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Composer Dorothy Indenbaum Passes: Visionary for Women in Music
INDENBAUM--Dorothy, died peacefully at home on June 26, 2014. Loving mother of Esther and Arthur, grandmother of Rose and Ariel, great-grandmother of Orianna. PhD New York University, M.S. Queens College, B.A. Brooklyn College, Graduate with full certification Dalcroze School of Music. Studied at Juilliard School of Music and Bank Street School of Education. Associate director and pianist with the Aviva Players. Music specialist at the Day School of the Church of the Heavenly Rest, Glenview Community Center, Valley Stream Community Center and summer camps. Conducted workshops for teachers at Operation Headstart and Early Childhood Education Council, Washington University in St. Louis, Loyola University in New Orleans and Montclair Teachers College New Jersey. Professor at Hunter College New York City 1971 to 1978 and at the Dalcroze School of Music from 1960 to 1992. Member of the Musicians Club (Board of Directors), American Women Composers (Board of Directors), Bohemian Club, New York Women Composers, Sonneck Society for American Music, American Musicological Society, Music Teachers National Conference, Center for Women in Music (New York University), Study Group on Issues of Gender in Music (CUNY), Sigma Alpha Iota, American Association of University Women and Chair, Music Committee Harmonie Club. Author of "Gifted Sister The Story of Fanny Mendelsshon" and "The Story of Creation The Story of Clara Schumann". Included in Who's Who of American Musicians. Dissertation requested by and included at The Lincoln Center Music Library. Funeral Services were held Tuesday, July 1st at 12 noon, at the Plaza Jewish Community Chapel, 630 Amsterdam Ave., at 91st Street.
To honor Dorothy in her musical vision support women composers as she was passionately devoted to their advancement.
She will be deeply missed by her family, friends and the entire women's music community.
NMR Artist Spotlight: Multi Instrumentalist Margot MontiThis article is part of the New Music Resource Artist Spotlight Series. After a brief hiatus of this popular series that spotlights exciting emerging artists, filmmakers, and musicians, the New Music Resource is excited to present the Artist Spotlight Series for 2017-2018. We encourage you to check out the music and albums of these amazing artists.
Music Marketing Book Tips - Double-checking your Bands logo & font. An LW Music Business Speaker and Author Video Blog.
In The Artist's Guide to Success in the Music Business, I have small music marketing book tips in gray through out the book. So if you are skimming you can find little tidbits and helpful music business tips to think about and apply.
One of the music marketing book tips that I did not include in the new music industry book was about checking and double-checking your bands logo and bands font to see how similar or close the might be to others.
Very often a musician or band will get a design that they really like and run with it, not realizing till later how close it might look to some one else's or some other product. The horror stories, which I do include in the music marketing book, include a group that had paid a small fortune for merchandise before receiving a cease and d…
10. Indicating the wrong mallets for an instrument. Brass mallets on vibes? Try a hammer on a violin!
9. Writing the glockenspiel part as heard. You shouldn't have to climb a ladder of leger lines to read a glock part. Keep it in the staff.
8. When in doubt, adding more suspended cymbal. This is a huge mistake made by arrangers. Yep, cymbals add automatic intensity to a piece, but so can a bass drum roll, a rousing hand drum part, exciting mallet licks, or a hundred other combinations. Well-written percussion parts stand out in the band and church repertoire.
7. Better means more complicated, right? This is my main mistake. A percussion part can be simple enough for a middle school, but it is the ability to use the different tone colors of the percussion palette properly that indicates a maturity in writing, not that impossible part for the timpanist that has them playing timpani, gong, crash cymbals, and triangle in the span of two beats.