Table of Contents
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Leonard Scott
LEONARD SCOTT NEY Associate Professor of Music Department of Music • Undergraduate Coordinator University of New Mexico • College of Fine Arts MSC 042570 • Albuquerque, NM 87131-0001 (505) 277-2126 • [email protected] EDUCATION University of Washington 2 years of doctoral classes and all recitals completed Eastern Illinois University Master of Arts - Percussion Performance Boston Conservatory Bachelor of Music - Percussion Performance TEACHING APPOINTMENTS Associate Professor of Music University of New Mexico (2004-present) Assistant Professor of Music University of New Mexico (1998-2004) Graduate Teaching Assistant University of Washington (1996-1998) Lecturer California State University, Fresno (1995-1996) Lecturer Fresno City College (1994-1996) Graduate Teaching Assistant Eastern Illinois University (1988-1990) Coordinator of Percussion Buchanan Educational Center, Clovis, CA (1993-1996) Coordinator of Percussion Bullard High School, Fresno, CA (1991-1993) Assistant Director of Bands Clovis High School, Clovis, CA (1990-1991) COURSES TAUGHT AT UNM APMS 101-502, Sect. 032: Percussion Oversee and instruct graduate and undergraduate percussion performance, education, and Bachelor of Arts majors and music minors. MUS 391/491/591, Sect. 032: Junior/Senior/Graduate Recital: Percussion MUS 560, Sect. 090: Chamber Music - Percussion Ensemble Graduate Student Percussion Ensemble. Graduate students are encouraged to work on their own while being coached by a faculty member. The focus of the group is to perform current trio and quartet literature. MUS 231, Sect. 090: Chamber Music - Percussion Ensemble This is the major chamber ensemble for the undergraduate percussion major. Students perform contemporary percussion repertoire, mallet ensemble repertoire and various folkloric percussion styles including West and East African, Afro-Cuban, Middle Eastern, and Brazilian drumming. -
Live-Electronic Music
live-Electronic Music GORDON MUMMA This b()oll br.gills (lnd (')uis with (1/1 flnO/wt o/Ihe s/u:CIIlflli01I$, It:clmulogira{ i,m(I1M/;OIn, find oC('(uimwf bold ;lIslJiraliml Iltll/ mm"k Ihe his lory 0/ ciec/muir 111111';(", 8u/ the oIJt:ninf!, mui dosing dlll/J/er.f IIr/! in {art t/l' l)I dilfcl'CIIt ltiJ'ton'es. 0110 Luerd ng looks UfI("/,- 1,'ulIl Ihr vll l/laga poillt of a mnn who J/(u pel'smlfl.lly tui(I/I'sscd lite 1)Inl'ch 0/ t:lcrh'Ollic tccJlIlulogy {mm II lmilll lIellr i/s beg-ilmings; he is (I fl'ndj/l(lnnlly .~{'hooletJ cOml)fJj~l' whQ Iws g/"lulll/llly (lb!Jfll'ued demenls of tlli ~ iedmoiQI!J' ;11(0 1111 a/rc(uiy-/orllleti sCI al COlli· plJSifion(l/ allillldes IInti .rki{l$. Pm' GarrlOll M umma, (m fllr. other IWfI((, dec lroll;c lerllll%gy has fllw/lys hetl! pre.telll, f'/ c objeci of 01/ fl/)sm'uillg rlln'osily (mrl inUre.fI. lu n MmSI; M 1I11111W'S Idslur)l resltllle! ",here [ . IIt:1lillg'S /(.;lIve,( nff, 1',,( lIm;lI i11g Ihe dCTleiojJlm!lIls ill dec/m1/ ;,. IIII/sir br/MI' 19j(), 1101 ~'/J IIIlIrli liS exlell siom Of $/ili em'fier lec1m%gicni p,"uedcnh b111, mOw,-, as (upcclS of lite eCQllol/lic lind soci(ll Irislm)' of the /.!I1riotl, F rom litis vh:wJ}f)il1/ Ite ('on,~i d ".r.f lHU'iQII.f kint/s of [i"t! fu! r/urmrl1lcI' wilh e/cclnmic medifl; sl/)""m;ys L'oilabomlive 1>t:rformrl1lce groU/JS (Illd speril/f "heme,f" of cIIgilli:C'-;lIg: IUltl ex/,/orcs in dt:lllil fill: in/tulmet: 14 Ihe new If'dllllJiolO' 011 pop, 10/1(, rock, nllrl jllu /Ill/SIC llJi inJlnwu:lI/s m'c modified //till Ille recording studio maltel' -
Jubiläen: Xenakis 2022 | Strawinsky 2021 Thema
NR. 86 FRÜHJAHR 2020 WWW.BOOSEY.DE RELAUNCH: Besuchen Sie JUBILÄEN: unseren YouTube-Kanal Xenakis 2022 | Strawinsky 2021 youtube.com/BooseyTube THEMA: KOMPONISTINNEN Mehr auf Seite 12 in Gegenwart und Vergangenheit hier im Heft EIN VOrwOrt IN KRISENZEITEN Als das vorliegende Heft konzipiert, die Arbeit daran be- gonnen wurde, war das alles so nicht vorauszusehen. Wir Liebe Leserin, lieber Leser, haben intensiv darüber nachgedacht, ob ein solches Maga- zin aktuell versandt werden sollte. Wie ersichtlich, lautete diese Wochen stellen einen Einschnitt dar, den niemand die Antwort, die wir uns gaben: Ja! Die durch das Corona- von uns vergessen wird. Wie