Podcasts about modernist icon

"Buck wanted to stand in every room from his house, turn his head, and see every view. Even the bathroom. And so that was kind of what inspired the design of the house." Among the most famous photographs of modern architecture is Julius Shulman's picture of Case Study House #22, also known as the Stahl House after the family that commissioned it. Two girls in white dresses sit inside a glass cube that seems to float atop a cliff over the illuminated grid of Los Angeles at night. Built by a family with a “beer budget and champagne tastes,” the two-bedroom home designed by architect Pierre Koenig changed residential design in LA. While Shulman's image and others of the building have appeared in countless publications, advertisements, films, and TV shows, the story of how the house came to be and what it was like to live there is less well known. In this episode, Bruce Stahl and Shari Stahl Gronwald and writer Kim Cross discuss the story of how Case Study House #22 came to be and share personal stories about what it was like to grow up and live in the home, from roller skating across the concrete floors to diving off the roof into the pool. Stahl, Gronwald, and Cross are co-authors of the recent book The Stahl House: Case Study House #22; The Making of a Modernist Icon. To buy the book The Stahl House: Case Study House #22; The Making of a Modernist Icon, visit https://shop.getty.edu/products/the-stahl-house-case-study-house-22-the-making-of-a-modernist-icon

The Stahl House in Los Angeles is among the most famous houses in the world. Designed by Pierre Koenig and engineered by William Porush, the Stahl House and its pool were immortalized by legendary design photographer Julius Shulman. In a conversation recorded poolside at the swanky Hotel Skylark in Palm Springs, where they were part of a panel discussion at the Palm Springs Museum of Art, our George Smart talks with Shari Stahl Gronwald and Bruce Stahl. They grew up in the Stahl House and spent a lot of time in that pool. Joining them is author Kim Cross of the new book The Stahl House: Case Study House #22—The Making of a Modernist Icon. Later on, an update on the New York Architecture and Design Festival with Executive Director and friend of the show Kyle Bergman, plus music with architect and artist Albert McDonald and Fallow Ground.

Episode 5 explores the fascinating advent of a modernist icon: Chanel no. 5.

Pedagogue, composer, and conductor Nadia Boulanger was a central figure in Igor Stravinsky's life during the middle part of his career, providing him with support, advice, and a discerning analytical and editorial voice when he was writing some of his most important compositions including the Symphony of Psalms and Persephone. Dr. Kimberly A. Francis has recently published two books related to the complicated and tangled relationship between these two people. The first, released in 2015 by Oxford University Press, is Teaching Stravinsky: Nadia Boulanger and the Consecration of a Modernist Icon. Just last month, Boydell and Brewer published Francis's edition of their letters in Nadia Boulanger and the Stravinskys: A Selected Correspondence. In other hands, Teaching Stravinsky might have been a simple joint biography, but Francis grounds her work within a theoretical framework that promotes a new approach to musicology and other fields. Building on Pierre Bourdieu's theories on cultural production, Francis reminds us that as long as musicologists insist on centering their scholarship on the lone composer/genius, someone who is almost always a man, we will miss how creative works are really a result of the complex interplay of networks of influence, and collaborators who participated in individual composers' lives and music. She positions Boulanger as a participant in the cultural field of musical modernism, who used her position to influence Stravinsky's compositions while also promoting and shaping his reputation as the premiere neo-classicist composer. At the center of Teaching Stravinsky is the long correspondence between Stravinsky, members of his family, and Boulanger which spans over forty years. In Nadia Boulanger and the Stravinkys, Francis edits and provides the English translation of most of the letters exchanged by the two friends providing readers not only the source material for her own work, but also an important resource for anyone interested in twentieth-century music. Both books have extensive companion websites. Perhaps most exciting in the Teaching Stravinsky website are the reproductions of pages from Stravinksy's scores containing Boulanger's comments with Francis's explanations. The companion site for Nadia Boulanger and the Stravinskys holds all the letters in their original French. Kimberly A. Francis is an Associate Professor of Music at the University of Guelph in Canada. Her work centers on twentieth and twenty-first century music and feminist musicology. She has published articles in many journals including The Musical Quarterly, Women and Music, and the Journal of the Society for American Music. Her work has been recognized many times with awards such as a Glen Haydon Award for her dissertation from the University of North Carolina at Chapel Hill in 2010, and the American Musicological Society's Paul A. Pisk Prize and Teaching Fund Award. She was an International Fellow with the American Association of University Women. Her research has been supported by multiple grants including a General Research Grant from the Social Sciences and Humanities Research Council of Canada (20112013). She also serves as Editor-in Chief for the University of Guelph's award-winning journal, Critical Voices: The University of Guelph Book Review Project. Learn more about your ad choices. Visit megaphone.fm/adchoices

