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The Amazon River Without Secrets
Geographic Society of Lima Jr. Puno 450, Lima; post office box 100-1176 Lima, Peru; phone (511) 4273723; (511) 4269930 e-mail: [email protected]; http://socgeolima.org Press Release THE AMAZON RIVER WITHOUT SECRETS Geographic Society of Lima resolves controversial hypotheses concerning the source of the Queen of all Rivers The mystery concerning the sources of the Amazon River, similar to the one concerning those of the Nile, has long been subject to never-ending speculations and academic disputes. The identification of the main river’s source section poses many difficulties for researchers, as all the hydrological criteria are rarely met at the same time. In the case of such a vast hydrographical system and such an important water artery as the Amazon River, the complications increase even more. Hydrologists believe that the stream which runs the most water, which is the longest, and who’s source lies highest above the sea level should be considered the main river. Equally important are criteria concerning the riverbed gradient, the basin activity or the morphology of the terrain. Also, the importance of culture is unquestionable. Sometimes the traditions preserved through history and the culture of a region are arguments influencing the choice of the main river. Since the time of Humboldt, the Marañón has been considered the source tributary of the Amazon River. In 1934 the geodesist Colonel Gerardo Dianderas formulated the insight that it would rather be the Ucayali as it is longer, of higher importance to the history of the region, navigable to a greater extend, and as it plays a more important economic role. -
Pdf May 2010, "Dvoinaia Pererabotka Otkhodov V Sovetskoi [3] ‘New Beginnings
Advances in Social Science, Education and Humanities Research, volume 368 3rd International Conference on Art Studies: Science, Experience, Education (ICASSEE 2019) Multifaceted Creativity: Legacy of Alexander Ivashkin Based on Archival Materials and Publications Elena Artamonova Doctor of Philosophy University of Central Lancashire Preston, United Kingdom E-mail: [email protected] Abstract—Professor Alexander Vasilievich Ivashkin (1948- numerous successful international academic and research 2014) was one of the internationally eminent musicians and projects, symposia and competitions, concerts and festivals. researchers at the turn of the most recent century. His From 1999 until his death in 2014, as the Head of the Centre dedication, willpower and wisdom in pioneering the music of for Russian Music at Goldsmiths, he generated and promoted his contemporaries as a performer and academic were the interdisciplinary events based on research and archival driving force behind his numerous successful international collections. The Centre was bursting with concert and accomplishments. This paper focuses on Ivashkin’s profound research life, vivacity and activities of high calibre attracting knowledge of twentieth-century music and contemporary international attention and interest among students and analysis in a crossover of cultural-philosophical contexts, scholars, professionals and music lovers, thus bringing together with his rare ability to combine everything in cultural dialogue across generations and boarders to the retrospect and make his own conclusions. His understanding of inner meaning and symbolism bring new conceptions to wider world. His prolific collaborations, including with the Russian music, when the irrational becomes a new stimulus for London Philharmonic Orchestra, the Southbank Centre, the rational ideas. The discussion of these subjects relies heavily on BBC Symphony Orchestra, the Barbican Centre and unpublished archival and little-explored publications of Wigmore Hall, St. -
The Encounter
