1862 American Music Series
Instructor: Tom Lippert
Thursdays, May 1, 8, and 15, 1:30 - 3:00 pm
American music is a mighty river with many tributaries. In this class we will explore a few of its very interesting but not always so well-known
contributors. There will of course be examples of their music, some of it live.
The Original American Songwriter: Stephen Foster (1826-1864)
Stephen Foster was the first great American songwriter, and his melodies are so much a part of American culture that most people think they are folk tunes. Though he virtually invented popular music as we recognize it today, Foster’s personal life was tragic and contradiction-riddled. His marriage was largely unhappy, he never made much money from his work, and he died at the age of 37 a nearly penniless alcoholic on the Bowery in New York. Come share this intimate portrait of the man who composed such wonderful songs as “Oh! Susanna,” “Jeanie with the Light Brown Hair,” and “Beautiful Dreamer.”
The First Lady of American Composers: Amy Beach (1867-1944)
Everyone knows Stephen Foster, but few are familiar with the music of Amy Beach, the first American woman composer to achieve serious acclaim both in the United States and abroad. Sometimes criticized for the sentimentality of her writing, like so many other composers of her day, Amy Beach was simply exploring her roots and her cultural context. She was a child of the great Romantic era, and she was also a student of that more intimate kind of romanticism – the sentiment born of hearth and home and the individual heart. Once on the verge of being forgotten, her compositions have recently experienced a renaissance, and she is now hailed as one of the pioneers in the development of American music.
The Fisk Jubilee Singers
In the chaotic decade following the Civil War, a group of young ex-slaves in Nashville, Tennessee, set out on a mission to save their financially-troubled school by giving concerts. Traveling first through cities in the North, then on to venues across Europe, the Jubilee Singers introduced audiences to the power of spirituals, the religious anthems of slavery. Driven to physical collapse and even death, the singers proved more successful – and more inspirational – than anyone could have imagined. Theirs is the poignant story of faith, music, and sacrifice.
Location: First Presbyterian Church
Member: $29; Non-member: $49
Music of Spain I: Renaissance and Baroque Music
Instructor: Duncan MacMillan
1863 Palm Harbor/Dunedin
Mondays, April 7 and 14, 10:00 am - Noon
1864 Eckerd College, Roberts Music Center 104
Thursdays, April 10 and 17, 10:00 am - Noon
A musical journey through the monasteries, courts, and palaces of Spain from the Age of Exploration to the time of Scarlatti. In-class discussion and
performances (recorded and live) of a wide range of music: troubadour songs, Christmas Villancicos, Masses, Baroque symphonic works, and the
illustrious harpsichord music of Scarlatti and Soler.
Member: $29, Non-member: $49
1865 A Spanish Harpsichord Recital
Musical Guest: Duncan MacMillan
Wednesday, April 16, 5:00 pm - 9:00 pm
A recital of Baroque masterworks for harpsichord by Soler, Scarlatti, and their contemporaries. Scarlatti’s sonatas in particular have earned him the title of “the 18th Century Liszt,” and his pupil Soler extended his keen understanding of the idioms of the harpsichord into proto-classical sonatas. Selections from their works will be joined with other representative works from Late Renaissance and Baroque Spain. Tonight’s concert will be preceded by dinner at the Parkshore Grill.
Departure is by bus from Eckerd College West Lodge Member: $49, Non-member: $69
Music of Spain II: Iberian Romance
Instructor: Duncan MacMillan
1866 Palm Harbor/Dunedin
Mondays, April 21 and 28, 10:00 am - Noon
1867 Eckerd College, Roberts Music Center 104
Thursdays, April 24 and May 1, 10:00 am - Noon
Discover or revisit the grand Masters of late 19th Century Spanish music – Albeniz, Granados, de Falla, Turina, and others – all of whom spoke in a distinctly Spanish idiom through opera, orchestral works, chamber ensembles, and solo piano music. You will encounter little known masterworks (such as Granados’ Piano Quintet) and reacquaint yourself with beloved and popular pieces such as de Falla’s Nights in the Gardens of Spain. Learn how these Spanish Romantic masters incorporated folk idioms, Arabian scales, and orchestral color into sweeping soundscapes.
