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Daughter Not to Disappear
Release Date: January 15th 2016 Daughter Not To Disappear Nearly three years after the release of their debut If You Leave, Daughter – the London-based trio of Elena Tonra, Igor Haefeli and Remi Aguilella – will return in 2016 with a new album entitled Not To Disappear. Produced by Haefeli and Nicolas Vernhes (Animal Collective, Deerhunter, The War On Drugs) and recorded over the course of a ‘The World Is Spinning Around’ painting by Sarah Shaw summer in New York, at Vernhes’ Rare Book Room studio in Greenpoint, Brooklyn, Not To Disappear finds Daughter evolving in TRACKLISTING 1. New Ways interesting ways with confident strides forward both sonically and 2. Numbers lyrically. Profoundly ruminative and lugubrious, bold and direct, 3. Doing The Right Thing it’s arguably even more assertive and compelling than its much- 4. How lauded predecessor. There are the usual intricate dynamics at 5. Mothers play – Tonra’s gauzy, fragile voice, delivering powerful, anguished 6. Alone/With You 7. No Care words detailing her inner turmoil, fusing seamlessly with Haefeli’s 8. Belong tight, melodic guitar and Aguilella’s rolling drums – but the sound, 9. Fossa oozing depth and resonance, feels infinitely richer. 10. Made Of Stone UK TOUR DATES As the trio have matured as musicians so has their collective November creative eye toward visuals. Daughter invited filmmakers Iain 16th – GLASGOW, Art School 18th – BRISTOL, Trinity Forsyth & Jane Pollard (directors of the Nick Cave film 20,000 th Days on Earth, and Daughter’s own 4AD Session and ‘Still’ video) 19 – LONDON, St. John-at-Hackney SOLD OUT to create three films for Not To Disappear. -
Conference Program Book
2020 FMEA Professional Development Conference Guide 1 Hit all the high notes Booth #4001 Inspire them to new musical heights! See for Yourself Breezin’ Thru Theory makes learning to read and understand music faster Hands-on Workshop: and easier. And, it’s motivating, so your students quickly build mastery, Fri., Jan. 10 at 11:45 am as well as self-confi dence! Accessed seamlessly online – on any device, (Room TCC 18 & 19) anytime, anywhere – it’s fun and interactive. Kids love it… and so do teachers. With at-a-glance student tracking and automated assessments, it frees up valuable class and marking time, so you can do what you love most – getting kids excited about learning music. BreezinThruTheory.com 1-855-265-3805 [email protected] Grades 4-12 2 2020 FMEA Professional Development Conference Guide 2020 FMEA PROFESSIONAL DEVELOPMENT CONFERENCE Index of Advertisers & ALL-STATE CONCERTS Breezin’ Thru, Inc. ......................IFC Brightspark Travel .......................... 64 DePaul University School of Music ............................... 62 Florida Atlantic University ........................................ 10 Florida Gulf Coast University ........................................ 67 Florida State University ............... 32 Florida State University Summer Camps .............................. 24 LungTrainers, LLC ..................... IBC Manhattan Concert Contents Productions ...................................... 46 Mercer University President’s Message ................................. 5 Concerts ..............................................26-29 -
PASIC 2010 Program
201 PASIC November 10–13 • Indianapolis, IN PROGRAM PAS President’s Welcome 4 Special Thanks 6 Area Map and Restaurant Guide 8 Convention Center Map 10 Exhibitors by Name 12 Exhibit Hall Map 13 Exhibitors by Category 14 Exhibitor Company Descriptions 18 Artist Sponsors 34 Wednesday, November 10 Schedule of Events 42 Thursday, November 11 Schedule of Events 44 Friday, November 12 Schedule of Events 48 Saturday, November 13 Schedule of Events 52 Artists and Clinicians Bios 56 History of the Percussive Arts Society 90 PAS 2010 Awards 94 PASIC 2010 Advertisers 96 PAS President’s Welcome elcome 2010). On Friday (November 12, 2010) at Ten Drum Art Percussion Group from Wback to 1 P.M., Richard Cooke will lead a presen- Taiwan. This short presentation cer- Indianapolis tation on the acquisition and restora- emony provides us with an opportu- and our 35th tion