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Six Mallet Marimba MAKOTO NAKURA: Wood and Forest FRESH MARIMBA REPERTOIRE ISSUED NOV
October 16, 2012 | Contact: Sarah Baird Knight | [email protected] | t. 718/344-3690 | www.dotdotdotmusic.net ROBERT PATERSON: Six Mallet Marimba MAKOTO NAKURA: Wood and Forest FRESH MARIMBA REPERTOIRE ISSUED NOV. 13 ON AMERICAN MODERN RECORDINGS DOUBLE ALBUM RELEASE SHOW AT RUBIN MUSEUM OF ART, NOV. 14, 7PM FEATURING PERFORMANCES BY ROBERT PATERSON + MAKOTO NAKURA + AMERICAN MODERN ENSEMBLE American Modern Recordings, American Modern Ensemble (AME)’s lively outpost for studio albums, issues two full-length recordings of fresh marimba repertoire on Tuesday, November 13. Six Mallet Marimba, composed and performed by AME’s Robert Paterson, is comprised entirely of works born of Paterson’s newly-developed and impressive six-mallet technique. It is the first-ever album to feature only six-mallet works, advancing the repertoire significantly through Paterson’s technique, which allows for richer harmonic language and expanded range of motion. The second album, Wood and Forest, boasts an array of pieces by Paterson, Kenji Bunch, Jacob Bancks, Carlos Sanchez-Gutierrez, and Michael Torke, performed by Japanese marimba virtuoso, Makoto Nakura. Both discs will be ushered in by an exceptional release concert, “Modern Marimba,” on Wednesday, November 14, 7:00 PM at the Rubin Museum of Art (150 West 17 Street, New York, NY). The program will feature performances by Paterson, Nakura, and members of AME, showcasing selected works from each album. Paterson's performances will demonstrate his pioneering six-mallet technique, including the world premiere of his Mandala, for marimba duo, for NEW FROM AMERICAN MODERN RECORDINGS: Robert Paterson’s Six Mallet Marimba + Makoto Nakura’ – page 2 which he will be joined by Nakura. -
American Modern Ensemble at National Sawdust on Wednesday, November 1, 2017, at 7:00 Pm
American Modern Ensemble at National Sawdust on Wednesday, November 1, 2017, at 7:00 pm: “Lingua Franca,” A Program of Recent and Brand New Music About Mangled Text, ICU Sounds, Rising, Falling, and Clashing Cultures Guest Ensemble: SYBARITE5 Message on chopstick wrapper in David Feurzeig’s Lingua Franca AME pianist Blair McMillen (photo by Bob London), SYBARITE5 The third definition of the phrase “lingua franca” in the Merriam Webster dictionary is: “something resembling a common language.” Lingua Franca is the name of a work by David Feurzeig that titles American Modern Ensemble’s November 1 concert at Brooklyn’s National Sawdust – describing a program that also includes a diversity of recent and new works by three winners of AME’s 10th Annual Composition Competition – Pierce Gradone, Texu Kim, and Aaron Mencher – and AME founder Robert Paterson: • David Feurzeig’s Lingua Franca (2014, New York premiere) for cello and bass, five settings of “unedited texts from around the world, composed in appreciation of the range of global English expression” which are also recited by the players • Pierce Gradone’s The Art of Falling (2011) for solo piano American Modern Ensemble’s Lingua Franca, November 1, 2017, at National Sawdust - Page 2 of 4 • Texu Kim’s Co.Ko. – un poco Loco (2017) for solo piano, “a 10-minute musical essay in three movements, reflecting contemporary Korea, where its own traditions and Western influences mingle in a slightly crazy way” • Aaron Mencher’s Rise (2016) for solo cello, evoking its title both figuratively and literally • Robert Paterson’s Ouvir Estrelas (2017, world premiere), a song setting of a poem in Portuguese by Brazilian Parnassian poet Olavo Bilac • Robert Paterson’s I See You, the New York premiere of a version for string quintet and recording of this 2016 work, originally scored for string orchestra and recording, inspired by a week the composer spent by his father’s bedside in the ICU The acclaimed string quintet SYBARITE5, the program’s guest ensemble, will perform I See You. -