The Encounter [La Rencontre] un spectacle de Complicité / Simon McBurney 29 mars – d’après Amazon Beaming de Petru Popescu 8 avril 2018 en anglais, surtitré en français Odéon 6e Location 01 44 85 40 40 / www.theatre-odeon.eu Tarifs de 6€ à 40€ (séries 1, 2, 3 et 4) Horaires du mardi au samedi à 20h, dimanche à 15h relâche le lundi deux représentations à 15h et 20h le samedi 7 avril Odéon-Théâtre de l’Europe Théâtre de l’Odéon Place de l’Odéon 6e Métro (lignes 4 et 10) – RER B Luxembourg – RER C Saint Michel Service de presse Lydie Debièvre, Nina Danet + 33 1 44 85 40 73 [email protected] Dossiers de presse et photos également disponibles sur www.theatre-odeon.eu nom d’utilisateur : presse / mot de passe : podeon82 1 un spectacle de Complicité / Simon McBurney d’après Amazon Beaming de Petru Popescu un projet de et avec Simon McBurney coréalisation Kirsty Housley collaboration à la mise en scène Jemima James scénographie Michael Levine son Gareth Fry, Pete Malkin lumière Paul Anderson vidéo Will Duke production Complicité coproduction Edinburgh International Festival, Barbican Centre – Londres, Centre culturel Onassis – Athènes, Schaubühne – Berlin, Théâtre de Vidy – Lausanne, Warwick Arts Centre avec le soutien du Cercle de l’Odéon, du Cercle Giorgio Strehler durée estimée 1h55 Tournée 2018 du 14 avril au 5 mai au Barbican Center, Londres / du 9 au 12 mai à deSingel, Anvers / du 17 au 20 mai à la Schaubühne, Berlin / du 25 au 27 mai au Golden Mask Festival, Moscou 2 Le commencement est ici-même À travers la fumée, j’ai observé le chef. -
2017–18 ARTISTIC PARTNERSHIPS BEGIN in Program Conducted by PAAVO JÄRVI
FOR IMMEDIATE RELEASE August 30, 2017 Contact: Katherine E. Johnson (212) 875-5700; [email protected] 2017–18 ARTISTIC PARTNERSHIPS BEGIN In Program Conducted by PAAVO JÄRVI NEW YORK PREMIERE of The Marie-Josée Kravis Composer-in-Residence ESA-PEKKA SALONEN’s Gambit RACHMANINOFF’s Piano Concerto No. 4 with The Mary and James G. Wallach Artist-in-Residence LEIF OVE ANDSNES SIBELIUS’s Symphony No. 5 Saturday Matinee Concert To Feature LEIF OVE ANDSNES, Concertmaster FRANK HUANG, and Principal Cello CARTER BREY Performing Grieg’s Andante con moto, for piano trio, and Shostakovich’s Piano Trio in E minor October 12–14 and 17, 2017 The New York Philharmonic’s Marie-Josée Kravis Composer-in-Residence Esa-Pekka Salonen and Mary and James G. Wallach Artist-in-Residence Leif Ove Andsnes will both launch their 2017–18 Philharmonic residencies in a Scandinavian-themed program led by Paavo Järvi. The Orchestra will perform the New York Premiere of Gambit by the Finnish Esa-Pekka Salonen, Norwegian pianist Leif Ove Andsnes will perform Rachmaninoff’s Piano Concerto No. 4, and the program will conclude with Finnish composer Sibelius’s Symphony No. 5. The concerts take place Thursday, October 12, 2017, at 7:30 p.m.; Friday, October 13 at 11:00 a.m.; Saturday, October 14 at 8:00 p.m.; and Tuesday, October 17 at 7:30 p.m. In the Saturday Matinee Concert on October 14 at 2:00 p.m., Leif Ove Andsnes collaborates with two key figures from the New York Philharmonic: Concertmaster Frank Huang and Principal Cello Carter Brey. -
Musical Contents and Symbolic Interpretation in Sofia Gubaidulina’S “Two Paths: a Dedication to Mary and Martha”
MUSICAL CONTENTS AND SYMBOLIC INTERPRETATION IN SOFIA GUBAIDULINA’S “TWO PATHS: A DEDICATION TO MARY AND MARTHA” DMA DOCUMENT Presented in Partial Fulfillment of Requirements for the degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Young-Mi Lee, M.Ed. ***** The Ohio State University 2007 Document Committee: Approved by Professor Jan Radzynski, Adviser Professor Donald Harris Professor Margarita Mazo Adviser Music Graduate Program ABSTRACT Sofia Gubaidulina has been known for using symbolic devices in her music to express her Christian belief. Two paths: A Dedication to Mary and Martha for two violas and orchestra (1998) effectively represents Gubaidulina’s musical aesthetic which is based on the idea of dichotomy. In the wide stretch over various genres, many pieces reflect her dual worldview that implies an irreconcilable conflict between the holy God and the worldly human. She interprets her vision of contradictory attributes between divinity and mortality, one celestial and the other earthly, by creating and applying musical symbols. Thus, Gubaidulina employs the concept of binary opposition as many of her works involve extreme contrasts, conflicts, and tension. In this document I will analyze the musical content in detail. Then I will examine the symbolic devices in terms of dichotomy, which explains how Gubaidulina uses the same musical metaphor in her works and how she employs and develops the musical devices to represent her religious vision. I expect that those findings of my study would explain the symbolic aspect of the music of Sofia Gubaidulina, music rooted in her spiritual insight. ii Dedicated to my parents iii ACKNOWLEDGMENTS First of all, I praise my Lord who made it possible to complete this document. -
