in the 1930s: scale and exoticism in ''The Nature of Melody'' by Henry Cowell." Musical Quarterly 85, no. 4 (2001): 595–640. http://dx.doi.org/10.1093/mq/85.4.595.

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27

CLINE, DAVID. "Straightening the Record: Morton Feldman's Return to Graph Music." Twentieth-Century Music 10, no. 1 (2013): 59–90. http://dx.doi.org/10.1017/s1478572212000412.

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AbstractMorton Feldman composed his first works on graph paper in 1950–53, but he subsequently abandoned graph music, before taking it up again in 1958 at a time of rapidly increasing interest in musical indeterminacy and graphic notations in the United States and Europe. Feldman's return to graph music was a turning point in his career that would affect his subsequent output for almost a decade, but his principal surviving account of this change in his musical direction, which appeared in liner notes for an LP record, is misleading. This article presents a revised account that highlights a pr

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28

Head, Raymond. "Holst and India (II)." Tempo, no. 160 (March 1986): 27–37. http://dx.doi.org/10.1017/s0040298200023032.

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In an effort to discover a more personal style, free of Wagnerian overtones and more truly representative of English culture, Hoist took the curious step of studying the Rig Veda in considerable depth. The year was 1907, a time when others too were searching for different ideas. In America the young Henry Cowell, disillusioned with romantic harmonies, sought (about 1908) new rhythmic and melodic possibilities in Oriental music and studied it under Oriental teachers. The year 1908 was important for Schoenberg, then—with the support of his close friends—on the point of bursting the chromatic dam

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29

Saavedra, Leonora. "Carlos Chávez’s Polysemic Style:." Journal of the American Musicological Society 68, no. 1 (2015): 99–150. http://dx.doi.org/10.1525/jams.2015.68.1.99.

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The critical discourse on Carlos Chávez’s music is full of contradictions regarding the presence within it of signifiers of the Mexican, the pre-Columbian, and the indigenous. Between 1918 and 1928 Chávez in fact developed, from stylistic preferences that appeared early in his compositions, a polysemic language that he could use equally well to address the very modern or the primitive, the pre-Columbian or the contemporary mestizo, in and only in those works in which he chose to do so. Chávez’s referents emerged in dialogue with the cultural and political contexts in which he worked, those of

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30

Boelts, Hannah P., Yadira Ibarra, and Clive Hayzelden. "The influence of benthic diatoms on the textures of carbonate-coated grains from a fluvial tufa spring in northern California." Journal of Sedimentary Research 90, no. 11 (2020): 1601–13. http://dx.doi.org/10.2110/jsr.2020.74.

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ABSTRACT Diatoms are common in terrestrial freshwater carbonate environments, but their influence on the resulting carbonate texture and porosity remains unquantified. This study investigates the effect of diatoms on the textural variability and syndepositional porosity of spring-associated carbonate coated grains from a freshwater spring in Henry Cowell State Park, northern California, USA. Carbonate coated grains (n = 60) were collected from the distal-most pool of the spring (∼ 300 m from the spring source) and the porosity of the 1 cm diameter fraction (n = 20) was determined using the Ima

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31

Wright, David, Manhattan Chamber Orchestra, and Richard Aulden Clark. "Henry Cowell: Persian set; Hymn and Fuguing Tune for String Orchestra; American Melting Pot; Air for Violin and Strings; Old American Countruy Set; Adagio for String Orchestra." Musical Times 135, no. 1811 (1994): 46. http://dx.doi.org/10.2307/1002846.

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32

Nicholls, David. "Henry Cowell's United Quartet." American Music 13, no. 2 (1995): 195. http://dx.doi.org/10.2307/3052254.

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33

MARIA CIZMIC. "Embodied Experimentalism and Henry Cowell's The Banshee." American Music 28, no. 4 (2010): 436. http://dx.doi.org/10.5406/americanmusic.28.4.0436.

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34

Maloney, P. E., D. M. Rizzo, S. T. Koike, T. Y. Harnik, and M. Garbelotto. "First Report of Phytophthora ramorum on Coast Redwood in California." Plant Disease 86, no. 11 (2002): 1274. http://dx.doi.org/10.1094/pdis.2002.86.11.1274a.

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Phytophthora ramorum S. Werres & A.W.A.M. de Cock was isolated from discolored leaves and cankers on small branches (<0.5 cm in diameter) on 27 coast redwood (Sequoia sempervirens) saplings (2 to17 cm in diameter) at two locations in California (Jack London State Park, Sonoma County and Henry Cowell State Park, Santa Cruz County). Symptoms were observed on branches throughout the crowns of affected trees. Isolates were identified as P. ramorum by their abundant chlamydospores and caducous, semi-papillate sporangia (2) and internal transcribed spacer (ITS) rDNA sequences identical to tho

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35

Hawkins, John. "A Charge to the Grand Jury of the County of Middlesex. delivered at the General Quarter Session of the Peace, holden at Hick's Hall in the said County, on Monday the Eighth Day of January 1770." Camden Fourth Series 43 (July 1992): 421–30. http://dx.doi.org/10.1017/s0068690500001768.