Concert Programdownload Pdf(349
The University at Buffalo Department of Music and The Robert & Carol Morris Center for 21st Century Music present Stockhausen's Mantra For Two Pianos Eric Huebner and Steven Beck, pianos Sound and electronic interface design: Ryan MacEvoy McCullough Sound projection: Chris Jacobs and Ryan MacEvoy McCullough Saturday, October 14, 2017 7:30pm Lippes Concert Hall in Slee Hall PROGRAM Mantra (1970) Karlheinz Stockhausen (1928 – 2007) Program Note by Katherine Chi To say it as simply as possible, Mantra, as it stands, is a miniature of the way a galaxy is composed. When I was composing the work, I had no accessory feelings or thoughts; I knew only that I had to fulfill the mantra. And it demanded itself, it just started blossoming. As it was being constructed through me, I somehow felt that it must be a very true picture of the way the cosmos is constructed, I’ve never worked on a piece before in which I was so sure that every note I was putting down was right. And this was due to the integral systemization - the combination of the scalar idea with the idea of deriving everything from the One. It shines very strongly. - Karlheinz Stockhausen Mantra is a seminal piece of the twentieth century, a pivotal work both in the context of Stockhausen’s compositional development and a tour de force contribution to the canon of music for two pianos. It was written in 1970 in two stages: the formal skeleton was conceived in Osaka, Japan (May 1 – June 20, 1970) and the remaining work was completed in Kürten, Germany (July 10 – August 18, 1970). -
The Performer As Classical Voice Teacher
THE PERFORMER AS CLASSICAL VOICE TEACHER: EVALUATING THE ROLE OF THE PERFORMER-TEACHER AND ITS IMPACT ON THE STUDENT LEARNING EXPERIENCE MARGARET SCHINDLER S368294 QUEENSLAND CONSERVATORIUM GRIFFITH UNIVERSITY in fulfilment of the requirement of the degree of Doctor of Musical Arts TABLE OF CONTENTS Table of Contents ..................................................................................................................................... i ABSTRACT ....................................................................................................................................... iii ACKNOWLEDGEMENTS .................................................................................................................. iv BOOK CHAPTERS AND PRESENTATIONS ......................................................................................... v STATEMENT OF AUTHENTICITY ...................................................................................................... vi Chapter One: Setting the Scene ................................................................................................ 1 1.1 Introduction .............................................................................................................................. 1 1.2 An auto-ethnography ................................................................................................................ 3 1.3 Rationale for this thesis .......................................................................................................... 10 Chapter Two: -