of “Old Granddad,” Lou Harrison’s nity to honor and appreciate the hard Percussive unique gamelan that will include a short working people in our Society. Arts Society performance of this remarkable instru- This year’s PAS Hall of Fame recipi- International ment now on display in the plaza. Then, ents, Stanley Leonard, Walter Rosen- Convention! on Saturday (November 13, 2010) at berger and Jack DeJohnette will be We can now 1 P.M., PAS Historian James Strain will inducted on Friday evening at our Hall call Indy our home as we have dig into the PAS instrument collection of Fame Celebration. How exciting to settled nicely into our museum, office and showcase several rare and special add these great musicians to our very and convention space. -
ALBUMS CHART: P.20 APRIL 25,1981 0 N the Record of the Future
SINGLES CHART: P.9: ALBUMS CHART: P.20 APRIL 25,1981 The record of the future mugENwa a 1 n 0 EXHIBITORS' STANDS are filling up fast for the 3rd annual Dealer Tour, organised by Music & Video Week and scheduled to visit seven regional centres during THE COMPACT disc, lipped by its developing companies as the record of the September. Europe's leading music business paper 90p future, seen alongside a conventional LP and the Sony and Philips CD players. Judging by (he bookings coming in, it looks as if dealers Dealer asks attending the shows will be able to meet exhibitors when is RRP THE LASER BEAM from large and small record companies as well as the newly opened not RRP? video companies. A DISPUTE over whether telling Note the dates in your the public what they can "expect COMPACT DISC to pay" for a record is the same diary now: September 15, as re-imposing RRP has been Bristol Holiday Inn; aired by dealers who object to September 17, price stickers on two recent WEA Birmingham, Albany releases. The Saxon picture disc of And MAKES ITS BOW Hotel; September 21 The Bad Played On, and the Newcastle, Gosforth Park SALZBURG: The compact the compact disc's development, to be no more expensive than a Hotel; September 22 Echo and the Bunnymen describe these as "revolutionary conventional high-class record Crocodiles 12-inch four-track disc digital audio system was improvements" which, coupled with player. J. J. G. Ch. van Tilburg of Glasgow, Albany Hotel; single, were both stickered by introduced to the September 24 Leeds, WEA with the wording "expect "substantially better sound Philips expressed confidence that to pay around £1.05". -
Contemporary Music Score Collection
UCLA Contemporary Music Score Collection Title Trance Organics Permalink https://escholarship.org/uc/item/2bq6n4q2 Author Podgursky, Jeremy Publication Date 2020 eScholarship.org Powered by the California Digital Library University of California Full Score TRANCE ORGANICS (2018) for Flute, Clarinet in B-flat, Bassoon, Piano, and String Quartet JEREMY PODGURSKY © 2018 Jeremy Podgursky - All Rights Reserved Published by Turbo Tekkamaki Press (ASCAP) www.jeremypodgursky.com TRANCE ORGANICS (2018) by Jeremy Podgursky Commissioned for premiere on August 11th, 2018 at the Pike Falls Chamber Music Festival In Memoriam David Bowie INSTRUMENTATION: Flute (doubling piccolo) Clarinet in B flat Bassoon Piano Violin 1 Violin 2 Viola Cello Score is in C Duration: 12:00 Special Thanks to Susanna Loewy, Richard Scerbo, my family, Melissa Arnold, John Gibson, Alicyn Warren, Don Freund, Claude Baker, Sven-David Sandström, David Dzubay, Jeffrey Hass, and Franz the Schnauzer Mutt. PERFORMANCE NOTES: * all grace notes happen BEFORE the beat * square note-heads in clarinet are sub-tone * all string playing is on the string unless marked with staccato * all harmonics on strings are notated with their sounding pitch when they first occur * please have fun, at all costs For more info or contact, visit www.jeremypodgursky.com regularly. © 2018 Jeremy Podgursky – All Rights Reserved. Published by Turbo Tekkamaki Press (ASCAP) PROGRAM NOTES TRANCE ORGANICS (2018) is a sequel to TRANCE MECHANICS (2014). The source musical material for the latter was from four real and imaginary mechanical devices that were presented in alternating movements that evolved throughout the piece. In contrast, TRANCE ORGANICS derives all of its source material from a relatively simple, crooning clarinet melody that appears in the penultimate section of the piece (THE ARRIVAL). -