Member: $29, Non-member: $49
1868 A Romantic Spanish Piano Recital
Musical Guest: Duncan MacMillan
Wednesday, May 7, 5:00 pm - 9:30 pm
A recital of masterworks from Spanish composers and others drawing on the Spanish heritage. The program will include Romantic works by Granados, Impressionistic sketches by Debussy and Mompou, South American Tangos by Astor Piazolla, and others. Concert is preceded by dinner at the Parkshore Grill.
Departure is by bus from Eckerd College West Lodge Member: $49, Non-member: $69
Music of Spain III: The Spanish Influence
Instructor: Duncan MacMillan
1869 Palm Harbor/Dunedin
Mondays, May 5 and 12, 10:00 am - Noon
1870 Eckerd College, Roberts Music Center 104
Wednesdays, May 21 and 28, 10:00 am - Noon
Composers from Russia, France, The United States, Germany, Hungary, and South America all have turned to Spain and her colorful musical heritage for inspiration. This class explores music about Spain written by non-Spanish composers such as Tchaikovsky, Rimsky-Korsakoff, Ravel, Debussy, Piazolla, Gottschalk, and a host of others from the early 19th century up to the present day.
Member: $29; Non-member: $49
1871 Basic Calligraphy
lnstructor: Jeanne Clayton
Saturdays, August 2, 9, 16, 23, 30,
and September 6, l:00 - 3:00 pm
In an age of e-mails and text messages, imagine the thrill of receiving a beautifully hand-calligraphed piece of correspondence in one’s mailbox! This calligraphy course is designed for those whowould like a simplified introduction to the art of beautiful writing, an art that is visually pleasing, mentally stimulating, and possessed of the power to both lift and calm the spirit.The focus of the course will be on a single calligraphy style – italic, widely
considered to be the most versatile of the half dozen major calligraphy alphabets. Indeed, noted calligrapher Margaret Shepherd describes italic as
“the little black dress of one’s calligraphy wardrobe,” appropriate for both casual and formal occasions. Letters, numbers, and swashes (ornamental
flourishes) will be covered, as well as spacing and lay-out, with an eye toward addressing individual student goals.
Students should bring one medium (2.5 mm) black calligraphic marker to the first class.
Maximum: l0 students
Location: Continuing Education Center
Member: $59; Non-member: $79
The Schumanns and Brahms
Instructor: Judith Alstadter
1872 Palm Harbor/Dunedin
Tuesdays, May 6 and 13
1:00 - 4:00 pm
1873 Allegro at College Harbor
Wednesdays, April 30, May 7 and 14
10:00 am - Noon
1874 First Presbyterian Church
Wednesdays, April 30, May 7 and 14
2:00 - 4:00 pm
Never in the history of music have three figures of the stature of Robert and Clara Schumann and Johannes Brahms been so inexorably linked together.
In 1853, the year of their fateful meeting, Robert Schumann, age 43, was an established composer and editor of a music journal; Clara, age 34, his beloved wife, was a celebrated pianist who had gained fame throughout Europe as a child prodigy; Brahms, age 20, was a rising young composer and pianist who greatly admired Robert Schumann and had sought an introduction to him. In Schumann, Brahms saw a revered older master; in Clara he saw the idealization of artistry and womanhood. Robert Schumann’s celebrated article on Brahms launched his career as the heir to Beethoven. Schumann’s mental illness, attempted suicide, two year institutionalization, and death in 1856 left Clara bereft, a young widow with seven children. Brahms faced an overwhelming personal crisis, torn between love and reverence for his late mentor and his devotion to and increasing adoration of the wife. Clara found in the youthful Brahms not only a devoted friend, but another musical genius and confidante. Neither she nor Brahms ever married, and following Brahms’ move to Vienna in his twenties, they never lived in the same city. Brahms, although acclaimed and highly successful in his lifetime, remained very much alone, taking on the gruff exterior only his close friends could see behind. His music expressed the bitter-sweet nostalgia and romantic yearning of his heart. Clara found her strength in her family and her music, concertizing throughout Europe, arranging her household, and teaching. They remained friends, confidantes, and mutual musical inspirations to each other for over forty years.
