Petersburg and one of the most well known and famous musicians in Russia. Young Stravinsky therefore met and knew many of the most important artists and composers of the time, and developed an early love for music.
The purpose of the edition is to make available authoritative texts of both published and unpublished works, based on an analysis and comparison of all available materials, and supported by scholarly apparatus, including annotation and introductions.
Denham Michael Dolzani A.
Collected works of Northrop Frye; v. Civilization, Modern - 2Oth century. Arts, Modern - 2Oth century. Gorak, Jan, II. University of Toronto Press acknowledges the financial assistance to its publishing program of the Canada Council for the Arts and the Ontario Arts Council.
Young's Basic 29 Revenge or Justice? For many readers the showcase of the volume will be Frye's Whidden Lectures, delivered at McMaster University in —the centenary year of the Canadian Confederation—and subsequently published as The Modern Century. Other relevant material will appear in the interviews which make up a later volume of the Collected Works currently in preparation by Jean O'Gradyparticularly many references to Marshall McLuhan, clearly both a stimulus and an irritant for much of Frye's work on electronic communications media from the until his death, and to Oswald Spengler, a formative influence on his early mental development.
This volume traces chronologically Frye's contribution as an arts reviewer and essayist, before moving to a similar compilation of his work as a political commentator and analyst. The exception to this rule is the position given to The Modern Century, which opens the collection.
Headnotes to the individual items specify the copy-text, list all known reprintings in English of an item, and note the existence of typescripts and where they can be found in the Northrop Frye Fonds in Victoria University's E.
No prepublication typescript exists in the case of The Modern Century, although notes provided for his French translator clear up some problems of usage and meaning. The copy-text chosen is generally the first edition or the first printing for a journal contribution, which was often the only one carefully revised and proof-read by Frye himself.
In some cases he did reread essays for inclusion in his own collections, such as The Stubborn Structure, which then becomes the source of the authoritative text.
All substantive changes to the copy-text have been listed in an emendations list, with the source or explanation xii Preface for the change given where necessary. Variants of particular interest— including some discrepancies between the typescript and the published version of Frye's broadcasts—are given in notes.
The accidentals of the text reflect the general practice of the Collected Works in handling material from a variety of sources. That is to say, since the conventions of spelling, typography, and to some extent punctuation derive from the different publishers' house styles rather than from Frye, they have been regularized silently throughout the volume.
For instance, Canadian spellings ending in -our have been substituted for American -or ones, hyphens have been deleted from some compounds, commas have been added before the "and" in series of three, and titles of poems have been italicized.
Sometimes, where editors have added commas around such expressions as "of course," these have been silently removed to conform with the more characteristic usage in the typescript.
Notes identify the source of all the quotations I have been able to track down; in the case of short Classical identifications, the section number, from the Loeb edition, has been placed in square brackets in the text.
Notes provided by Frye himself are identified by [NF] following the note. Authors and titles mentioned in passing are not annotated, but life dates and date of first publication are provided in the index.
Acknowledgments Many people have helped me in the preparation of this volume. Ward McBurney prepared the index, and let me look at "Rock of Ages," his own very interesting tribute to Frye. I thank them and Margaret Burgess, who copy-edited the text with her usual thoroughness and first-hand knowledge of Frye matters and who also cheerfully saved me from a number of errors.
Graduate assistant Ian Singer efficiently and rapidly tracked down a number of quotations and long-buried controversies for the notes. Jean O'Grady was extremely helpful about the direction of the volume and every detail in its preparation; nothing was too small or too large for her to help me with and I am extremely grateful for her kindness.
|Social, likable lists.||Gaal, Franciska — — Hungarian stage and film actress Born Fanny Zilveritch Feb 1, in Budapest, she began her stage career in cabaret.|
|Classical Music Discoveries||I analyzed instrumental music performance teaching and learning from the perspective of the three artist-teachers.|
|TELMONDIS - audiovisual producer of live events||Hildegard Von Bingen Listening to the music of von Bingen may be one of the most effective ways to relive the twelfth century that is currently available.|
|Search for notes by fellow students, in your own course and all over the country.||Census reports the total pop.|
Three anonymous readers had many expert suggestions and useful corrections to offer. Like anyone else who works on Frye, I have been fortunate enough to draw on Robert Denham's unmatched knowledge. Preface xiii The librarians at the Pratt library, University of Toronto, were invariably friendly and helpful to me on my visits to the Frye archive.
The staff of the Penrose Library at the University of Denver offered me valued assistance. To everyone in the circulation and inter library loan departments I offer my warm thanks.
Many of my colleagues have aided me in ways they may not have realized, but I must mention Jessica Munns, who kindly asked me to speak to our division on Frye and has always been the best kind of colleague, witty, irreverent, and lively.
Bin Ramke and Robert Urquhart have also willingly exchanged views with me on these twentieth-century literary and cultural matters for a long time, often to my great advantage. George Hunter supplied me with some typically stringent critical commentary on my introduction. Alvin Lee was confident that I was the man for this job, and I hope I have fulfilled my considerable obligation to him; together with Barbara McDonald of McMaster, he supplied me some important facts about Canadian institutions.
I don't think I shall ever fulfil my obligations to Irene Gorak, who has been an incisive critic and a benevolent guide to the process of making a critical edition. This page intentionally left blank Credits We wish to acknowledge the following sources for permission to reprint works previously published by them.
We have not been able to determine the copyright status of all the works included in this volume, and welcome notice from any copyright holders who have been inadvertently omitted from these acknowledgments.
Simon and Schuster, Inc. Cecil Woolf and John Bagguley Igor Fyodorovich Stravinsky – 6 April ) was a Russian-born composer, pianist, and conductor.
His family joined him before the end of the ballet season and they decided to remain in the West for a time, as his wife was expecting their third child. After spending the summer in La Baule.
In , at the urging of musical revolutionary composer Igor Stravinsky, Matisse would design sets and costumes for the ballet Le Chant du rossignol commissioned by Paris-based impresario Sergei Diaghilev, with music by Stravinsky.
This page intentionally left blank Celluloid Symphonies The publisher gratefully acknowledges the generous support of the Music in America Endowment Fund of the University of California Press Foundation, which was established by a major gift from Sukey and Gil Garcetti, Michael P.
Roth, and the Roth Family Foundation. Search the history of over billion web pages on the Internet. In “Desires Dissolvent: How Mina Loy Exceeds George Bataille,” Sara Crangle argues that Loy picks words in her literature specifically to show connectedness between the world of thought and feeling, and the physical carnality of the human body.
The data collected from interviews, observations, and my personal narratives provide a rich resource for the analysis of the professional lives of master musicians, their pedagogies, and their thoughts about artistry in music performance and instruction.