By Ken Waxman
INTERVIEW a whole program for such great musicians. In a solo concert you carry the whole evening on your shoulders, the space belongs to you. When you play with more musicians you share that space; in a way you take a Pierre step back, you just play what has to be played. As a drummer you’re there to give pulse, dynamics, fire and color to the band. TNYCJR: You also at one time played a very extensive kit. Do you still use that set-up? r e l Favre PF: Yes, there were times where I tried to play full h i Z melodies on the drums and I came on stage with all s a e r (CONTINUED ON PAGE 36) d n A y b o JEFF WILLIAMS QUARTET t o John Hébert, Duane Eubanks, John O’Gallagher h P by Ken Waxman Friday March 30th at 9:00 & 10:30 Cornelia Street Cafe 29 Cornelia Street (212) 989-9319 During a career of more than 55 years, drummer Pierre Paiste & Sohn, as your secretary? Favre, who turns 75 in June, has been a constantly innovating musician. One of the first Swiss players to PF: I met Irène Schweizer in Zurich during a concert. embrace free music in the late ’60s, since then he’s explored She told me she was looking for a job, and I asked her a variety of musical concepts: from giving solo percussion to work for me as I needed a secretary. At first we concerts to composing notated works and collaborating with would play together occasionally after work and after folkloric-influenced improvisers. -
(LACMA) Hosted Its Ninth Annual Art+Film Gala on Saturday, November 2, 2019, Honoring Artist Betye Saar and Filmmaker Alfonso Cuarón
(Los Angeles, November 3, 2019)—The Los Angeles County Museum of Art (LACMA) hosted its ninth annual Art+Film Gala on Saturday, November 2, 2019, honoring artist Betye Saar and filmmaker Alfonso Cuarón. Co-chaired by LACMA trustee Eva Chow and actor Leonardo DiCaprio, the evening brought together more than 800 distinguished guests from the art, film, fashion, and entertainment industries, among others. This year’s gala raised more than $4.6 million, with proceeds supporting LACMA’s film initiatives and future exhibitions, acquisitions, and programming. The 2019 Art+Film Gala was made possible through Gucci’s longstanding and generous partnership. Additional support for the gala was provided by Audi. Eva Chow, co-chair of the Art+Film Gala, said, “I’m so happy that we have outdone ourselves again with the most successful Art+Film Gala yet. It was such a joy to celebrate Betye Saar and Alfonso Cuarón’s incredible creativity and passion, while supporting LACMA’s art and film initiatives. I couldn’t be more grateful to Alessandro Michele, Marco Bizzarri, and everyone at Gucci—our invaluable partner since the first Art+Film Gala—and to Anderson .Paak and The Free Nationals for making this evening one to remember.” “I’m deeply grateful to our returning co-chairs Eva Chow and Leonardo DiCaprio for helping us set another Art+Film Gala record,” said Michael Govan, LACMA CEO and Wallis Annenberg Director. “We honored two incredibly powerful artistic voices this year. Betye Saar has helped define the genre of Assemblage art for nearly seven decades, and recognition of her as one of the most important and influential artists working today is long overdue. -
Sonntags Im Bistro Grottino, Sommer 2015 (16.59H Bis Ca
Sonntags im Bistro Grottino, Sommer 2015 (16.59h bis ca. 19.08h) Set vom 7.6. Real Estate: Past Lives Department of Eagles: No One Does It Like You Unknown Mortal Orchestra: So Good… Ruby Suns: Oh Mojave The Congos: Fisherman The Upsetters: Big Gal Sally Beastie Boys: Song for the Man Captain Beefheart: Abba Zaba Destroyer: Del Monton Magnetic Fields: The Luckiest Guy… Beck: Black Tambourine Can: Halleluhwah Dorothy Collins: Lightworks (Raymond Scott) Erykah Badu: Soldier Digable Planets: Black Ego Calexico: Not Even Stevie Nicks Avey Tare's Slasher Flicks: Little Fang Panda Bear: Boys Latin Deerhoof: Super Duper Rescue Head Daniel Johnston: The Sun Shines Down Gil Scott Heron: Home Is Where the Hatred Is Timmy Thomas: Why Can't We Live Together The Four Tops: Baby I Need Your Loving Matthew