In this class, we will discuss the lives and works of these three master musicians and read excerpts from their letters and diaries; hear in-class piano
performances by Dr. Alstadter as well as CDs of their compositions; and view a DVD discussing the origins and progression of Robert Schumann’s mental illness and how it is reflected in his music.
Member: $39; Non-member: $59
Folk Elements and Nationalism in Music
Instructor: Judith Alstadter
1875 Palm Harbor/Dunedin
Tuesdays, October 21, 28, and
November 11
1:30 - 3:30 pm
1876 Allegro at College Harbor
Thursdays, October 23, 30, and November 6
10:00 am - Noon
1877 First Presbyterian Church
Thursdays, October 23, 30, and November 6
2:00 - 4:00 pm
In nineteenth century Europe, two inter-related factors encouraged the growth of musical nationalism. Both had to do with freedom: one was related to history and political conditions and the struggles for independence in certain nations (for example, the Poles from Russia, Czechs against Austria); the other had to do with artistic freedom from prior musical traditions and vocabulary (predominantly Austro/German in symphonic and instrumental music, and Italian in vocal music), and a desire to express the individuality and national heritage of a people and nation.
Throughout Europe, people became more conscious of their history and destiny, their national character, and their individual artistic heritage. In music, this was characterized by the incorporation of national folk elements into concert works, operas, songs, and symphonic poems. Some composers based their music on songs and dances of the people (for example, Chopin in his Mazurkas and Polonaises, Liszt in the Hungarian Rhapsodies, Grieg in the Norwegian Dances); some wrote dramatic works based on historical figures or folklore (such as Russian operas by Tchaikovsky, Borodin, and Mouussorgsky); others wrote symphonic poems celebrating the scenic beauty of their country (Smetana’s “The Moldau,”about the river in Bohemia).
Some composers were able to incorporate the “flavor” of their county’s music in a broader manner, and their works are considered more universal than specialized (Tchaikovsky symphonies and piano works of Chopin and such Spanish composers as Albeniz, Granados, and de Falla). This music stirred emotions and often served as a rallying call at home, fostered national pride, developed genuinely new musical styles, and served as ambassador beyond the country’s borders. Nationalism was an important characteristic and major trend of much music of the Romantic Period.
In this course, we will examine the historical and political scenarios of a variety of countries and hear the music of composers who sought to express their love of country and to incorporate the intrinsic folk characteristics into their music.
Member: $39; Non-member: $59
Politics and Power: Shakespeare’s Kings and Concepts of Rule
Instructor: DeDee Aleccia
1878 Palm Harbor/Dunedin
Mondays, October 13, 20, and 27
1:30 - 3:30 pm
1879 Continuing Education Center
Wednesdays, October 15, 22, and 29
1:30 - 3:30 pm
We live in a troubled time. War, health care issues, retirement concerns, housing market collapse, and economic slowdown cloud the political scene.
As our election season approaches, we focus our concerns on choosing a wise and just leader who will use his or her power to resolve these issues by demonstrating strength and compassion, restoring peace and goodwill, providing hope and promise for the future. These concerns are not unique to this election year; they are universal.
Shakespeare, a keen observer of human behavior and an astute analyst of political situations, was ever conscious of the role and power of kings and the need for pleasing the people, maintaining order, and making progress. Through his cycles of history plays he provides us with lessons in leadership. His English kings demonstrate favorable and unfavorable qualities of political power. Each king defines his role and establishes his vision of the power of
kingship. Each chooses to seek counsel or to exert authoritarian rule. Each makes and enforces laws that favor his views. His kings all possess power and wield authority. Some rule wisely, some weakly, some disastrously.
