Relevant bibliographies by topics / WILLIAM BOLCOM

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Academic literature on the topic 'WILLIAM BOLCOM'

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Published: 4 June 2021
Last updated: 16 February 2022

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Journal articles on the topic "WILLIAM BOLCOM"

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Lister, Rodney. "Bolcom, Gann and other Americans." Tempo 60, no. 235 (January 2006): 37–39. http://dx.doi.org/10.1017/s0040298206260042.

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WILLIAM BOLCOM: Songs of Innocence and of Experience. Christine Brewer, Measha Brueggergosman, Hana Davidson, Linda Hohenfeld, Carmen Pelton (sops), Joan Morris (mezzo-sop), Marietta Simpson (con), Thomas Young (ten), Nmon Ford (bar), Nathan Lee Graham (speaker/vocals), Tommy Morgan (harmonica), Peter ‘Madcat’ Ruth (harmonica and vocals), Jeremy Kittel (fiddle), The University of Michigan Musical Society Choral Union, Chamber Choir, University Choir, Orpheus Singers, Michigan State University Children’s Choir, Contemporary Directions Ensemble, University Symphony Orchestra c. Leonard Slatkin. Naxos 8.559216-18.AARON COPLAND: Inscape. ROGER SESSIONS: Symphony No. 8. GEORGE PERLE: Transcendental Modulations. BERNARD RANDS: …where the murmurs die… . The American Symphony Orchestra c. Leon Botstein. New World 80631-2.KYLE GANN: Nude Rolling Down an Escalator: Studies for Disklavier. New World 80633-2.
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Wright, David, Sergiu Luca, American Composers Orchestra, and Dennis Russell Davies. "William Bolcom: Violin Concerto; Fantasia Concertante; Fifth Symphony." Musical Times 133, no. 1795 (September 1992): 466. http://dx.doi.org/10.2307/1002387.

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Herwitz, D. "Writing American Opera: William Bolcom on Music, Language, and Theater." Opera Quarterly 22, no. 3-4 (April 7, 2008): 521–33. http://dx.doi.org/10.1093/oq/kbn001.

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MARILYN SHRUDE. "Teaching Composition in Twenty-First-Century America: A Conversation with William Bolcom." American Music 28, no. 2 (2010): 173. http://dx.doi.org/10.5406/americanmusic.28.2.0173.

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Magee, Gayle. "MARKETING THE VOICE: OPERA, FILM, AND THE CASE OF ROBERT ALTMAN." Theatre Survey 51, no. 2 (October 18, 2010): 191–224. http://dx.doi.org/10.1017/s004055741000030x.

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In 2004, the Lyric Opera of Chicago celebrated two milestones: its fiftieth anniversary and the premiere of A Wedding. With music and libretto by Pulitzer Prize–winning composer William Bolcom, film director Robert Altman, and Arnold Weinstein, the opera received intense international coverage. Prepremiere articles, major features, interviews, and reviews appeared in Opera Now, Opernwelt, Opera, and Opera Quarterly. The Lyric's A Wedding dominated the August issue of Opera News, occupying the cover and several features, complete with glossy photos of the photogenic young leads dressed in luxurious wedding attire (see Figure 1).
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Schwartz, Elliott. "American Brass Quintet: Works by William Bolcom, Jacob Druckman, Ralph Shapey, Maurice Wright." American Music 16, no. 2 (1998): 246. http://dx.doi.org/10.2307/3052575.

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Swayne, Steve. "William Bolcom, Songs of Innocence and of Experience, Naxos 8.559216018 (3 CDs), 2004." Journal of the Society for American Music 3, no. 3 (August 2009): 386–88. http://dx.doi.org/10.1017/s1752196309990010.

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Bentley, Eric. "Lyrics for a Wedekind Cabaret." New Theatre Quarterly 10, no. 40 (November 1994): 317–22. http://dx.doi.org/10.1017/s0266464x00000853.

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In 1993–94 Eric Bentley prepared an entertainment entitled Tingle Tangle: a Wedekind Cabaret, with music by William Bolcom, Peter Winkler, and Arnold Black. This contained many Wedekind lyrics in [approximations] by Bentley, and also the four original lyrics by Bentley which are printed below, as a tribute to Jan Kott – and a [thank you] for the essay on Wedekind which Kott contributed to The Play and Its Critic, the Festschrift assembled for Bentley's seventieth birthday in 1976. One of the lyrics below, [Lulu], was included in The First Lulu in 1993: the others are published here for the first time. All four lyrics are copyright 1993, 1994, by Eric Bentley.
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Mason, Jeffrey D. "Arthur Miller's America: Theatre & Culture in a Time of Change." Theatre Survey 47, no. 1 (April 13, 2006): 116–18. http://dx.doi.org/10.1017/s0040557406230096.