so viele andere Lebensbereiche Virus ausgelöste Krankheit wird bezwungen werden, und wurde der internationale Musikbetrieb durch die Corona- unser Musikleben wird wieder erwachen, so wie wir es Pandemie im Innersten verwundet. Das, was unser Dasein kennen und lieben. Insofern ist dieses Heft auch ein Aus- ausmacht, kann plötzlich nicht mehr stattfinden: die Live- druck der Hoffnung, miteinander weiter Pläne zu schmieden, Darbietung vor Publikum und der persönliche Austausch Entdeckungen zu machen und die Musik in die Zukunft zu über Musik. Aufführungen mussten abgesagt werden; tragen. Es kann sein, dass zwischen Drucklegung von Heft Projekte, auf die wir lange hingearbeitet haben, wurden samt Beilagen und Ihrer Lektüre einzelne Ereignisse und vom Virus durchkreuzt. Ganz zu schweigen davon, dass Termine hinfällig geworden sind – vorläufig. so manche/r sich der Erfahrung von Krankheit und Verlust gegenübersieht. Viele Menschen und Institu tionen erleiden Wir bitten um Nachsicht, wünschen trotz allem eine gute immense Einbußen, Existenzen stehen auf dem Spiel, und Lektüre und freuen uns auf die weitere Zusammenarbeit die wirtschaftlichen Folgen sind nicht absehbar. -
CALIFORNIA STATE UNIVERSITY, NORTHRIDGE CANADIAN MUSIC SINCE 1940: a QUESTION of NATIONALISM a Thesis Submitted in Partial Satis
CALIFORNIA STATE UNIVERSITY, NORTHRIDGE CANADIAN MUSIC SINCE 1940: A QUESTION OF NATIONALISM A Thesis submitted in partial satisfaction of the requirements for the degree of Master of Arts in Music by Ronald Frederick Erin August, 1983 J:lhe Thesis of Ronald Frederick Erin is approved: California StD. te Universi tJr, Northridge ii PREFACE This thesis represents a survey of Canadian music since 1940 within the conceptual framework of 'nationalism'. By this selec- tive approach, it does not represent a conclusive view of Canadian music nor does this paper wish to ascribe national priorities more importance than is due. However, Canada has a unique relationship to the question of nationalism. All the arts, including music, have shared in the convolutions of national identity. The rela- tionship between music and nationalism takes on great significance in a country that has claimed cultural independence only in the last 40 years. Therefore, witnessed by Canadian critical res- ponse, the question of national identity in music has become an important factor. \ In utilizing a national focus, I have attempted to give a progressive, accumulative direction to the six chapters covered in this discussion. At the same time, I have attempted to make each chapter self-contained, in order to increase the paper's effective- ness as a reference tool. If the reader wishes to refer back to information on the CBC's CRI-SM record label or the Canadian League of Composers, this informati6n will be found in Chapter IV. Simi- larly, work employing Indian texts will be found in Chapter V. Therefore, a certain amount of redundancy is unavoidable when interconnecting various components. -
A Clear Apparance
A Clear Apparence 1 People in the UK whose music I like at the moment - (a personal view) by Tim Parkinson I like this quote from Feldman which I found in Michael Nyman's Experimental Music: Cage and Beyond; Anybody who was around in the early fifties with the painters saw that these men had started to explore their own sensibilities, their own plastic language...with that complete independence from other art, that complete inner security to work with what was unknown to them. To me, this characterises the music I'm experiencing by various composers I know working in Britain at the moment. Independence of mind. Independence from schools or academies. And certainly an inner security to be individual, a confidence to pursue one's own interests, follow one's own nose. I donʼt like categories. Iʼm not happy to call this music anything. Any category breaks down under closer scrutiny. Post-Cage? Experimental? Post-experimental? Applies more to some than others. Ultimately I prefer to leave that to someone else. No name seems all-encompassing and satisfying. So Iʼm going to describe the work of six composers in Britain at the moment whose music I like. To me itʼs just that: music that I like. And why I like it is a question for self-analysis, rather than joining the stylistic or aesthetic dots. And only six because itʼs impossible to be comprehensive. How can I be? Thereʼs so much good music out there, and of course there are always things I donʼt know. So this is a personal view. -
