David Whitwell Essays About Life

"The principal purpose in writing these essays is to make available to the reader a much broader understanding of the practice of music in earlier societies than that which is provided in traditional music history texts." ~ David Whitwell
About David Whitwell

NOTE: CHANGES IN ESSAYS AVAILABILITY

A number of essays by David Whitwell previously listed on this site have now been converted into new soft-cover books available on Amazon Books or through www.whitwellbooks.com

For the reader�s convenience we have listed here the names of the new books together with the individual essays they contain with their original essay numbers previously used on this essay site.

ESSAYS ON EARLY MUSIC

Ancient Views on Music and Religion

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  • [5] Ancient Views on Music and Religion
  • [16] Ancient Views on Music and Prophesy
  • Ancient Hebrew Views on Music and Religion
  • [6] Ancient Views on Music and Religion among the Romans and Early Christians
  • [15] Ancient Views on Music in Heaven
  • [87] St. Augustine�s Views on Music
  • [7] Ancient Views on Roman Church Music during the Dark Ages
  • [8] Ancient Views on Roman Church Music during the Pre-Renaissance
  • [91] St. Thomas Aquinas� Views on Music
  • [9] Ancient Views on Roman Church Music during the 14th Century
  • [10] Ancient Views on Roman Church Music during the 15th Century
  • [11] Ancient Views on Music during the 16th Century
  • [12] Martin Luther on Music
  • [13] Praetorius on 16th Century Performance Practice
  • [14] Ancient Views on Church Music in the Baroque

Ancient Views on the Natural World

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  • [3] The Ancient Voice of Pythagoras
  • [2] On the Music of the Spheres, 'the Sacred Madness'
  • [33] Early Views on Music Therapy
  • [34] 'to soothe a savage breast'
  • [31] Ancient Views on Music and Movement
  • [32] Ancient Views on Music and Oratory
  • [36] Ancient Voices Wonder: Are Musicians Born or Made?
  • [37] Ancient Voices Wonder: Is Music Genetic?
  • [35] Ancient Views on Geography and Music
  • [62] Weird Science

Early Views on Music and Ethics

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  • [38] On Music and Character Formation
  • [39] On Music and Manners
  • [40] On the Character of the Performer
  • [41] Women not Allowed
  • [42] Ancient Artists and the Public
  • [43] Renaissance Artists and the Public
  • [44] Baroque Artists and the Public
  • [45] 19th Century Artists and the Public
  • [54] Early Views on Criticism

Ancient Views on What is Music?

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  • [17] Ancient Voices ask: What is Music?
  • [68] On Ancient Gods of Music
  • [69] On Ancient Muses and Myths
  • [29] On Divine Inspiration
  • [19] Is Music Math?
  • [18] Is Music Theory or Performance?
  • [21] Early Voices Argue: Reason versus Experience
  • [25] Early Voices Struggle to Explain the Emotions
  • [1] Animals and Music
  • [22] Is Man Ruled by Reason or Emotion?
  • [23] Some Early Voices Intuit the Bicameral Mind
  • [24] The Secret Agenda: Right-Hand Preference
  • [26] Music is the Ruler of the Passions of the Soul
  • [27] On the Doctrine of the Affections
  • [20] Music is Truth
  • [30] Music as the Language of Truth
  • [28] The End of Music: Catharsis

Early Thoughts on Performance Practice

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  • [70] What Was Ancient Greek Music Like?
  • [71] On the Ancient Greek Modes
  • [75] On the Social Standing of Music in Ancient Societies
  • [81] Music Viewed by Early Church Philosophers
  • [88] Boethius
  • [89] Cassiodorus
  • [90] Late Medieval Music Treatises
  • [52] Early Reflections on Repertoire
  • [63] Early Reflections on Acoustics and the Perception of Music
  • [64] Early Experience with the �Pyramid Principle�
  • [65] Early Reflections on Tempo
  • [66] Early Reflections on Instruments and Ensembles
  • [67] Early Views on Percussion
  • [61] Early Views on Memorization