Pedagogue, composer, and conductor Nadia Boulanger was a central figure in Igor Stravinsky’s life during the middle part of his career, providing him with support, advice, and a discerning analytical and editorial voice when he was writing some of his most important compositions including the Symphony of Psalms and Persephone.... Learn more about your ad choices. Visit megaphone.fm/adchoices

Pedagogue, composer, and conductor Nadia Boulanger was a central figure in Igor Stravinsky’s life during the middle part of his career, providing him with support, advice, and a discerning analytical and editorial voice when he was writing some of his most important compositions including the Symphony of Psalms and Persephone. Dr. Kimberly A. Francis has recently published two books related to the complicated and tangled relationship between these two people. The first, released in 2015 by Oxford University Press, is Teaching Stravinsky: Nadia Boulanger and the Consecration of a Modernist Icon. Just last month, Boydell and Brewer published Francis’s edition of their letters in Nadia Boulanger and the Stravinskys: A Selected Correspondence. In other hands, Teaching Stravinsky might have been a simple joint biography, but Francis grounds her work within a theoretical framework that promotes a new approach to musicology and other fields. Building on Pierre Bourdieu’s theories on cultural production, Francis reminds us that as long as musicologists insist on centering their scholarship on the lone composer/genius, someone who is almost always a man, we will miss how creative works are really a result of the complex interplay of networks of influence, and collaborators who participated in individual composers’ lives and music. She positions Boulanger as a participant in the cultural field of musical modernism, who used her position to influence Stravinsky’s compositions while also promoting and shaping his reputation as the premiere neo-classicist composer. At the center of Teaching Stravinsky is the long correspondence between Stravinsky, members of his family, and Boulanger which spans over forty years. In Nadia Boulanger and the Stravinkys, Francis edits and provides the English translation of most of the letters exchanged by the two friends providing readers not only the source material for her own work, but also an important resource for anyone interested in twentieth-century music. Both books have extensive companion websites. Perhaps most exciting in the Teaching Stravinsky website are the reproductions of pages from Stravinksy’s scores containing Boulanger’s comments with Francis’s explanations. The companion site for Nadia Boulanger and the Stravinskys holds all the letters in their original French. Kimberly A. Francis is an Associate Professor of Music at the University of Guelph in Canada. Her work centers on twentieth and twenty-first century music and feminist musicology. She has published articles in many journals including The Musical Quarterly, Women and Music, and the Journal of the Society for American Music. Her work has been recognized many times with awards such as a Glen Haydon Award for her dissertation from the University of North Carolina at Chapel Hill in 2010, and the American Musicological Society’s Paul A. Pisk Prize and Teaching Fund Award. She was an International Fellow with the American Association of University Women. Her research has been supported by multiple grants including a General Research Grant from the Social Sciences and Humanities Research Council of Canada (20112013). She also serves as Editor-in Chief for the University of Guelph’s award-winning journal, Critical Voices: The University of Guelph Book Review Project. Learn more about your ad choices. Visit megaphone.fm/adchoices

