Podcast appearances and mentions of Olga Samaroff

Se cumplen 50 años de El Chavo y casi al mismo tiempo Univisión anuncia su nueva plataforma de streaming, gracias a la fusión con Televisa. Pero El Chavo ya no está en Televisa, más bien, existen rumores de que lo volverían a grabar para Disney+. Pero lo han desmentido. ¿Tiene que ver El Chavo con Univisión? Por qué aparecen las dos informaciones en el mismo episodio de El Siglo 21 es Hoy? Univisión se prepara para un reto grande al competir con Netflix, HBOMax, Star+ y Disney+ Y parece que lo que busca, con Televisa como su nuevo socio proveedor de contenidos… es justo lo que Televisa logró con El Chavo y El Chapulín en los años 80 y 90: ¡Abarcar todo el mundo de habla hispana! ———— Capítulos dentro de este episodio pódcast: 00:00 Los 50 años de El Chavo01:50 De Netflix y Disney hacia Univision03:15 Y ¿también Google?05:27 La historia de Chespirito y Televisa08:50 El negocio, socio11:29 5 puntos de análisis13:42 Los gags14:57 Univisión + Televisa18:10 VIX, Univision Now y PrendeTV20:46 Paisaje sonoro ———— La pieza musical "Marcha Turca", que identificó a El Chavo, es una composición de Beethoven y aquí suena en la interpretación de la pianista Olga Samaroff en 1921, de dominio público, disponible en Archive.org.———— Algunas de las músicas Creative Commons en este episodio: — Turkish March - Olga Samaroff; Beethoven — Ella Vater - The Mini Vandals — I Drank Alone - TrackTribe — Dover - The Westerlies— Ersatz Bossa (Sting) - John Deley and the 41 Players — Night Run Away - An Jone

Se cumplen 50 años de El Chavo y casi al mismo tiempo Univisión anuncia su nueva plataforma de streaming, gracias a la fusión con Televisa. Pero El Chavo ya no está en Televisa, más bien, existen rumores de que lo volverían a grabar para Disney+. Pero lo han desmentido. ¿Tiene que ver El Chavo con Univisión? Por qué aparecen las dos informaciones en el mismo episodio de El Siglo 21 es Hoy? Univisión se prepara para un reto grande al competir con Netflix, HBOMax, Star+ y Disney+ Y parece que lo que busca, con Televisa como su nuevo socio proveedor de contenidos… es justo lo que Televisa logró con El Chavo y El Chapulín en los años 80 y 90: ¡Abarcar todo el mundo de habla hispana! ———— Capítulos dentro de este episodio pódcast: 00:00 Los 50 años de El Chavo01:50 De Netflix y Disney hacia Univision03:15 Y ¿también Google?05:27 La historia de Chespirito y Televisa08:50 El negocio, socio11:29 5 puntos de análisis13:42 Los gags14:57 Univisión + Televisa18:10 VIX, Univision Now y PrendeTV20:46 Paisaje sonoro ———— La pieza musical "Marcha Turca", que identificó a El Chavo, es una composición de Beethoven y aquí suena en la interpretación de la pianista Olga Samaroff en 1921, de dominio público, disponible en Archive.org.———— Algunas de las músicas Creative Commons en este episodio: — Turkish March - Olga Samaroff; Beethoven — Ella Vater - The Mini Vandals — I Drank Alone - TrackTribe — Dover - The Westerlies— Ersatz Bossa (Sting) - John Deley and the 41 Players — Night Run Away - An Jone

Se cumplen 50 años de El Chavo y casi al mismo tiempo Univisión anuncia su nueva plataforma de streaming, gracias a la fusión con Televisa. Pero El Chavo ya no está en Televisa, más bien, existen rumores de que lo volverían a grabar para Disney+. Pero lo han desmentido. ¿Tiene que ver El Chavo con Univisión? Por qué aparecen las dos informaciones en el mismo episodio de El Siglo 21 es Hoy? Univisión se prepara para un reto grande al competir con Netflix, HBOMax, Star+ y Disney+ Y parece que lo que busca, con Televisa como su nuevo socio proveedor de contenidos… es justo lo que Televisa logró con El Chavo y El Chapulín en los años 80 y 90: ¡Abarcar todo el mundo de habla hispana! ———— Capítulos dentro de este episodio pódcast: 00:00 Los 50 años de El Chavo01:50 De Netflix y Disney hacia Univision03:15 Y ¿también Google?05:27 La historia de Chespirito y Televisa08:50 El negocio, socio11:29 5 puntos de análisis13:42 Los gags14:57 Univisión + Televisa18:10 VIX, Univision Now y PrendeTV20:46 Paisaje sonoro ———— La pieza musical "Marcha Turca", que identificó a El Chavo, es una composición de Beethoven y aquí suena en la interpretación de la pianista Olga Samaroff en 1921, de dominio público, disponible en Archive.org.———— Algunas de las músicas Creative Commons en este episodio: — Turkish March - Olga Samaroff; Beethoven — Ella Vater - The Mini Vandals — I Drank Alone - TrackTribe — Dover - The Westerlies— Ersatz Bossa (Sting) - John Deley and the 41 Players — Night Run Away - An Jone