Complicite's 'The Encounter' Edinburgh International Conference Center, Edinburgh International Festival; 480 Seats; £32 ($50) Top
REVUE DE PRESSE SIMON MCBURNEY The Encounter 08 – 12.09.2015 Edinburgh: The Encounter, International Conference Centre http://www.telegraph.co.uk/theatre/what-to-see/edinburgh-the... Theatre Expat In Switzerland? £50k+ Savings? Try A Free Review To Show You The Best Interest Rates! Theatre / What to See WHAT TO SEE Edinburgh: The Encounter, International Conference Centre, review: 'spellbinding' share THE ENCOUNTER IS ONE OF THE EARLY HITS OF THE EDINBURGH INTERNATIONAL FESTIVAL CREDIT: A. PHILLIPSON/LIVEPIX BB y DDoommiinniicc CCaavveennddiisshh THEATRE CRITIC 9 AUGUST 2015 • 2:08PM share 1 sur 6 27.08.15 12:08 Edinburgh: The Encounter, International Conference Centre http://www.telegraph.co.uk/theatre/what-to-see/edinburgh-the... You are alone in the dense, almost inaccessible Amazon region of Brazil, 400 miles from "civilisation". The aim is to take photographs of an elusive, barely contacted tribes-people called the Mayoruna – to show the world what they look like. And, amazingly, you strike gold. There, suddenly, some of them are. You follow them, snapping as you go – failing, unlike Hansel and Gretel, to leave a trail behind you. The story of the American photographer Loren McIntyre’s incredible 1969 encounter with “the cat people” (so named because of the whisker-like palm-spines adorning their lips and noses) is the stuff of a twisting, turning, thoroughly engrossing fairytale. And in re-telling it, in this brilliant solo show mounted by his much-travelled company Complicite, Simon McBurney adopts a high-tech bedside manner that places the audience in the role of wide-eyed – or should that be wide-eared? – children. -
Rameau to Mahler
Thursday 11 January 2018 7.30–9.55pm Barbican Hall LSO SEASON CONCERT RAMEAU TO MAHLER Schubert Symphony No 8, ‘Unfinished’ Mahler Rückert Lieder RATTLE & Interval Handel Three Arias Rameau Les Boréades – Suite Sir Simon Rattle conductor Magdalena Kožená mezzo-soprano KOŽEN A Supported by LSO Music Director Donors Welcome LSO News On Our Blog Tonight’s performance is supported by BRITISH COMPOSER AWARDS FOR FAREWELL TO NIGEL BROADBENT, the LSO’s Music Director Donors, some SOUNDHUB AND PANUFNIK COMPOSERS FIRST VIOLIN of whom join us in the audience this evening. Our Music Director Donors provide Five of the 13 BASCA British Composer On Thursday 21 December we said goodbye leading support for our work and stand Awards this year went to current composers to one of the stalwarts of the London side-by-side with the Orchestra in our and alumni of the LSO’s artist development Symphony Orchestra, First Violin Nigel ambitious plans with Sir Simon Rattle. schemes. Congratulations go to Cevanne Broadbent, who retires after 38 years in I would like to thank them for their Horrocks-Hopayian (Panufnik 2010, the Orchestra. He will be very much exceptional contribution to the LSO at Soundhub Associate), Emily Howard missed by everyone in the LSO. this exciting time in the our history. (Panufnik 2007), Robin Haigh (Soundhub 2017), Deborah Pritchard (Panufnik 2015) and Welcome to this evening’s LSO concert I hope you enjoy the performance and Philip Venables (Panufnik 2005). WELCOME TO NEW PRINCIPAL at the Barbican, our first of 2018. Tonight that you will join us again soon. -
Title Fashioning Brazil: Globalization and The