The Status and the Problem of Western Vocal Music Teaching in Myanmar
Journal of Advanced Research in Social Sciences and Humanities Volume 1, Issue 1 (9-17) DOI: https://dx.doi.org/10.26500/JARSSH-01-2016-0102 The status and the problem of Western vocal music teaching in Myanmar MAI NAY CHI HNIN PWINT OO∗ Department of Music Education, College of Music, Mahidol University, Salaya, Thailand Abstract Aim: The aim of this study is to identify and recommend solutions to the problems not only in teaching but also in learning Western classical vocal music. The research will also consider the benefits of solving these problems. The primary objective of this study was to infer the status and the problems of Western vocal music teaching in Myanmar and to explore the appropriate methods for the solution of the problems in the environment of the government school system. Method: This research used qualitative methods, formal and informal interviews and observation. There were six vocal music teachers from a variety of Music Centers in Yangon, one vocal music teacher from The Myanmar Institute of Theology (Liberal Arts program), Music Department in Myanmar and one vocal instructor from an independent unit who are currently working in that area with at least 2 years’ experience in western vocal teaching as full-time and part-time teachers. Findings: The researcher found through the interviews that most of the vocal music teachers did not study in voice much and most of them did not have the opportunity to study music since they were young. Most of them taught voice to students based on only their experience and what they learnt from experienced teachers. -
Mozart - Mendelssohn Violin Concertos Schubert - Rondo Vesko Eschkenazy
Mozart - Mendelssohn Violin Concertos Schubert - Rondo Vesko Eschkenazy Concertgebouw Chamber Orchestra Marco Boni Wolfgang Amadeus Mozart Violin Concerto No. 5 in A, KV 219 (1756-1791) Cadenzas: Joseph Joachim 1 Allegro aperto 10' 00" 2 Adagio 10' 25" 3 Rondeau (Tempo di menuetto) 8' 33" Franz Schubert Rondo in A for violin and strings, D. 438 (1797-1828) 4 Adagio – Allegro giusto 13' 59" Felix Mendelssohn-Bartholdy Violin Concerto in D minor (1809-1847) 5 Allegro molto 9' 15" 6 Andante 7' 59" 7 Allegro 4' 52" Vesko Eschkenazy, violin (Guarneri del Gesù, 1738) Concertgebouw Chamber Orchestra Conducted by Marco Boni Recorded August 2001, MCO Studio 1, Hilversum, The Netherlands Recording producer: Job Maarse Balance engineer: Erdo Groot Recording engineer: Matthijs Ruijter Editor: Dirk Fischer STROKES OF YOUTHFUL GENIUS In the year of Wolfgang Amadeus Mozart’s birth, 1756, his father Leopold published one of the most influential of all violin methods: The School of Violin Playing. It was therefore hardly surprising that young Wolfgang was taught the violin from an early age – although no one could have predicted his astounding progress. During the 1770s, he made appearances as a violin soloist in several Austro-German musical centres (including Vienna), and following one concert in Munich in 1777, reported proudly to Leopold: "I played as if I were the greatest fiddler in all of Europe." – Four out of the five authenticated violin concertos by Mozart were composed during an eight-month period between April and December 1775, probably as a means of ingratiating himself with his employer, the Archbishop of Salzburg. -
Reggie Workman Working Man