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In the fall of 2000, to honor Arthur Miller's eighty-fifth birthday, the University of Michigan sponsored an international symposium on the playwright's work, and Enoch Brater has now edited a volume based on selected presentations from that event. In plain terms, the book includes Brater's chronicle of Miller's days at the university, playwright Frank Gagliano's thoughts on adapting Timebends for the stage, Toby Zinman's interview with actor Patrick Stewart on playing Lyman Felt in The Ride Down Mt. Morgan, Brater's interviews with composer William C. Bolcom on his opera version of A View from the Bridge and with Miller himself via satellite hookup, an afterword by critic Mel Gussow, and fourteen scholarly essays that form the body of the volume.
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Tallmadge, William H. "The New Grove Gospel, Blues and Jazz. By Paul Oliver, Max Harrison and William Bolcom. London: Macmillan, 1986 (i.e. 1987). 395 pp." Popular Music 8, no. 2 (May 1989): 212–13. http://dx.doi.org/10.1017/s0261143000003457.

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Dissertations / Theses on the topic "WILLIAM BOLCOM"

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Janssen, Tido. "William Bolcom's Sonata for violoncello and piano (1989)." Thesis, connect to online resource. Access restricted to the University of North Texas campus, 2003. http://www.library.unt.edu/theses/open/20032/janssen%5Ftido/index.htm.

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Thesis (D.M.A.)--University of North Texas, 2003.
Accompanied by 4 recitals, recorded Jan. 26, 1998, June 21, 1999, Apr. 15, 2002, and Apr. 23, 2003. Includes bibliographical references (p. 46-49).
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Baldwin, Richard Philip. "An analysis of three violin sonatas by William Bolcom." The Ohio State University, 1996. http://rave.ohiolink.edu/etdc/view?acc_num=osu1094823557.

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Baldwin, Philip Richard. "An analysis of three violin sonatas by William Bolcom /." The Ohio State University, 1996. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487933245537883.

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Bateman, Marlene Titus. "The Cabaret songs, volume one, of William Bolcom and Arnold Weinstein : an exploration and analysis /." Thesis, Full text (PDF) from UMI/Dissertation Abstracts International, 2001. http://wwwlib.umi.com/cr/utexas/fullcit?p3008241.

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Hwang, Mi Kyung. "ELEMENTS OF JAZZ STYLE IN TWENTIETH-CENTURY AMERICAN ORGAN WORKS: SELECTED WORKS OF CHARLES IVES, WILLIAM ALBRIGHT, AND WILLIAM BOLCOM." Diss., The University of Arizona, 2009. http://hdl.handle.net/10150/196128.

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Jazz is a distinctive stylistic influence in twentieth-century American organ music. Organ music in the United States during this period may be classified into four diverse categories: German-influenced; French-influenced; program music; and new styles that include twentieth-century techniques, such as serialism, chance (aleatoric), atonality, and jazz. The organ is an ideal instrument for jazz performance since the organ can provide diverse timbres, such as reeds (clarinets, trumpets, and trombones), strings (violin, viola, and cello), and overtone-rich sounds from mutations and mixtures.This document presents an analysis of jazz elements in twentieth-century American organ works, especially focused on the following selected organ works: Charles Ives' Variations on "America" (1891), William Albright's Sweet Sixteenths: Concert Rag for Organ (1975), and William Bolcom's Sometimes I Feel, and Free Fantasia on "O Zion Haste" and "How Firm a Foundation" from Gospel Preludes, Book IV (1984). The first chapter introduces jazz, including its definition, historical background, and styles. The next four chapters discuss brief biographical material, musical styles, compositions of each composer, and comprehensive musical analysis of their selected organ works, including form, melody, harmony, rhythm, timbre, and registration.
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YU, YEUNG. "A Style Analysis of William Bolcom’s Complete Rags for Piano." University of Cincinnati / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1177096593.

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Jantsch, Nancy E. Jennings. "\"Briefly It Enters\" : a song cycle by William Bolcom from poems by Jane Kenyon." The Ohio State University, 2001. http://rave.ohiolink.edu/etdc/view?acc_num=osu1486394475978614.

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LIM, TZE YEAN. "WORKS FOR VIOLIN AND PIANO BY WILLIAM BOLCOM: A STUDY IN THE DEVELOPEMENT OF HIS MUSICAL STYLE." University of Cincinnati / OhioLINK, 2002. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1022593829.