Pianist Jerome Lowenthal's active solo and teaching career has shaped the pianistic landscape of today!  It is such a pleasure to welcome this legendary musician to the show!  Through his incredible story, Jerome talks to us about how the varied sources of influence he was exposed to as a young musician lead him to search within himself and find his own artistic voice, how he helps students do the same today, and he gives out wonderful wisdom and advice for young musicians. There's so much to learn and so much inspiration to be found through his story and I hope you love this conversation with Jerome Lowenthal!     NEW ON THE WEBSITE: A Resources page! You can find my favorite websites, cds, as well as the other podcasts I like to listen to and the amazing books recommended by my podcast guests! Visit www.mindoverfinger.com/resources!   Sign up for my newsletter to get your free guide to a super productive practice using the metronome!  This guide is the perfect entry point to help you bring more mindfulness and efficiency into your practice and it's filled with tips and tricks on how to use that wonderful tool to take your practicing and your playing to new heights! TURN THE METRONOME ON AND START PRACTICING BETTER AND LEARNING FASTER RIGHT NOW!  GET YOUR FREE METRONOME GUIDE TODAY! Click HERE or visit www.mindoverfinger.com!   MORE ABOUT JEROME: Websites: https://www.juilliard.edu/music/faculty/lowenthal-jerome https://www.musicacademy.org/profile/jerome-lowenthal/   YouTube videos: CLICK HERE   Jerome Lowenthal is an American classical pianist. He is chair of the piano department at the Juilliard School in New York.  Additionally, Lowenthal is on the faculty at Music Academy of the West in Santa Barbara, California. Lowenthal was born in Philadelphia. He made his debut as a solo pianist at the age of 13 with the Philadelphia Orchestra. Returning to the United States from Jerusalem in 1963, he made his debut with the New York Philharmonic, playing Bartók's Piano Concerto No. 2. Since then, he has performed with famous conductors such as Daniel Barenboim, Seiji Ozawa, Michael Tilson Thomas, Yuri Temirkanov, Leonard Slatkin, Leonard Bernstein, Eugene Ormandy, Pierre Monteux, Josef Krips,[3] and Leopold Stokowski. He has played sonatas with Itzhak Perlman, piano duos with Ronit Amir, and with Ursula Oppens,[4] as well as quintets with the Lark Quartet, Avalon Quartet, and Shanghai Quartet. His studies included lessons with Olga Samaroff in Philadelphia, William Kapell and Eduard Steuermann at the Juilliard School in New York, and Alfred Cortot at the École Normale de Musique de Paris in Paris, France. A prizewinner at Queen Elisabeth Music Competition in Brussels (1960) and Busoni Competition, he is a frequent judge in international piano competitions. He is recognized as a specialist of Franz Liszt, Pyotr Tchaikovsky, Béla Bartók, and more generally of virtuoso and late romantic music. His recordings include piano concertos by Liszt with the Vancouver Symphony Orchestra and the complete Tchaikovsky concerto cycle with the London Symphony Orchestra. He has an extensive repertoire, including 59 performed piano concerti. He is the dedicatee of many new works, such as Ned Rorem's Piano Concerto (No. 3) in Six Movements, and has unearthed some rare romantic piano works, such as the Liszt Third Piano Concerto edited by his former student Jay Rosenblatt.     If you enjoyed the show, please leave a review on iTunes!  I truly appreciate your support! Visit www.mindoverfinger.com for information about past and future podcasts, and for more resources on mindful practice. Join the Mind Over Finger Tribe here!  https://www.facebook.com/groups/mindoverfingertribe/     THANK YOU: Most sincere thank you to composer Jim Stephenson who graciously provided the show's musical theme!  Concerto #1 for Trumpet and Chamber Orchestra – Movement 2: Allegro con Brio, performed by Jeffrey Work, trumpet, and the Lake Forest Symphony, conducted by Jim Stephenson. Also a HUGE thank you to my fantastic producer, Bella Kelly!   MIND OVER FINGER: www.mindoverfinger.com https://www.facebook.com/mindoverfinger/ https://www.instagram.com/mindoverfinger/

