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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.
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.
NMR Artist Spotlight Exclusive: Greek Classical Film Composer George KalyvasWhat is your story? I was born and grew up in Athens Greece and musically I started with piano lessons at the age of 9 which lasted for four years as I didn’t like the environment where I had to study just for the annual exams. I thought at the time that music was more of a discovery from inside out rather than learning how to place your fingers at the keyboard and play what you see. Of course when I grew up and at the age of 19 I understood what is the meaning of a composition and I was intrigued, as I started guitar, music theory and music harmony lessons where I obtained my first degree in music, by the story of each composition and about the mechanics of it.
I later decided to study on my own counterpoint, fugue and to start analysing scores from quartets to symphonies of the great classical composers. Now I am living in the UK and I am pursuing a career in the music industry. I already have scored 3 short f…