271,041 research outputs found
The later orchestral works of William Walton: a critical and analytical re-evaluation
No full textAlthough the British twentieth-century composer William Walton enJoys a continuing presence in the international canon, the body of scholarship that seriously engages with his life and work is small. The post-war music, which includes the Cello Concerto (1956), Second Symphony (1961), Variations on a Theme of Hindemith (1963), Improvisations on
an Impromptu of Benjamin Britten (1969), and the film score for Battle of Britain (1969), has been particularly underrepresented in critical and analytical writing. In this thesis, I give detailed analyses of these scores, alongside an investigation of the contemporary critical
climate and reception history of these works.
I argue that the series of significant lifestyle changes that Walton underwent in the years immediately following the Second World War - including exchanging the busy musical life of London and a series of affairs with high-profile figures for the 'dolce far niente' of an isolated Italian island and a stable marriage - are suggestive of a broad shift in the composer's social and cultural values with consequent changes in musical attitudes and compositional tendencies. Walton's later music is differentiated from the pre-war works by the presence of octatonic, twelve-note, hexatonic and other non-diatonic harmonic constructions in the foreground, and a change from teleological to network-based or rotational background structures. My analyses adopt a deliberately eclectic range of analytical strategies, combining aspects of set-class approaches alongside tools from the tonal tradition. This methodological pluralism reflects my argument that the vitality of these scores derives from a tension between modernist and traditional tendencies. I argue that
Walton appropriates a wide range of influences, including to some extent that of the European avant garde, in contradistinction to the assertion prominent in contemporary
reception literature that his music had stagnated into a single outmoded and rarefied style.
I conclude that although Walton's post-war music was indeed conservative in comparison to that of several of his younger contemporaries, his music engages, through opposition and assimilation, with many of the most characteristic trends of twentieth-century concert
music. Nevertheless, I argue that the temptation to label Walton as a 'modernist' should be avoided; his works should be judged on their own terms and not according to the
regressive--progressive axis prominent in much of the contemporary reception literature. These scores may not have been progressive, but they have a distinctive sound-world and an invigorating vitality that makes them exceptionally engaging both as works of art and
objects of study
Interview withThelma Walton
No full textIn this interview, Thelma Walton talks about life Alabama during segregation. Walton recalls being on segregated buses and restaurants and department stores. She says it didn't bother her then: because I was young and didn't know no better. She says she understands now and sees it differently. Walton talks about registering to vote. She didn't have to answer any difficult or strange questions; she did have to show up with a white person to vouch for her and help her make sense of the paperwork. She also recalls vagrancy laws, that blacks couldn't be outside after a certain time of night or they would be taken home by the police. She describes seeing the Ku Klux Klan march and says she was afraid of them. She remembers seeing Civil Rights marches, too, but did not participate in them. Walton talks about the various recreational possibilities in the city, including music and dancing, drinking bootleg whiskey, and attending baseball games. Walton also discusses her church at length
World War I record of service survey for Edward H. Walton, signed 15 February 1926
No full textQuestionnaire about Edward Hazen Walton's service in World War I, 1917-1919, signed by Walton on 15 February 1926.Questionnaire originally part of a survey of Norwich University alumni conducted by a “Norwich in the World War” committee consisting of Charles N. Barber (chairman), Carl V. Woodbury, K.R.B. Flint, and Gustaf A. Nelson. Data from these questionnaires may have been used in a chapter of "Vermont in the world war, 1917-1919" by Harold P. Sheldon (1928)
Walton, Elmira, October 18, 2006 [Interview]
No full textElmira Walton was interviewed on October 18, 2006, by Megan Harinski about her experiences on the homefront during World War II.World War I
Montagu, Derdeheuvel I
No full texta247-a-1-i-4-1-16a-1 - 16b-2.jpg derived from archival TIFF file. Digital copies were created from a selection of drawings in the original James Walton manuscript collection (MS 247) held in the Manuscripts Section of the Stellenbosch Library and Information Service Collection.These illustrations were published in Double-storeyed flat-roofed buildings of the rural Cape by James Walton. Cape Town : Saayman & Weber, 1993, p. 30-31Photographs depicting Derdeheuvel I, Montagu
[Dance instructor Elizabeth Walton]
No full textElizabeth Walton Modern Dance Instructor Spring 1972Dance instructor Elizabeth Walton performing in costumeFrom verso: Photographer- Wm. Morgenstern, Baltimore, MD. Title supplied by cataloger
Walton Kromer: Narratives
No full text11/1/17
Walton Kromer
Mid Degree Review
. I’ve always been driven by good stories with the hope to create my own someday. Whether it be from a movie, book, or video game, if it has the ability to captivate me, and my creativity, I’ll try to incorporate it in my work. My main focus is Illustration, mostly in either an ink or graphite medium, with the aim to create a narrative image with some semblance of storytelling. I have more than a soft spot for the realm of science fiction. Practically everything from the entire genre has inspired me one way or another, and through that influence I honestly believe that my own work grows as a result. I take narrative inspiration from the grand stakes and unique world-building of George Lucas’ Star Wars, I seek to incorporate the deep philosophies of Gene Roddenberry’s Star Trek or the diversity of ideas and concepts in Bioware’s Mass Effect series. Create my own settings that can match the beauty and vastness of the Halo universe or desolate yet immersive art styles found in both the Metro and Fallout series. Reflect on the dark concepts of the unknown from the mind of H.P Lovecraft, and incorporate sublime elements similar to the works H.R Giger contributed to both Dune and the Alien franchise.
I’ll often draw scene pieces, playing out either the most pivotal or calm of moments. The main goal I hope to achieve with the intended composition is to create a moment in time for these settings, ones that can captivate both reflect and indulge my imagination and those of others. I tend to use values and line weight to convey the various distances in my pieces which in turn creates a believable sense of space. This plays into the proportions of my work, which has both the characters and the objects I’ve put into the environment correlate on balanced and believable scale. Characters I portray tend to be at the forefront, if not the center, of the piece, as my work for the most part focuses on them and their interactions with the environment and other characters. I tend to use empty and white space very sparingly. I tend to fill up the scenes with as many elements and as much detail as possible, refining the visuals to the best of my abilities.
When it comes to deeper meanings or an overall end message that my pieces try to convey, I didn’t think there was one, at least in regards to the audience. For a long time I saw art as the way I could accomplish my goal of becoming either and animator or comic book artist so I could create my own stories. But after a bit of reflection, I began to notice a recurring theme in my work. When I dug deep enough, I found that my work had deep found respect for humanity, both its good and bad elements. The way we can be civilized and strong for ourselves and others, yet still be capable of ruthlessness if pushed to our limits. Science fiction usually depicts humans in a pivotal role, and in a way I guess my work does to. I see my art my art as a testament to how strong we are as a species, and how that strength can be used for both good and bad purposes alike.https://digitalcommons.murraystate.edu/art399/1025/thumbnail.jp
Learning disabilities : barriers to choice in residential services.
No full textA recent study has revealed the extent of the obstacles to choice and control in residential settings for people with learning disabilities. In the first part of this article the first two authors highlight the key messages for practice. In the second part of the article the Social Care Institute for Excellence provides an overview of other research and resources on residential services and learning disabilities
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