Podcast appearances and mentions of Douglas W Shadle

In celebration of Dvořák Prague Festival; Brian Kennety interview with Douglas W Shadle

In celebration of Dvořák Prague Festival; Brian Kennety interview with Douglas W Shadle

Riccardo Muti presents two groundbreaking pieces by the first African American composers to have symphonic works performed by major orchestras. William Grant Still's Mother and Child is a gentle, lilting work inspired by a painting by Sargent Johnson. Florence Price's expressive Third Symphony gives a powerful voice to the African American experience. The first half includes Beethoven's Fourth Symphony, a work of grace, subtlety and drive, whose smallest gestures have large implications. Florence Price was a pioneer in the world of classical music: the first African-American woman to be recognized as a symphonic composer and the first to have her work played by a major orchestra. In honor of these special performances of Price's Symphony No. 3, arrive early to learn more about this fascinating composer. The complete experience will include a free preconcert panel discussion in Orchestra Hall 90 minutes before each performance. The event is moderated by Dr. Toni-Marie Montgomery, Dean of the Henry and Leigh Bienen School of Music, Northwestern University, and featuring Florence Price scholars Dr. Tammy L. Kernodle, Distinguished Professor of Music, Miami University, and Dr. Douglas W. Shadle, Associate Professor of Musicology, Blair School of Music, Vanderbilt University, as well as special guest Jessie Montgomery, CSO Mead Composer-in-Residence. No additional tickets required. Following the discussion, enjoy chamber music performances by Civic Orchestra of Chicago and Chicago Musical Pathways Initiative String Quartets performing works by Price and Montgomery in the Grainger Ballroom and Rotunda at Symphony Center. Thursday, May 5 6:00-6:45p Panel Discussion 6:45-7:15p Preconcert Chamber Performances Friday, May 6 12:00-12:45p Panel Discussion 12:45-1:15p Preconcert Chamber Performances Saturday, May 7 6:30-7:15p Panel Discussion 7:15-7:45p Preconcert Chamber Performances Learn more: cso.org/performances/21-22/cso-classical/muti-conducts-beethoven-still-price

Most music students have been taught that the New World Symphony was the first piece of classical music written in an American national style which Antonín Dvorák invented when he utilized influences from Black music in the second movement. The impression most textbooks leave is that this innovation was instantly approved by composers and critics alike, and that American classical music was born through Dvorak's intervention. Like most myths, this bears only a slight resemblance to the truth. Douglas W. Shadle sets the record straight in Antonin Dvorak's New World Symphony (Oxford University Press 2021). He tells the story of the symphony's genesis and the controversy among critics and listeners over Dvorák's ideas. Most importantly he delves deeply into the complex interactions between race and music that define the New World symphony and American musical identity. Kristen M. Turner is a lecturer in the music and honors departments at North Carolina State University. Her research centers on race and class in American popular entertainment at the turn of the twentieth century. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

Most music students have been taught that the New World Symphony was the first piece of classical music written in an American national style which Antonín Dvorák invented when he utilized influences from Black music in the second movement. The impression most textbooks leave is that this innovation was instantly approved by composers and critics alike, and that American classical music was born through Dvorak's intervention. Like most myths, this bears only a slight resemblance to the truth. Douglas W. Shadle sets the record straight in Antonin Dvorak's New World Symphony (Oxford University Press 2021). He tells the story of the symphony's genesis and the controversy among critics and listeners over Dvorák's ideas. Most importantly he delves deeply into the complex interactions between race and music that define the New World symphony and American musical identity. Kristen M. Turner is a lecturer in the music and honors departments at North Carolina State University. Her research centers on race and class in American popular entertainment at the turn of the twentieth century. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/east-asian-studies

Most music students have been taught that the New World Symphony was the first piece of classical music written in an American national style which Antonín Dvorák invented when he utilized influences from Black music in the second movement. The impression most textbooks leave is that this innovation was instantly approved by composers and critics alike, and that American classical music was born through Dvorak's intervention. Like most myths, this bears only a slight resemblance to the truth. Douglas W. Shadle sets the record straight in Antonin Dvorak's New World Symphony (Oxford University Press 2021). He tells the story of the symphony's genesis and the controversy among critics and listeners over Dvorák's ideas. Most importantly he delves deeply into the complex interactions between race and music that define the New World symphony and American musical identity. Kristen M. Turner is a lecturer in the music and honors departments at North Carolina State University. Her research centers on race and class in American popular entertainment at the turn of the twentieth century. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