E. White: Golden Robes William Onyeabor: Atomic Bomb Connan Mockasin: Megumi the Milkyway Above Django Django: Found You Atlas Sound: Walkabout Islands: Jogging Gorgeous Summer Tame Impala: Let it Happen The Notwist: Gloomy Planets Dan Deacon: Feel the Lightning Tocotronic: Spiralen Destroyer: Kaputt Set vom 14.6. Simone White: Flowers in May Beach House: Walk in the Park Peaking Lights: All the Sun That Shines The Slits: Man Next Door Jaako Eino Kalevi: Deeper Shadows Sisyphus: Lion's Share The Soundcarriers: So Beguiled Toro y Moi: Empty Nesters Kyu Sakamoto: Sukiyaki Homeboy Sandman: Holiday (Kosi Edit) Real Estate: Crime Devendra Banhart: Won't You Come Over Yo La Tengo: Automatic Doom Caribou: Melody Day Chris Cohen: Don't Look Today Unknown Mortal Orchestra: Can't Keep Checking My Phone John Cale: Hanky Panky Nohow Mac DeMarco: Let Her Go Girls: Oh So Protective One Stereolab: Fuses Beck: Tropicalia Cloud One: Atmosphere Strut Remix 1979 Cliff King Solomon: But Officer! Ariel Pink: Baby Frank Ocean: Forrest Gump Animal Collective: Rosie Oh Alexis Taylor: Am I Not A Soldier? Freddie Gibbs & Madlib: Shame (Instrumental) Arthur Russell: That's Us / Wild Combination The Streets: Never Went to Church Jacques Palminger: Wann strahlst Du? Dick Justice: Henry Lee Set vom 21.6. -
Evolving Processes Fredy Studer
Fredy Studer Evolving Processes by Ken Micallef ollowing in the lineage of European drumming masters Pierre Favre and Han Bennink, Swiss-born Fredy Studer has deftly employed Ftouch, tone, texture, noise, and rhythm in service of highly drum- centric music that, regardless of its avant-garde nature, communicates a rare sense of sincerity and humanity. Active on the European avant-jazz and classical scenes since the late 1960s, Studer was a founding member of the influe tial, freewheeling fusion group OM, and has toured and tracked albums with such iconic musicians as Dave Holland, Miroslav Vitous, Joe Henderson, Rainer Brüninghaus, Markus Stockhausen, Charlie Mariano, George Gruntz, Franco Ambrosetti, and Christy Doran. Along the way, he’s ceaselessly explored out-rock, jazz, folk, psychedelia, blues, fusion, rhythm ’n’ blues, bebop, funk, contemporary classical, and open-improvisation terrain. Among the dozens of albums Studer has recorded are the landmark 1977 ECM release Percussion Profiles with Jack DeJohnette, Dom Um Romão, Pierre Favre, Dave Friedman, and George Gruntz, and Favre’s 1984 release Singing Drums, featuring Paul Motian and Naná Vasconcelos, both of which expanded the then-current rhythmic consciousness. Other projects featuring Studer and Favre are the Four in Time drum quartet, with Daniel Humair and Fritz Hauser, and the long-running Drum Orchestra duo. Along the way Studer has also interpreted the percussive masterworks of 20th-century classical composers Steve Reich, John Cage, and Edgard Varèse. Coinciding with his long-term consultancy with Paiste cymbals, Studer followed his own artistic muse, exploring unusual situations and challenging concepts in music, life, and drumming. -
ALSO INSIDE: in Memorium: P.J.—Warrior Dash Comes to the 979
VOL.3 MARCH 2011 — ISSUE3 ALSO INSIDE: In Memorium: P.J.—Warrior Dash Comes To the 979—Brazos County Metal News— GeekBiz 101—Dahli Rama—Reading Rocks—CD Reviews—Concert Calendar—Spoo—More Spoo 979 Represent 2 In Memorium: PJ A lot of us gripe about living in B/CS. Not enough to do, too many uptight people, etc... Growing up for the most part in this town, I like most people, couldn't wait to get the hell out of here. And I did. Then I came 979Represent is a local magazine back. It happens. My perspective of this community has really changed over the last 10 years that we have for the discerning dirtbag. been back here. I have come to really embrace the good friends I have made here, my family being close by, and the fun things we have come up with to stay busy. My perspective has, again, Editorial bored changed. Kelly Minnis—Atarimatt—Niki Pistols February 21, 2011 my oldest nephew Bobby 'PJ' Williams passed away. He truly was one of the sweetest kids I have ever known and I am so glad that he and I were close. He always had a smile on his face and a big hug for everyone that he loved. He was fiercely Art Splendidness protective of his family and friends and always showed it. He was Wonko The Sane the kind of person that would do anything to help someone else out and expect nothing in return, simply because he loved you. Distributrix I am sure I don't have to say how devastated my entire family is by his death. -