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Lee, Ji Sun. "Revolutionary etudes: The expansion of piano technique exploited in the Twelve New Etudes of William Bolcom." Diss., The University of Arizona, 2001. http://hdl.handle.net/10150/280375.

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The first etudes, written in the seventeenth century, were study pieces created for the development of a particular aspect of performing technique. Chopin and Liszt are acknowledged to be the major figures in the later development of the concert etude. These contain not only the expected studies of various matters of technique but also deal with musicianship, including cantabile playing and the projection of the composer's poetic intentions. William Bolcom's Twelve New Etudes, like those of Chopin, are studies in style synthesis as well as in pianism. The uniqueness of these two composers' etudes consist in combining the technical innovations of their contemporaries and mixing their "classical" style with lighter elements, including programmatic ideas and bel canto style. This document will consist of a discussion of twentieth-century piano techniques utilized in each of Bolcom's Twelve New Etudes and also a discussion of how these techniques and compositional styles enhance the poetic quality of these works. This will be preceded by a brief history of the development of the concert etude, a discussion of the Chopin Etudes and the poetic elements of Debussy's Preludes , and other important influences on Bolcom's works. In addition, some parallels and contrasts will be drawn between the Bolcom etudes and those of Chopin.
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Kang, Eun Young. "Late Twentieth-Century Piano Concert Etudes: A Style Study." University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1282169360.

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Books on the topic "WILLIAM BOLCOM"

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Bolcom, William. William Bolcom - A View from the Bridge: Vocal Score. Edward B. Marks Music Company, 2003.

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William Bolcom - Concerto for Clarinet and Orchestra: (Piano Reduction). E.B. Marks Music, 1995.

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Bolcom, William. William Bolcom - Let Evening Come: For Soprano, Viola and Piano. Edward B. Marks Music Company, 2003.

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William Bolcom - Lilith: For E-Flat Alto Saxophone and Piano. Edward B. Marks Music Company, 2004.

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Bolcom, William. William Bolcom - Songs of Innocence and of Experience: Vocal Score. E.B. Marks Music, 2006.

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Bolcom, William. William Bolcom - Lyric Concerto for Flute and Orchestra: (Piano Reduction). E.B. Marks Music, 1995.

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Bolcom, William. William Bolcom - Suite No. 1 in C Minor: For Solo Violoncello. Edward B. Marks Music Company, 2004.

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Bolcom, William. William Bolcom - Concert Suite: For E-Flat Alto Saxophone and Piano. Edward B. Marks Publishing Company, 2003.

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William Bolcom - Little Suite of Four Dances: For E-Flat Clarinet and Piano. Edward B. Marks Publishing Company, 2003.

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Bolcom, William. William Bolcom - Suite for Violin and Violincello: In Five Movements * Score and Parts. Edward B. Marks Publishing Company, 2003.

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Book chapters on the topic "WILLIAM BOLCOM"

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Callahan, Michael R. "Portrayals of Incongruity in William Bolcom and Sandra Seaton’s From the Diary of Sally Hemings." In Twentieth- and Twenty-First-Century Song Cycles, 177–94. New York: Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780429270369-12.

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André, Naomi. "Haunted Legacies." In Black Opera, 55–84. University of Illinois Press, 2018. http://dx.doi.org/10.5622/illinois/9780252041921.003.0003.

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This chapter examines the song cycle (also thought of as a monodrama or solo opera) by composer William Bolcom and playwright/librettist Sandra Seaton, From the Diary of Sally Hemings. The chapter includes a discussion of the DNA, kinship, and social controversies over the interracial pairing of Jefferson, a founder of the United States as a nation, and Hemings, his slave and consort. Through an analysis of the compositional genesis of the work, the text, and the music, this chapter also explores what is at stake for thinking about the breakdown of black-white racial categories. Extended references are made to Saartijie Baartman (the South African “Hottentot Venus”) and Edward Ball, the descendent of the Ball plantation who looked up interracial relationships with slaves in his family.
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Carlin, Richard, and Ken Bloom. "Final Years." In Eubie Blake, 341–76. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190635930.003.0012.