Contemporary Descriptions of Early Musicians

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  • [48] On Early Performers
  • [49] On Early Singers
  • [50] On the Ancient Rhapsodist
  • [51] Women Performers of the Ancient World
  • [53] On Ancient Conductors
  • [74] On the Aulos
  • [80] On the Ancient Trumpet
  • [97] On the Medieval Trumpet
  • [82] On the Jongleur
  • [83] On the Minstrel
  • [92] On the Troubadours
  • [93] Music of the French Romances
  • [94] On the Minnesingers
  • [95] On the Goliards

Music Performance in Ancient Societies

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  • [77] On Secular Music in Ancient Societies
  • [78] On Secular Festivals in Ancient Greece and Rome
  • [46] On Ancient Concert Halls
  • [47] On Memories of Ancient Concerts
  • [72] On the Ancient Greek Chorus
  • [73] On the Ancient Roman Chorus
  • [76] On Music in Ancient Courts
  • [60] Theater Music in the Ancient World
  • [55] On Music Competition in the Ancient World
  • [56] Entertainment Music in the Ancient World
  • [57] Banquet Music in the Ancient World
  • [58] Wedding Music in the Ancient World
  • [59] Funeral Music in the Ancient World
  • [79] Military Music in the Ancient World
  • [96] Medieval Military Music
  • [84] Music of the Medieval Courts
  • [85] Medieval Civic Music
  • [86] On the Medieval Chorus

Renaissance Men on Music

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  • [99] Guillaume de Machaut on Music
  • [100] Francesco Petrarch on Music
  • [101] Giovanni Boccaccio on Music
  • [102] Geoffrey Chaucer on Music
  • [104] Leonardo da Vinci on Music
  • [108] Baldassare Castiglione on Music
  • [110] Michaelangelo on Art and Music
  • [113] Girolamo Cardano on Music
  • [117] Erasmus on Music
  • [111] The Academies

Essays on Renaissance Philosophies of Music

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  • [98] On Music and Society in the 14th Century
  • [109] On the �Well-Rounded Man�
  • [127] In Praise of Women
  • [103] On Music and Society in the 15th Century:
  • [105] Johannes Tinctorius on Music
  • [115] On Music and Society in the 16th Century - The Opposition by the Church
  • [107] Polyphony, the Child of Mathematics, is left on the Steps of the Church
  • [106] On Music and Society in the 16th Century: The Spread of Italian Humanism
  • [116] Erasmus on Humanism
  • [112] On Music and Society in the 16th Century: The Growing Irrelevance of the Universities
  • [128] Contemporary Reflections on the Aesthetic Values of Music
  • [129] Contemporary Descriptions on Performance Practice
  • [130] Contemporary Descriptions of Improvisation

Philosophy and Performance Practice of Music during the Italian Baroque

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  • [143] On Defining the Italian Baroque
  • [144] Thoughts on the Beginning of Italian Opera
  • [145] On Court Music of the Italian Baroque
  • [146] On Civic and Military Music of the Italian Baroque
  • [147] On Church Music of the Italian Baroque
  • [148] Italian View on Baroque Performance Practice
  • [149] Kircher on Music
  • [150] Thoughts of Music of the Spanish Baroque

Philosophy and Performance Practice of Music during the German Baroque

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  • [151] Thoughts on the Musical Scene in Baroque Germany
  • [152] On Emotion in Music in the German Baroque
  • [153] On Court Music in the German Baroque
  • [154] On the Hautboisten
  • [155] On Civic Music of the German Baroque
  • [156] On Instruments in Church Music of Baroque Germany
  • [157] On the Golden Age of the Trumpet in Germany
  • [158] On the Influence of Turkish Music
  • [159] On German Military Music of the Baroque
  • [160] A few Comments on German Performance Practice
  • [161] Mattheson on the Nature of Music
  • [162] Mattheson on Emotion in Music
  • [163] Mattheson on the Composition of Good Melody
  • [164] Mattheson on Performance
  • [165] Leibniz on Music