Pedagogue, composer, and conductor Nadia Boulanger was a central figure in Igor Stravinsky’s life during the middle part of his career, providing him with support, advice, and a discerning analytical and editorial voice when he was writing some of his most important compositions including the Symphony of Psalms and Persephone. Dr. Kimberly A. Francis has recently published two books related to the complicated and tangled relationship between these two people. The first, released in 2015 by Oxford University Press, is Teaching Stravinsky: Nadia Boulanger and the Consecration of a Modernist Icon. Just last month, Boydell and Brewer published Francis’s edition of their letters in Nadia Boulanger and the Stravinskys: A Selected Correspondence. In other hands, Teaching Stravinsky might have been a simple joint biography, but Francis grounds her work within a theoretical framework that promotes a new approach to musicology and other fields. Building on Pierre Bourdieu’s theories on cultural production, Francis reminds us that as long as musicologists insist on centering their scholarship on the lone composer/genius, someone who is almost always a man, we will miss how creative works are really a result of the complex interplay of networks of influence, and collaborators who participated in individual composers’ lives and music. She positions Boulanger as a participant in the cultural field of musical modernism, who used her position to influence Stravinsky’s compositions while also promoting and shaping his reputation as the premiere neo-classicist composer. At the center of Teaching Stravinsky is the long correspondence between Stravinsky, members of his family, and Boulanger which spans over forty years. In Nadia Boulanger and the Stravinkys, Francis edits and provides the English translation of most of the letters exchanged by the two friends providing readers not only the source material for her own work, but also an important resource for anyone interested in twentieth-century music. Both books have extensive companion websites. Perhaps most exciting in the Teaching Stravinsky website are the reproductions of pages from Stravinksy’s scores containing Boulanger’s comments with Francis’s explanations. The companion site for Nadia Boulanger and the Stravinskys holds all the letters in their original French. Kimberly A. Francis is an Associate Professor of Music at the University of Guelph in Canada. Her work centers on twentieth and twenty-first century music and feminist musicology. She has published articles in many journals including The Musical Quarterly, Women and Music, and the Journal of the Society for American Music. Her work has been recognized many times with awards such as a Glen Haydon Award for her dissertation from the University of North Carolina at Chapel Hill in 2010, and the American Musicological Society’s Paul A. Pisk Prize and Teaching Fund Award. She was an International Fellow with the American Association of University Women. Her research has been supported by multiple grants including a General Research Grant from the Social Sciences and Humanities Research Council of Canada (20112013). She also serves as Editor-in Chief for the University of Guelph’s award-winning journal, Critical Voices: The University of Guelph Book Review Project. Learn more about your ad choices. Visit megaphone.fm/adchoices

Pedagogue, composer, and conductor Nadia Boulanger was a central figure in Igor Stravinsky’s life during the middle part of his career, providing him with support, advice, and a discerning analytical and editorial voice when he was writing some of his most important compositions including the Symphony of Psalms and Persephone. Dr. Kimberly A. Francis has recently published two books related to the complicated and tangled relationship between these two people. The first, released in 2015 by Oxford University Press, is Teaching Stravinsky: Nadia Boulanger and the Consecration of a Modernist Icon. Just last month, Boydell and Brewer published Francis’s edition of their letters in Nadia Boulanger and the Stravinskys: A Selected Correspondence. In other hands, Teaching Stravinsky might have been a simple joint biography, but Francis grounds her work within a theoretical framework that promotes a new approach to musicology and other fields. Building on Pierre Bourdieu’s theories on cultural production, Francis reminds us that as long as musicologists insist on centering their scholarship on the lone composer/genius, someone who is almost always a man, we will miss how creative works are really a result of the complex interplay of networks of influence, and collaborators who participated in individual composers’ lives and music. She positions Boulanger as a participant in the cultural field of musical modernism, who used her position to influence Stravinsky’s compositions while also promoting and shaping his reputation as the premiere neo-classicist composer. At the center of Teaching Stravinsky is the long correspondence between Stravinsky, members of his family, and Boulanger which spans over forty years. In Nadia Boulanger and the Stravinkys, Francis edits and provides the English translation of most of the letters exchanged by the two friends providing readers not only the source material for her own work, but also an important resource for anyone interested in twentieth-century music. Both books have extensive companion websites. Perhaps most exciting in the Teaching Stravinsky website are the reproductions of pages from Stravinksy’s scores containing Boulanger’s comments with Francis’s explanations. The companion site for Nadia Boulanger and the Stravinskys holds all the letters in their original French. Kimberly A. Francis is an Associate Professor of Music at the University of Guelph in Canada. Her work centers on twentieth and twenty-first century music and feminist musicology. She has published articles in many journals including The Musical Quarterly, Women and Music, and the Journal of the Society for American Music. Her work has been recognized many times with awards such as a Glen Haydon Award for her dissertation from the University of North Carolina at Chapel Hill in 2010, and the American Musicological Society’s Paul A. Pisk Prize and Teaching Fund Award. She was an International Fellow with the American Association of University Women. Her research has been supported by multiple grants including a General Research Grant from the Social Sciences and Humanities Research Council of Canada (20112013). She also serves as Editor-in Chief for the University of Guelph’s award-winning journal, Critical Voices: The University of Guelph Book Review Project. Learn more about your ad choices. Visit megaphone.fm/adchoices

