Relevant bibliographies by topics / Symphony Hall (Boston, Mass.)

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
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Academic literature on the topic 'Symphony Hall (Boston, Mass.)'

Author: Grafiati
Published: 4 June 2021
Last updated: 24 February 2023

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Journal articles on the topic "Symphony Hall (Boston, Mass.)"

1

FRANKENBACH, CHANTAL. "Selling Orchestral Music in the Vaudeville Age: The Duncan-Damrosch Tours, 1908–1911." Journal of the Society for American Music 15, no. 1 (February 2021): 60–98. http://dx.doi.org/10.1017/s1752196320000474.

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AbstractBetween 1908 and 1911, New York Symphony Orchestra conductor Walter Damrosch engaged the modern dancer Isadora Duncan to perform with his orchestra in New York and on three tours of the Midwest. Posing considerable risk to his reputation as an elite conductor, this unusual alliance grew in part from his concert manager's wish to compete with the Salomé dance craze raging in vaudeville halls across the country. Damrosch's “pioneering spirit” allowed him a genuine appreciation of Duncan's expressive, transcendent dancing. Yet for his critics, the shockingly under-dressed dancer, just back from her conquest of Europe, represented yet another sensational Salomé eager to capitalize on the popular profanities of market-driven entertainment. Music critics and Protestant clergymen from St. Louis to Boston berated Damrosch for what they saw as an immoral capitulation to mass consumerism and a desecrating abuse of the sacred repertoire he guarded—a repertoire defined in part by its distance from dancing. This article draws on critiques in the daily press, Damrosch's personal papers, and scholarship in dance and religious studies to situate Damrosch's marketing experiment with Duncan in the wider context of Progressive-era devotional life, where similar concessions to mass entertainment arose in the urban revival movement of the Third Great Awakening. Damrosch's recourse to Duncan's “barefoot dancing”—oddly akin to the tactics of big tent revivalists espousing Muscular Christianity and epitomized by Billy Sunday's pulpit pantomimes—illuminates the collision of spiritual and economic concerns that shaped both musical and ecclesiastical arenas of the American “sacred.”
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Lister, Rodney. "Boston, Symphony Hall: Harbison's ‘Requiem’ and Carter's ‘Boston Concerto’." Tempo 57, no. 225 (July 2003): 38. http://dx.doi.org/10.1017/s004029820321024x.

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Any Bostonian who cared about newer music, particularly newer American music, had long been resigned to the unhappy knowledge that nothing of any particular interest was ever likely to be going on at Symphony Hall. It was a shock, therefore, when it became apparent this fall that there were quite a few things happening in the current season of the Boston Symphony which one would very much want to hear. This new and happy state of things can almost certainly be directly attributed to the Music Director Designate, James Levine. Levine's commitment to newer American music was made manifest by the one program that he conducted this season, which included, along with the Brahms First Symphony, Roger Sessions's Piano Concerto and John Harbison's Third Symphony. Works have been commissioned to celebrate Levine's first season as Music Director, 2004–2005, from Milton Babbitt, Yehudi Wyner, and Harbison, among others. This re-connexion of the orchestra to one of the proudest features of its history under Serge Koussevitzky is cause for celebration. This spring's concerts by the Boston Symphony have included two new works of more than passing interest.
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Lister, Rodney. "Boston: Saariaho's ‘Circle Map’." Tempo 67, no. 264 (April 2013): 74–75. http://dx.doi.org/10.1017/s0040298213000144.

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When the Royal Concertgebouw Orchestra wanted to commission Kaija Saariaho for a work to perform at the Westergasfabriek Gashoulder, a gasholder building restored as a performance space, it did so through a consortium including the Gothenburg Symphony Orchestra, the Orchestre National de France, the Royal Scottish National Orchestra, the Stavanger Symphony Orchestra, and the Boston Symphony. The Boston Symphony, conducted by Juanjo Mena, gave the first American performance of the work, entitled Circle Map, in Symphony Hall in November.
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Berens, Robert, Benjamin Markham, and Carl Rosenberg. "Maintaining the acoustics of Boston Symphony Hall." Journal of the Acoustical Society of America 117, no. 4 (April 2005): 2522. http://dx.doi.org/10.1121/1.4788372.

