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Relevant bibliographies by topics / Virgil Thomson

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Academic literature on the topic 'Virgil Thomson'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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Journal articles on the topic "Virgil Thomson"

1

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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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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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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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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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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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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Nguyen, Tram. "The Letters of Gertrude Stein and Virgil Thomson: Composition as Conversation (review)." Modern Drama 54, no. 2 (2011): 252–55. http://dx.doi.org/10.1353/mdr.2011.0020.

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Hubbs, Nadine. "The Letters of Gertrude Stein and Virgil Thomson: Composition as Conversation (review)." Notes 67, no. 4 (2011): 722–25. http://dx.doi.org/10.1353/not.2011.0049.

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Dissertations / Theses on the topic "Virgil Thomson"

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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Ohge, Christopher M. "Paul Bowles and his early mentors: a life in letters (1930-1943) to Gertrude Stein, Aaron Copland, and Virgil Thomson." Thesis, Boston University, 2012. https://hdl.handle.net/2144/12549.

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Thesis (Ph.D.)--Boston University Please note: Editorial Studies works are permanently embargoed in OpenBU. No public access is forecasted for this item. To request private access, please click on the locked Download file link, and fill out the appropriate web form.
Paul Bowles and His Early Mentors presents soundly edited, contextually annotated, and mostly unpublished letters, notes, and postcards from Paul Bowles to Gertrude Stein, Aaron Copland, and Virgil Thomson. Influenced by the life-in-letters convention, it tells a story of Bowles's life from his letters to three of his principal mentors; it also serves as a rumination on Bowles's place among other writers in his generation and in the historical tradition of American expatriate writing. The sampling of letters accounts for Bowles's development as a writer by focusing on a period of time (1930 to 1943) when nevertheless he thought of himself primarily as a composer. Of the 140 letters contained in this collection, only 36 have been published. As a result it serves to strengthen the nexus between literaty, musical, and biographical studies of Bowles. The first three chapters consist of Bowles's early career, when his chief concerns were travel and artistic expression. This period constitutes the body of this edition, as it provides a thorough study of an important period in his life. Toward the end of the second chapter we see the emergence of Thomson as a stronger mentor than Stein and Copland. The third chapter has Bowles meeting his future wife Jane, and then their early adventures together. The concluding sections (Interim and Coda) are supplementary meditations: the Interim culminates with Bowles's settling in Tangier, and his literary success with The Sheltering Sky and The Delicate Prey and Other Stories; the Coda includes a sampling of letters to Thomson from 1955 to 1983. This volume contributes to Bowles scholarship by not only making available unpublished letters to a few prominent correspondents, but also by revealing some under-appreciated and undocumented details that will allow us to make judgments as to competing interpretations about Bowles's life and work. The essence of this edition is the arc of true friendship and the dynamics of mentorship, and the mutual appreciation among geniuses remains a force in the study of his letters.
2031-01-01

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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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Mezger, Christopher K. Mezger. "The Two Syriac Manuscripts in the Rare Books Collection of The Ohio State University’s Thompson Library." The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1524085445098928.

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Vollert, Seike [Verfasser], Kai-Martin [Akademischer Betreuer] Thoms, Steffen [Akademischer Betreuer] Emmert, Jochen [Akademischer Betreuer] Reiss, and Patricia [Akademischer Betreuer] Virsik-köpp. "Xeroderma-Pigmentosum-Gruppe-C- und -G-Gen-Polymorphismen: Alternatives Splicing und funktionelle DNA-Reparatur beim multiplen Melanom / Seike Vollert. Gutachter: Steffen Emmert ; Jochen Reiss ; Patricia Virsik-Köpp. Betreuer: Kai-Martin Thoms." Göttingen : Niedersächsische Staats- und Universitätsbibliothek Göttingen, 2011. http://d-nb.info/1042348596/34.

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Chu, Sun Young Park. "A TRANSCRIPTION FOR SOLO ORGAN: SYMPHONY ON A HYMN TUNE, Op. 53, BY VIRGIL THOMSON." Diss., 2012. http://hdl.handle.net/10392/3948.

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The primary purpose of this study is to provide a transcription for solo organ of Virgil Thomson's Symphony on a Hymn Tune. The study is two-fold: first, to explore the early life and career of Thomson with a focused view on how his organ and composition studies influenced the composition of Symphony on a Hymn Tune; and second, to present an original transcription of the work in a performing score for solo organ. In addition to the final score, the study provides an analytical overview along with a description of methodology used to create the transcription, and a discussion of issues encountered by the performing organist in playing the transcription. Discussions encompass organ registration, tempi, manual suggestions, articulation, phrase markings, and dynamic expression. Musical examples both from the author's transcription and Virgil Thomson's organ works are included as necessary. Two appendices are included. Appendix 1 presents the specifications for the Aeolian Skinner organ of The Southern Baptist Theological Seminary in Louisville, Kentucky, on which the transcription was originally performed. Appendix 2 itemizes the registration lists used for the original performance of the organ transcription.