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The final chapter examines Eubie’s revived career on stage and record in the 1970s and 1980s. Furthermore, the chapter discusses key figures who played a role in promoting his career, including historian Robert Kimball; composer/pianist William Bolcom and his wife, singer Joan Morris; recording engineer Carl Seltzer, who partnered with Eubie in forming Eubie Blake Music (Eubie’s record label and publishing company); and lawyer Elliot Hoffman, who championed and protected Blake’s work. The chapter also explores the impact of the mental decline and deaths of Noble Sissle and Andy Razaf on Eubie; Julianne Boyd’s production of a new musical review, Eubie!, which brought his return to Broadway; the show’s development and casting, including bringing Maurice and Gregory Hines to Broadway and their subsequent success; and difficulties dealing with the show’s producer, Ashton Springer. Finally, the chapter relates Eubie’s complex feelings about racism; his work with two biographers, African American journalist Lawrence Carter and jazz writer Al Rose; Rose’s fights with Elliot Hoffman over the writing and publication of his biography; late accolades; and Eubie’s final performances and death.
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"The Case of Uthred of Boldon and William Jordan." In The School of Heretics, 109–26. BRILL, 2011. http://dx.doi.org/10.1163/9789004206625_008.

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Wordsworth, William, and Dorothy Wordsworth. "686. W. W. to John Bolton." In The Letters of William and Dorothy Wordsworth, Vol. 5: The Later Years: Part II: 1829–1834 (Second Revised Edition), 508. Oxford University Press, 2000. http://dx.doi.org/10.1093/oseo/instance.00083853.

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Wordsworth, William, and Dorothy Wordsworth. "834. W. W. to John Bolton." In The Letters of William and Dorothy Wordsworth, Vol. 5: The Later Years: Part II: 1829–1834 (Second Revised Edition), 730. Oxford University Press, 2000. http://dx.doi.org/10.1093/oseo/instance.00084003.

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Wordsworth, William, and Dorothy Wordsworth. "455. W. W. to Mrs John Bolton." In The Letters of William and Dorothy Wordsworth, Vol. 5: The Later Years: Part II: 1829–1834 (Second Revised Edition), 112. Oxford University Press, 2000. http://dx.doi.org/10.1093/oseo/instance.00083618.

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Wordsworth, William, and Dorothy Wordsworth. "2061. W. W. to Mrs. John Bolton." In The Letters of William and Dorothy Wordsworth, Vol. 7: The Later Years: Part IV: 1840–1853 (Second Revised Edition), 856. Oxford University Press, 2000. http://dx.doi.org/10.1093/oseo/instance.00085253.

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Taber, Douglass. "Enantioselective Construction of Alkylated Stereogenic Centers." In Organic Synthesis. Oxford University Press, 2011. http://dx.doi.org/10.1093/oso/9780199764549.003.0040.

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Carsten Bolm of RWTH Aachen developed (Angew. Chem. Int. Ed. 2008, 47, 8920) an Ir catalyst that effected hydrogenation of trisubstituted enones such as 1 with high ee. Benjamin List of the Max-Planck-Institut Mülheim devised (J. Am. Chem. Soc. 2008, 130, 13862) an organocatalyst for the enantioselective reduction of nitro acrylates such as 3 with the Hantzsch ester 4. Gregory C. Fu of MIT optimized (J. Am. Chem. Soc. 2008, 130, 12645) a Ni catalyst for the enantioselective arylation of propargylic halides such as 6. Both enantiomers of 6 were converted to the single enantiomer of 8. Michael C. Willis of the University of Oxford established (J. Am. Chem. Soc. 2008, 130, 17232) that hydroacylation with a Rh catalyst was selective for one enantiomer of the allene 9, delivering 11 in high ee. Similarly, José Luis García Ruano of the Universidad Autónoma de Madrid found (Angew. Chem. Int. Ed. 2008, 47, 6836) that one enantiomer of racemic 13 reacted selectively with the enantiomerically- pure anion 12, to give 14 in high diastereomeric excess. Ei-chi Negishi of Purdue University described (Organic Lett. 2008, 10, 4311) the Zr-catalyzed asymmetric carboalumination (ZACA reaction) of the alkene 15 to give the useful chiron 16. David W. C. MacMillan of Princeton University developed (Science 2008, 322, 77) an intriguing visible light-powered oxidation-reduction approach to enantioselective aldehyde alkylation. The catalytic chiral secondary amine adds to the aldehyde to form an enamine, that then couples with the radical produced by reduction of the haloester. Two other alkylations were based on readily-available chiral auxiliaries. Philippe Karoyan of the Université Pierre et Marie Curie observed (Tetrahedron Lett . 2008, 49, 4704) that the acylated Oppolzer camphor sultam 20 condensed with the Mannich reagent 21 to give 22 as a single diastereomer. Andrew G. Myers of Harvard University developed the pseudoephedrine chiral auxiliary of 23 to direct the construction of ternary alkylated centers. He has now established (J. Am. Chem. Soc. 2008, 130, 13231) that further alkylation gave 24, having a quaternary alkylated center, in high diastereomeric excess.
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