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Lister, Rodney. "Boston: Gunther Schuller's ‘Encounters’." Tempo 58, no. 228 (April 2004): 62–63. http://dx.doi.org/10.1017/s004029820425015x.

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Boston's Symphony Hall is celebrated as one of the finest concert halls in the world. It is generally less well known that Boston also has the smaller and equally fine Jordan Hall, located in the New England Conservatory. A fixture of Boston's musical life, Jordan Hall is also literally the heart of the Conservatory, being the venue not only of visiting celebrity solo and chamber music recitals, but of a multitude of the whole range of the Conservatory's student concert activity.
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Conant, David A. "Concert hall reputations versus reality over time, for better or worse?" Journal of the Acoustical Society of America 152, no. 4 (October 2022): A181. http://dx.doi.org/10.1121/10.0015963.

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The acoustical reputations of many concert halls provide a curious study of human nature as illuminating as their acoustical attributes. This paper reveals how the reputations of 7 prominent halls that opened between 1880 and 1973 have morphed and offers conjecture as to the reasons. Discussed briefly, are Troy Music Hall (1875), Carnegie Hall (1891), Boston Symphony Hall (1900), Philharmonic Hall (1962), and Phoenix Symphony Hall (1973) among others. Each has undergone renovations and met with varying public reaction.
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Stebbins, Richard Poate, and Cyril M. Harris. "The Making of Symphony Hall—Boston A History with Documents." Journal of the Acoustical Society of America 109, no. 5 (May 2001): 1764–65. http://dx.doi.org/10.1121/1.1367251.

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8

Holton, Gerald, and Richard Poate Stebbins. "The Making of Symphony Hall, Boston: A History with Documents." New England Quarterly 74, no. 4 (December 2001): 690. http://dx.doi.org/10.2307/3185453.

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9

Lister, Rodney. "Boston: Elliott Carter's ‘Micomicón’." Tempo 58, no. 229 (July 2004): 74–75. http://dx.doi.org/10.1017/s0040298204240244.

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Next season James Levine ceases to be Music Director Designate of the Boston Symphony, and becomes the orchestra's Music Director and Conductor. Due to previous commitments, Levine has conducted only one program in each of the three seasons since he was named to the post. Celebration of his ascendency to the directorship of the orchestra has already begun, though, with the commissioning of works from a number of composers, including Milton Babbitt, John Harbison, and Yehudi Wyner, for his first season, restoring one of the proudest traditions of the BSO – that of the music director's active and enthusiastic promotion of contemporary orchestral compositions. It is not insignificant that this first season of the directorship of this American orchestra by an American conductor features American composers at a time when classical concert music seems to be about the only area of American life resistant to overt jingoism. Levine's earliest plans for the season included performing Elliott Carter's Symphonia: Sum fluxae pretium spei, and, hoping to link the occasion and the BSO to the triptych, he commissioned from Carter a short introductory fantasy to that work, entitled Micomicón. This pendant received its première, preceding a performance of Partita, the first part of the Symphonia triptych, at Symphony Hall in January.
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Lister, Rodney. "Boston: Milton Babbitt's ‘Concerti for Orchestra’." Tempo 59, no. 233 (June 21, 2005): 55. http://dx.doi.org/10.1017/s0040298205250234.

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The difference that James Levine — finally installed and in control as Music Director — made almost instantly in the Boston Symphony is, to say the least, striking. The orchestra obviously loves working with him, and their contentment even spills over into the concerts when someone other than Levine is conducting; their playing these days is always uniformly wonderful, characterized not just by a concern for accuracy of detail and beauty of sound but also by a palpable pleasure in listening to each other and making music together. As well as changing the general atmosphere, Levine has altered the orientation of the BSO's programming drastically: the amount of 20th- and 21st-century music is greatly increased, but co-ordinated with older standard repertory works in interesting and appealing ways. Not only has the increased amount of newer music not hurt attendance, it seems to have increased interest — certainly among younger people and musicians, who are finding that there are things going on at Symphony Hall that they want to hear.
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Dissertations / Theses on the topic "Symphony Hall (Boston, Mass.)"

