Roger Sessions

One of America's foremost contemporary composers, professor of music at the University of California, Roger Sessions here discusses the musical experience of the composer, the performer, the listener. He believes this experience to be shared, on in which all three participants play vital roles, and in this book he speaks especially to the listener. Mr. Sessions finds that the artist-public relationships has been shifted to that of producer and consumer in big business. But his reply to his own question about a threat to the future of music is both a challenge and an expression of hope. A fascinating little book that will be read with pleasure by people at all levels of musical education. Originally published in 1950. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

His music was considered too difficult for performers and audiences alike, and encountered durable, if intensely respectful, neglect."--BOOK JACKET.

Recognized as the primary American symphonist of the 20th century, Roger Sessions (1896-1985) is one of the leading representatives of high modernism. His stature among American composers rivals Charles Ives, Aaron Copland, and Elliott Carter. Sessions was awarded two Pulitzer prizes, election to the American Academy of Arts and Letters, winning the Brandeis Creative Arts Award, the Gold Medal of the American Academy, and a MacDowell Medal, in addition to 14 honorary doctorates. Roger Sessions: A Biography brings together considerable previously unpublished archival material, such as letters, lectures, interviews, and articles, to shed light on the life and music of this major American composer. Andrea Olmstead, a teaching colleague of Sessions at Juilliard and the leading scholar on his music, has written a complete biography charting five touchstone areas through Sessions’s eighty-eight years: music, religion, politics, money, and sexuality.

For more than half of his long life, composer Roger Sessions was a commanding figure on the American musical scene. He enjoyed the solid respect of his peers, and as a teacher of a generation of composers and author of compelling writings on his craft, his influence on musical thought remains profound. Yet, even in his lifetime, his music endured vastly disrespectful neglect. He was a "difficult" composer. Sessions was well aware of it. In a New York Times article, he wrote, "I have sometimes been told that my music is 'difficult' for the listener. There are those who consider this as praise, those who consider it a reproach. For my part I regard it as, in itself, neither one or the other...it is the way the music comes, the way it has to come." The way Sessions's music "had to come" is a recurrent focus of this biography. As the story is told, often in the composer's own words, the complex picture emerges of a remarkable man who, gradually and not very willingly, learned to accept his unexpected lot as a "difficult" composer. Frederik Prausnitz, an acquaintance of Sessions and conductor of his work, combines personal and musical insights to present this fascinating portrait of an influential, yet often overlooked, modernist composer.

On traditional harmony, with over 800 exercises.

This new volume incorporates all entries from the previous editions by Arthur Wenk, expanding to cover writings drawn from periodicals, theses, dissertations, books, and Festschriften from 1940 to 2000. Over 9,000 references to analyses of works by over 1,000 composers of the nineteenth and twentieth centuries are included.

This book introduces a new approach for modeling large enterprise systems: the software fortress model. In the software fortress model, an enterprise architecture is viewed as a series of self-contained, mutually suspicious, marginally cooperating software fortresses interacting with each other through carefully crafted and meticulously managed treaty relationships. The software fortress model is an intuitive, simple, expressive approach that maps readily to existing technologies such as .NET and Java 2 Enterprise Edition (J2EE). This book is designed to meet an immediate need to define, clarify, and explain the basics of this new modeling methodology for large enterprise software architectures. "Software Fortresses is your essential roadmap to all aspects of software fortresses. Key topics include: The fundamental concepts and terminology of software fortressesDocumentation techniques, including Fortress Ally Responsibility Cards (based on Class Responsibility Cards) and Sequence Ally Diagrams (based on UML's Class Sequence Diagrams)The proper use of drawbridges to provide fortress interoperabilityThe innovative software fortress model for enterprise securityCorrect design approaches to fortress walls, which keep intruders out, and to guards, which let allies in.The role of loosely coupled and tightly coupled transactions in a software fortress architectureDesign and technology issues associated with the six major software fortress types This book is a must-read for all enterprise software professionals, whether you are a manager seeking to rein in run-away enterprise system complexity, an architect seeking to design interoperable, scalable, and highly secure systems, aconsultant expected to give advice on how .NET and J2EE fit into the enterprise space, an implementer wanting to understand how your system relates to a larger enterprise architecture, or a business analyst needing to know that your system requirements will be translated into a successful software implementation. 0321166086B12202002

An essential high culture institution, the John Simon Guggenheim Memorial Foundation has both supported and molded American musical culture. Denise Von Glahn examines the Foundation and its immense influence from the organization’s prehistory and origins through the onset of World War II. Funded by the Guggenheim mining fortune, the Foundation took early shape from the efforts of Carroll Wilson, Frank Aydelotte, and Henry Allen Moe--three Rhodes Scholars who initially struggled to envision and implement the organization’s ambitious goals. Von Glahn also examines the career of the longtime musical advisor Thomas Whitney Surette while profiling early awardees Aaron Copland, Ruth Crawford Seeger, William Grant Still, Roger Sessions, George Antheil, and Carlos Chàvez. She examines the processes behind their selection, their values and aesthetics, and their relationships with the insiders and others who championed their work.