Donne in Musica
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Fondazione Adkins Chiti: Donne in Musica
BIENNIAL MEMBERSHIP REPORT for the period 2008-2009 for presentation to the 33rd IMC General Assembly Tunis, October 21-22 2009 You are kindly requested to complete and return this report to the Paris Secretariat not later than September 21st 2009. In order to facilitate the compilation of activity reports, we strongly recommend that the document does not exceed 6 pages. PART I: YOUR ORGANISATION 0. Which category of membership in IMC does your organisation belong to? International Music Organisation 1. Name of organisation: FONDAZIONE ADKINS CHITI. DONNE IN MUSICA 2. Listing of most important directors, their role in the organisation and their nationalities: President: Cav. Uff. Patricia Adkins Chiti, English and Italian Vice President: Prof. Virginio Bonanni, Italian Board of Directors: Dott.ssa Gigliola Zecchi Balsamo, Italian Dott.ssa Lucilla Di Rico, Italian Senator Nicolò Sella di Monteluce, Italian Maestro Gian Paolo Chiti, Italian Dr Prof Notaio Giuliano Floridi, Italian Dr. Avv. Stefano Giorgilli, Italian Administrator: Dr. Avv. Valerio Bordoni, Italian Auditor: Dott.ssa Francesca Rocchi Lawyer: Avvocato Sabrina Casucci Consultant for Library: Dott. Domenico Carbone Incoming Board from end 2009: Dr. Prof. Notaio Giovanni Floridi On. Silvia Costa, European Parliament Decision making within the Foundation and network is democratic. Each Affiliated Organisation elects its own representatives. The Foundation has a governing board of Directors, Administrators, and specialists who work with contracts for special projects . According to the Statutes of the Foundation the Board makes all major decisions for the working of the Foundation. The President summons and co-ordinates the Reading commissions (for musical scores), the Artistic Commission (for decisions pertaining to concert and music series) and a panel of Musicological Experts (according to research in hand). -
A More Attractive ‘Way of Getting Things Done’ Freedom, Collaboration and Compositional Paradox in British Improvised and Experimental Music 1965-75
A more attractive ‘way of getting things done’ freedom, collaboration and compositional paradox in British improvised and experimental music 1965-75 Simon H. Fell A thesis submitted to the University of Huddersfield in fulfilment of the requirements for the degree of Doctor of Philosophy The University of Huddersfield September 2017 copyright statement i. The author of this thesis (including any appendices and/or schedules to this thesis) owns any copyright in it (the “Copyright”) and he has given The University of Huddersfield the right to use such Copyright for any administrative, promotional, educational and/or teaching purposes. ii. Copies of this thesis, either in full or in extracts, may be made only in accordance with the regulations of the University Library. Details of these regulations may be obtained from the Librarian. This page must form part of any such copies made. iii. The ownership of any patents, designs, trade marks and any and all other intellectual property rights except for the Copyright (the “Intellectual Property Rights”) and any reproductions of copyright works, for example graphs and tables (“Reproductions”), which may be described in this thesis, may not be owned by the author and may be owned by third parties. Such Intellectual Property Rights and Reproductions cannot and must not be made available for use without the prior written permission of the owner(s) of the relevant Intellectual Property Rights and/or Reproductions. 2 abstract This thesis examines the activity of the British musicians developing a practice of freely improvised music in the mid- to late-1960s, in conjunction with that of a group of British composers and performers contemporaneously exploring experimental possibilities within composed music; it investigates how these practices overlapped and interpenetrated for a period. -