This seminar will take a close look at three of Shakespeare’s kings. It will examine their concept of rule, the actions they take to establish their kingship and their legacy, and the consequences of those actions. lt may even provide some insight into understanding the politics of this current
election season.
The three plays will be discussed in the following order: Richard II, Henry V, and Richard III.
Member: $39; Non-member: $59
1880 Dracula
Instructor: Dedee Allecia
Friday, October 31, 4:00 - 8:30 pm
Bram Stoker’s Victorian Gothic novel Dracula is a horror tale of blood and gore. Loosely based on the historical figure of Transylvania’s Vlad Tepes the Impaler, the novel goes well beyond historical fact to present Count Dracula’s journey to England to seek the blood necessary for his survival.
This Gothic cult hero, both graceful and fearful, solitary and sexy, wins our admiration and strikes fear in our hearts.
However, Dracula is much more than a Gothic horror story. It is a fictionalized account of Victorian England’s fear of an invasion from Eastern Europe and all the tainting that a foreign culture would bring to the nexus of the British Empire. Britain prided itself on its strict rules of primness and propriety; its sexually repressed young women were exemplars of strict mores. Dracula, with his diabolical passions, preys upon innocent victims. His bloodthirstiness turns them into night creatures with strong sexual desires – an anathema to the Victorian mindset. Hence, the need to stop him and stamp out the cultural contamination which this foreigner brings becomes the focus.
Join OLLI for a discussion of Bram Stoker’s novel, a ghoulishly good dinner, a film version of the novel, and an after-film discussion.
Member: $25; Non-member: $35
Home Sweet Home: America’s Musical Legacy
Instructor: Joy Katzen-Guthrie
1881 First Presbyterian Church
Mondays, October 13, 20, and 27
l:30 - 3:30 pm
1882 Continuing Education Center
Tuesdays, October l4, 21, and 28
l:00 - 3:00 pm
1883 Palm Harbor/Dunedin
Wednesdays, October 15, 22, and 29
l:30 - 3:30 pm
Join us for an American History Lesson presented through the works of American writers who created every sort of music – from folk songs to hymns, patriotism to protest, social issues to civil rights, spirituals to swing, traditional to moog to motion picture scores. All the way from America’s early music to its gifted contemporary writers, we’ll experience the creativity and conscience of our nation through its diverse songs. These compositions will provide an experience of America’s history and values, its social conscience, causes, and character. From the folk songs of our ancestors to the earliest notable productions of the 18th century, and on into the ballads, marches, hymns, songs of stage and film, and popular music of later eras, we will take a journey through our country’s history by way of its music. The course will include historic recordings, video, and live performance.
Member: $39; Non-member: $59
Introduction to Opera
Instructor: Roy Duttweiler
1884 Continuing Education Center
Thursdays, October 2, 9, and 16
10:00 am - Noon
1885 First Presbyterian Church
Thursdays, October 2, 9, and 16
1:30 - 3:30 pm
The blending of voice with musical instruments adds a new dimension to the music alone, one which expands the appreciation of the piece being performed. Opera is an example of this unique type of classical music; it is a play set to music as opposed to a play conceived musically. Some may find opera difficult to understand and appreciate, but this course will surely open your eyes and ears to this fabulous art form.
There is no longer any need to be baffled by operas in a foreign language now that most theaters provide supertitles which project a translation of
the text being sung onto a screen. More important, though, is the need to become familiar with this art form and to be able to sit back and enjoy
the performance.
In this class, we will review the history of opera from its beginnings in the sixteenth century to the present day, including the various periods such as Baroque, Classical, Bel Canto, Romantic, Verismo, and Contemporary. We will also discuss vocal ranges from Soprano to Bass, and the variations in each. The class will include examples from current and historical CD’s.
Join with us and explore the world of Grand Opera. You will become a convert!
Member: $39; Non-member: $59
1886 Poetry Workshop
Instructor: Ellen Hersh
Thursdays, October 30, November 6, 20, December 4 and 18
1:30 - 3:30 pm
Not everyone can be a well-known poet, but we can certainly all be inspired by their poetry and instructed by their example. This course is open to beginning and more advanced poets who want to learn, from models provided by better known poets, how to develop their own voices and themes.