APRIL 2018—ISSUE 192 YOUR FREE GUIDE TO THE NYC JAZZ SCENE NYCJAZZRECORD.COM REGGIE WORKMAN WORKING MAN JIM JONNY RICHARD EDDIE McNEELY KING WYANDS JEFFERSON Managing Editor: Laurence Donohue-Greene Editorial Director & Production Manager: Andrey Henkin To Contact: The New York City Jazz Record 66 Mt. Airy Road East APRIL 2018—ISSUE 192 Croton-on-Hudson, NY 10520 United States Phone/Fax: 212-568-9628 New York@Night 4 Laurence Donohue-Greene: Interview : JIM Mcneely 6 by ken dryden [email protected] Andrey Henkin: [email protected] Artist Feature : JONNY KING 7 by donald elfman General Inquiries: [email protected] ON The COver : REGGIE WORKMAN 8 by john pietaro Advertising: [email protected] Encore : RICHARD WYANDS by marilyn lester Calendar: 10 [email protected] VOXNews: Lest WE Forget : EDDIE JEFFERSON 10 by ori dagan [email protected] LAbel Spotlight : MINUS ZERO by george grella US Subscription rates: 12 issues, $40 11 Canada Subscription rates: 12 issues, $45 International Subscription rates: 12 issues, $50 For subscription assistance, send check, cash or vOXNEWS 11 by suzanne lorge money order to the address above or email [email protected] Obituaries by andrey henkin Staff Writers 12 David R. Adler, Clifford Allen, Duck Baker, Stuart Broomer, FESTIvAL REPORT Robert Bush, Thomas Conrad, 13 Ken Dryden, Donald Elfman, Phil Freeman, Kurt Gottschalk, Tom Greenland, Anders Griffen, CD REviews 14 Tyran Grillo, Alex Henderson, Robert Iannapollo, Matthew Kassel, Marilyn Lester, Suzanne -
March 15 – 19, 2016
SFCMP in residence at Z Space 2016 Mar 15 & 17 works by David Lang Mar 16 & 18 works by Gérard Grisey and Marianthi Papalexandri-Alexandri Mar 19 45th Anniversary Retrospective Celebration San Francisco Contemporary Music Players Hrabba Altadottir, violin Bill Kalinkos, clarinet Jeff Anderle, clarinet Adam Luftman, trumpet Tod Brody, flute Loren Mach, percussion Kyle Bruckmann, oboe Roy Malan, violin Kate Campbell, piano Lawrence Regent, french horn Susan Freier, violin Sarah Rathke, oboe Chris Froh, percussion Nanci Severance, viola Hall Goff, trombone David Tanenbaum, guitar Karen Gottlieb, harp Peter Wahrhaftig, tuba Stephen Harrison, cello William Winant, percussion Graeme Jennings, violin Nick Woodbury, percussion Peter Josheff, clarinet Richard Worn, contrabass Special Preview: 2016-17 Season Our 46th Year will offer Bay Area at the Crossroads Series audiences the greatest and latest Join us in a comfortable atmosphere works of composers from around the to listen to iconic contemporary world with an emphasis on California classical composers alongside top composers. We’ll bring you behind the emerging composers in the classical scenes to explore classical music that contemporary music scene is advancing and challenging musical space and sound, and you’ll hear new “Stravinsky Interpolations” works by talented national and local Fri, Feb 17, 2017 emerging composers. Herbst Theatre on Stage Series “Lou Harrison and Companions“ Join us in concert to hear the leading Fri and Sat Apr 21 – 22, 2017 national and international works of Venue TBA contemporary classical music SFCMP in the Community “In the Light of the Air” Sat, Oct 8, 2016 Phil Kline’s “Unsilent Night” Herbst Theatre Dec 10, 2016 in the Laboratory Series Sound and Wine with SFCMP Join us in concert to hear leading Mar 25, 2017 works in the contemporary classical repertoire with unusual instrumentation SFCMP Education Series or stage arrangements. -
ANSAMBL ( [email protected] ) Umelec