Most music students have been taught that the New World Symphony was the first piece of classical music written in an American national style which Antonín Dvorák invented when he utilized influences from Black music in the second movement. The impression most textbooks leave is that this innovation was instantly approved by composers and critics alike, and that American classical music was born through Dvorak's intervention. Like most myths, this bears only a slight resemblance to the truth. Douglas W. Shadle sets the record straight in Antonin Dvorak's New World Symphony (Oxford University Press 2021). He tells the story of the symphony's genesis and the controversy among critics and listeners over Dvorák's ideas. Most importantly he delves deeply into the complex interactions between race and music that define the New World symphony and American musical identity. Kristen M. Turner is a lecturer in the music and honors departments at North Carolina State University. Her research centers on race and class in American popular entertainment at the turn of the twentieth century. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

Most music students have been taught that the New World Symphony was the first piece of classical music written in an American national style which Antonín Dvorák invented when he utilized influences from Black music in the second movement. The impression most textbooks leave is that this innovation was instantly approved by composers and critics alike, and that American classical music was born through Dvorak's intervention. Like most myths, this bears only a slight resemblance to the truth. Douglas W. Shadle sets the record straight in Antonin Dvorak's New World Symphony (Oxford University Press 2021). He tells the story of the symphony's genesis and the controversy among critics and listeners over Dvorák's ideas. Most importantly he delves deeply into the complex interactions between race and music that define the New World symphony and American musical identity. Kristen M. Turner is a lecturer in the music and honors departments at North Carolina State University. Her research centers on race and class in American popular entertainment at the turn of the twentieth century. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

Most music students have been taught that the New World Symphony was the first piece of classical music written in an American national style which Antonín Dvorák invented when he utilized influences from Black music in the second movement. The impression most textbooks leave is that this innovation was instantly approved by composers and critics alike, and that American classical music was born through Dvorak's intervention. Like most myths, this bears only a slight resemblance to the truth. Douglas W. Shadle sets the record straight in Antonin Dvorak's New World Symphony (Oxford University Press 2021). He tells the story of the symphony's genesis and the controversy among critics and listeners over Dvorák's ideas. Most importantly he delves deeply into the complex interactions between race and music that define the New World symphony and American musical identity. Kristen M. Turner is a lecturer in the music and honors departments at North Carolina State University. Her research centers on race and class in American popular entertainment at the turn of the twentieth century.

One of the most neglected areas of musicological research is art music written by nineteenth-century American composers, thus Douglas Shadle‘s book Orchestrating the Nation: The Nineteenth-Century American Symphonic Enterprise (Oxford University Press, 2015) is a welcome, and much needed, addition to the field. It is the first comprehensive survey of American nineteenth-century orchestral music. Organized chronologically, each chapter also features a detailed critical analysis of a major work. Shadle unearths, analyzes, and advocates for a repertoire that has been erased almost completely from the historical and performance record. Along the way, Shadle debunks or nuances some of the most common narratives in musicological historiography on American music. Written in a lively, approachable style, he provides contemporary assessments of the music, while also contextualizing American symphonic works within the musical, cultural, and political history of the United States. Despite focusing on nineteenth-century music and composers, Shadle’s work resonates with and informs some of the controversies that dog classical music today, including the continued dominance of pieces by white male composers in the repertoire of the nations leading orchestras. He challenges the arguments that critics made then, and some continue to make today, that uphold the systemic exclusion of non-canonical music and works by composers from marginalized groups. Learn more about Orchestrating the Nation here. Douglas W. Shadle is an assistant professor of musicology at Vanderbilt University whose research centers primarily on American orchestral music and American musical culture in the nineteenth century. His work has appeared in many journals and collected editions including American Music, the Journal of the Society for American Music, and MLA Notes. His article How Santa Clause Became a Slave Driver: The Work of Print Culture in a Nineteenth-Century Controversy won the 2016 Society for American Music Irving Lowen’s Article Award and a 2015 ASCAP Deems Taylor/Virgil Thomson Award. Orchestrating the Nation: The Nineteenth-Century American Symphonic Enterprise has been well-reviewed not only by musicologists, but also in the popular press in venues such as The New York Times, The New Yorker, and the Washington Post. It was also honored with an ASCAP Foundation Deems Taylor/Virgil Thomson Award in 2017. Currently, Shadle is working on a short monograph for the Oxford Keynote Series on Antonin Dvořak’s New World Symphony. Kristen M. Turner, Ph.D. is a lecturer at North Carolina State University in the music department. Her work centers on American musical culture at the turn of the twentieth century and has been published in several journals and essay collections. Learn more about your ad choices. Visit megaphone.fm/adchoices