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At the General Quarter Session of the Peace holden at HICK's HALL, in Saint-John-Street, in and for the County aforesaid, on Monday the Eighth Day of January 1770, before Bartholomew Hammond, Saunders Welch, John Spencer Colepeper, Elisha Biscoe, Edward Jennings, Henry Lamb, William Timbrell, Joseph Keeling, Esqrs. Sir Robert Darling, Knt. Nathan Carrington, Stephen Cole, John Barnfather, Charles Dod, Jeremiah Bentham, Peter Lewis Perrin, Rupert Clarke, Joseph Newsom, George Mercer, John Cox, Benjamin Cowley, David Wilmot, Burford Camper, and Thomas Edmonds, Esqrs.

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36

Loscocco, Paula. "Royalist Reclamation of Psalmic Song in 1650s England." Renaissance Quarterly 64, no. 2 (2011): 500–543. http://dx.doi.org/10.1086/661798.

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AbstractThis article brings into focus the royalist experience of political defeat and cultural recovery in mid-seventeenth-century England. It shows how royalist writers developed a polemically charged psalmic poetics that allowed them to appropriate the discursive authority of their Puritan enemies, reestablish their own cultural standing, and prepare the way for religious and political return. Several writers who found common cause in 1650s royalist poetics appear in these pages, including Izaak Walton, Thomas Stanley, Jeremy Taylor, Henry King, and the author(s) of the 1649 Eikon Basilike.

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37

Baskin, Jerry M. "Henry Chandler Cowles: Pioneer Ecologist Victor M. Cassidy . Henry Chandler Cowles: Pioneer Ecologist. Kedzic Sigel Press. Chicago, IL. 354 paper. 2007. ISBN: 1-934087-20-3." Natural Areas Journal 28, no. 3 (2008): 320–21. http://dx.doi.org/10.3375/0885-8608(2008)28[320:hccpe]2.0.co;2.

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38

Ian Doyle, Anthony. "Gallican and Anglican: Henry Holden and John Cosin." Recusant History 30, no. 1 (2010): 67–70. http://dx.doi.org/10.1017/s0034193200012644.

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The late lamented Antony F. Allison published in Recusant History, May 1995, a characteristically richly researched article, ‘An English Gallican: Henry Holden, (1596/7–1662), Part I (to 1648)’, but alas did not live to produce the sequel which he planned, a draft of which does not seem to have survived. Shortly after the appearance of the article I wrote to congratulate him on the recent publication of the second (multilingual) edition of what is now commonly called A&R2, and to tell him that the Articles proposed to the Catholics of England, signed T. H., Paris, 2 April 1648, of which th

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39

Kohler, Robert E. "Plants and Pigeonholes: Classification as a Practice in American Ecology." Historical Studies in the Natural Sciences 38, no. 1 (2008): 77–108. http://dx.doi.org/10.1525/hsns.2008.38.1.77.

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Between the 1890s and the 1930s field ecologists in the United States (and elsewhere) looked to classification to make their fledgling science an exacting and respectable one. Taking plant taxonomy as their model, ecologists expected that more comprehensive empirical knowledge of vegetation types would produce robust systems of classifications, as it did with species taxonomy. In the event, however, scaled-up data-gathering in the field led ecologists to conclude that vegetation types were not natural units, as species are. Most ecologists then abandoned classification for agendas borrowed fro

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Scribailo, Robin. "Henry Chandler Cowles: Pioneer Ecologist Victor M. Cassidy . Henry Chandler Cowles: Pioneer Ecologist. 354 pp. Sigel Press. Medina, Ohio. USD $18.50. ISBN: 978-1-934087-20-6. Paperback." Journal of the Torrey Botanical Society 136, no. 2 (2009): 286–87. http://dx.doi.org/10.3159/09-br-022.1.

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41

LOUÇÃ, FRANCISCO. "Determinismo e livre arbítrio nas ciências sociais: contributos matemáticos." Brazilian Journal of Political Economy 21, no. 2 (2001): 342–64. http://dx.doi.org/10.1590/0101-31572001-1157.