Pedagogue, composer, and conductor Nadia Boulanger was a central figure in Igor Stravinsky’s life during the middle part of his career, providing him with support, advice, and a discerning analytical and editorial voice when he was writing some of his most important compositions including the Symphony of Psalms and Persephone. Dr. Kimberly A. Francis has recently published two books related to the complicated and tangled relationship between these two people. The first, released in 2015 by Oxford University Press, is Teaching Stravinsky: Nadia Boulanger and the Consecration of a Modernist Icon. Just last month, Boydell and Brewer published Francis’s edition of their letters in Nadia Boulanger and the Stravinskys: A Selected Correspondence. In other hands, Teaching Stravinsky might have been a simple joint biography, but Francis grounds her work within a theoretical framework that promotes a new approach to musicology and other fields. Building on Pierre Bourdieu’s theories on cultural production, Francis reminds us that as long as musicologists insist on centering their scholarship on the lone composer/genius, someone who is almost always a man, we will miss how creative works are really a result of the complex interplay of networks of influence, and collaborators who participated in individual composers’ lives and music. She positions Boulanger as a participant in the cultural field of musical modernism, who used her position to influence Stravinsky’s compositions while also promoting and shaping his reputation as the premiere neo-classicist composer. At the center of Teaching Stravinsky is the long correspondence between Stravinsky, members of his family, and Boulanger which spans over forty years. In Nadia Boulanger and the Stravinkys, Francis edits and provides the English translation of most of the letters exchanged by the two friends providing readers not only the source material for her own work, but also an important resource for anyone interested in twentieth-century music. Both books have extensive companion websites. Perhaps most exciting in the Teaching Stravinsky website are the reproductions of pages from Stravinksy’s scores containing Boulanger’s comments with Francis’s explanations. The companion site for Nadia Boulanger and the Stravinskys holds all the letters in their original French. Kimberly A. Francis is an Associate Professor of Music at the University of Guelph in Canada. Her work centers on twentieth and twenty-first century music and feminist musicology. She has published articles in many journals including The Musical Quarterly, Women and Music, and the Journal of the Society for American Music. Her work has been recognized many times with awards such as a Glen Haydon Award for her dissertation from the University of North Carolina at Chapel Hill in 2010, and the American Musicological Society’s Paul A. Pisk Prize and Teaching Fund Award. She was an International Fellow with the American Association of University Women. Her research has been supported by multiple grants including a General Research Grant from the Social Sciences and Humanities Research Council of Canada (20112013). She also serves as Editor-in Chief for the University of Guelph’s award-winning journal, Critical Voices: The University of Guelph Book Review Project. Learn more about your ad choices. Visit megaphone.fm/adchoices