AMRC Journal Volume 21
American Music Research Center Jo urnal Volume 21 • 2012 Thomas L. Riis, Editor-in-Chief American Music Research Center College of Music University of Colorado Boulder The American Music Research Center Thomas L. Riis, Director Laurie J. Sampsel, Curator Eric J. Harbeson, Archivist Sister Dominic Ray, O. P. (1913 –1994), Founder Karl Kroeger, Archivist Emeritus William Kearns, Senior Fellow Daniel Sher, Dean, College of Music Eric Hansen, Editorial Assistant Editorial Board C. F. Alan Cass Portia Maultsby Susan Cook Tom C. Owens Robert Fink Katherine Preston William Kearns Laurie Sampsel Karl Kroeger Ann Sears Paul Laird Jessica Sternfeld Victoria Lindsay Levine Joanne Swenson-Eldridge Kip Lornell Graham Wood The American Music Research Center Journal is published annually. Subscription rate is $25 per issue ($28 outside the U.S. and Canada) Please address all inquiries to Eric Hansen, AMRC, 288 UCB, University of Colorado, Boulder, CO 80309-0288. Email: [email protected] The American Music Research Center website address is www.amrccolorado.org ISBN 1058-3572 © 2012 by Board of Regents of the University of Colorado Information for Authors The American Music Research Center Journal is dedicated to publishing arti - cles of general interest about American music, particularly in subject areas relevant to its collections. We welcome submission of articles and proposals from the scholarly community, ranging from 3,000 to 10,000 words (exclud - ing notes). All articles should be addressed to Thomas L. Riis, College of Music, Uni ver - sity of Colorado Boulder, 301 UCB, Boulder, CO 80309-0301. Each separate article should be submitted in two double-spaced, single-sided hard copies. -
Spectralism in the Saxophone Repertoire: an Overview and Performance Guide
NORTHWESTERN UNIVERSITY Spectralism in the Saxophone Repertoire: An Overview and Performance Guide A PROJECT DOCUMENT SUBMITTED TO THE BIENEN SCHOOL OF MUSIC IN PARTIAL FULFILLMENT OF THE REQUIREMENTS for the degree DOCTOR OF MUSICAL ARTS Program of Saxophone Performance By Thomas Michael Snydacker EVANSTON, ILLINOIS JUNE 2019 2 ABSTRACT Spectralism in the Saxophone Repertoire: An Overview and Performance Guide Thomas Snydacker The saxophone has long been an instrument at the forefront of new music. Since its invention, supporters of the saxophone have tirelessly pushed to create a repertoire, which has resulted today in an impressive body of work for the yet relatively new instrument. The saxophone has found itself on the cutting edge of new concert music for practically its entire existence, with composers attracted both to its vast array of tonal colors and technical capabilities, as well as the surplus of performers eager to adopt new repertoire. Since the 1970s, one of the most eminent and consequential styles of contemporary music composition has been spectralism. The saxophone, predictably, has benefited tremendously, with repertoire from Gérard Grisey and other founders of the spectral movement, as well as their students and successors. Spectral music has continued to evolve and to influence many compositions into the early stages of the twenty-first century, and the saxophone, ever riding the crest of the wave of new music, has continued to expand its body of repertoire thanks in part to the influence of the spectralists. The current study is a guide for modern saxophonists and pedagogues interested in acquainting themselves with the saxophone music of the spectralists. -
2016/2017 Annual Report Contents