There has been a recent trend in books that explore one year in detail: 1914, 1927, and 1968 have all received this treatment. E. Douglas Bomberger’s new book Making Music American: 1917 and the Transformation of Culture from Oxford University Press (2018) is new twist on this phenomenon. Rather than primarily trace historical events while touching on cultural matters as many of these books do, Bomberger follows the events in jazz and classical music during this crucial year while framing them within America’s entry into World War One. Written for the general public as well as a scholarly audience, each chapter puts the events of one month in conversation with each other, allowing readers to grasp the busy cultural landscape in the period. Bomberger focuses on eight key figures. Classical musicians Fritz Kreisler, Karl Muck, Walter Damrosch, Olga Samaroff, and Ernestine Schumann-Heink contended with the fallout from mounting anti-German feeling within the United States in different ways as audiences turned against the German music which was the core of their repertory, and viewed German musicians with suspicion. Only Olga Samaroff was born in the US. The others were German-speaking, and some were not U.S. citizens. Through canny marketing and patriotic concerts, Ernestine Schumann-Heink maintained her singing career even though she had sons fighting on both sides of the conflict, while conductor Karl Muck ended up in an internment camp. Meanwhile popular musicians Freddie Keppard, Dominc LaRocca, and James Reese Europe worked to establish their careers and popularize the fledging musical style of jazz. James Reese Europe spent most of the year staffing and then training the band for the Fifteenth Regiment (Colored) of the New York National Guard, an all-black unit that went on to distinguish itself in battle, but not before encountering racism at home. Bomberger also explains the legal and recording challenges jazz musicians faced in 1917. Over the course of the book, Bomberger skillfully makes the case that 1917 saw crucial developments in American music that changed the cultural landscape in the United States forever. E. Douglas Bomberger is Professor of Musicology at Elizabethtown College in Pennsylvania. A prolific author, Bomberger has published six books and over one hundred articles on subjects ranging from the medieval origins of keyboard instruments to mid-twentieth century American music. His primary research areas are in the piano literature, nineteenth-century American music, and transatlantic musical connections. He received the Elizabethtown College 2018–2019 Ranck Prize for Research Excellence. 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

There has been a recent trend in books that explore one year in detail: 1914, 1927, and 1968 have all received this treatment. E. Douglas Bomberger's new book Making Music American: 1917 and the Transformation of Culture from Oxford University Press (2018) is new twist on this phenomenon. Rather than primarily trace historical events while touching on cultural matters as many of these books do, Bomberger follows the events in jazz and classical music during this crucial year while framing them within America's entry into World War One. Written for the general public as well as a scholarly audience, each chapter puts the events of one month in conversation with each other, allowing readers to grasp the busy cultural landscape in the period. Bomberger focuses on eight key figures. Classical musicians Fritz Kreisler, Karl Muck, Walter Damrosch, Olga Samaroff, and Ernestine Schumann-Heink contended with the fallout from mounting anti-German feeling within the United States in different ways as audiences turned against the German music which was the core of their repertory, and viewed German musicians with suspicion. Only Olga Samaroff was born in the US. The others were German-speaking, and some were not U.S. citizens. Through canny marketing and patriotic concerts, Ernestine Schumann-Heink maintained her singing career even though she had sons fighting on both sides of the conflict, while conductor Karl Muck ended up in an internment camp. Meanwhile popular musicians Freddie Keppard, Dominc LaRocca, and James Reese Europe worked to establish their careers and popularize the fledging musical style of jazz. James Reese Europe spent most of the year staffing and then training the band for the Fifteenth Regiment (Colored) of the New York National Guard, an all-black unit that went on to distinguish itself in battle, but not before encountering racism at home. Bomberger also explains the legal and recording challenges jazz musicians faced in 1917. Over the course of the book, Bomberger skillfully makes the case that 1917 saw crucial developments in American music that changed the cultural landscape in the United States forever. E. Douglas Bomberger is Professor of Musicology at Elizabethtown College in Pennsylvania. A prolific author, Bomberger has published six books and over one hundred articles on subjects ranging from the medieval origins of keyboard instruments to mid-twentieth century American music. His primary research areas are in the piano literature, nineteenth-century American music, and transatlantic musical connections. He received the Elizabethtown College 2018–2019 Ranck Prize for Research Excellence. 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.