At each session we will consider the work of a different well-known poet. Then participants will share their original poems for group discussion and criticism. Participants should be willing to bring a new or revised original poem to each meeting for our consideration.
Location: Continuing Education Center
Member: $39; Non-member: $59
1887 Exploring World Music: Middle Eastern Traditions
Instructor: Joan Epstein
Tuesdays, May 6, 13, and 20, 1:00 - 3:00 pm
Perhaps you’ve seen their names in the Hebrew Bible: tof, kinnor, nevel, ugav, shofar, chalel. These and other musical instruments described in ancient Near Eastern texts and depicted on old coins have evolved somewhat, but they are still in use today, not only in the Mediterranean world but also in northern European and as Far East as Japan. In fact, nearly all the instruments of the modern symphony orchestra and most of the folk and classical instruments of Europe and Asia can be traced to Middle Eastern models. The traditional uses for these instruments have also endured, as you’ll discover through recordings and video documentaries.
Session 1 will introduce the instruments and explore their connection to sacred and secular dance. Session 2 will focus on their use with solo singing, both simple folk singing and elaborate narrative and court poetry presentations. Session 3 will consider how Middle Eastern music for worship and dramatic performance evolved into European and Asian classical music traditions. Expect a hands-on experience with some of the instruments, lots of interesting listening, and even the opportunity to dance.
Location: Continuing Education Center
Member: $39; Non-member: $59
1888 Philosophical Approaches to Literature
Instructor: Robert Hall
Wednesdays, April 2, 9, and 16
10:00 am - Noon
What is literature? What values does it have that we should read it? What does it teach? Does it teach anything at all? (Why did Plato want to kick it out of his ideal Republic?) Is literature ideologically conservative or subversive?
These questions have engaged philosophers and writers from Aristotle and Aquinas to Kant and Hegel to Nietzsche and Sartre. In our sessions we will look at – and apply to two stories – several of the most provocative critical approaches to literature, and inquire into what these theorists think literature should do or be and what readers ought to do or be. Critical articles and short stories will be provided.
Location: Continuing Education Center
Member: $39; Non-member: $59
1889 The Pre-Raphaelites: Romance and Realism
Instructor: Anne Shamas
Mondays, April 7, 14, 21, 28 and May 5
1:30 - 3:30 pm
In 1848, several young artists and writers met in London and gave themselves the name The Pre-Raphaelite Brotherhood. The artists decided to model their work on the Medieval or pre-Renaissance style of painting – in other words, painting before the time of the famous 16th Century artist Raphael. Although the movement was born out of a rather confused youthful idealism, it quickly gained momentum. Artists such as Dante Gabriel Rosetti, William Holman Hunt, and Sir John Edward Millais had a profound effect on the arts in the Victorian era. The designs of William Morris, one of the principal founders of the British Arts and Crafts Movement, are still influencing modern interior design. Rossetti himself gave us some of the most wondrous paintings of women that have ever been done. In this course we will explore the artists, models, and Victorian society that resulted in this most beautiful but often-dismissed period in Art History. We will also review the poetry that had such a great influence on the subject matter of many of the paintings. And finally, we will see why the contemporary art world has rediscovered the Pre-Raphaelites and their gorgeous art.
Location: First Presbyterian Church
Member: $49; Non-member: $69
1890 Beginner Art Class in Pastels
Instructor: Karen Baker, CPS, PSA
Wednesdays, April 9, 16, 23, 30, May 7, 14, and 21
1:30 - 4:30 pm
If you’ve always wanted to take an art class, this one will open the door to your innate creativity. In this seven-week beginner course, you will be introduced to the user-friendly art medium of soft pastels. Learn about color theory and composition, and how to draw and paint the basic elements of still life, florals, and landscape. We will work in the classroom studio from life, sketches, and photographs, as well as outdoors on location at nearby nature parks. No prior art experience is necessary – only the desire to express yourself and to have fun learning something new. At the first class, your instructor will provide pastel papers and a 48-color boxed set of soft pastels. In addition, you will need to bring a soft lead pencil (4B or 6B), a good eraser, an apron, an apple for the teacher (no joke – the apple will be your first still life subject), and your sense of humor.