Philosophy and Performance Practice of Music during the French Baroque

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  • [166] On Court Music in the French Baroque
  • [167] On French Military Music of the Baroque
  • [168] On Some Views of French Baroque Musicians
  • [169] Mersenne on the Nature of Music
  • [170] Mersenne on Performance
  • [171] French Philosophers on Music
  • [172] French Philosophers on the Character of French Musicians
  • [173] French Philosophers on Opera
  • [174] Descartes on Music
  • [175] The French Theater on Music
  • [176] Music in French Fiction
  • [177] Music in French Non-Fiction
  • [178] Voltaire on Music
  • [179] Voltaire on Opera

Philosophy and Performance Practice of Music during Jacobean England

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  • [180] Music at the Jacobean Court
  • [181] Music in the Masque
  • [182] Jacobean Church Music
  • [183] Civic Music in the English Baroque
  • [184] Music in Jacobean Society
  • [185] Entertainment Music in Baroque England
  • [186] Military Music of the English Baroque
  • [187] Views by English Musicians of the Baroque
  • [188] Contemporary Views on Performance Practice
  • [189] North on Music
  • [190] Jacobean Philosophers on Music
  • [191] Bacon on Music
  • [192] Music in Jacobean Poetry
  • [193] Milton on Music
  • [194] Music in the Jacobean Theater
  • [195] Music in English Prose

Philosophy and Performance Practice of Music during the English Restoration

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  • [196] Music in the Restoration Court
  • [197] Music in the Restoration Church
  • [198] Isaac Newton on Music
  • [199] Restoration Philosophers on Music
  • [200] Music in the Restoration Theater
  • [201] Dryden on Music
  • [202] Music in Restoration Poetry
  • [203] Music and English Manners
  • [204] Pepys on Music
  • [205] Restoration Journals on Music
  • [206] English Views on Foreign Opera
  • [207] Dryden on Opera
  • [208] Restoration Journals on Opera

Concerning Education

The following essays are now to be found in the book, David Whitwell, Philosophic Foundations of Education (Austin: Whitwellpublishing, 2011) and can be ordered on the website www.whitwellbooks.com or on Amazon.

  • [214] Why the Church closed the Schools
  • [218] Early Renaissance Views on Education in General
  • [221] Views on Education in General in 16th Century Italy
  • [223] Montaigne on Education
  • [225] Vives on Education
  • [226] Erasmus on Education
  • [227] Views on Education in General in 16th Century Germany
  • [231] Views on Education in General in 16th Century England
  • [236] Views on Education in General in Baroque France
  • [239] Jacobean Philosophers on Education in General
  • [241] Restoration Philosophers on Education in General

The following essays are now to be found in the book, David Whitwell, Foundations of Music Education (Austin: Whitwellpublishing, 2011) and can be ordered on the website www.whitwellbooks.com or on Amazon.

  • [209] Music Education before Plato
  • [210] Plato on Music Education
  • [211] Aristotle on Music Education
  • [212] Greek Views on Music Education after Aristotle
  • [213] Music Education in Ancient Rome
  • [215] How the Church Reinvented Music Education
  • [216] Music Education in the Dark Ages
  • [217] Music Education in the Pre-Renaissance
  • [219] Music Education in the 14th Century
  • [220] Music Education in the 15th Century
  • [222] Music Education in 16th Century Italy
  • [224] Music Education in 16th Century France
  • [228] Views on Music Education in 16th Century Germany
  • [229] Music Education Treatises of 16th Century Germany
  • [230] Martin Luther on Music Education
  • [232] Music Education in 16th Century England
  • [233] On Music Education in Baroque Italy
  • [234] On the Philosophical Roots of German Music Education
  • [235] The Music Education Scene in Baroque Germany
  • [237] On the Philosophical Roots of French Music Education
  • [238] The Music Education Scene in Baroque France
  • [240] The Music Education Scene in Jacobean England
  • [242] On Music Education in Restoration England
  • [243] Schumann on Music Education
  • [245] Chopin on Music Education
  • [246] Mendelssohn on Music Education
  • [247] Liszt on Music Education
  • [248] Berlioz on Music Education
  • [249] Wagner on Music Education

Music Education of the Future

The following essays are now to be found in the book, David Whitwell, Music Education of the Future (Austin] Whitwellpublishing, 2011) and can be ordered on the website www.whitwellbooks.com or on Amazon.