There has been a recent trend in books that explore one year in detail: 1914, 1927, and 1968 have all received this treatment. E. Douglas Bomberger's new book Making Music American: 1917 and the Transformation of Culture from Oxford University Press (2018) is new twist on this phenomenon. Rather than primarily trace historical events while touching on cultural matters as many of these books do, Bomberger follows the events in jazz and classical music during this crucial year while framing them within America's entry into World War One. Written for the general public as well as a scholarly audience, each chapter puts the events of one month in conversation with each other, allowing readers to grasp the busy cultural landscape in the period. Bomberger focuses on eight key figures. Classical musicians Fritz Kreisler, Karl Muck, Walter Damrosch, Olga Samaroff, and Ernestine Schumann-Heink contended with the fallout from mounting anti-German feeling within the United States in different ways as audiences turned against the German music which was the core of their repertory, and viewed German musicians with suspicion. Only Olga Samaroff was born in the US. The others were German-speaking, and some were not U.S. citizens. Through canny marketing and patriotic concerts, Ernestine Schumann-Heink maintained her singing career even though she had sons fighting on both sides of the conflict, while conductor Karl Muck ended up in an internment camp. Meanwhile popular musicians Freddie Keppard, Dominc LaRocca, and James Reese Europe worked to establish their careers and popularize the fledging musical style of jazz. James Reese Europe spent most of the year staffing and then training the band for the Fifteenth Regiment (Colored) of the New York National Guard, an all-black unit that went on to distinguish itself in battle, but not before encountering racism at home. Bomberger also explains the legal and recording challenges jazz musicians faced in 1917. Over the course of the book, Bomberger skillfully makes the case that 1917 saw crucial developments in American music that changed the cultural landscape in the United States forever. E. Douglas Bomberger is Professor of Musicology at Elizabethtown College in Pennsylvania. A prolific author, Bomberger has published six books and over one hundred articles on subjects ranging from the medieval origins of keyboard instruments to mid-twentieth century American music. His primary research areas are in the piano literature, nineteenth-century American music, and transatlantic musical connections. He received the Elizabethtown College 2018–2019 Ranck Prize for Research Excellence. 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 Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-american-studies

There has been a recent trend in books that explore one year in detail: 1914, 1927, and 1968 have all received this treatment. E. Douglas Bomberger’s new book Making Music American: 1917 and the Transformation of Culture from Oxford University Press (2018) is new twist on this phenomenon. Rather than primarily trace historical events while touching on cultural matters as many of these books do, Bomberger follows the events in jazz and classical music during this crucial year while framing them within America’s entry into World War One. Written for the general public as well as a scholarly audience, each chapter puts the events of one month in conversation with each other, allowing readers to grasp the busy cultural landscape in the period. Bomberger focuses on eight key figures. Classical musicians Fritz Kreisler, Karl Muck, Walter Damrosch, Olga Samaroff, and Ernestine Schumann-Heink contended with the fallout from mounting anti-German feeling within the United States in different ways as audiences turned against the German music which was the core of their repertory, and viewed German musicians with suspicion. Only Olga Samaroff was born in the US. The others were German-speaking, and some were not U.S. citizens. Through canny marketing and patriotic concerts, Ernestine Schumann-Heink maintained her singing career even though she had sons fighting on both sides of the conflict, while conductor Karl Muck ended up in an internment camp. Meanwhile popular musicians Freddie Keppard, Dominc LaRocca, and James Reese Europe worked to establish their careers and popularize the fledging musical style of jazz. James Reese Europe spent most of the year staffing and then training the band for the Fifteenth Regiment (Colored) of the New York National Guard, an all-black unit that went on to distinguish itself in battle, but not before encountering racism at home. Bomberger also explains the legal and recording challenges jazz musicians faced in 1917. Over the course of the book, Bomberger skillfully makes the case that 1917 saw crucial developments in American music that changed the cultural landscape in the United States forever. E. Douglas Bomberger is Professor of Musicology at Elizabethtown College in Pennsylvania. A prolific author, Bomberger has published six books and over one hundred articles on subjects ranging from the medieval origins of keyboard instruments to mid-twentieth century American music. His primary research areas are in the piano literature, nineteenth-century American music, and transatlantic musical connections. He received the Elizabethtown College 2018–2019 Ranck Prize for Research Excellence. 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

