History of music lectures to be presented at USD

History of music lectures to be presented at USD The University of South Dakota Department of History, with support from the University Honors Program, will present 'The Spring Colloquia in the History of Music" on Fridays from 12:05 to 12:50 p.m. this semester.

The colloquia will take place in Farber Hall of Old Main on USD's campus. All lectures are

free and open to the public.

Margaret Downie Banks, curator of musical instruments and professor of museum science at America's Shrine to Music Museum at USD, will present "Elkhart's Brass Roots: A History of the Conn Musical Instrument Company (1874-1999)" on Friday, Feb. 12. The lecture will chronicle the development of the city of Elkhart, IN, the home for some 20 companies and their subsidiaries that produce musical instruments and their accessories.

Five of these firms can directly trace their founder's industrial roots back to employment with the Conn Company, once the largest maker of musical instruments in the world. Today, the name Conn continues to appear on a popular student line of instruments and the company's reputation among professional musicians is enjoying resurgence.

SD Assistant Professor of Music Rolf Olson will present "The History and Development of the Dalesburg Cornet Band" on Friday, March 19. Starting as a brass band in 1887, the Dalesburg Cornet Band was one of the earliest established rural bands in the region.

The band was very well known and existed longer than most other area bands. This short presentation will highlight some of the important events in the band's history.

USD Music Professor Paul Cherry (woodwinds/musicology) will present "Etudes sur des th�mes liturgiques du Comtat-Venaissin: A Hidden Mahzor in an Unknown String Quartet by Darius Milhaud" on Friday, April 16.

One year before his death in 1974, Darius Milhaud wrote the string quartet that carries the title "Etudes sur des th�mes liturgiques du Comtat-Venaissin." The quartet was unpublished at the time of his death and was known only to his wife.

The melodies outline a Mahzor, a cycle of festive prayers for the liturgical year, as observed in the Jewish community of Milhaud's native Comtat-Venaissin, a community destroyed in the Holocaust.

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