  • [252] On the Roots of Music Education
  • [253] Some Thoughts on the Perception of Music
  • [254] Purpose and Meaning in Music Education
  • [255] Music Education of the Future Must be Experiential and not Conceptual
  • [256] The Music Education of the Future must Educate ALL Children
  • [257] The Music Education of the Future must Educate the REAL Child
  • [258] Music Education of the Future] Two Paramount New Purposes

ESSAYS ON PERFORMANCE

The essays by David Whitwell previously listed here have now been converted into new soft-cover books available on Amazon Books or through www.whitwellbooks.com.

For the reader�s convenience we have listed here the names of the new books together with the individual essays they contain.

Essays on the Modern Wind Band

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  • The Roots of the Wind Band (1992)
  • Views of Distinguished Composers (1967)
  • On the State of the Profession (1977)
  • On Forgotten Band Repertoire (2010)
  • On our Fatal Error in Commissioning (2010)
  • Forgotten Wind Music (1966)
  • Band Music from a Historical Perspective (1967)
  • Vaclav Nelhybel (2012)
  • Karel Husa (2012)
  • Frank Erickson (2012)
  • Ernst Krenek (2012)
  • James Neilson on the Ethical Responsibilities of the Band Director (1974)
  • James Neilson on The Changing Scene (1974)
  • The CBDNA in the Future (1975)
  • CBDNA and the Bicentennial (1976)
  • On the Direction of WASBE (1999)
  • On the Future of WASBE (2000)
  • International Gesellschaft zur Erforschung und F�rderung der Blasmusik (IGEB)
  • Recommendations for the ABA (1993)
  • On University Education being based on a Sixth-Century Philosophy (2008)
  • The Forgotten Man in the Music Department (2008)
  • Where is the Value in Conducting Clinics? (2009)
  • Some Band Conductors Remembered (2007)
  • Observing the Great Ones (2007)
  • On University Life (2010)
  • On Adjudicating Music Competition (2008)
  • A Proposal for a New Festival Format (1995)
  • A Letter to California High School Band Directors (1991)
  • On Honor Bands and Orchestras (2010)
  • Frederick Fennell as I knew him (2012)

Essays on Performance Practice

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  • On the Definition of Aesthetics in Music (2009)
  • On the Classification of the Musical Experience (2009)
  • On the Nature of the Present Tense in Music (2009)
  • What Shall we do with Marches? (2011)
  • Why do some Conductors feel they must TALK to the Audience? (2011)
  • Whitwell on Seating-plan Acoustics (1995)
  • On the Difficulty of Staying Awake (2010)
  • On the Gustav Holst, Suite in E-flat (2011)
  • On the Gustav Holst, Suite in F (2011)
  • On the Paul Hindemith. Symphony for Band (1975)
  • On the Darius Milhaud, Suite Fran�ais (2011)
  • On the Richard Wagner, Trauermusik (2012)
  • On the other Wagner Band Works (2011)
  • On the Beethoven, Siegessinfonie (1977)
  • On the Anton Reicha, Symphony for Band (1973)
  • On the Hector Berlioz, Symphony for Band (1975)
  • Nineteenth-Century Italian Sinfonias (2011)
  • Special Memorial Compositions for Band (2011)
  • Special Variation Collections for Band (2011)
  • On the Five Whitwell Symphonies (2011)
  • On Performance Practice (2012)
  • Classical Period Performance Idioms (2012)
  • Score Discussions of Mozart, K. 361 and K. 388 (2012)