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Schoenberger, Melissa. "Cultivating the arts of peace: English Georgic poetry from Marvell to Thomson." Thesis, 2015. https://hdl.handle.net/2144/15687.

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Virgil's Georgics portray peace and war as disparate states derived from the same fundamental materials. Adopting a didactic tone, the poet uses the language of farming to confront questions about the making of lasting peace in the wake of the Roman civil wars. Rife with subjunctive constructions, the Georgics place no hope in the easily realized peace of a golden age; instead, they teach us that peace must be sowed, tended, reaped, and replanted, year after year. Despite this profound engagement with the consequences of civil war, however, the Georgics have not often been studied in relation to English writers working after the civil wars of the 1640s. I propose that we can better understand poems by Andrew Marvell, John Dryden, Anne Finch, and John Philips--all of whom grappled with the ramifications of war--by reading their work in relation to the georgic peace of Virgil's poem. In distinct ways, these poets question the dominant myth of a renewed golden age; instead, they model peace as a stable yet contingent condition constructed from chaotic materials, and therefore in need of perpetual maintenance. This project contributes to existing debates on genre, classical translation, the relationships between early modern poetry and politics, and most importantly, poetic representations of political and social peace. Recent work has argued for the georgic as a flexible mode rather than a formal genre, yet scholars remain primarily interested in its relation to questions of British national identity, agricultural reform movements, and the production of knowledge in the middle and later decades of the eighteenth century. I argue, however, for the relevance of the georgic to earlier poems written in response to the consequences of the English civil wars. The dissertation includes chapters devoted separately to Marvell, Finch, and Dryden, and concludes with a chapter on how their dynamic conceptions of georgic peace both inform and conflict with aspects of the popular eighteenth-century genre of imitative georgic poetry initiated by Philips and brought to its height by James Thomson.
2017-05-01T00:00:00Z

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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 "Virgil Thomson"

1

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

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1954-, Page Tim, and Page Vanessa Weeks, eds. Selected letters of Virgil Thomson. New York: Summit Books, 1988.

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Meckna, Michael. Virgil Thomson: A bio-bibliography. New York: Greenwood, 1986.

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Virgil Thomson: A bio-bibliography. New York: Greenwood Press, 1986.

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Virgil Thomson: Composer on the aisle. New York: W.W. Norton, 1997.

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

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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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Prepare for saints: Gertrude Stein, Virgil Thomson, and the mainstreaming of American modernism. New York: Random House, 1998.

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1935-, Shere Charles, and Tede Margery 1940-, eds. Everbest ever: Correspondence with Bay Area friends. Berkeley, Calif: Fallen Leaf Press, 1996.

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Morelli, Giovanni. Very well saints: A sum of deconstructions : illazioni su Gertrude Stein e Virgil Thomson (Paris 1928). Firenze: L. S. Olschki, 2000.

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Book chapters on the topic "Virgil Thomson"

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"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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"Virgil Thomson (1949–50)." In Peggy Glanville-Hicks, 89–102. University of Illinois Press, 2019. http://dx.doi.org/10.5406/j.ctvkjb3mb.14.

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Berger, Arthur. "Virgil Thomson and the Press." In Reflections of an American Composer, 111–21. University of California Press, 2002. http://dx.doi.org/10.1525/california/9780520232518.003.0010.

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"Invultuation of Virgil Thomson (1962)." In Slonimskyana V4, 258–60. Routledge, 2004. http://dx.doi.org/10.4324/9780203997192-21.

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"9. Virgil Thomson and the Press." In Reflections of an American Composer, 111–21. University of California Press, 2019. http://dx.doi.org/10.1525/9780520928213-011.

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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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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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"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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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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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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Conference papers on the topic "Virgil Thomson"

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Mamedov, Bahtiyar Akber, Elif Somuncu, and Iskender M. Askerov. "Theoretical calculation of Joule-Thomson coefficient by using third virial coefficient." In TURKISH PHYSICAL SOCIETY 32ND INTERNATIONAL PHYSICS CONGRESS (TPS32). Author(s), 2017. http://dx.doi.org/10.1063/1.4976361.

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