One of the most neglected areas of musicological research is art music written by nineteenth-century American composers, thus Douglas Shadle‘s book Orchestrating the Nation: The Nineteenth-Century American Symphonic Enterprise (Oxford University Press, 2015) is a welcome, and much needed, addition to the field. It is the first comprehensive survey of American nineteenth-century orchestral music. Organized chronologically, each chapter also features a detailed critical analysis of a major work. Shadle unearths, analyzes, and advocates for a repertoire that has been erased almost completely from the historical and performance record. Along the way, Shadle debunks or nuances some of the most common narratives in musicological historiography on American music. Written in a lively, approachable style, he provides contemporary assessments of the music, while also contextualizing American symphonic works within the musical, cultural, and political history of the United States. Despite focusing on nineteenth-century music and composers, Shadle’s work resonates with and informs some of the controversies that dog classical music today, including the continued dominance of pieces by white male composers in the repertoire of the nations leading orchestras. He challenges the arguments that critics made then, and some continue to make today, that uphold the systemic exclusion of non-canonical music and works by composers from marginalized groups. Learn more about Orchestrating the Nation here. Douglas W. Shadle is an assistant professor of musicology at Vanderbilt University whose research centers primarily on American orchestral music and American musical culture in the nineteenth century. His work has appeared in many journals and collected editions including American Music, the Journal of the Society for American Music, and MLA Notes. His article How Santa Clause Became a Slave Driver: The Work of Print Culture in a Nineteenth-Century Controversy won the 2016 Society for American Music Irving Lowen’s Article Award and a 2015 ASCAP Deems Taylor/Virgil Thomson Award. Orchestrating the Nation: The Nineteenth-Century American Symphonic Enterprise has been well-reviewed not only by musicologists, but also in the popular press in venues such as The New York Times, The New Yorker, and the Washington Post. It was also honored with an ASCAP Foundation Deems Taylor/Virgil Thomson Award in 2017. Currently, Shadle is working on a short monograph for the Oxford Keynote Series on Antonin Dvořak’s New World Symphony. Kristen M. Turner, Ph.D. is a lecturer at North Carolina State University in the music department. Her work centers on American musical culture at the turn of the twentieth century and has been published in several journals and essay collections. Learn more about your ad choices. Visit megaphone.fm/adchoices

One of the most neglected areas of musicological research is art music written by nineteenth-century American composers, thus Douglas Shadle‘s book Orchestrating the Nation: The Nineteenth-Century American Symphonic Enterprise (Oxford University Press, 2015) is a welcome, and much needed, addition to the field. It is the first comprehensive survey of American nineteenth-century orchestral music. Organized chronologically, each chapter also features a detailed critical analysis of a major work. Shadle unearths, analyzes, and advocates for a repertoire that has been erased almost completely from the historical and performance record. Along the way, Shadle debunks or nuances some of the most common narratives in musicological historiography on American music. Written in a lively, approachable style, he provides contemporary assessments of the music, while also contextualizing American symphonic works within the musical, cultural, and political history of the United States. Despite focusing on nineteenth-century music and composers, Shadle’s work resonates with and informs some of the controversies that dog classical music today, including the continued dominance of pieces by white male composers in the repertoire of the nations leading orchestras. He challenges the arguments that critics made then, and some continue to make today, that uphold the systemic exclusion of non-canonical music and works by composers from marginalized groups. Learn more about Orchestrating the Nation here. Douglas W. Shadle is an assistant professor of musicology at Vanderbilt University whose research centers primarily on American orchestral music and American musical culture in the nineteenth century. His work has appeared in many journals and collected editions including American Music, the Journal of the Society for American Music, and MLA Notes. His article How Santa Clause Became a Slave Driver: The Work of Print Culture in a Nineteenth-Century Controversy won the 2016 Society for American Music Irving Lowen’s Article Award and a 2015 ASCAP Deems Taylor/Virgil Thomson Award. Orchestrating the Nation: The Nineteenth-Century American Symphonic Enterprise has been well-reviewed not only by musicologists, but also in the popular press in venues such as The New York Times, The New Yorker, and the Washington Post. It was also honored with an ASCAP Foundation Deems Taylor/Virgil Thomson Award in 2017. Currently, Shadle is working on a short monograph for the Oxford Keynote Series on Antonin Dvořak’s New World Symphony. Kristen M. Turner, Ph.D. is a lecturer at North Carolina State University in the music department. Her work centers on American musical culture at the turn of the twentieth century and has been published in several journals and essay collections. Learn more about your ad choices. Visit megaphone.fm/adchoices