Challenging Authenticity: Fakes and Forgeries in Rock Music
Challenging authenticity: fakes and forgeries in rock music Chris Atton Chris Atton Professor of Media and Culture School of Arts and Creative Industries Edinburgh Napier University Merchiston Campus Edinburgh EH10 5DT T 0131 455 2223 E [email protected] 8210 words (exc. abstract) Challenging authenticity: fakes and forgeries in rock music Abstract Authenticity is a key concept in the evaluation of rock music by critics and fans. The production of fakes challenges the means by which listeners evaluate the authentic, by questioning central notions of integrity and sincerity. This paper examines the nature and motives of faking in recorded music, such as inventing imaginary groups or passing off studio recordings as live performances. In addition to a survey of types of fakes and the motives of those responsible for them, the paper presents two case studies, one of the ‘fake’ American group the Residents, the other of the Unknown Deutschland series of releases, purporting to be hitherto unknown recordings of German rock groups from the 1970s. By examining the critical reception of these cases and taking into account ethical and aesthetic considerations, the paper argues that the relationship between the authentic (the ‘real’) and the inauthentic (the ‘fake’) is complex. It concludes that, to judge from fans’ responses at least, the fake can be judged as possessing cultural value and may even be considered as authentic. 1 Challenging authenticity: fakes and forgeries in rock music Little consideration has been given to the aesthetic and cultural significance of the inauthentic through the production of fakes in popular music, except for negatively critical assessments of pop music as ‘plastic’ or ‘manufactured’ (McLeod 2001 provides examples from American rock criticism). -
The Beacon, October 21, 2009 Florida International University
Florida International University FIU Digital Commons The aP nther Press (formerly The Beacon) Special Collections and University Archives 10-21-2009 The Beacon, October 21, 2009 Florida International University Follow this and additional works at: https://digitalcommons.fiu.edu/student_newspaper Recommended Citation Florida International University, "The Beacon, October 21, 2009" (2009). The Panther Press (formerly The Beacon). 373. https://digitalcommons.fiu.edu/student_newspaper/373 This work is brought to you for free and open access by the Special Collections and University Archives at FIU Digital Commons. It has been accepted for inclusion in The aP nther Press (formerly The Beacon) by an authorized administrator of FIU Digital Commons. For more information, please contact [email protected]. A Forum for Free Student Expression at Florida International University Vol. 22, Issue 31 www.fiusm.com Wednesday, October 21, 2009 Learn grandma’s Spanish Rocky Horror Picture Show lentils for upcoming winter comes to FIU this week PAGE 5 PAGE 7 SPOTLIGHT SGC-MMC AT thE BAY PAGE 5 Students get to talk about relation- ships, sex, cheating at the Women’s Resolution Center forum, and everyone is welcome! PRETTY IN PINK opiNioN PAGE 6 calling for Volleyball team really ‘digs’ helping cancer foundation restructure of Getting Schooled: Students should visit universities in order to learn JULIA CARDENUTO “This wouldn’t have been possible without SGA passes more about prospective programs. News Director them,” Tomic said. All of the proceeds will be donated to the opiNioN PAGE 6 FRANCISCO MARADIAGA Susan G. Komen for the Cure Foundation, which In light of his progress in the econo- The women’s volleyball team will “dig pink” Staff Writer my, foreign policy and health care, this Friday by helping raise money for breast the volleyball players have already volunteered does Obama make the grade? cancer awareness during the match against and worked for.