Japan and the Culture of the Four Seasons: Nature, Literature, and the Arts. By Haruo Shirane. New York: Columbia University Press, 2012. xxi, 311 pp. $75.00 (cloth); $25.00 (paper).

2014 ◽  
Vol 73 (1) ◽  
pp. 253-255
Author(s):  
Yuriko Saito
Keyword(s):  
New York ◽  
Columbia University ◽  
The Arts ◽  
Four Seasons ◽  
Nature Literature

JOSEPH SCHILLINGER – A DISCIPLE'S REMINISCENCES OF THE MAN AND HIS THEORIES: AN INTERVIEW WITH PROF. ZVI KEREN

Tempo ◽  
2010 ◽  
Vol 64 (251) ◽  
pp. 17-27
Author(s):  
Alona Keren-Sagee
Keyword(s):  
New York ◽  
Social Research ◽  
The United States ◽  
Musical Composition ◽  
Columbia University ◽  
New York University ◽  
Mathematical Basis ◽  
Teachers College ◽  
New School ◽  
The Arts

Joseph Schillinger (1895–1943), the eminent Russian-American music theorist, teacher and composer, emigrated to the United States in 1928, after having served in high positions in some of the major music institutions in the Ukraine, Khar'kov, Moscow, and Leningrad. He settled in New York, where he taught music, mathematics, art history, and his theory of rhythmic design at the New School for Social Research, New York University, and the Teachers College of Columbia University. He formulated a philosophical and practical system of music theory based on mathematics, and became a celebrated teacher of prominent composers and radio musicians. Schillinger's writings include: Kaleidophone: New Resources of Melody and Harmony (New York: M. Witmark, 1940; New York: Charles Colin, 1976); Schillinger System of Musical Composition, 2 vols. (New York: Carl Fischer, 1946; New York: Da Capo Press, 1977); Mathematical Basis of the Arts (New York: Philosophical Library, 1948; New York: Da Capo Press, 1976); Encyclopedia of Rhythms (New York: Charles Colin, 1966; New York: Da Capo Press, 1976).

scholarly journals A Community of Many Worlds

2005 ◽  
Vol 22 (4) ◽  
pp. 108-110
Author(s):  
Vincent F. Biondo III
Keyword(s):  
New York ◽  
Los Angeles ◽  
Arab Americans ◽  
Arab American ◽  
First Person ◽  
Columbia University ◽  
Many Worlds ◽  
Museum Exhibit ◽  
Black And White ◽  
The Arts

This edited collection complemented a March 2001 museum exhibit and isbased upon a February 2000 Columbia University conference and a threeyearFord Foundation-sponsored research project. It provides a generaloverview of the history and diversity of Arab Americans in New York Cityand is particularly strong in the area of the arts, featuring several chapters onliterature and music, including several first-person narratives. This two-partbook, which surveys both the historical and the contemporary scenes, isfurther enhanced by forty black-and-white photographs, including thirteenby Empire State College’s Mel Rosenthal.New York contains the third largest Arab-American community, afterDearborn (Michigan) and Los Angeles. In the first chapter, Alixa Naffexplains that the community was formed around 1895, when Christian missionaries in Syria encouraged Arab Christians near Mount Lebanon to workin New York for a couple of years to make money for their families. Syrianand Lebanese immigrants initially gathered at Washington Street in LowerManhattan and soon moved to Atlantic Avenue in the South Ferry portion ofBrooklyn. From 1899-1910, 56,909 Syrian immigrants arrived in New York.In the book’s first part, two historical chapters are followed by entrieson literature, music, photography, and first-person accounts. Philip Kayalpoints out that Arab-American is a cultural and ethnic – but not a religious– category, for most Arab Americans are Christian, not Muslim. JonathanFriedlander reveals that the first Arab-American immigrant, AntonioBishallany, visited from Lebanon in 1854 to gather evangelical teachings foruse back home. This four-page and six-photograph entry on representationsin historical archives could be expanded into a larger work ...

Introduction: From Comparative Arts to Interart Studies

Paragrana ◽  
2016 ◽  
Vol 25 (2) ◽  
pp. 12-26 ◽  
Author(s):  
Erika Fischer-Lichte
Keyword(s):  
New York ◽  
Cultural Studies ◽  
Graduate School ◽  
Research Council ◽  
Columbia University ◽  
Arts And Sciences ◽  
The Arts ◽  
German Research

AbstractThe essays assembled in this volume were initially presented at the concluding conference of the International Doctoral School “InterArt Studies” held at the Freie Universität Berlin from June 25-27, 2015. The school bore the label “international” not just because its students hailed from five different continents. Rather, it was called that because it was born out of the collaboration with the Copenhagen Doctoral School in Cultural Studies, Literature and the Arts, later joined by the Doctoral School of Goldsmiths College, London, and the Graduate School of Arts and Sciences at Columbia University, New York. During these nine years (2006-2015) of research, it was generously funded by the German Research Council.

Kofi, Vincent Akwete (1923–1974)

2018 ◽  
Author(s):  
Atta Kwami
Keyword(s):  
New York ◽  
Columbia University ◽  
Nature Study ◽  
Teaching Aids ◽  
The Arts ◽  
Pan Africanism ◽  
History Of ◽  
The Government ◽  
Bronze Casting ◽  
First World

Vincent Akwete Kofi was born in Odumasi-Krobo, Ghana. After training at Achimota College, which had the first and foremost art department in West Africa, he continued his studies at the Royal College of Art, London (1952–1955), and Columbia University, New York (1959). While in New York, he learned metal casting and, with the assistance of the Harmon Foundation, produced a film on bronze casting. Upon his return to Ghana he taught at the Winneba Teacher Training College (1961–1969) and was Head of Fine Art, College of Art (KNUST), Kumasi (1969–1974). He was a member of the Ghanaian delegation at the First World Festival of Negro Arts, Dakar, 1966, and in 1971 he visited India at the invitation of the Government. His early influences were his Krobo environment and his artistic father, the Presbyterian minister James Kofi (1890–1976), who made drawings and teaching aids for Nature Study classes. During the mid point of his career Kofi drew inspiration from his days at Achimota College (c. 1945–1951), where the pervasive atmosphere of optimism and hope for a new Africa fired Ghanaian nationalism and the independence struggle. Kofi believed that he could fuse lessons from the history of modernism in the arts, "creatively and objectively," only by an immersion in his Ghanaian heritage. His sculptures, Awakening Africa (1959–1960) and Blackman’s Stoicism (1964), highlighted Pan-Africanism, and the decolonization process that was spreading across Africa. 

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