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Relevant bibliographies by topics / Interview With Libby Larsen

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Academic literature on the topic 'Interview With Libby Larsen'

Author: Grafiati

Published: 4 June 2021

Last updated: 18 February 2022

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Journal articles on the topic "Interview With Libby Larsen"

1

Haargaard, Birgitte. "Interview with Michael Larsen." Acta Ophthalmologica 86, no. 8 (2008): 929. http://dx.doi.org/10.1111/j.1755-3768.2008.01363.x.

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2

Rausch, Robin. "Libby Larsen: Composing an American Life by Denise Von Glahn." Notes 75, no. 4 (2019): 665–67. http://dx.doi.org/10.1353/not.2019.0041.

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Epstein, Nomi. "Libby Larsen: Composing an American Life by Denise Von Glahn." Women and Music: A Journal of Gender and Culture 23, no. 1 (2019): 217–21. http://dx.doi.org/10.1353/wam.2019.0014.

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Von Glahn, Denise. "Music, Place, and the Everyday Sacred: Libby Larsen and Lessons in Environmental Awareness." Contemporary Music Review 35, no. 3 (2016): 296–317. http://dx.doi.org/10.1080/07494467.2016.1239386.

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Von Glahn, Denise Ruth. "Sounds Real and Imagined:." European Journal of Musicology 18, no. 1 (2020): 99–110. http://dx.doi.org/10.5450/ejm.18.1.2019.99.

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In a career spanning more than four decades, American composer Libby Larsen has turned to the natural world for inspiration on dozens of occasions: her piece Up Where the Air Gets Thin is just one of the results. Unlike many of her nature-based works which provide primarily aesthetic responses to the sights, sounds, feel, and smells of the natural environment, this 1985 duet for contrabass and cello comments on the limits of non-verbal communication and the impact of climate change. It is simultaneously reflective and didactic. “Sounds Real and Imagined” considers the ways Larsen marshals minimal musical materials and a sonic vocabulary that she associates with stillness and cold, in combination with her commitment to environmental awareness and advocacy. It situates the historic 1953 ascent of Mt. Everest by Sir Edmund Hillary and Tensing Norgay within the context of late-twentieth-century artistic responses and an early twenty-first century musicologist-listener’s consciousness.

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6

Schwartz, Elliott, Donald Crockett, Stephen Hartke, Rand Steiger, and Libby Larsen. "Fur Wolfgang Amadeus von Donald Crockett, Stephen Hartke, Libby Larsen, Rand Steiger, Los Angeles Chamber Orchestra." American Music 17, no. 1 (1999): 117. http://dx.doi.org/10.2307/3052376.

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7

Murph, Megan. "Libby Larsen: Composing an American Life. By Denise Von Glahn. Urbana: University of Illinois Press, 2017." Journal of the Society for American Music 14, no. 2 (2020): 236–38. http://dx.doi.org/10.1017/s1752196320000097.

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8

Strand and Larsen. "A Socratic Dialogue with Libby Larsen on Music, Musical Experience in American Culture, and Music Education." Philosophy of Music Education Review 19, no. 1 (2011): 52. http://dx.doi.org/10.2979/philmusieducrevi.19.1.52.

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9

Murph, Megan. "Libby Larsen: Composing an American Life. By Denise Von Glahn. Urbana: University of Illinois Press, 2017.—CORRIGENDUM." Journal of the Society for American Music 14, no. 4 (2020): 527. http://dx.doi.org/10.1017/s1752196320000413.

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10

Yerxa, Donald A., and Timothy Larsen. "The Bible and the Victorians: An Interview with Timothy Larsen." Historically Speaking 12, no. 4 (2011): 7–9. http://dx.doi.org/10.1353/hsp.2011.0054.

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Dissertations / Theses on the topic "Interview With Libby Larsen"

1

Williams, Laura M. "Libby Larsen's Seven Ghosts: A Stylistic and Gestural Analysis." University of Akron / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=akron1335442135.

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2

Domenica, Mary Alice. "The Elements of American Vernacular in Three Selected Chamber Works of Libby Larsen: Holy Roller; Barn Dances; and Trio for Piano and Strings." Scholarly Repository, 2010. http://scholarlyrepository.miami.edu/oa_dissertations/380.