ANSAMBL (http://ansambl1.szm.sk; [email protected] ) Umelec Názov veľkosť v MB Kód Por.č. BETTER THAN EZRA Greatest Hits (2005) 42 OGG 841 CURTIS MAYFIELD Move On Up_The Gentleman Of Soul (2005) 32 OGG 841 DISHWALLA Dishwalla (2005) 32 OGG 841 K YOUNG Learn How To Love (2005) 36 WMA 841 VARIOUS ARTISTS Dance Charts 3 (2005) 38 OGG 841 VARIOUS ARTISTS Das Beste Aus 25 Jahren Popmusik (2CD 2005) 121 VBR 841 VARIOUS ARTISTS For DJs Only 2005 (2CD 2005) 178 CBR 841 VARIOUS ARTISTS Grammy Nominees 2005 (2005) 38 WMA 841 VARIOUS ARTISTS Playboy - The Mansion (2005) 74 CBR 841 VANILLA NINJA Blue Tattoo (2005) 76 VBR 841 WILL PRESTON It's My Will (2005) 29 OGG 841 BECK Guero (2005) 36 OGG 840 FELIX DA HOUSECAT Ft Devin Drazzle-The Neon Fever (2005) 46 CBR 840 LIFEHOUSE Lifehouse (2005) 31 OGG 840 VARIOUS ARTISTS 80s Collection Vol. 3 (2005) 36 OGG 840 VARIOUS ARTISTS Ice Princess OST (2005) 57 VBR 840 VARIOUS ARTISTS Lollihits_Fruhlings Spass! (2005) 45 OGG 840 VARIOUS ARTISTS Nordkraft OST (2005) 94 VBR 840 VARIOUS ARTISTS Play House Vol. 8 (2CD 2005) 186 VBR 840 VARIOUS ARTISTS RTL2 Pres. Party Power Charts Vol.1 (2CD 2005) 163 VBR 840 VARIOUS ARTISTS Essential R&B Spring 2005 (2CD 2005) 158 VBR 839 VARIOUS ARTISTS Remixland 2005 (2CD 2005) 205 CBR 839 VARIOUS ARTISTS RTL2 Praesentiert X-Trance Vol.1 (2CD 2005) 189 VBR 839 VARIOUS ARTISTS Trance 2005 Vol. 2 (2CD 2005) 159 VBR 839 HAGGARD Eppur Si Muove (2004) 46 CBR 838 MOONSORROW Kivenkantaja (2003) 74 CBR 838 OST John Ottman - Hide And Seek (2005) 23 OGG 838 TEMNOJAR Echo of Hyperborea (2003) 29 CBR 838 THE BRAVERY The Bravery (2005) 45 VBR 838 THRUDVANGAR Ahnenthron (2004) 62 VBR 838 VARIOUS ARTISTS 70's-80's Dance Collection (2005) 49 OGG 838 VARIOUS ARTISTS Future Trance Vol. -
Satakuntalaisen Osakunnan Julkaisut
SATAKUNTA KOTISEUTUTUTKIMUKSIA VII JULKAISUT SATAKUNTALAINEN OSAKUNTA SATAKUNTA KOTISEUTUTUTKIMUKSIA VII JULKAISSUT SATAKUNTALAINEN OSAKUNTA RAUMALLA 1929 RAUMAN KIRJATEOLLISUUS OY. SATAKUNTALAINEN OSAKUNTA 1904-1929 25-VUOTISKATSAUS KIRJOITTANUT MIKKO SAARENHEIMO SISÄLLYS: I. OSAKUNNAN SYNTYHISTORIA s. 1 1. LÄNSISUOMALAISEN OSAKUNNAN JAKAANTUMINEN. Vanha Satak. Osakunta, s. 1. — Länsisuomalaisen Osakunnan kehi tys, s. 2. — Jakohanke v. 1894, s. 3. — Jakohanke v. 1901, s. 5. — Jakopäätös v. 1903, s. 8. 2. SATAKUNTALAISEN OSAKUNNAN ALUE. Alkuperäinen alue, s. 10. — Aluejärjestely v. 1906, s. 11. — Rajakysymyksiä Hä mäläis-Osakunnan kanssa, s. 13. — Järjestely v. 1922, s. 15. 3. LÄNSISUOMALAISEN OSAKUNNAN OMAISUUDEN JA KAMINEN. Talousrahaston jako, s. 16. — Lainarahaston jako, s. 16. — Pippingsköldin rahaston jako, s. 18. — Arkiston jako, s. 18. — Lippu, s. 20. — Päätös, s. 20. II. ALKUTAIPALEELLA. 1904—1910 s. 21 1. VIRALLINEN JÄRJESTÄYTYMINEN. Taipaleelle lähdet täessä, s. 21. — Inspehtori, s. 22. — Ensimmäinen kuraattori, s. 26. — Kokoukset ja kokouspaikat, s. 27. — Illanvietot ja juhlat, s. 33. — Vuosijuhla, s. 34. — Säännöt, s. 36. — Uusi asetus, uusi aika, s. 38. — Osakunnan sääntöjen uusiminen, s. 41. — Lainarahaston säännöt, s. 42. — Lippu, s. 43. 2. MYRSKYÄ JA KIIHKOA. Politiikan pyörteissä, s. 47. — Osakunta ajan aallokossa, s. 49. — Suurlakko, s. 52. — Puolueolot osakunnassa, s. 55. — Selvemmille vesille, s. 59. 3. KURAATTOREITA. Kuraattori H. A. Ojansuu, s. 60. — Kuraattori Hannes Ryömä, s. 62. — Kuraattori V. I. Suvanto, s. 63. — Kuraattori Lauri Järvinen, s. 64. — Kuraattori Niilo Ikola, s.64. 4. KANSANVALISTUSHARRASTUKSET. Kevättoiveita, s. 65. — Kiertävät kirjastot, s. 65. — Lukutuvat, s. 66. — Kansanva listuskartta, s. 67. — Länsi-Suomen kansanopisto, s. 68. — Pohjois- Satakunnan kansanopisto, s. 70. 5. KOTISEUTUTUTKIMUS. Yleistä harrastusta, s. 77. — „Satakunta I", s. 79. -