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Arts Council OF GREAT BRITAI N Patronage and Responsibility Thirty=fourth annual report and accounts 1978/79 ARTS COUNCIL OF GREAT BRITAIN REFERENCE ONLY DO NOT REMOVE fROwI THE LIBRARY Thirty-fourth Annual Report and Accounts 1979 ISSN 0066-813 3 Published by the Arts Council of Great Britai n 105 Piccadilly, London W 1V OAU Designed by Duncan Firt h Printed by Watmoughs Limited, Idle, Bradford ; and London Cover pictures : Dave Atkins (the Foreman) and Liz Robertson (Eliza) in the Leicester Haymarket production ofMy Fair Lady, produced by Cameron Mackintosh with special funds from Arts Council Touring (photo : Donald Cooper), and Ian McKellen (Prozorov) and Susan Trac y (Natalya) in the Royal Shakespeare Company's small- scale tour of The Three Sisters . Contents 4 Chairman's Introductio n 5 Secretary-General's Report 12 Regional Developmen t 13 Drama 16 Music and Dance 20 Visual Arts 24 Literature 25 Touring 27 Festivals 27 Arts Centres 28 Community Art s 29 Performance Art 29 Ethnic Arts 30 Marketing 30 Housing the Arts 31 Training 31 Education 32 Research and Informatio n 33 Press Office 33 Publications 34 Scotland 36 Wales 38 Membership of Council and Staff 39 Council, Committees and Panels 47 Annual Accounts , Awards, Funds and Exhibitions The objects for which the Arts Council of Great Britain is established by Royal Charter are : 1 To develop and improve the knowledge , understanding and practice of the arts ; 2 To increase the accessibility of the arts to the public throughout Great Britain ; and 3 To co-operate with government departments, local authorities and other bodies to achieve these objects . -
Bibliographic Essay for Alex Ross's Wagnerism: Art and Politics in The
Bibliographic Essay for Alex Ross’s Wagnerism: Art and Politics in the Shadow of Music The notes in the printed text of Wagnerism give sources for material quoted in the book and cite the important primary and secondary literature on which I drew. From those notes, I have assembled an alphabetized bibliography of works cited. However, my reading and research went well beyond the literature catalogued in the notes, and in the following essay I hope to give as complete an accounting of my research as I can manage. Perhaps the document will be of use to scholars doing further work on the phenomenon of Wagnerism. As I indicate in my introduction and acknowledgments, I am tremendously grateful to those who have gone before me; a not inconsiderable number of them volunteered personal assistance as I worked. Wagner has been the subject of thousands of books—although the often-quoted claim that more has been written about him than anyone except Christ or Napoleon is one of many indestructible Wagner myths. (Barry Millington, long established one of the leading Wagner commentators in English, disposes of it briskly in an essay on “Myths and Legends” in his Wagner Compendium, published by Schirmer in 1992.) Nonetheless, the literature is vast, and since Wagner himself is not the central focus of my book I won’t attempt any sort of broad survey here. I will, however, indicate the major works that guided me in assembling the piecemeal portrait of Wagner that emerges in my book. The most extensive biography, though by no means the most trustworthy, is the six- volume, thirty-one-hundred-page life by the Wagner idolater Carl Friedrich Glasenapp (Breitkopf und Härtel, 1894–1911). -
Schriftenreihe Des Sophie Drinker Instituts Band 4
Schriftenreihe des Sophie Drinker Instituts Herausgegeben von Freia Hoffmann Band 4 Marion Gerards, Freia Hoffmann (Hrsg.) Musik – Frauen – Gender Bücherverzeichnis 1780–2004 BIS-Verlag der Carl von Ossietzky Universität Oldenburg 2006 Das Werk ist einschließlich aller seiner Teile urheberrechtlich ge- schützt. Jede Verwertung außerhalb der Grenzen des Urheberrechts bedarf der Zustimmung der Autorinnen. Dies gilt insbesondere für Vervielfältigungen, Übersetzungen, Mikroverfilmungen und die Einspeicherung und Verarbeitung in elektronischen Medien. © BIS-Verlag, Oldenburg 2006 Umschlaggestaltung: Marta Daul Layout und Satz: BIS-Verlag Verlag / Druck / BIS-Verlag Vertrieb: der Carl von Ossietzky Universität Oldenburg Postfach 25 41, 26015 Oldenburg Tel.: 0441/798 2261, Telefax: 0441/798 4040 e-mail: [email protected] Internet: www.bis.uni-oldenburg.de ISBN 3-8142-0966-4 