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RESUMO O artigo examina algumas das críticas poderosas desenvolvidas contra o paradigma do equilíbrio geral, em particular aquelas que foram apresentadas do ponto de vista de novas ideias da matemática e da física. Maxwell, Duhem, Poincaré, Hurst e Mandelbrot, como muitos outros, contrastaram o universo da simplicidade - a base do teorema do limite central e a maior parte da inferência estatística tradicional - com o universo da complexidade organizada, argumentando que a auto-poiese e a coordenação são realmente características gerais de nossos sistemas físicos ou sociais. O impacto dessas di

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42

Spilker. "The Curious Afterlife of Dissonant Counterpoint: Jeanette B. Holland's Class Notes from Henry Cowell's 1951 Advanced Music Theory Course." American Music 30, no. 4 (2012): 405. http://dx.doi.org/10.5406/americanmusic.30.4.0405.

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43

Ganz, Melissa J. "Carrying On Like a Madman." Nineteenth-Century Literature 70, no. 3 (2015): 363–97. http://dx.doi.org/10.1525/ncl.2015.70.3.363.

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Melissa J. Ganz, “Carrying On Like a Madman: Insanity and Responsibility in Strange Case of Dr. Jekyll and Mr. Hyde” (pp. 363–397) This essay reads Robert Louis Stevenson’s Strange Case of Dr. Jekyll and Mr. Hyde (1886) alongside medico-legal debates about the nature and scope of insanity, arguing that the novel seeks to shore up the idea of individual responsibility in Victorian society. The cognitive test of insanity that emerged from the M’Naghten case of 1843 deemed a person legally irresponsible for his acts if, due to a defect of reason resulting from mental disease, he was unable to per

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44

Rankin, Andrew, and Edwina Naik. "861 Development of FPA157, an anti-CCR8 depleting antibody engineered to preferentially eliminate tumor-infiltrating T regulatory cells." Journal for ImmunoTherapy of Cancer 8, Suppl 3 (2020): A914. http://dx.doi.org/10.1136/jitc-2020-sitc2020.0861.

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BackgroundThe clinical success of PD-1- and CTLA-4- immune checkpoint inhibitors highlights the key contribution of immunosuppression to limiting effective anti-tumor responses. However, as many patients do not respond to anti-PD1 or CTLA4 therapy1-3 novel therapeutics that target additional immune-suppressive mechanisms are needed. Regulatory T cells (Tregs) inhibit immune responses in the tumor microenvironment via multiple suppressive mechanisms.4 5 Existing Treg-targeting agents lack specificity for intratumoral Tregs and can also deplete effector cells, a property that has likely contribu

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45

Little, Christopher. "Overtures from the British Isles - Frederic Austin The Sea Venturers Charles Villiers Stanford Prelude to Oedipus tyrannus op. 29 Samuel Coleridge-Taylor Overture to The Song of the Hiawatha op. 30, no. 3 Frederic Hymen Cowen The Butterfly’s Ball Granville Bantock The Frogs Alexander Campbell Mackenzie Overture to The Little Minister Arthur Sullivan Overture to Macbeth Henry Balfour Gardiner Overture to a Comedy - BBC National Orchestra of Wales, Rumon Gamba cond Chandos 10797, 2014 (1 CD, 78 minutes), $13." Nineteenth-Century Music Review 15, no. 1 (2017): 132–35. http://dx.doi.org/10.1017/s1479409817000477.

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46

"Henry Cowell, bohemian." Choice Reviews Online 40, no. 06 (2003): 40–3311. http://dx.doi.org/10.5860/choice.40-3311.

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47

"Henry R. Cowell, MD, PhD1933-2017." Journal of Bone and Joint Surgery 99, no. 22 (2017): 1966. http://dx.doi.org/10.2106/jbjs.17.01198.

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48

"Henry Cowell: a man made of music." Choice Reviews Online 50, no. 09 (2013): 50–4909. http://dx.doi.org/10.5860/choice.50-4909.

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"A Tribute from The Board of Trustees to the Editor, Henry R. Cowell, M.D., Ph.D." Journal of Bone & Joint Surgery 81, no. 1 (1999): 1. http://dx.doi.org/10.2106/00004623-199901000-00001.

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50

Bugallo, Helena. "HarmonicandNon-HarmonicTemporal Structures in Nancarrow’s Study No. 47 for Player Piano." Music Theory Online 20, no. 1 (2014). http://dx.doi.org/10.30535/mto.20.1.3.

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This article presents a critical score and a rhythmic analysis of Conlon Nancarrow’s Study No. 47 for player piano. A work representative of the composer’s technical and aesthetic interests in his late productive years, Study No. 47 has been available only on recording until now. The score is based on both Nancarrow’s short-handed manuscript of the piece—the so-calledpunching score—and his original player-piano roll. Merging information from both sources, it introduces a new type of notation—combining both traditional and graphic aspects—especially developed for Nancarrow’s late output. The sc

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