Title Fashioning Brazil: Globalization and the Representation of Brazilian Dress in National Geographic Type The sis URL https://ualresearchonline.arts.ac.uk/id/eprint/12111/ Dat e 2 0 1 6 Citation Kutesko, Elizabeth (2016) Fashioning Brazil: Globalization and the Representation of Brazilian Dress in National Geographic. PhD thesis, Courtauld Institute of Art. Cr e a to rs Kutesko, Elizabeth Usage Guidelines Please refer to usage guidelines at http://ualresearchonline.arts.ac.uk/policies.html or alternatively contact [email protected] . License: Creative Commons Attribution Non-commercial No Derivatives Unless otherwise stated, copyright owned by the author Fashioning Brazil: Globalisation and the Representation of Brazilian Dress in National Geographic (Two Volumes) Elizabeth Kutesko Doctor of Philosophy in the History of Art The Courtauld Institute of Art, University of London 1 Abstract As a popular ‘scientific’ and educational journal, National Geographic, since its founding in 1888, has positioned itself as a voice of authority within mainstream American print media, offering what purports to be an unprejudiced ‘window onto the world’. Previous scholarship has been quick to call attention to the magazine’s participation in an imperialist representational regime. Catherine A. Lutz and Jane L. Collins, Tamar Rothenberg and Linda Steet have all argued that National Geographic’s distinctive, quasi-anthropological outlook has established hierarchies of difference and rendered subjects into dehumanised objects, a spectacle of the unknown and exotic other. A more nuanced understanding can be reached by drawing upon Mary Louise Pratt’s concept of the ‘contact zone’. Pratt defined the contact zone as ‘spaces where cultures meet, clash and grapple with each other, often in contexts of highly asymmetrical relations of power’. -
G368 Fall 1997 W.A. Koelsch DEVELOPMENT of WESTERN GEOGRAPHIC THOUGHT: DISCUSSION TOPICS
G368 Fall 1997 W.A. Koelsch DEVELOPMENT OF WESTERN GEOGRAPHIC THOUGHT: DISCUSSION TOPICS Thursday, August 28 Approaches, Methods, Questions Part I - Emergence of National "Schools" Tuesday, September 2 Kant, Humboldt, and Ritter Thursday, September 4 Germanic Geographies Tuesday, September 9 Russian and Soviet Geographies Thursday, September 11 Vidal de la Blache and the "French School" Tuesday, September 16 Post-Vidalian French Geography Thursday, September 18 Mackinder and the Brits Tuesday, September 23 British Geography After Mackinder Thursday, September 25 Davis and the Yanks Part II - Themes in 20th Century Geographic Thought Tuesday, September 30 Nature/Society I: Earlier Environmental Theorists Thursday, October 2 Functionalism in American Geography Tuesday, October 7 Region and Landscape I: Earlier Formulations Thursday, October 9 Nature/Society II: Sauer and the "Berkeley School" Tuesday, October 14 The Quantitative Revolution Thursday, October 16 Spatial Tradition I: Spatial Geometers and Systems Theorists Tuesday, October 21 NO CLASS- MIDTERM BREAK Thursday, October 23 Spatial Tradition II: Spatial Behaviorists and Diffusionists Tuesday, October 28 The Cognitive Reformation and Related Post-Behavioral Approaches Thursday, October 30 "Radical" Geography: Marxism, Anarchism, Utopianism Tuesday, November 4 "Humanistic" Geography Part III - Professional and Contemporary Concerns Thursday, November 6 Time - Geography, Structuration and Realism Tuesday, November 11 Nature/Society III: Recent Developments Thursday, November 13 Region and Landscape II: The Rehabilitated Region Tuesday, November 18 "Postmodernism" in Geography Thursday, November 20 Geography as a Profession Tuesday, November 25 "Applied" Geography Thursday, November 27 NO CLASS - THANKSGNING BREAK Tuesday, December 2 Geography and Gender Thursday, December 4 Geography in School and College GEOG 368 F97 Geog. -
Opera & Ballet 2017
12mm spine THE MUSIC SALES GROUP A CATALOGUE OF WORKS FOR THE STAGE ALPHONSE LEDUC ASSOCIATED MUSIC PUBLISHERS BOSWORTH CHESTER MUSIC OPERA / MUSICSALES BALLET OPERA/BALLET EDITION WILHELM HANSEN NOVELLO & COMPANY G.SCHIRMER UNIÓN MUSICAL EDICIONES NEW CAT08195 PUBLISHED BY THE MUSIC SALES GROUP EDITION CAT08195 Opera/Ballet Cover.indd All Pages 13/04/2017 11:01 MUSICSALES CAT08195 Chester Opera-Ballet Brochure 2017.indd 1 1 12/04/2017 13:09 Hans Abrahamsen Mark Adamo John Adams John Luther Adams Louise Alenius Boserup George Antheil Craig Armstrong Malcolm Arnold Matthew Aucoin Samuel Barber Jeff Beal Iain Bell Richard Rodney Bennett Lennox Berkeley Arthur Bliss Ernest Bloch Anders Brødsgaard Peter Bruun Geoffrey Burgon Britta Byström Benet Casablancas Elliott Carter Daniel Catán Carlos Chávez Stewart Copeland John Corigliano Henry Cowell MUSICSALES Richard Danielpour Donnacha Dennehy Bryce Dessner Avner Dorman Søren Nils Eichberg Ludovico Einaudi Brian Elias Duke Ellington Manuel de Falla Gabriela Lena Frank Philip Glass Michael