2016/2017 ANNUAL REPORT CONTENTS Concert Season 4 Education & Outreach Initiatives 8 Financial Statements 10 Donors & Sponsors 11 Board & Staff 13 Cover: Mezzo-Soprano Andrea Ludwig and Percussionist Ryan Scott in R. Murray Schafer’s Odditorium. Photo by Trevor Haldenby This page: Conductor Kaspars Putninš and the Estonian Philharmonic Chamber Choir. Photo by Peeter Poldre. 2 SOUNDSTREAMS.CA EXECUTIVE SUMMARY Lawrence Cherney Artistic Director STIMULATING CULTURAL CONVERSATIONS In the lead up to our milestone 35th season, the 2016-17 season reaffirmed our commitment to creating a platform for uniquely Canadian cultural conversations. With a renewed focus on stimulating and provoking these conversations through carefully curated themes, we aimed to bring even greater depth, impact and relevancy to our work. This exploration of themes spurred us to incorporate dramatic enhancements in our productions, whose goal is to create immersive experiences for our audiences that will appeal to a wide range of ages and musical backgrounds. Ben Dietschi Executive Director One such example was Magic Flutes, which flowed seamlessly through a century of great flute repertoire from the lyricism of Debussy to a contemporary Canadian work inspired by Inuit shamanism. The season also saw the return of the legendary Estonian Philharmonic Chamber Choir, in a concert that explored significant Canadian and Estonian repertoire including world premieres by Omar Daniel and Riho Esko Maimets. As Canada approached its national sesquicentennial, Soundstreams’ programs like Music of the Rainbow Nation: A Tribute to Nelson Mandela’s Dream sought to bring global perspectives to issues of inclusivity, as always through the lens of intercultural collaboration. At the same time, productions Daniel Weinzweig like R. -
The Influence of Multiculturalism on Canadian Contemporary Art Music
Available online at www.sciencedirect.com Procedia Social and Behavioral Sciences 2 (2010) 7403–7406 Selected Papers of Beijing Forum 2004 The Influence of Multiculturalism on Canadian Contemporary Art Music Stephen Chatman Professor, School of Music, University of British Columbia Given the Beijing Forum 2004 theme of “Harmony and Prosperity of the Civilizations,” I have chosen a subject on art, which I believe illustrates a significant aspect of international harmony, communication, and synthesis of civilizations. As an introduction, a brief background on Canadian history and culture may be useful: Having gained confederation in 1867, Canada is a very young nation. As a country in the “new world”, Canada has always been a land of both immigrants and aboriginal “first nations” people. Historically, Canadian culture often has been defined as a Canadian “mosaic” (as opposed to the American “melting pot” concept), that is, a constantly evolving fabric of distinctly defined traditions, language, and art, often preserved or sanctioned by Canadian society and government. This Canadian “mosaic” is changing and has been shaped especially by assimilation, immigration, geography, demographics, and other cultural and political issues. Originally settled by primarily British, French and American immigrants, Canada’s languages (officially English and French), culture, moral values, and political system reflect its early heritage. Throughout the 19th and early 20th centuries, new waves of immigration continued—Irish, German, Scandinavian, Russian, Ukrainian, Eastern and Southern European, Chinese, Japanese, and East Indian people immigrated in ever increasing numbers. A high level of immigration, recently much more racially and geographically diverse, has continued into the 21st century, resulting in a truly multicultural and racially tolerant land. -
Reprint from Artistic Experimentation in Music - ISBN 978 94 6270 013 0 - © Leuven University Press, 2014 ARTISTIC EXPERIMENTATION in MUSIC
Reprint from Artistic Experimentation in Music - ISBN 978 94 6270 013 0 - © Leuven University Press, 2014 ARTISTIC EXPERIMENTATION IN MUSIC: AN ANTHOLOGY Artistic Experimentation in Music: an Anthology Edited by Darla Crispin and Bob Gilmore Leuven University Press Table of Contents 9 Introduction Darla Crispin and Bob Gilmore Section I Towards an Understanding of Experimentation in Artistic Practice 23 Five Maps of the Experimental World Bob Gilmore 31 The Exposition of Practice as Research as Experimental Systems Michael Schwab 41 Epistemic Complexity and Experimental Systems in Music Performance Paulo De Assis 55 Experimental Art as Research Godfried-Willem Raes 61 Tiny Moments of Experimentation: Kairos in the Liminal Space of Performance Kathleen Coessens 69 The Web of Artistic Practice: A Background for Experimentation Kathleen Coessens 83 Towards