There has been a recent trend in books that explore one year in detail: 1914, 1927, and 1968 have all received this treatment. E. Douglas Bomberger’s new book Making Music American: 1917 and the Transformation of Culture from Oxford University Press (2018) is new twist on this phenomenon. Rather than primarily trace historical events while touching on cultural matters as many of these books do, Bomberger follows the events in jazz and classical music during this crucial year while framing them within America’s entry into World War One. Written for the general public as well as a scholarly audience, each chapter puts the events of one month in conversation with each other, allowing readers to grasp the busy cultural landscape in the period. Bomberger focuses on eight key figures. Classical musicians Fritz Kreisler, Karl Muck, Walter Damrosch, Olga Samaroff, and Ernestine Schumann-Heink contended with the fallout from mounting anti-German feeling within the United States in different ways as audiences turned against the German music which was the core of their repertory, and viewed German musicians with suspicion. Only Olga Samaroff was born in the US. The others were German-speaking, and some were not U.S. citizens. Through canny marketing and patriotic concerts, Ernestine Schumann-Heink maintained her singing career even though she had sons fighting on both sides of the conflict, while conductor Karl Muck ended up in an internment camp. Meanwhile popular musicians Freddie Keppard, Dominc LaRocca, and James Reese Europe worked to establish their careers and popularize the fledging musical style of jazz. James Reese Europe spent most of the year staffing and then training the band for the Fifteenth Regiment (Colored) of the New York National Guard, an all-black unit that went on to distinguish itself in battle, but not before encountering racism at home. Bomberger also explains the legal and recording challenges jazz musicians faced in 1917. Over the course of the book, Bomberger skillfully makes the case that 1917 saw crucial developments in American music that changed the cultural landscape in the United States forever. E. Douglas Bomberger is Professor of Musicology at Elizabethtown College in Pennsylvania. A prolific author, Bomberger has published six books and over one hundred articles on subjects ranging from the medieval origins of keyboard instruments to mid-twentieth century American music. His primary research areas are in the piano literature, nineteenth-century American music, and transatlantic musical connections. He received the Elizabethtown College 2018–2019 Ranck Prize for Research Excellence. 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

There has been a recent trend in books that explore one year in detail: 1914, 1927, and 1968 have all received this treatment. E. Douglas Bomberger’s new book Making Music American: 1917 and the Transformation of Culture from Oxford University Press (2018) is new twist on this phenomenon. Rather than primarily trace historical events while touching on cultural matters as many of these books do, Bomberger follows the events in jazz and classical music during this crucial year while framing them within America’s entry into World War One. Written for the general public as well as a scholarly audience, each chapter puts the events of one month in conversation with each other, allowing readers to grasp the busy cultural landscape in the period. Bomberger focuses on eight key figures. Classical musicians Fritz Kreisler, Karl Muck, Walter Damrosch, Olga Samaroff, and Ernestine Schumann-Heink contended with the fallout from mounting anti-German feeling within the United States in different ways as audiences turned against the German music which was the core of their repertory, and viewed German musicians with suspicion. Only Olga Samaroff was born in the US. The others were German-speaking, and some were not U.S. citizens. Through canny marketing and patriotic concerts, Ernestine Schumann-Heink maintained her singing career even though she had sons fighting on both sides of the conflict, while conductor Karl Muck ended up in an internment camp. Meanwhile popular musicians Freddie Keppard, Dominc LaRocca, and James Reese Europe worked to establish their careers and popularize the fledging musical style of jazz. James Reese Europe spent most of the year staffing and then training the band for the Fifteenth Regiment (Colored) of the New York National Guard, an all-black unit that went on to distinguish itself in battle, but not before encountering racism at home. Bomberger also explains the legal and recording challenges jazz musicians faced in 1917. Over the course of the book, Bomberger skillfully makes the case that 1917 saw crucial developments in American music that changed the cultural landscape in the United States forever. E. Douglas Bomberger is Professor of Musicology at Elizabethtown College in Pennsylvania. A prolific author, Bomberger has published six books and over one hundred articles on subjects ranging from the medieval origins of keyboard instruments to mid-twentieth century American music. His primary research areas are in the piano literature, nineteenth-century American music, and transatlantic musical connections. He received the Elizabethtown College 2018–2019 Ranck Prize for Research Excellence. 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