Class size is limited to ten students.
Location: First Presbyterian Church
Member: $126; Non-member: $146
Romantic Comedies
Instructor: Ron Sommer
1891 Continuing Education Center
Fridays, October 3, 10, and 17
1:00 - 3:00 pm
1892 Palm Harbor/Dunedin
Fridays, October 24, 31, and November 7
1:00 - 3:00 pm
There are many different types of comedy in film: drawing room, slapstick, satire, parody, etc. Probably the most popular type has always been the romantic comedy. During the heyday of studio power from the 1930s to the 1960s, the big studios usually had power over casting and would try various combinations of contract stars to test their chemistry on screen. And from this process emerged the great romantic comedy teams of the era.
In the 1930s Myrna Loy and William Powell were not only highly popular in the Thin Man series, they also made at least six other films together, four of them romantic comedies. Before Katharine Hepburn began her long association on film with Spencer Tracy in 1942, she teamed in four comedies with Cary Grant, including Bringing Up Baby, widely considered to be the best screwball comedy ever made. Grant also found a worthy comedic foil in Irene Dunne. From 1942 to 1967 Hepburn and Tracy starred in nine films together. Four of these were romantic comedies: Woman of the Year, Adam’s Rib, Pat and Mike, and Desk Set. And in the ’60s, the most popular romantic comedy couple was Doris Day and Rock Hudson.
In recent years there have been good romantic comedies, but no notable teams such as those who worked in that classic era of the 1930s - 1960s.
Join the class, watch clips from some of these movies, and rediscover the joy of some of the best acting teams to work together in romantic comedy.
Please note: we will be working only with theatrical release films, no television series.
Member: $39; Non-member: $59
1893 Contemporary Art in China
Instructor: Kirk Ke Wang
Monday, April 7, 6:30 - 8:00 pm
Contemporary Chinese art has been attracting a great deal of attention in the art world recently. Here is an excellent opportunity to learn more about this interesting and timely subject as well as its historical development.
Traditionally, Chinese art has varied greatly throughout its history, divided into periods by the ruling dynasties of China and by evolving technology. Great philosophers, teachers, and religious figures have also influenced the direction of artistic movements. In the last sixty years, changes in the socio-political landscape have played a major role in forging the course of art in China.
In this review of Chinese art movements since the Revolution, Kirk Wang, Associate Professor of Visual Arts at Eckerd College, will guide us through the recent art history of his native China, showing how major events from the establishment of the new China through the Cultural Revolution and the post-Mao era have left their mark:
- Part I (1949 - 1966) The establishment of the new China
- Part II (1966 - 1976) The Cultural Revolution
- Part IV (1989 - ) The Tian An Men Square incident
Location: Continuing Education Center
Member: $19; Non-member: $29
Masters of the Musical: Richard Rodgers
Instructor: Jason Fortner
1894 Continuing Education Center
Thursdays, April 3, 17, 24, and May 1
1:00 - 2:30 pm
1895 Palm Harbor/Dunedin
Tuesdays, April 1, 15, 22, and 29
1:00 - 2:30 pm
Join Jason Fortner for a four part look at the master melodist Richard Rodgers and his collaborations with Lorenz Hart, Oscar Hammerstein II, Stephen Sondheim, Martin Charnin and others, including himself!
Rodgers & Hart - Babes In Arms, I Married An Angel, Pal Joey, Too Many Girls, and others
Rodgers & Hammerstein Part 1 - Oklahoma, Carousel, South Pacific, Allegro, State Fair
Rodgers & Hammerstein Part 2 - The King & I, Flower Drum Song, Pipe Dream, Me & Juliet, The Sound of Music
Rodgers after Hammerstein - No Strings, Do I Hear a Waltz?, Two By Two, Rex, I Remember Mama
Member: $39; Non-member: $59
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