an Ethical-Political Role for Artistic Research Marcel Cobussen 91 A New Path to Music: Experimental Exploration and Expression of an Aesthetic Universe Bart Vanhecke 105 From Experimentation to Construction Richard Barrett 111 Artistic Research and Experimental Systems: The Rheinberger Questionnaire and Study Day: A Report Michael Schwab 5 Table of Contents Section II The Role of the Body: Tacit and Creative Dimensions of Artistic Experimentation 129 Embodiment and Gesture in Performance: Practice-Based Perspectives Catherine Laws 141 Order Matters A Thought on How to Practise Mieko Kanno 147 Association-Based Experimentation as an Artistic Research Method Valentin Gloor 151 Association -
An Annotated Bibliography of Canadian Oboe Concertos
An Annotated Bibliography of Canadian Oboe Concertos Document Presented in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Oboe in the Performance Studies Division of the University of Cincinnati College-Conservatory of Music January 11, 2016 by Elizabeth E. Eccleston M02515809 B.M., Wilfrid Laurier University, 2004 M.M., University of Cincinnati, 2007 D.M.A. Candidacy: April 5, 2012 256 Major Street Toronto, Ontario M5S 2L6 Canada [email protected] ____________________________ Dr. Mark Ostoich, Advisor ____________________________ Dr. Glenn Price, Reader ____________________________ Professor Lee Fiser, Reader Copyright by Elizabeth E. Eccleston 2016 i Abstract: Post-World War II in Canada was a time during which major organizations were born to foster the need for a sense of Canadian cultural identity. The Canada Council for the Arts, the Canadian Broadcasting Corporation and the Canadian Music Centre led the initiative for commissioning, producing, and disseminating this Canadian musical legacy. Yet despite the wealth of repertoire created since then, the contemporary music of Canada is largely unknown both within and outside its borders. This annotated bibliography serves as a concise summary and evaluative resource into the breadth of concertos and solo works written for oboe, oboe d’amore, and English horn, accompanied by an ensemble. The document examines selected pieces of significance from the mid-twentieth century to present day. Entries discuss style and difficulty using the modified rating system developed by oboist Dr. Sarah J. Hamilton. In addition, details of duration, instrumentation, premiere/performance history, including dedications, commissions, program notes, reviews, publisher information and recordings are included wherever possible. -
Lsm11-6 Ayout
sm20-7_EN_p01_coverV2_sm20-1_BI_pXX 15-06-03 12:55 PM Page 1 RCM_LaScenaMusicale_4c_fp_June+Aug15.qxp_Layoutsm20-7_EN_p02_rcmAD_sm20-1_BI_pXX 15-06-03 12:56 1 2015-05-27PM Page 2 9:33 AM Page 1 2015.16 Terence CONCERT Blanchard SEASON More than 85 classical, jazz, pop, world music, and family concerts to choose from! Koerner Hall / Mazzoleni Concert Hall / Conservatory Theatre Igudesman & Joo Daniel Hope Vilde Frang Jan Lisiecki SUBSCRIPTIONS ON SALE 10AM FRIDAY JUNE 12 SINGLE TICKETS ON SALE 10AM FRIDAY JUNE 19 416.408.0208 www.performance.rcmusic.ca 273 BLOOR STREET WEST (BLOOR ST. & AVENUE RD.) TORONTO sm20-7_EN_p03_torontosummerAD_sm20-1_BI_pXX 15-06-03 12:57 PM Page 3 CELEBRATING 10 YEARS JUL 16-AUG 9 DANISH STRING KARITA MATTILA QUARTET GARRICK AMERICAN OHLSSON AVANT-GARDE DANILO YOA ORCHESTRA OF THE AMERICAS PÉREZ WITH INGRID FLITER AND MUCH MORE! UNDER 35 YEARS OLD? TICKETS ONLY $20! TORONTOSUMMERMUSIC.COM 416-408-0208 an Ontario government agency un organisme du gouvernement de l’Ontario sm20-7_EN_p04_TOC_sm20-1_BI_pXX 15-06-03 12:58 PM Page 4 VOL 20-7 JUNE/JULY/AUGUST 2015 CONTENTS 10 INDUSTRY NEWS 11 Orchestre National de Jazz - Montréal 12 Jazz Festival Picks 14 Classical Festival Picks 19 Arts Festival Picks 21 Summer Listening GUIDES 22 Canadian Summer Festivals 37 REGIONAL CALENDAR 38 CONCERT PREVIEWS YOA ORCHESTRA OF THE AMERICAS 6 FOUNDING EDITORS PUBLISHER OFFICE MANAGER TRANSLATORS SUBSCRIPTIONS Wah Keung Chan, Philip Anson Wah Keung Chan Brigitte Objois Michèle Duguay, Véronique Frenette, Surface mail subscriptions (Canada) cost EDITOR-IN-CHIEF SUBSCRIPTIONS & DISTRIBUTION Cecilia Grayson, Eric Legault, $33/ yr (taxes included) to cover postage and La Scena Musicale VOL.