In 1929 Nadia Boulanger accepted Igor Stravinsky's younger son, Soulima, as her student. Within two years, Stravinsky and Boulanger merged their artistic spheres, each influencing and enhancing the cultural work of the other until the composer's death in 1971. Teaching Stravinsky tells Boulanger's story of the ever-changing nature of her fractious relationship with Stravinksy. Author Kimberly A. Francis explores how Boulanger's own professional activity during the turbulent twentieth-century intersected with her efforts on behalf of Stravinsky, and how this facilitated her own influential conversations with the composer about his works while also drawing her into close contact with his family. Through the theoretical lens of Bourdieu, and drawing upon over one thousand pages of letters and scores, many published here for the first time, Francis examines the extent to which Boulanger played a foundational role in defining, defending, and ultimately consecrating Stravinsky's canonical identity. She considers how the quotidian events in the lives of these two icons of modernism informed both their art and their professional decisions, and convincingly argues for a reevaluation of the influence of women on cultural production during the twentieth century. At once a story of one woman's vibrant friendship with an iconic modernist composer, and a case study in how gendered polemics informed professional negotiations of the artistic-political fields of the twentieth-century, Teaching Stravinsky sheds new light not only on how Boulanger taught Stravinsky, but also how, in doing so, she managed to influence the course of modernism itself.
In September 1861 the men of Company A enlisted for three years in the Union Army during the American Civil War. Initially their regiment was intended to serve on the Eastern Shore of Maryland as Home Guard. On August 16, 1862, those men were discharged after only eleven months of service. Some claim that their discharge was the result of the men's refusal to cross the state line into Eastern Virginia. A Year in the Guard attempts to disprove that claim. The story of Company A begins with their enlistment and encampment in Cambridge, Maryland, and follows them through their participation in the invasion into Eastern Virginia. Their duties and camp life are illustrated through newspapers and personal accounts, while military records suggest that the men in fact did not refuse orders and were honorably discharged. A Year in the Guard is a work that sheds light on a previously unexplored aspect of Delmarva history."--
All is not well in the royal court. King Francis' health is failing. While the three councilman wait to see whether he will recover or die, rumors develop in the palace. The woman behind the princess' veil might not be the true heir. Councilman Simon seeks the truth. Councilman Henry seeks to place the princess on the throne - by whatever means necessary. Councilman Herbert only wishes to keep the kingdom of Upper Tsubasa from falling apart no matter what changes occur. Away from the palace the rest of the Tsubasans are also just trying to survive. If the princess has been replaced by another, where did she go? And if so, can she survive long enough to return before her father's death?
In 1929 Nadia Boulanger accepted Igor Stravinsky's younger son, Soulima, as her student. Within two years, Stravinsky and Boulanger merged their artistic spheres, each influencing and enhancing the cultural work of the other until the composer's death in 1971. Teaching Stravinsky tells Boulanger's story of the ever-changing nature of her fractious relationship with Stravinksy. Author Kimberly A. Francis explores how Boulanger's own professional activity during the turbulent twentieth-century intersected with her efforts on behalf of Stravinsky, and how this facilitated her own influential conversations with the composer about his works while also drawing her into close contact with his family. Through the theoretical lens of Bourdieu, and drawing upon over one thousand pages of letters and scores, many published here for the first time, Francis examines the extent to which Boulanger played a foundational role in defining, defending, and ultimately consecrating Stravinsky's canonical identity. She considers how the quotidian events in the lives of these two icons of modernism informed both their art and their professional decisions, and convincingly argues for a reevaluation of the influence of women on cultural production during the twentieth century. At once a story of one woman's vibrant friendship with an iconic modernist composer, and a case study in how gendered polemics informed professional negotiations of the artistic-political fields of the twentieth-century, Teaching Stravinsky sheds new light not only on how Boulanger taught Stravinsky, but also how, in doing so, she managed to influence the course of modernism itself.
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