There has been a recent trend in books that explore one year in detail: 1914, 1927, and 1968 have all received this treatment. E. Douglas Bomberger’s new book Making Music American: 1917 and the Transformation of Culture from Oxford University Press (2018) is new twist on this phenomenon. Rather than primarily trace historical events while touching on cultural matters as many of these books do, Bomberger follows the events in jazz and classical music during this crucial year while framing them within America’s entry into World War One. Written for the general public as well as a scholarly audience, each chapter puts the events of one month in conversation with each other, allowing readers to grasp the busy cultural landscape in the period. Bomberger focuses on eight key figures. Classical musicians Fritz Kreisler, Karl Muck, Walter Damrosch, Olga Samaroff, and Ernestine Schumann-Heink contended with the fallout from mounting anti-German feeling within the United States in different ways as audiences turned against the German music which was the core of their repertory, and viewed German musicians with suspicion. Only Olga Samaroff was born in the US. The others were German-speaking, and some were not U.S. citizens. Through canny marketing and patriotic concerts, Ernestine Schumann-Heink maintained her singing career even though she had sons fighting on both sides of the conflict, while conductor Karl Muck ended up in an internment camp. Meanwhile popular musicians Freddie Keppard, Dominc LaRocca, and James Reese Europe worked to establish their careers and popularize the fledging musical style of jazz. James Reese Europe spent most of the year staffing and then training the band for the Fifteenth Regiment (Colored) of the New York National Guard, an all-black unit that went on to distinguish itself in battle, but not before encountering racism at home. Bomberger also explains the legal and recording challenges jazz musicians faced in 1917. Over the course of the book, Bomberger skillfully makes the case that 1917 saw crucial developments in American music that changed the cultural landscape in the United States forever. E. Douglas Bomberger is Professor of Musicology at Elizabethtown College in Pennsylvania. A prolific author, Bomberger has published six books and over one hundred articles on subjects ranging from the medieval origins of keyboard instruments to mid-twentieth century American music. His primary research areas are in the piano literature, nineteenth-century American music, and transatlantic musical connections. He received the Elizabethtown College 2018–2019 Ranck Prize for Research Excellence. 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

There has been a recent trend in books that explore one year in detail: 1914, 1927, and 1968 have all received this treatment. E. Douglas Bomberger’s new book Making Music American: 1917 and the Transformation of Culture from Oxford University Press (2018) is new twist on this phenomenon. Rather than primarily trace historical events while touching on cultural matters as many of these books do, Bomberger follows the events in jazz and classical music during this crucial year while framing them within America’s entry into World War One. Written for the general public as well as a scholarly audience, each chapter puts the events of one month in conversation with each other, allowing readers to grasp the busy cultural landscape in the period. Bomberger focuses on eight key figures. Classical musicians Fritz Kreisler, Karl Muck, Walter Damrosch, Olga Samaroff, and Ernestine Schumann-Heink contended with the fallout from mounting anti-German feeling within the United States in different ways as audiences turned against the German music which was the core of their repertory, and viewed German musicians with suspicion. Only Olga Samaroff was born in the US. The others were German-speaking, and some were not U.S. citizens. Through canny marketing and patriotic concerts, Ernestine Schumann-Heink maintained her singing career even though she had sons fighting on both sides of the conflict, while conductor Karl Muck ended up in an internment camp. Meanwhile popular musicians Freddie Keppard, Dominc LaRocca, and James Reese Europe worked to establish their careers and popularize the fledging musical style of jazz. James Reese Europe spent most of the year staffing and then training the band for the Fifteenth Regiment (Colored) of the New York National Guard, an all-black unit that went on to distinguish itself in battle, but not before encountering racism at home. Bomberger also explains the legal and recording challenges jazz musicians faced in 1917. Over the course of the book, Bomberger skillfully makes the case that 1917 saw crucial developments in American music that changed the cultural landscape in the United States forever. E. Douglas Bomberger is Professor of Musicology at Elizabethtown College in Pennsylvania. A prolific author, Bomberger has published six books and over one hundred articles on subjects ranging from the medieval origins of keyboard instruments to mid-twentieth century American music. His primary research areas are in the piano literature, nineteenth-century American music, and transatlantic musical connections. He received the Elizabethtown College 2018–2019 Ranck Prize for Research Excellence. 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