Pedagogue, composer, and conductor Nadia Boulanger was a central figure in Igor Stravinsky’s life during the middle part of his career, providing him with support, advice, and a discerning analytical and editorial voice when he was writing some of his most important compositions including the Symphony of Psalms and Persephone. Dr. Kimberly A. Francis has recently published two books related to the complicated and tangled relationship between these two people. The first, released in 2015 by Oxford University Press, is Teaching Stravinsky: Nadia Boulanger and the Consecration of a Modernist Icon. Just last month, Boydell and Brewer published Francis’s edition of their letters in Nadia Boulanger and the Stravinskys: A Selected Correspondence. In other hands, Teaching Stravinsky might have been a simple joint biography, but Francis grounds her work within a theoretical framework that promotes a new approach to musicology and other fields. Building on Pierre Bourdieu’s theories on cultural production, Francis reminds us that as long as musicologists insist on centering their scholarship on the lone composer/genius, someone who is almost always a man, we will miss how creative works are really a result of the complex interplay of networks of influence, and collaborators who participated in individual composers’ lives and music. She positions Boulanger as a participant in the cultural field of musical modernism, who used her position to influence Stravinsky’s compositions while also promoting and shaping his reputation as the premiere neo-classicist composer. At the center of Teaching Stravinsky is the long correspondence between Stravinsky, members of his family, and Boulanger which spans over forty years. In Nadia Boulanger and the Stravinkys, Francis edits and provides the English translation of most of the letters exchanged by the two friends providing readers not only the source material for her own work, but also an important resource for anyone interested in twentieth-century music. Both books have extensive companion websites. Perhaps most exciting in the Teaching Stravinsky website are the reproductions of pages from Stravinksy’s scores containing Boulanger’s comments with Francis’s explanations. The companion site for Nadia Boulanger and the Stravinskys holds all the letters in their original French. Kimberly A. Francis is an Associate Professor of Music at the University of Guelph in Canada. Her work centers on twentieth and twenty-first century music and feminist musicology. She has published articles in many journals including The Musical Quarterly, Women and Music, and the Journal of the Society for American Music. Her work has been recognized many times with awards such as a Glen Haydon Award for her dissertation from the University of North Carolina at Chapel Hill in 2010, and the American Musicological Society’s Paul A. Pisk Prize and Teaching Fund Award. She was an International Fellow with the American Association of University Women. Her research has been supported by multiple grants including a General Research Grant from the Social Sciences and Humanities Research Council of Canada (20112013). She also serves as Editor-in Chief for the University of Guelph’s award-winning journal, Critical Voices: The University of Guelph Book Review Project. Learn more about your ad choices. Visit megaphone.fm/adchoices

Pedagogue, composer, and conductor Nadia Boulanger was a central figure in Igor Stravinsky's life during the middle part of his career, providing him with support, advice, and a discerning analytical and editorial voice when he was writing some of his most important compositions including the Symphony of Psalms and Persephone. Dr. Kimberly A. Francis has recently published two books related to the complicated and tangled relationship between these two people. The first, released in 2015 by Oxford University Press, is Teaching Stravinsky: Nadia Boulanger and the Consecration of a Modernist Icon. Just last month, Boydell and Brewer published Francis's edition of their letters in Nadia Boulanger and the Stravinskys: A Selected Correspondence. In other hands, Teaching Stravinsky might have been a simple joint biography, but Francis grounds her work within a theoretical framework that promotes a new approach to musicology and other fields. Building on Pierre Bourdieu's theories on cultural production, Francis reminds us that as long as musicologists insist on centering their scholarship on the lone composer/genius, someone who is almost always a man, we will miss how creative works are really a result of the complex interplay of networks of influence, and collaborators who participated in individual composers' lives and music. She positions Boulanger as a participant in the cultural field of musical modernism, who used her position to influence Stravinsky's compositions while also promoting and shaping his reputation as the premiere neo-classicist composer. At the center of Teaching Stravinsky is the long correspondence between Stravinsky, members of his family, and Boulanger which spans over forty years. In Nadia Boulanger and the Stravinkys, Francis edits and provides the English translation of most of the letters exchanged by the two friends providing readers not only the source material for her own work, but also an important resource for anyone interested in twentieth-century music. Both books have extensive companion websites. Perhaps most exciting in the Teaching Stravinsky website are the reproductions of pages from Stravinksy's scores containing Boulanger's comments with Francis's explanations. The companion site for Nadia Boulanger and the Stravinskys holds all the letters in their original French. Kimberly A. Francis is an Associate Professor of Music at the University of Guelph in Canada. Her work centers on twentieth and twenty-first century music and feminist musicology. She has published articles in many journals including The Musical Quarterly, Women and Music, and the Journal of the Society for American Music. Her work has been recognized many times with awards such as a Glen Haydon Award for her dissertation from the University of North Carolina at Chapel Hill in 2010, and the American Musicological Society's Paul A. Pisk Prize and Teaching Fund Award. She was an International Fellow with the American Association of University Women. Her research has been supported by multiple grants including a General Research Grant from the Social Sciences and Humanities Research Council of Canada (20112013). She also serves as Editor-in Chief for the University of Guelph's award-winning journal, Critical Voices: The University of Guelph Book Review Project.