1060 Chapters
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Epilogue - Sailing On

Robert K. Wallace University of North Texas Press PDF


�Sailing On


he world premiere in Dallas in April and May 2010 introduced Moby-Dick to the opera world and revealed its power to attract and inspire audiences. The Australian premiere in Adelaide in August and September

2011, the Canadian premiere in Calgary in January and February 2012, and

the West Coast premiere in San Diego in February 2012 were all highly successful productions featuring new conductors, casts, orchestras, and choruses in the presence of the same climbing wall and digital projections that had been seen in Dallas.

Each of these premieres had striking elements that distinguished it from the others.

David Sexton conducted the State Opera of South Australia in a production that featured Jay Hunter Morris as Ahab, Jonathan Lemalu as the only veteran from the Dallas cast, and a Pip who was not African American (a surprise to Heggie and

Scheer when they arrived for rehearsals).

The Calgary Opera production was conducted by Joe Mechavich with Ben Heppner as Ahab in the first Canadian appearance by the Canadian-born Heppner in sixteen years. The Calgary production closed on February 3 and the San Diego one opened on February 18, so there was some concern as to whether the “five trailers

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14. Classical Repertoire

Elisa Koehler Indiana University Press ePub

14  Classical Repertoire

Despite the novelty of Anton Weidinger and his keyed trumpet, the trumpet was not viewed as a solo instrument during the Classical era. Aside from the last gasps of clarino playing that flourished in imperial Vienna in the 1760s and later experiments with hand-stopping and key mechanisms, trumpet playing in the late eighteenth century was restricted to the second octave of the overtone series and the subordinate role of emphasizing simple tonic and dominant key centers in orchestral compositions. Societal changes also had an impact on the role of the trumpet in civic ceremonies. As monarchies and empires were replaced by democratic governments and political revolutionaries, the status of the formerly royal instrument was subsequently demoted.

As shown in earlier chapters, experiments with early keyed brasses and valve mechanisms were slow to be accepted into the mainstream for cultural as well as social reasons. Imperfections in intonation and inconsistences in tone quality were other factors. Although the nineteenth century would later be considered “the brass century” thanks to the popularity of the cornet and other valved brasses, the Age of Enlightenment was ironically the lowest point in the trumpet’s history from an artistic standpoint. This chapter explores the few highlights of the era, including orchestral writing, the concerti of Haydn and Hummel, and the changes in music education that were to bear fruit in the Romantic era.

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XXXVIII. Rough Old Texas Hands

Vince Bell University of North Texas Press PDF


Rough Old Texas Hands


took the Martin to a very hip, very expensive guitar store in Nashville to get it appraised and to find out how the retail world would value my lifelong instrument. The owner appeared when it came out of its flight case the size of a small refrigerator. He said right off the mark that because of its worn, practically varnish-less condition, it probably wasn’t worth much. But the last time I performed with that good-for-nothing old bronze, we played for encores. And got ’em.

A grizzled fellow from the excellent repair shop in the back came out especially to see the old campaigner. It was more than an old dog’s nose could stand. He smiled warmly but distantly at my well-used pal as if it were his first wife. Then he cooed as he twirled it in the air and remarked all its excellent tolerances. But he matter-of-factly judged, “Other than, obviously, many years of hard livin’, it does have a few unglued cracks in the back and sides. And the neck has been sanded down.”

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4. Judgment

Estelle R. Jorgensen Indiana University Press ePub




When I first began to teach, I gave relatively little thought to defending my judgments about my teaching and the achievements of my students. I had reasons for my decisions and actions, and I was intent on designing and implementing instructional programs that would entice my students by a variety of means to learn what I had to teach them. Students, parents and guardians, and administrators seemed to take it for granted that I knew what I was doing and would be objective and fair-minded. If students did well, it was because they had done what they needed to do; if they did not do well, the onus was on them to work harder or accept the fact that they might not be as gifted as others might be. In the intervening years, the tables have turned, my professional decisions are no longer taken for granted, and the onus is now on me to justify my judgments.1

From antiquity, teachers have exercised judgment in setting appropriate tasks for students and assessing their work. Today, judgment is revealed in an array of teaching situations as we design a curriculum, implement an instructional strategy, and assess a student’s progress toward mastery of particular material and our own efforts toward this end. Judgment is broader than evaluation and assessment—terms that are popular in educational discourse today—and focuses our attention on a pressing question: What principles should guide our decisions about our students’ and our own work? Our exercise of judgment is a practical as well as intellectual matter. Having once evaluated a situation, we determine what to do and enact our decisions. There is a dialectic between coming to a point of decision and acting on that decision. Evaluation and action are inextricably interwoven in every matter in which pedagogical judgment is exercised. And I illustrate these tensions in a discussion of aspects of judgment, namely, personal choice and potential, formative and summative evaluations, justice and mercy, clear criteria, taking things seriously, sorts of challenges at different levels, and the inevitable test.

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21. Trumpeting in the Twenty-First Century

Elisa Koehler Indiana University Press ePub

21  Trumpeting in the Twenty-First Century

The artistic vistas open to trumpeters today were inconceivable sixty years ago. Back in the 1950s the piccolo trumpet was not a mainstream instrument, brass quintets were just getting started, classical trumpeters didn’t play jazz (or vice versa), performing Baroque repertoire on natural trumpets was thought to be impossible, and the revival of the cornetto was just a twinkle in the eye of Christopher Monk. Solo trumpet recordings were scarce, classical trumpet soloists were a novelty, brilliant jazz trumpeters were subjected to racial discrimination, and female trumpeters were largely excluded from the professional mainstream altogether. So much has changed.

While trumpeters have advanced on every artistic front of the music profession, a historical perspective of these gains has only recently garnered attention. It is difficult, admittedly, to recognize history as it is happening, but at the same time, the fast-forward pace of technological and social advancement clouds historical awareness. It’s time to pause and reflect, and that is one of the goals of this book.

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