Den amerikanska pianisten Olga Samaroff växte upp i Texas. I brist på förstklassiga pianolärare i USA sökte hon sig till Europa och var en av de första amerikanska kvinnorna som studerade vid Pariskonservatoriet. 1905 anordnade hon själv sin debutkonsert i New York då hon hyrde Carnegie Hall för ett framförande av Tjajkovskis b-mollkonsert, vilket blev en succé. 1911-23 var hon var gift med Leopold Stokowski. 1925 skadade Olga Samaroff skuldran så svårt att hon tvingades sluta framträda, men var sedan en framgångsrik pianolärare vid framstående amerikanska musikskolor. Mer information på sverigesradio.se/p2

Den amerikanska pianisten Olga Samaroff växte upp i Texas. I brist på förstklassiga pianolärare i USA sökte hon sig till Europa och var en av de första amerikanska kvinnorna som studerade vid Pariskonservatoriet. 1905 anordnade hon själv sin debutkonsert i New York då hon hyrde Carnegie Hall för ett framförande av Tjajkovskis b-mollkonsert, vilket blev en succé. 1911-23 var hon var gift med Leopold Stokowski. 1925 skadade Olga Samaroff skuldran så svårt att hon tvingades sluta framträda, men var sedan en framgångsrik pianolärare vid framstående amerikanska musikskolor. Mer information på sverigesradio.se/p2 

Den amerikanska pianisten Olga Samaroff växte upp i Texas. I brist på förstklassiga pianolärare i USA sökte hon sig till Europa och var en av de första amerikanska kvinnorna som studerade vid Pariskonservatoriet. 1905 anordnade hon själv sin debutkonsert i New York då hon hyrde Carnegie Hall för ett framförande av Tjajkovskis b-mollkonsert, vilket blev en succé. 1911-23 var hon var gift med Leopold Stokowski. 1925 skadade Olga Samaroff skuldran så svårt att hon tvingades sluta framträda, men var sedan en framgångsrik pianolärare vid framstående amerikanska musikskolor. Mer information på sverigesradio.se/p2

Den amerikanska pianisten Olga Samaroff växte upp i Texas. I brist på förstklassiga pianolärare i USA sökte hon sig till Europa och var en av de första amerikanska kvinnorna som studerade vid Pariskonservatoriet. 1905 anordnade hon själv sin debutkonsert i New York då hon hyrde Carnegie Hall för ett framförande av Tjajkovskis b-mollkonsert, vilket blev en succé. 1911-23 var hon var gift med Leopold Stokowski. 1925 skadade Olga Samaroff skuldran så svårt att hon tvingades sluta framträda, men var sedan en framgångsrik pianolärare vid framstående amerikanska musikskolor. Mer information på sverigesradio.se/p2

Den amerikanska pianisten Olga Samaroff växte upp i Texas. I brist på förstklassiga pianolärare i USA sökte hon sig till Europa och var en av de första amerikanska kvinnorna som studerade vid Pariskonservatoriet. 1905 anordnade hon själv sin debutkonsert i New York då hon hyrde Carnegie Hall för ett framförande av Tjajkovskis b-mollkonsert, vilket blev en succé. 1911-23 var hon var gift med Leopold Stokowski. 1925 skadade Olga Samaroff skuldran så svårt att hon tvingades sluta framträda, men var sedan en framgångsrik pianolärare vid framstående amerikanska musikskolor. Mer information på sverigesradio.se/p2

Den amerikanska pianisten Olga Samaroff växte upp i Texas. I brist på förstklassiga pianolärare i USA sökte hon sig till Europa och var en av de första amerikanska kvinnorna som studerade vid Pariskonservatoriet. 1905 anordnade hon själv sin debutkonsert i New York då hon hyrde Carnegie Hall för ett framförande av Tjajkovskis b-mollkonsert, vilket blev en succé. 1911-23 var hon var gift med Leopold Stokowski. 1925 skadade Olga Samaroff skuldran så svårt att hon tvingades sluta framträda, men var sedan en framgångsrik pianolärare vid framstående amerikanska musikskolor. Mer information på sverigesradio.se/p2