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Relevant bibliographies by topics / Thomson, Virgil, Music

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Academic literature on the topic 'Thomson, Virgil, Music'

Author: Grafiati

Published: 4 June 2021

Last updated: 5 February 2022

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Journal articles on the topic "Thomson, Virgil, Music"

1

Giroud, Vincent. "VIRGIL THOMSON: MUSIC CHRONICLES." Yale Review 104, no. 1 (December 15, 2015): 143–50. http://dx.doi.org/10.1111/yrev.13054.

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Giroud, Vincent. "VIRGIL THOMSON: MUSIC CHRONICLES." Yale Review 104, no. 1 (2016): 143–50. http://dx.doi.org/10.1353/tyr.2016.0072.

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Yellin, Victor Fell, Virgil Thomson, and John Rockwell. "A Virgil Thomson Reader." American Music 5, no. 2 (1987): 208. http://dx.doi.org/10.2307/3052165.

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DICKINSON, PETER. "Stein Satie Cummings Thomson Berners Cage: Toward a Context for the Music of Virgil Thomson." Musical Quarterly LXXII, no. 3 (1986): 394–409. http://dx.doi.org/10.1093/mq/lxxii.3.394.

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Lister, Rodney. "ANOTHER COMPLETELY INTERESTING OPERA: ‘THE MOTHER OF US ALL’ PART I: HISTORY AND BACKGROUND." Tempo 64, no. 254 (October 2010): 2–10. http://dx.doi.org/10.1017/s0040298210000379.

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On 5 December 5 1941, two days before the Japanese attack on Pearl Harbor, Virgil Thomson wrote to Gertrude Stein, his friend and the cocreator of their opera Four Saints in Three Acts. The bulk of the letter concerned Thomson's most recent plan for publication of the opera, including details of dividing the royalties and expenses involved in the undertaking (a continual source of disagreement and haggling between them). At the end of the letter, referring to Stein's assurance at the end of her most recent letter to him that the European war would be over soon and that they would soon meet again in Paris, Thomson wrote, ‘… I miss you a great deal but do hope that you are right that we shall be seeing each other soon in Paris. I wouldn't know; I have no prophetic sense about wars … When the war is over we must write another opera. Only we must wait till then, because I don't think we could choose the subject very well by mail'. His next preserved letter to her was almost five years later. In that letter, dated 5 March 1946, Thomson wrote, ‘Carl [Van Vechten] says the opera is nearly finished. I hope so. I want to see it. I pine for it’.

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Lister, Rodney. "Virgil Thomson: a Portrait of his Music (as Glimpsed in Recent Recordings)." Tempo, no. 175 (December 1990): 18–22. http://dx.doi.org/10.1017/s0040298200012572.

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Virgil Thomson's music is foolishness to some, a stumbling block to others, but those of us who love it love it with all our hearts, through thick and thin (which often as not means through bad and unknowing performances). Those who don't love it, don't see that there's anything there at all. They just don't get it. The music can also seem cryptic to players, since although it has few notes, it is nonetheless not at all easy to play. On any number of occasions I have had people tell me that the music seems to them to be just harmony exercises. I have never been able to explain it to them. If they don't see the great beauty of The Mother of Us All or Mostly About Love or the Cello Concerto, nothing I can say can make them see it. I simply sadly resign myself to the fact that between them and me is a great, unbridgeable gulf.

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ROBINSON, SUZANNE. "“A Ping, Qualified by a Thud”: Music Criticism in Manhattan and the Case of Cage (1943–58)." Journal of the Society for American Music 1, no. 1 (February 2007): 79–139. http://dx.doi.org/10.1017/s1752196307070046.

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This article surveys the reception of concert performances in Manhattan of music by John Cage, from his arrival in 1942 until his gala retrospective held in Town Hall in 1958, in particular comparing responses from composer-critics such as Virgil Thomson, stabled at theNew YorkHeraldTribune, with that of music journalists based at theNew York Timesand other local dailies. Close reading of reviews and of an array of archival sources suggests that Cage's personal and professional relationships with composer-critics ensured that the reception of his music was uniquely well informed, and that his prepared piano works and early experiments with chance were treated with a remarkable degree of affirmation. Much of Cage's critical identity can be attributed to the aegis of Thomson, who, if he denied acting as “hired plugger” for Cage, nonetheless sympathetically construed him as Americanist, Francophile, post-Schoenbergian, and ultramodernist. Thomson's resignation from theTribunein 1954 coincided with a pronounced deterioration in Manhattan critics' appreciation of Cage. I argue that the reasons for this lie as much with the demise of the composer-critic—and a reversal of Cage's own attitude to criticism—as with conservative disaffection with new forms of experimentalism.

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Gardner, Kara Anne, and Steven Watson. "Prepare for Saints: Gertrude Stein, Virgil Thomson, and the Mainstreaming of American Modernism." American Music 19, no. 4 (2001): 466. http://dx.doi.org/10.2307/3052421.

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Miller, Philip Lieson. "Works by Paul Bowles, Lee Hoiby, Richard Hundley, Eric Klein, John Musto, and Virgil Thomson." American Music 9, no. 3 (1991): 326. http://dx.doi.org/10.2307/3051438.