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The focus of this essay is a discussion of Libby Larsen's relationship with American vernacular musical expression in her piano chamber music works. This essay examines three works that are representative of the wide range of influences in her piano chamber music: Holy Roller for Alto Saxophone and Piano; Barn Dances for Flute, Clarinet, and Piano; and Trio for Piano and Strings for Violin, Cello, and Piano. They are inspired, respectively, by three different genres of American music: gospel, Western square dance, and jazz. In so doing, this essay discusses Larsen's use of musical quotations, idiomatic harmonic elements, and patterns of rhythm and melody drawn from these varied aspects of American culture. It is essential for musicians to understand how to play varying genres, and this essay offers suggestions on how to play the three different genres of gospel, Western square dance, and jazz within the context of Larsen's music. This essay will hopefully bring these works, and Larsen's larger body of works, to the greater attention of the musical community and introduce them to a wider audience.

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3

Cook, Alicia. "The Evolving Style of Libby Larsen." Digital Commons @ Butler University, 1996. http://digitalcommons.butler.edu/grtheses/8/.

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4

Buys, Brenda Willer, and Brenda Willer Buys. "The Bassoon Music of Libby Larsen." Diss., The University of Arizona, 2017. http://hdl.handle.net/10150/625881.

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Libby Larsen has written three pieces for the bassoon as a featured solo instrument. These pieces are Jazz Variations for Solo Bassoon (1977), Concert Piece for Bassoon and Piano (2008) and full moon in the city (2013). This document examines the origin, style, and form of these works to provide performers further information. Highlighted is Larsen's use of American vernacular elements in the pieces. American vernacular in this document refers to the use of influences derived from American culture, music, and language.

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5

Moorhouse, Linda R. "A study of the wind band writing of two contemporary composers : Libby Larsen and Frank Ticheli /." Thesis, Connect to this title online; UW restricted, 2006. http://hdl.handle.net/1773/11278.

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6

Thompson, Joshua Ketring. "Libby Larsen's Concerto for Trumpet and Orchestra: an overview and reduction of the orchestral score for trumpet and piano." Diss., University of Iowa, 2011. https://ir.uiowa.edu/etd/1093.

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Libby Larsen's Concerto for Trumpet and Orchestra was commissioned by Daniel Culver and the Quad City Youth Orchestra, in celebration of its 30th anniversary. It was written in 1987 and premiered on May 8, 1988. Daniel Culver conducted the Quad City Youth Orchestra and David Greenhoe was the trumpet soloist. Despite Libby Larsen's ongoing success as a composer, the premiere performance is the only time the concerto has been performed and it has since remained virtually-unknown to the public. This project serves as a way in which to reintroduce Libby Larsen's Trumpet Concerto to the trumpet, orchestral and academic communities by way of providing an historical account of the commission project; showing insight into the composer's inspiration for the work; and providing a reduction of the orchestral score for trumpet and piano.

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7

HOLLAND, ANYA B. "BLURRING BOUNDARIES: ISSUES OF GENDER, MADNESS, AND IDENTITY IN LIBBY LARSEN'S OPERA 'MRS. DALLOWAY'." University of Cincinnati / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1122913675.

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8

Tingle, Morgan G. "“The Last Words of a King’s Wife”: an exploration of the characters of the wives of King Henry VIII of England through the Art song of Libby Larsen." Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/honors/354.

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The intention of this thesis is to describe the process of putting together a performance of a lecture recital on the song cycle Try Me, Good King: Last words of the wives of Henry VIII by modern composer Libby Larsen, and to conduct an in depth exploration of the characters of the first five wives of King Henry VIII of England. Each wife’s character will be investigated in relation to their roles in this song cycle which draws its’ text from the final words of these five women. Each wife’s character will be investigated from three perspectives, that of history, that of Libby Larsen, my own perspective (Morgan Tingle). The ultimate result will be a solid developed character for each wife that is the culmination of my studies portrayed by myself, soprano Morgan Tingle, in the final lecture recital.

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Luczak, Jessica. "A survey of tragic love in vocal repertoire for the lyric soprano." Kansas State University, 2013. http://hdl.handle.net/2097/15676.

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Master of Music<br>Department of Music<br>Patricia Thompson<br>This report contains biographical, historical, and analytical commentary on the following composers and their pieces for soprano voice: Henry Purcell and The Blessed Virgin's Expostulation; Franz Schubert and Gesänge aus Wilhelm Meister, Op. 62, D. 877; Jacques Offenbach and Les oiseaux dans la charmille, from Les Contes d'Hoffmann; Libby Larsen and Try Me, Good King: Last Words of the Wives of Henry VIII; Charles Gounod and Ah! Je veux vivre, from Roméo et Juliette. These selections, unified by the theme of tragedy in various forms of love, were presented in a graduate recital in partial fulfillment of the requirements for the Master of Music in Vocal Performance and Pedagogy degree.