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Weiler, Emily A. "50 years after independence : preservation of places, spaces and memory." 2012. http://liblink.bsu.edu/uhtbin/catkey/1671231.

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This thesis will study three specific subjects in order to document changing viewpoints in American culture in relation to nationalism, patriotism, and memories from older generations. It will be studying a space- Bunker Hill, a place- Independence Hall and a person- Marquis Lafayette at approximately fifty years after the signing of the Declaration of Independence. Each subject will explore the ways the memory of the soldiers involved in the American Revolution have been preserved and remembered. It is the intent of this thesis to establish the importance of the passage of time especially when it comes to preserving historic artifacts and buildings and the way the changing associations have on how we preserve these artifacts.
The triumphal tour of Marquis Lafayette -- Independence Hall -- Bunker Hill Monument.
Department of Architecture
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Books on the topic "Symphony Hall (Boston, Mass.)"

1

Stebbins, Richard Poate. The making of Symphony Hall, Boston: A history with documents including correspondence of Henry Lee Higginson ... Charles Follen McKim ... Wallace Clement Sabine ... Boston, Mass: Boston Symphony Orchestra, 2000.

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2

Donovan, Charles F. St. Patrick in Gasson Hall. [Chestnut Hill, Mass: Boston College, 1995.

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3

Gasson's rotunda: Gallery of art, history, and religion. Chestnut Hill, Mass: Boston College, 1992.

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4

United States. Congress. House. Committee on Public Works and Transportation. Subcommittee on Public Buildings and Grounds. Fiscal year 1995 GSA capital improvement program: Hearing before the Subcommittee on Public Buildings and Grounds of the Committee on Public Works and Transportation, House of Representatives, One Hundred Third Congress, second session, on H.R. 4204, H.R. 3724, H.R. 3840, H.R. 3914, 11(b) resolution on U.S. courthouse in Bastrop, TX, and 11(b) resolution on federal space needs, city of Ames,IA, April 21, 1994. Washington: U.S. G.P.O., 1994.

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5

Symphony Hall: The first 100 years. [Boston]: Boston Symphony Orchestra, 2000.

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6

Charles Munch: Catalogue de l'exposition, Strasbourg, BNUS, du 23 nov. 1992 au 31 jan. 1993, Boston, Symphony Hall... Strasbourg: Bibliotheque nationale et universitaire, 1995.

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7

Geneviève, Honegger, and Bibliothèque nationale et universitaire de Strasbourg., eds. Charles Munch: Catalogue de l'exposition : Strasbourg, B.N.U.S. du 23 novembre 1992 au 31 janvier 1993 : Boston Symphony Hall, du 19 février au 31 mars 1993. Strasbourg: B.N.U.S., 1995.

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8

Rhoden, Fletcher. Freedom Hall: A Novel. CreateSpace Independent Publishing Platform, 2011.

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9

Company, Clarke and. Faneuil hall marketplace fact sheet. 1990.

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10

Company, Clarke and. Faneuil hall marketplace fact sheet. 1990.

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Book chapters on the topic "Symphony Hall (Boston, Mass.)"

1

Heyman, Barbara B. "Searches." In Samuel Barber, 384–408. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190863739.003.0014.

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In Rome, Barber attended a Gregorian Mass sung by Benedictine monks at St. Anselmo church and was inspired to write a grand-scaled religious work, Prayers of Kierkegaard, for orchestra, mixed chorus, a soprano solo written with Leontyne Price’s voice in mind, and incidental contralto and tenor solos. It was premiered by the Boston Symphony Orchestra under the baton of Charles Munch, with Price as soloist. Barber wrote about the music to his beloved mentor and uncle, Sidney Homer, who at the time was coming toward the end of his life. Homer’s guidance was unwavering, and he encouraged Barber to listen to his inner voice and follow his instincts. As a result, his Roman-inspired pieces were performed throughout Europe. In America, a commission from the Detroit Chamber Music Society led to Barber’s composing the woodwind quintet Summer Music, a collaboration with the New York Woodwind Quintet.
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You might also be interested in the extended bibliographies on the topic 'Symphony Hall (Boston, Mass.)' for particular source types:
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