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10

Hershberger, Monica A. "Feminist Revisions." Journal of Musicology 37, no. 3 (2020): 383–414. http://dx.doi.org/10.1525/jm.2020.37.3.383.

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In 1945 Virgil Thomson and Gertrude Stein began working on The Mother of Us All, their second and final opera. If the pair’s chosen subject matter—the life and work of Susan B. Anthony (1820–1906)—was radical in and of itself, so too was the librettist’s approach to it. As Stein scholar Jane Palatini Bowers has carefully documented, Stein quoted heavily from political speeches as she crafted her libretto, using numerous “male-generated texts” but ultimately telling an “antipatriarchal” story. Bowers and others have argued that Stein’s revisions of these texts tell not only Anthony’s but also Stein’s story. I argue that in its final form, The Mother of Us All tells yet another story, for it was Thomson who revised Stein’s libretto after her untimely death in 1946, approximately one year before the opera’s premiere at Columbia University. Drawing extensively on both versions of the libretto text, as well as the musical score, I assert that Thomson sought to buy into Stein’s feminist project, and I read his revisions to The Mother of Us All as his attempt to refashion himself as her political and artistic partner. At the same time that The Mother of Us All represented a very personal project for Stein and Thomson, it was a more broadly political project as well, a critique of the status of women in the United States following World War II. As Stein and Thomson looked back on the significance of the women’s suffrage movement, they chose not to bring their story to an unequivocally rousing conclusion celebrating the passage of the Nineteenth Amendment. Instead, they suggested an unfinished struggle, one that so-called “second-wave” feminists would task themselves with furthering during the latter half of the twentieth century and one that would nourish productions of The Mother of Us All well into the twenty-first century.

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Dissertations / Theses on the topic "Thomson, Virgil, Music"

1

Sundman, Alexandra Gail. "The making of an American expatriate composer in Paris : a contextual study of the music and critical writings of Virgil Thomson, 1921-1940 /." Ann Arbor : UMI, 2001. http://catalogue.bnf.fr/ark:/12148/cb37659587v.

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Hartz, Jason Michael. "The Plow That Broke the Plains: An Application of Functional Americanism in Music." Ohio University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1289337896.

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FORRESTER, ELIZABETH HARTLEIGH. "Musical Semantics within Modern Literature: A Study of Seven American Art Songs Set to the Texts of Gertrude Stein." University of Cincinnati / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1211255987.

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Alfieri, Gabriele Cesare. "Missed cues: music in the American spoken theater c. 1935-1960." Thesis, 2016. https://hdl.handle.net/2144/14540.

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The period from the end of World War I through the 1950s has been called “the Golden Age of Drama on Broadway.” Subsumed within this period is another sort of golden age, of music in the American spoken theater, Broadway and beyond, c. 1935-60. Unlike more familiar, and better-studied, genres of dramatic music such as opera, ballet, and the Broadway-style musical, music composed for spoken dramas is neither a definitive part of the dramatic form nor integral to the work’s original conception. Rather, it is added in production, like sets, costumes, and lighting. This study traces the roots of this rich period of spoken-dramatic music to the collaboration of producer John Houseman, director Orson Welles, and composer Virgil Thomson on the Federal Theatre Project, beginning in 1936. The musical ramifications of that collaboration eventually extended to include composers Paul Bowles and Marc Blitzstein, influential theater companies such as the Theatre Guild and Group Theatre, innovative directors such as Elia Kazan and Margo Jones, and major playwrights such as Lillian Hellman and Tennessee Williams. Following a consideration of the forces that gave rise to this musically rich nexus and the people, materials, and practices involved, three high-profile theatrical collaborations are examined, along with three scores that resulted from them: Thomson’s score for Houseman’s 1957 “Wild West” Much Ado About Nothing; Blitzstein’s score for Welles and the Mercury Theatre’s 1937-38 “anti-Fascist” Julius Caesar; and Bowles’s score for the original production of Williams’s The Glass Menagerie (1944-45). Each score is located within the musico-dramatic history that produced it, and analyzed within the context of the production for which it was written. This work aims to begin to recover a vast body of forgotten American dramatic music, to limn the role of the spoken theater in the careers of these three noteworthy American musical artists, to probe a busy intersection of high and commercial art forms, and to suggest music’s important role in the development of the American spoken theater.

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Hinzmann, Jeffrey A. "Virgil Thomson's philosophy of music." 2006. http://etd.lib.fsu.edu/theses/available/etd-11162006-015320.

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Thesis (M.A.)--Florida State University, 2006.
Advisor: Russell Dancy, Florida State University, College of Arts and Sciences, Dept. of Philosophy. Title and description from dissertation home page (viewed Jan. 25, 2007). Document formatted into pages; contains vi, 65 pages. Includes bibliographical references.

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Books on the topic "Thomson, Virgil, Music"

1

Virgil Thomson. New York: E.P. Dutton, 1985.

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Richard, Kostelanetz, ed. Virgil Thomson: A reader : selected writings, 1924-1984. New York: Routledge, 2002.