One of the most neglected areas of musicological research is art music written by nineteenth-century American composers, thus Douglas Shadle‘s book Orchestrating the Nation: The Nineteenth-Century American Symphonic Enterprise (Oxford University Press, 2015) is a welcome, and much needed, addition to the field. It is the first comprehensive survey of American nineteenth-century orchestral music. Organized chronologically, each chapter also features a detailed critical analysis of a major work. Shadle unearths, analyzes, and advocates for a repertoire that has been erased almost completely from the historical and performance record. Along the way, Shadle debunks or nuances some of the most common narratives in musicological historiography on American music. Written in a lively, approachable style, he provides contemporary assessments of the music, while also contextualizing American symphonic works within the musical, cultural, and political history of the United States. Despite focusing on nineteenth-century music and composers, Shadle’s work resonates with and informs some of the controversies that dog classical music today, including the continued dominance of pieces by white male composers in the repertoire of the nations leading orchestras. He challenges the arguments that critics made then, and some continue to make today, that uphold the systemic exclusion of non-canonical music and works by composers from marginalized groups. Learn more about Orchestrating the Nation here. Douglas W. Shadle is an assistant professor of musicology at Vanderbilt University whose research centers primarily on American orchestral music and American musical culture in the nineteenth century. His work has appeared in many journals and collected editions including American Music, the Journal of the Society for American Music, and MLA Notes. His article How Santa Clause Became a Slave Driver: The Work of Print Culture in a Nineteenth-Century Controversy won the 2016 Society for American Music Irving Lowen’s Article Award and a 2015 ASCAP Deems Taylor/Virgil Thomson Award. Orchestrating the Nation: The Nineteenth-Century American Symphonic Enterprise has been well-reviewed not only by musicologists, but also in the popular press in venues such as The New York Times, The New Yorker, and the Washington Post. It was also honored with an ASCAP Foundation Deems Taylor/Virgil Thomson Award in 2017. Currently, Shadle is working on a short monograph for the Oxford Keynote Series on Antonin Dvořak’s New World Symphony. Kristen M. Turner, Ph.D. is a lecturer at North Carolina State University in the music department. Her work centers on American musical culture at the turn of the twentieth century and has been published in several journals and essay collections. Learn more about your ad choices. Visit megaphone.fm/adchoices

One of the most neglected areas of musicological research is art music written by nineteenth-century American composers, thus Douglas Shadle‘s book Orchestrating the Nation: The Nineteenth-Century American Symphonic Enterprise (Oxford University Press, 2015) is a welcome, and much needed, addition to the field. It is the first comprehensive survey of American nineteenth-century orchestral music. Organized chronologically, each chapter also features a detailed critical analysis of a major work. Shadle unearths, analyzes, and advocates for a repertoire that has been erased almost completely from the historical and performance record. Along the way, Shadle debunks or nuances some of the most common narratives in musicological historiography on American music. Written in a lively, approachable style, he provides contemporary assessments of the music, while also contextualizing American symphonic works within the musical, cultural, and political history of the United States. Despite focusing on nineteenth-century music and composers, Shadle's work resonates with and informs some of the controversies that dog classical music today, including the continued dominance of pieces by white male composers in the repertoire of the nations leading orchestras. He challenges the arguments that critics made then, and some continue to make today, that uphold the systemic exclusion of non-canonical music and works by composers from marginalized groups. Learn more about Orchestrating the Nation here. Douglas W. Shadle is an assistant professor of musicology at Vanderbilt University whose research centers primarily on American orchestral music and American musical culture in the nineteenth century. His work has appeared in many journals and collected editions including American Music, the Journal of the Society for American Music, and MLA Notes. His article How Santa Clause Became a Slave Driver: The Work of Print Culture in a Nineteenth-Century Controversy won the 2016 Society for American Music Irving Lowen's Article Award and a 2015 ASCAP Deems Taylor/Virgil Thomson Award. Orchestrating the Nation: The Nineteenth-Century American Symphonic Enterprise has been well-reviewed not only by musicologists, but also in the popular press in venues such as The New York Times, The New Yorker, and the Washington Post. It was also honored with an ASCAP Foundation Deems Taylor/Virgil Thomson Award in 2017. Currently, Shadle is working on a short monograph for the Oxford Keynote Series on Antonin Dvořak's New World Symphony. Kristen M. Turner, Ph.D. is a lecturer at North Carolina State University in the music department. Her work centers on American musical culture at the turn of the twentieth century and has been published in several journals and essay collections.