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Scangas, Alexis. "Forget the Familiar: The Feminist Voice in Contemporary Dramatic Song." Bowling Green State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1522672693855537.

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Books on the topic "Interview With Libby Larsen"

1

Glahn, Denise Von. Libby Larsen: Composing an American Life. University of Illinois Press, 2017.

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2

Robin, Libby, Chris Dickman, and Mandy Martin, eds. Desert Channels. CSIRO Publishing, 2010. http://dx.doi.org/10.1071/9780643097506.

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Desert Channels is a book that combines art, science and history to explore the ‘impulse to conserve’ in the distinctive Desert Channels country of south-western Queensland. The region is the source of Australia’s major inland-flowing desert rivers. Some of Australia’s most interesting new conservation initiatives are in this region, including partnerships between private landholders, non-government conservation organisations that buy and manage land (including Bush Heritage Australia and the Australian Wildlife Conservancy) and community-based natural resource management groups such as Desert Channels Queensland. Conservation biology in this place has a distinguished scientific history, and includes two decades of ecological work by scientific editor Chris Dickman. Chris is one of Australia’s leading terrestrial ecologists and mammalogists. He is an outstanding writer and is passionate about communicating the scientific basis for concern about biodiversity in this region to the broadest possible audience. Libby Robin, historian and award-winning writer, has co-ordinated the writings of the 46 contributors whose voices collectively portray the Desert Channels in all its facets. The emphasis of the book is on partnerships that conserve landscapes and communities together. Short textboxes add local and technical commentary where relevant. Art and science combine with history and local knowledge to richly inform the writing and visual understanding of the country. Conservation here is portrayed in four dimensions: place, landscape, biodiversity and livelihood. These four parts each carry four chapters. The ‘4x4’ structure was conceived by acclaimed artist, Mandy Martin, who has produced suites of artworks over three seasons in this format with commentaries, which make the interludes between parts. Martin’s work offers an aesthetic framework of place, which shapes how we see the region. Desert Channels explores the impulse to protect the varied biodiversity of the region, and its Aboriginal, pastoral and prehistoric heritage, including some of Australia’s most important dinosaur sites. The work of Alice Duncan-Kemp, the region’s most significant literary figure, is highlighted. Even the sounds of the landscape are not forgotten: the book's webpage has an audio interview by Alaskan radio journalist Richard Nelson talking to ecologist Steve Morton at Ocean Bore in the Simpson Desert country. The twitter of zebra finches accompanies the interview. Conservation can be accomplished in various ways and Desert Channels combines many distinguished voices. The impulse to conserve is shared by local landholders, conservation enthusiasts (from the community and from national and international organisations), Indigenous owners, professional biologists, artists and historians.

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Book chapters on the topic "Interview With Libby Larsen"

1

"LIBBY LARSEN (B. 1950)." In The Courage of Composers and the Tyranny of Taste. Boydell & Brewer, 2017. http://dx.doi.org/10.2307/j.ctvc16nd6.23.

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2

Ravenscroft, Brenda. "Libby Larsen, Chanting to Paradise (1997)." In Analytical Essays on Music by Women Composers: Concert Music from 1960-2000. Oxford University Press, 2016. http://dx.doi.org/10.1093/acprof:oso/9780190236861.003.0008.

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3

Manning, Jane. "LIBBY LARSEN (b. 1950)Songs From Letters: Calamity Jane to Her Daughter Janey, 1880–1902 (1989)." In Vocal Repertoire for the Twenty-First Century, Volume 1. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780199391028.003.0045.

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This chapter studies Libby Larsen’s work. It shows that her forthright, accessible style is flexible enough to allow for a sensitive response to words, and a close identification with the subject matter. Her wide musical tastes are reflected clearly here and she is notably responsive to the inherent rhythms of American pronunciation. Moreover, this chapter shows how ‘Jane’ in Larsen’s songs was caricatured and sentimentalized in popular culture, and how historical facts were distorted. The composer’s programme note informs us that ‘Martha Jane Canary Hickock’ (her real name) wrote these letters to her daughter Janey during the time when the child had been sent to live in a ‘normal’ environment. ‘Calamity’ raised the money to support her by taking on often humiliating and dangerous work in the brutal, uncompromising Wild West.

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