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3

Library, Yale University Music. The Virgil Thomson papers: Yale University Music Library, archival collection MSS 29. New Haven, Conn: The Library, 1985.

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Library, Yale University Music. The Virgil Thomson papers: Materials received after 1985 : Yale University Music Library, archival collection MSS 29A. New Haven, Conn: The Library, 1996.

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5

editor, Page Tim 1954, ed. Virgil Thomson: Music chronicles, 1940-1954. Library of America, 2014.

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6

Virgil Thomson : A Reader: Selected Writings, 1924-1984. Taylor & Francis Group, 2016.

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Wierzbicki, James. The Classical Music Mainstream. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252040078.003.0008.

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This chapter looks at how the American Symphony Orchestra League reported that thirty million people in the U.S. are actively interested in concert music. This does not mean jazz, popular ditties, hillbilly dance-bands, hymn singing, or wedding marches, but classical music. Writer Virgil Thomson noted in his column that whereas during the previous year ticket buyers had spent $40 million on baseball, patrons of classical music had spent $45 million. This passion for what Thomson called “serious music” had been stirred even as World War II was in progress, and by the end of the Fifties it was still going strong. Never before has there been such an interest in music in America. The changed atmosphere had been apparent even just a few years after the war's end. For composers, this made the future seem very promising.

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Ansari, Emily Abrams. The “Apolitical” Opportunist. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190649692.003.0003.

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This chapter examines composer and music critic Virgil Thomson, a man who liked to present himself as apolitical but who had close ties to the federal government and the secretly CIA-funded Congress for Cultural Freedom. Thomson embraced the opportunities that the Cold War created. But unlike William Schuman and Howard Hanson, Thomson showed little interest in the politics motivating such programs. He willingly embraced and advanced the new interpretation of American exceptionalism, although he was not personally invested in it, because it created opportunities to gain greater status for American composers. Thomson’s various Cold War activities help us gain a fuller understanding of centrist American liberalism as it shaped musical life during the Cold War.

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1883-1969, Ansermet Ernest, and Tappolet Claude, eds. Ernest Ansermet, correspondances avec des compositeurs américains (1926-1966): D'Aaron Copland à Virgil Thomson, les grands maîtres du nouveau monde. Genève: Georg, 2006.

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The state of music & other writings. The Library of America, 2016.

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Book chapters on the topic "Thomson, Virgil, Music"

1

"THOMSON, VIRGIL." In Music in the 20th Century (3 Vol Set), 631. Routledge, 2016. http://dx.doi.org/10.4324/9781315702254-468.

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Mellers, Wilfrid. "Innocence and nostalgia: Samuel Barber and Virgil Thomson." In Music in a New Found Land, 194–219. Routledge, 2017. http://dx.doi.org/10.4324/9781315124902-10.

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3

DeLapp-Birkett, Jennifer. "Dialogue without Words." In Rethinking American Music, 247–78. University of Illinois Press, 2019. http://dx.doi.org/10.5622/illinois/9780252042324.003.0012.

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In Jennifer DeLapp-Birkett’s analysis, the “identities and dichotomies” of her title concern a single piece of music, Aaron Copland's Piano Quartet (1950) but also a number of extramusical issues that preoccupied the composer at the time. She places Copland’s work, including his Hollywood film score for “The Heiress” and the efforts of his contemporaries (such as Schoenberg, Virgil Thomson), within the complex political landscape post-World War II, the Red Scare in the United States, and the Cold War. Several incidents in Copland’s career circa 1950 indicate that he, with good reason, felt vulnerable to the forces of reaction at work. DeLapp-Birkett demonstrates conclusively that in his public statements and in his compositional development Copland was responding consciously to the pressures from a variety of sources.

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"Cinema Music of Distinction: Virgil Thomson, Aaron Copland, and Gail Kubik: Alfred W. Cochran." In Perspectives on American Music, 1900-1950, 330–55. Routledge, 2012. http://dx.doi.org/10.4324/9780203054703-16.

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Bick, Sally. "Copland, Hollywood, and American Musical Modernism." In Unsettled Scores, 40–74. University of Illinois Press, 2019. http://dx.doi.org/10.5622/illinois/9780252042812.003.0003.

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This chapter provides a detailed musical and cinematic analysis of Of Mice and Men, Copland’s first Hollywood film score. The discussion begins by outlining Copland’s interest in film and Hollywood, his desire to engage in mass entertainment, and his eventual first Hollywood commission. Copland’s ideas are compared with the shared values of novelist John Steinbeck, which embrace Popular Front ideals, nationalism, and Americanism. Likewise, Milestone’s cinematic vision, which borrows Dorothea Lange’s photographic depiction of the realities of Depression-era migrant workers, is echoed by the sonic aesthetic of simplicity realized in Copland’s style. Copland’s score is discussed within the larger context of 1930s American music with references to Virgil Thomson and the critique of Arthur Berger.

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Oja, Carol J. "Virgil Thomson’s “Cocktail of Culture”." In Making Music Modern, 252–63. Oxford University Press, 2000. http://dx.doi.org/10.1093/acprof:oso/9780195058499.003.0016.

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