Inhaltsverzeichnis Vorwort 3 Hinweise zur Benutzung 5 1 Nachschlagewerke 9 1.1 Lexika und biographische Nachschlagewerke 9 1.2 Bibliographien 14 1.3 Notenverzeichnisse 17 1.4 Diskographien 22 2 Einführende Literatur 24 2.1 Kunstmusik 24 2.2 Populäre Musik (Jazz, Rock, Pop, Volksmusik, Chansons, Weltmusik u. ä.) 42 2.3 Stilübergreifend und Sonstige 50 3 Personenbezogene Darstellungen 54 3.1 Kunstmusik 54 3.2 Populäre Musik (Jazz, Rock, Pop, Volksmusik, Chansons, Weltmusik u. ä.) 320 3.3 Stilübergreifend und Sonstige 433 4 Spezielle Literatur 446 4.1 Kunstmusik 446 4.2 Populäre Musik (Jazz, Rock, Pop, Volksmusik, Chansons, Weltmusik u. ä.) 462 4.3 Stilübergreifend -
Associate Professor Livia Teodorescu-Ciocanea
ADJUNCT ASSOCIATE PROFESSOR Professor Livia Teodorescu-Ciocănea 1 Professor Livia Teodorescu-Ciocănea, PhD, Habil. Composer, concert pianist Current Academic positions: Professor, National University of Music Bucharest, Romania Adjunct Associate Professor (Research), Sir Zelman Cowen School of Music, Monash University Contact: [email protected] Research Areas: • Timbre, Spectrum, advanced techniques for instruments (which I call hypertimbralism), always in connection with strong and articulate form and structure. • Orchestral composite timbre evaluation, considering the changing position of the spectral centroid (midpoint of the spectral energy) in connection with intensity levels. • Spectral analysis, spectral listening types (holistic listening and analytical listening), evaluation of tonalness, harmonicity, inharmonicity. • Byzantine music. • operatic music, both classical and modern. http://www.oxfordmusiconline.com.ezproxy.lib.monash.edu.au/grovemusic/view/10.1093/gmo/97 81561592630.001.0001/omo-9781561592630-e-0002286779?rskey=37uONJ&result=1 https://www.facebook.com/LiviaTeodorescuCiocanea/ https://toccataclassics.com/product/livia-teodorescu-ciocanea-piano/ https://repertoire-explorer.musikmph.de/en/product/teodorescu-ciocanea-livia/ BIOGRAPHY ACADEMIC OVERVIEW LIST OF PUBLISHED WORKS COMPLETE LIST OF COMPOSITIONS BY GENRE LIST OF PUBLISHED SCORES LIST OF COMMERCIALLY-RELEASED CDs LIST OF SELECTED MAJOR PERFORMANCES RECENT MEDIA BROADCASTING LIST OF COMPOSITION WORKS PERFORMED BY TAMARA SMOLYAR AND OTHER AUSTRALIAN -
TOCC0448DIGIBKLT.Pdf
THE PIANO MUSIC OF LIVIA TEODORESCU-CIOCĂNEA by Joel Crotty Livia Teodorescu-Ciocănea was born in Galaţi, a town in the eastern Romania, on 4 February 1959. She studied piano at the Music and Arts College in Galaţi between 1965 and 1977, where one of her piano teachers was Charlotte Marcovici, who had studied in Vienna in the 1940s. Teodorescu-Ciocănea entered the Ciprian Porumbescu Conservatoire (now the National University of Music) in Bucharest in 1977 and graduated in 1981 with a Bachelor degree in Composition. Her teachers there included Myriam Marbe for composition, Ştefan Niculescu for form and analysis, and Ioana Minei and Ana Pitiş for piano. She turned to PhD studies after the 1989 Romanian revolution, when the system changed and allowed more people to enrol in higher-degree work. She was admitted to a PhD candidature in musicology at the National University of Music in Bucharest in 1996, studying with the composer Anatol Vieru and, later, Octavian Nemescu. In 1998 and 1999 she obtained a Grant for Excellence from the Romanian government, which allowed her to transfer her PhD studies to the University of Huddersfield in the UK for two consecutive years. There she undertook the composition part of her doctorate, studying with Margaret Lucy Wilkins. The result was a doctorate in both musicology and composition. In 1995 she was appointed assistant professor at the National University of Music in Bucharest, teaching form and analysis and orchestration. In 1997 she became a lecturer, and between 2004 and 2015 she worked as an Associate Professor in composition, form and analysis. -
Press Release