Dr. David Whitwell

Dr. David Whitwell is a graduate (‘with distinction’) of the University of Michigan and the Catholic University of America, Washington DC (PhD, Musicology, Distinguished Alumni Award, 2000) and has done post-graduate study at the University of Vienna and has studied conducting with Eugene Ormandy and at the Akademie fur Musik, Vienna. Prior to coming to Northridge, Dr. Whitwell participated in concerts throughout the United States and Asia as Associate First Horn in the USAF Band and Orchestra in Washington DC, and in recitals throughout South America in cooperation with the United States State Department.

At the California State University, Northridge, which is in Los Angeles, Dr. Whitwell developed the CSUN Wind Ensemble into an ensemble of international reputation, with international tours to Europe in 1981 and 1989 and to Japan in 1984. The CSUN Wind Ensemble has made professional studio recordings for BBC (London), the Koln Westdeutscher Rundfunk (Germany), NOS National Radio (The Netherlands), Zurich Radio (Switzerland), the Television Broadcasting System (Japan) as well as for the United States State Department for broadcast on its ‘Voice of America’ program. The CSUN Wind Ensemble’s recording with the Mirecourt Trio in 1982 was named the ‘Record of the Year’ by The Village Voice. Composers who have guest conducted Whitwell’s ensembles include Aaron Copland, Ernest Krenek, Alan Hovhaness, Morton Gould, Karel Husa, Frank Erickson and Vaclav Nelhybel.

Dr. Whitwell has been a guest professor in 100 different universities and conservatories throughout the United States and in 23 foreign countries (most recently in China, in an elite school housed in the Forbidden City). Guest conducting experiences have included the Philadelphia Orchestra, Seattle Symphony Orchestra, the Czech Radio Orchestras of Brno and Bratislava, The National Youth Orchestra of Israel, as well as resident wind ensembles in Russia, Israel, Austria, Switzerland, Germany, England, Wales, The Netherlands, Portugal, Peru, Korea, Japan, Taiwan, Canada and the United States.

He is a past president of the College Band Directors National Association, a member of the Prasidium of the International Society for the Promotion of Band Music, and was a member of the founding board of directors of the World Association for Symphonic Bands and Ensembles (WASBE). In 1964 he was made an honorary life member of Kappa Kappa Psi, a national professional music fraternity. In September, 2001, he was a delegate to the UNESCO Conference on Global Music in Tokyo. He has been knighted by sovereign organizations in France, Portugal and Scotland and has been awarded the gold medal of Kerkrade, The Netherlands, and the silver medal of Wangen, Germany, the highest honor given wind conductors in the United States, the medal of the Academy of Wind and Percussion Arts (National Band Association) and the highest honor given wind conductors in Austria, the gold medal of the Austrian Band Association. He is a member of the Hall of Fame of the California Music Educators Association.

Dr. Whitwell’s publications include more than 127 articles on wind literature including publications in Music and Letters (London), the London Musical Times, the Mozart-Jahrbuch (Salzburg), and 39 books, among which is his 13-volume History and Literature of the Wind Band and Wind Ensemble and an 8-volume series on Aesthetics in Music. In addition to numerous modern editions of early wind band music his original compositions include 5 symphonies.

David Whitwell was named as one of six men who have determined the course of American bands during the second half of the 20th century, in the definitive history, The Twentieth Century American Wind Band (Meredith Music). A doctoral dissertation by German Gonzales (2007, Arizona State University) is dedicated to the life and conducting career of David Whitwell through the year 1977. David Whitwell is one of nine men described by Paula A. Crider in The Conductor’s Legacy (Chicago: GIA, 2010) as ‘the legendary conductors’ of the 20th century.

I can’t imagine the 2nd half of the 20th century—without David Whitwell and what he has given to all of the rest of us.’ Frederick Fennell (1993)

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