English, Intended Mostly for the Social Studies Teachers. Some Units Dealing with Problem
AFRICAN. STUDIES IN FRENCH 9 the African tapes were recorded in simpie Frenchby the children and were accompanied by the .researcher'sexplanatory notes in English, intended mostly for the socialstudies teachers. Some units dealing with problem: in African educationwere pre. fired expressly for teachers. The researcher photographedand uocu- mented much more material than could he edited andused during the two -year period. On her return, she classified 650additional slides and worked them into II supplementary units. ROLE OF A. DMINISTRATORS (1 ) The project director, who also,2ri",/ed as an instructor, acted as liaison with the U.S. Office of Education, withadminis trators and teachers in the cooperating schools, and with thepar- ents of participants. While she was on leave in Africa, her associ- ate assumed these responsibilities in addition to teaching both groups of students. (2 I The Ministry of Education in Upper Volta gave Ina' approval for the researcher-facilitator's work, and the Inspector of Elementary Education for Ouahigouya assigneda group of 40 boys and 40 girls in classes corresponding to the fifth and sixth grades hisp:Articipate --toldsr the direction of there- searcher-facilitator. ROLE OF PARENTS Bening meetings were hold aboutonce 1 month for (11, parents of the' participating American students to acquaint them with the project materials and aetivilies. Parents also participated in an evaluative surxex retarding 'their children's attitudestoward the project. ROLE OF SPECIAL CONSULTANTS In constructing the experimental design and evaluativepro- cedures. consultants were employed in language pedagogy, lan- guage sequence,Mossiculture.anthropology,testing,socio- pSychology, and African studies. 2 ; OPTIONS AND PERSPECTIVES A Sourcebook of Innovative Foreign Language Programs in Action, K-12 F. -
Peter Sculthorpe’S Pieces with Stephen Kent (Didjeridu) Is Both One of the Most Unusual and Fulfilling
1 CD 1 1 String Quartet No. 12 “From Ubirr” [12:22] String Quartet No. 14 “Quamby” 2 I. Prelude [3:24] 3 II. In the Valley [3:49] 4 III. On High Hills [4:45] 5 IV. At Quamby Bluff [8:00] CD 2 String Quartet No. 16 1 *(6) I. Loneliness [4:10] 2 *(7) II. Anger [3:58] 3 *(8) III. Yearning [5:49] 4 *(9) IV. Trauma [4:18] 5 *(10) V. Freedom [5:30] String Quartet No. 18 6 *(11) I. Prelude [2:04] 7 *(12) II. A Land Singing [4:27] 8 *(13) III. A Dying Land [7:32] 9 *(14) IV. A Lost Land [6:43] 6 *(15) V. Postlude [5:20] Complete Program Time: 82:11 SCULTHORPE The Complete String Quartets with Didjeridu 1 *(Blu-ray™ Tracks) 2 Amongst the amazing artistic collaborations that Del Sol has had in our 22-years of music making, playing Peter Sculthorpe’s pieces with Stephen Kent (didjeridu) is both one of the most unusual and fulfilling. The breathtaking power and beauty of Peter’s music is enhanced by the juxtaposition of these contrasting wooden instruments and traditions - the ones delicately carved by master craftsmen in Europe and the other naturally hollowed out by termites in Australia. Stephen’s artistry envelops us in sonorities that border between the earth and the divine. These sonic waves lift the entire quartet, even changing the role of the cello from harmonic ground to the floor of an airship. We take flight together. We have journeyed to places dark and wondrous during the process of learning these masterworks and hope you will join us there now.