PRESS RELEASE UK MicroFest 1 ~ Wild Dog 1 St. Cyprian’s Church Glentworth Street, London NW1 6AX (nearest tube, Baker Street) Friday 18 and Saturday 19 March, 2005 Microtonal Projects Ltd are delighted to announce their promotion UK MicroFest 1 which will incorporate the inaugural Wild Dog Inc. multi-media event. UK MicroFest 1 will be the first in-depth celebration of microtonal music in the UK since James Wood’s ‘in Tune’ series in the early to mid-1990s: while other countries have given increasing emphasis to this burgeoning area of music making, representation in the UK has been confined to isolated and often introverted pockets of activity. UK MicroFest 1 aims to offer a lively, controversial and artistically compelling forum which will demonstrate the depth and diversity of microtonal practice in the UK. Invited performers include duo Contour, the German-based trumpet and percussion duo of Stephen Altoft and Lee Ferguson; viola player Elisabeth Smalt from Amsterdam and from London the recorder duo Rare Bird and ‘cellist Robin Michael. Invited speakers include Partch’s biographer Bob Gilmore, composer Christopher Fox and founder of the Centre for New Musical Instruments Patrick Ozzard-Low. Following a call for window sessions, there are also six presentations of exciting new work in this country and abroad. Wild Dog 1 is a multi-media event with a fluid audience which will feature live microtonal music from ‘new music’ and ‘sonic art’ backgrounds, live art and video art. Artistic Director Donald Bousted; Wild Dog co-curated by Donald Bousted and Barbara Dean; Window Sessions selected and chaired by Patrick Ozzard-Low. -
Frauen- Und Männerbilder in Der Musik Festschrift Für Eva Rieger Zum 60
2 Foto : Mariann Steegmann 3 Freia Hoffmann, Jane Bowers, Ruth Heckmann (Hrsg.) Frauen- und Männerbilder in der Musik Festschrift für Eva Rieger zum 60. Geburtstag Bibliotheks- und Informationssystem der Universität Oldenburg 2000 4 Gedruckt mit freundlicher Unterstützung der Universität Bremen und des Fachs Musik an der Universität Oldenburg Das Copyright für die Kompositionen liegt bei den KomponistInnen Das Copyright für die wissenschaftlichen Beiträge liegt bei den AutorInnen Notensatz S. 58, 232, 248: Martina Oster Titelgestaltung: Julia Oesterling, unter Verwendung von Pablo Picassos Spiel am Strand und Rettung, 1932 Verlag/Druck/ Bibliotheks- und Informationssystem Vertrieb: der Carl von Ossietzky Universität Oldenburg (BIS) Verlag Postfach 25 41, 26015 Oldenburg Tel.: 0441/798 2261, Telefax: 0441/798 4040 e-mail: verlag @bis.uni-oldenburg.de ISBN 3-8142-0715-7 5 Inhaltsverzeichnis Vorwort 8 Foreword 9 Gertrud Meyer-Denkmann: Mit euch allen feiern 10 Freia Hoffmann Denkanstöße, Einsprüche, Alternativen. Eva Riegers Beitrag zu einer feministischen Musikwissenschaft 11 Jane Bowers The Development of Gender Studies in American Musicology. A View from 2000 21 Mia Schmidt: Little Steps 26 Janina Klassen Dekonstruktion - (Re)Konstruktion. Die spätantike Peregrinatio Egeriae als Quellentext zur Musik- und Gender-Forschung 27 Gabriele Busch-Salmen Die Frau am Tasteninstrument. Thesen zur Interpretation eines Bildtopos 41 Julia Liebscher Das Kastratentum im Diskurs von Thomas Laqueurs one-sex model 47 Peter Schleuning Trennungsschmerzen männlich und weiblich. Mozarts Lieder KV 519 und 520 55 Beatrix Borchard Die Sängerin Amalie Joachim und Die schöne Müllerin von Franz Schubert 69 Susanne Rode-Breymann Die bedrohliche Frau. Geschlechterkonstruktionen auf der Opernbühne um 1900 81 6 Sabine Giesbrecht Daisy oder Sylvia - Kunst unter der Optik des Lebens 97 Erwin Koch-Raphael: FOR EVE R 112 Susan McClary Different Drummers. -
University of Southampton Research Repository
University of Southampton Research Repository Copyright © and Moral Rights for this thesis and, where applicable, any accompanying data are retained by the author and/or other copyright owners. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis and the accompanying data cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content of the thesis and accompanying research data (where applicable) must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holder/s. When referring to this thesis and any accompanying data, full bibliographic details must be given, e.g. Thesis: Author (Year of Submission) "Full thesis title", University of Southampton, name of the University Faculty or School or Department, PhD Thesis, pagination. UNIVERSITY OF SOUTHAMPTON FACULTY OF HUMANITIES Department of Music Volume 1 of 1 The Harpsichord in Twentieth-Century Britain by Christopher David Lewis Thesis for the degree of Doctor of Philosophy September 2017 UNIVERSITY OF SOUTHAMPTON ABSTRACT FACULTY OF HUMANITIES Music Thesis for the degree of Doctor of Philosophy THE HARPSICHORD IN TWENTIETH-CENTURY BRITAIN by CHRISTOPHER DAVID LEWIS This dissertation provides an overview of the history of the harpsichord in twentieth- century Britain. It takes as its starting point the history of the revival harpsichord in the early part of the century, how the instrument affected both performance of historic music and the composition of modern music and the factors that contributed to its decline. -
Dda21217 Booklet.Indd 1-2 20/4/12 10:19:21 ANTONY HOPKINS – Portrait of a Composer Jonathan Alwyn, John Amis, Jane Ashley, Ron Astles, Prof
dda21217 ANTONY HOPKINS a portrait scene from original 1953 production of “Three’s Company” Antony Hopkins at the piano with Michael Flanders chamberr music and songs by Antony Hopkins and works written for his 90th birthday by Gordon Crosse, David Dubery, David Ellis, Anthony Gilbert, David Matthews, Elis Pehkonen, Joseph Phibbs and Andrew Plant made and printed in the uk divine art recordings group dda21217 Booklet.indd 1-2 20/4/12 10:19:21 ANTONY HOPKINS – portrait of a composer Jonathan Alwyn, John Amis, Jane Ashley, Ron Astles, Prof. Peter Aston, Peter Aviss, Celia Bain, Dr. Michael Ball, Stephen Banfield, Rob and Caroline Bailey, Colin and Rayna Bayliss, Mark Bebbington, Richard Beith, Rev. John M. Belcher, Nora Bell, Brian Bennett, Julian Berkeley, Berkhamsted Music Society, Jackey Birch, Keith Bisatt, Gill and David Blazey, Jean and John CD1 (total duration 67.37) Blundell, Nigel Bonham-Carter and Jose-Luis Galan, Leon Bosch, Julia Seiber Boyd, James Bowman CBE, Richard Brocklehurst, Sonata for Viola and Piano (1945) 14.15 Alan Brown, Ann and Michael Browning, Alan Bullard, Anthony Burton, Julie Bush, Martin Bussey, Teresa Cahill, Diana 1 I. March 4.32 Calderwood, Janet Canetty-Clarke, Wendy Cann, Roger Carpenter, Hazel and Michael Carter, Caroline Clemmow, Sheila Coates, 2 II. Ground 3.55 David M. Coldwell, Michael Colin, Alan and Barbara Conway, Prof. Stewart R. Craggs, Robert Crawford, Leon Crickmore, Dr. 3 III. Scherzo 3.25 Nicole Crossley-Holland, Hubert Culot, Brian Blyth Daubney, Anne Davies, Patrick Deane, Dr. James Dickenson, Peter and 4 IV. Epilogue 2.23 Bridget Dickinson, The Arthur T. -
Reconsidering the Legacy of Alma Mahler
Illinois State University ISU ReD: Research and eData Faculty and Staff Publications – Milner Library Milner Library 5-2021 Taking Her at Her Work: Reconsidering the Legacy of Alma Mahler Rachel E. Scott Illinois State University, [email protected] Follow this and additional works at: https://ir.library.illinoisstate.edu/fpml Part of the Musicology Commons Recommended Citation Scott, Rachel E., "Taking Her at Her Work: Reconsidering the Legacy of Alma Mahler" (2021). Faculty and Staff Publications – Milner Library. 136. https://ir.library.illinoisstate.edu/fpml/136 This Dissertation is brought to you for free and open access by the Milner Library at ISU ReD: Research and eData. It has been accepted for inclusion in Faculty and Staff Publications – Milner Library by an authorized administrator of ISU ReD: Research and eData. For more information, please contact [email protected]. TAKING HER AT HER WORK: RECONSIDERING THE LEGACY OF ALMA MAHLER by Rachel Elizabeth Scott A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy Major: Music The University of Memphis May 2021 Copyright© Rachel Elizabeth Scott All rights reserved ii Acknowledgements I am fortunate to have learned from the finest faculty members at the University of Memphis. Dr. Kenneth Kreitner, Dr. Jeremy Orosz, Dr. Janet Page, Dr. Daniel Unowsky, and Professor Mary Wilson were a Dream Team of a committee and offered helpful input throughout the process. Dr. Page’s insatiable curiosity and encyclopedic knowledge of music in Vienna recruited me to the program and have inspired me throughout. My interest in the compositions of Alma Mahler has been nurtured by Dr.