Gordon Henryk Mikolaj Górecki Morton Gould José Luis Greco Jorge Grundman Pelle Gudmundsen-Holmgreen Albert Guinovart Haflidi Hallgrímsson John Harbison Henrik Hellstenius Hans Werner Henze Juliana Hodkinson Bo Holten Arthur Honegger Karel Husa Jacques Ibert Angel Illarramendi Aaron Jay Kernis CAT08195 Chester Opera-Ballet Brochure 2017.indd 2 12/04/2017 13:09 2 Leon Kirchner Anders Koppel Ezra Laderman David Lang Rued Langgaard Peter Lieberson Bent Lorentzen Witold Lutosławski Missy Mazzoli Niels Marthinsen Peter Maxwell Davies John McCabe Gian Carlo Menotti Olivier Messiaen Darius Milhaud Nico Muhly Thea Musgrave Carl Nielsen Arne Nordheim Per Nørgård Michael Nyman Tarik O’Regan Andy Pape Ramon Paus Anthony Payne Jocelyn Pook Francis Poulenc OPERA/BALLET André Previn Karl Aage Rasmussen Sunleif Rasmussen Robin Rimbaud (Scanner) Robert X. -
Content and Musical Language in the Piano Sonata of Sofia
CONTENT AND MUSICAL LANGUAGE IN THE PIANO SONATA OF SOFIA GUBAIDULINA, AND THREE RECITALS WITH WORKS BY BACH, BEETHOVEN, MOZART, CHOPIN, SCHUMANN, DEBUSSY, AND RACHMANINOV Ivana Cojbasic, B.S., M.S. APPROVED: Major Professor M or Professor Co 7 ember Dean of the College of Music Dean of the Robert B. Toulouse School of Graduate Studies 374 nrOrd A/O* L!73 CONTENT AND MUSICAL LANGUAGE IN THE PIANO SONATA OF SOFIA GUBAIDULINA, AND THREE RECITALS WITH WORKS BY BACH, BEETHOVEN, MOZART, CHOPIN, SCHUMANN, DEBUSSY, AND RACHMANINOV DISSERTATION Presented to the Graduate Council of the University of North Texas in Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS By Ivana Cojbasic, B. Mus., M.M. Denton, Texas December, 1998 I -lr Cojbasic, Ivana, Content and musical language in the Piano Sonata of Sofia Gubaidulina, and three recitals with works by Bach, Beethoven, Mozart, Chopin, Schumann, Debussy, and Rachmaninov. Doctor of Musical Arts (Performance), December, 1998, 103 pp., 1 table, 60 examples, 46 titles. Sofia Gubaidulina is one of the leading composers in the contemporary music world. Her compositional interests have been stimulated by the exploration of and improvisation with rare folk and ritual instruments, and by a deep-rooted belief in the mystical properties of music. Gubaidulina is the author of orchestral and choral works, compositions for solo instruments, chamber music, as well as electronic music. Gubaidulina's Piano Sonata sums up the composer's thinking within her piano music, and at the same time projects the development of her spiritual vision within other genres that are to come. -
Season 20 Season 2010-2011
Season 202010101010----20202020111111 The Philadelphia Orchestra ThursThursday,day, March 33,, at 777:007:00:00:00 Beyond the Score ®®®: Natural BeautiesBeauties???? David Kim Leader and Violin Gerard McBurney Host Alex Bechtel Actor A multimulti----mediamedia exploration of Vivaldi’s The Four Seasons Intermission VivaVivaldildi The Four Seasons I. Spring, Concerto in E major, RV 269 a. Allegro b. Largo c. Allegro II. Summer, Concerto in G minor, RV 315 a. Allegro non molto—Allegro b. Adagio alternating with Presto c. Presto III. Autumn, Concerto in F major, RV 293 a. Allegro—Piano e larghetto—Allegro assai b. Adagio molto c. Allegro IV. Winter, Concerto in F minor, RV 297 a. Allegro non molto b. Largo c. Allegro—Lento This program runs approximately 2 hours. Beyond the Score® is made possible by support from the Hirschberg-Goodfriend Fund in memory of Adolf Hirschberg as established by Juliet J. Goodfriend and by the Wachovia Wells Fargo Foundation. Additional funding comes from the Annenberg Foundation, the Pennsylvania Council on the Arts, and the Pennsylvania Department of Community and Economic Development. Beyond the Score® is produced by the Chicago Symphony Orchestra. Gerard McBurney, Creative Director, Beyond the Score Martha Gilmer, Executive Producer, Beyond the Score Violinist David Kim was named concertmaster of The Philadelphia Orchestra in 1999. Born in Carbondale, Illinois, in 1963, he started playing the violin at the age of three, began studies with the famed pedagogue Dorothy DeLay at the age of eight, and later received his bachelor's and master's degrees from the Juilliard School. In 1986 he was the only American violinist to win a prize at the International Tchaikovsky Competition in Moscow.