2012 Red Note New Music Festival Composition Competition
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General Info.Indd
General Information • Landmarks Beyond the obvious crowd-pleasers, New York City landmarks Guggenheim (Map 17) is one of New York’s most unique are super-subjective. One person’s favorite cobblestoned and distinctive buildings (apparently there’s some art alley is some developer’s idea of prime real estate. Bits of old inside, too). The Cathedral of St. John the Divine (Map New York disappear to differing amounts of fanfare and 18) has a very medieval vibe and is the world’s largest make room for whatever it is we’ll be romanticizing in the unfinished cathedral—a much cooler destination than the future. Ain’t that the circle of life? The landmarks discussed eternally crowded St. Patrick’s Cathedral (Map 12). are highly idiosyncratic choices, and this list is by no means complete or even logical, but we’ve included an array of places, from world famous to little known, all worth visiting. Great Public Buildings Once upon a time, the city felt that public buildings should inspire civic pride through great architecture. Coolest Skyscrapers Head downtown to view City Hall (Map 3) (1812), Most visitors to New York go to the top of the Empire State Tweed Courthouse (Map 3) (1881), Jefferson Market Building (Map 9), but it’s far more familiar to New Yorkers Courthouse (Map 5) (1877—now a library), the Municipal from afar—as a directional guide, or as a tip-off to obscure Building (Map 3) (1914), and a host of other court- holidays (orange & white means it’s time to celebrate houses built in the early 20th century. -
Bang on a Can Live – Vol
NWCR646 Bang on a Can Live – Vol. 2 Gary Trosclair, trumpet; Mark Stewart, electric guitar; Alan Moverman, piano and synthesizer; Tigger Benford, percussion Jeffrey Brooks 3. Composition for Two Pianos (1992) ................... (8:55) (Bang on a Can 1992) Piano Duo – Cees van Zeeland & Gerard Bouwhuis Elizabeth Brown 4. Migration – in memory of Julie Farrell (1992) .... (11:44) (Bang on a Can 1992) Elizabeth Brown, shakuhachi; Mayuki Fukuhara, violin; Sarah Clarke, viola; Theodore Mook, cello David Lang 5. The Anvil Chorus (1991) ..................................... (7:00) (Bang on a Can 1991) Steve Schick, percussion Jeffrey Mumford 6. a pond within the drifting dusk (1989) ................ (9:22) (Bang on a Can 1989) Laura Gilbert, alto flute; Joshua Gordon, cello; Victoria Drake, harp Phil Kline Shelley Hirsch/David Weinstein 7. Bachman’s Warbler (1992) ................................. (16:34) 1. Haiku Lingo (excerpt) (1990) ............................. (8:15) (Bang on a Can 1992) Phil Kline, harmonica and (Bang on a Can 1990) Shelley Hirsch, voice; boomboxes David Weinstein, electronics Total playing time: 74:53 Lois V. Vierk 2. Red Shift IV (1991) ............................................. (12:25) Ê & © 1993 Composers Recordings, Inc. (Bang on a Can 1991) A Cloud Nine Consort: © 2007 Anthology of Recorded Music, Inc. Notes Bang on a Can is among the most inclusive and hospitable of introductions are cursory, a bit nervous and wonderfully all new music festivals. Its ambiance is informal. When the illuminating—an introduction to the person, not the concept, venues allow it, audiences can come and go during annual all- behind the music. When John Cage stepped on stage to kick day marathon concerts, sit up close and listen, or casually off the 1992 edition of the festival, which began with his stand in the back with a beer or an apple cider. -
College.MAG.Fall.03.F Copy
Fall/September 2004 A Setting for Synergy Undergraduate education at USC College encourages students to pursue an education that is rich in experience, both inside and outside of the class- room. The curriculum is structured to provide a coherent, integrated intro- duction to the breadth of knowledge that a “well-educated person” needs. With nearly 80 majors and 50 minors in the College to choose from, the environment helps students discover their passions and talents. The College’s Faculty Recruitment Initiative has improved the student-to- faculty ratio and diversified the faculty, exposing students to cutting-edge researchers and multidisciplinary scholars. Faculty are personable, approachable teachers who help stu- dents understand the terms ‘rigor’ and ‘critical thinking.’ In the 1990s, USC faculty and lead- ers worked for three years on a plan to completely revamp the undergraduate curriculum as part of a blueprint to Beyond Book Smart: International Relations Major Rivka Katz (VP of Hillel’s SC Tzedek and alternative spring break coordinator); Bac/MD move the university into a position of Program Participant Chad Agy; and Psychology Major Patricia Gonzalez (Readers Plus tutor and notetaker for disability services and programs) leadership. The result was a more coherent and integrated curriculum in the College for every USC undergrad- Undergrads Embrace Variety and Richness uate. Whether they are majoring in business, journalism or biology, all USC undergraduates take a core set of courses taught by full-time, tenure- had Agy matriculated into the freshman class of 2008 at USC College admittance into the Bac/MD program track faculty. this fall. He was the captain of his high school soccer team, concertmas- made all the difference. -
Presidency Cultural Programme in Kraków
Presidency Cultural Programme in Kraków 2011-08-23 4th “Divine Comedy” International Theatre Festival December 2011 The Divine Comedy festival is not just a competition, but also an opportunity to see the top shows by young Polish directors and the chance to compare opinions of Polish theatre with critics from all over Europe. The selection of productions is made by the most prominent Polish critics, journalists, and reviewers, while the decision on who walks away with the figurine of the Divine Comedian is made by an independent international jury. The festival is divided into three blocks. In the Inferno section – the contest for the best Polish productions of the previous season – the maestros of Polish theatre and their students compete for the award. Paradiso is the section of the festival devoted to the work of young, but already acclaimed, directors. The Purgatorio block includes accompanying events. It should be emphasised that this year the festival has changed its formula – traditionally the competition section and culmination of accompanying events fall in December, while the international section takes place all year round – every month excluding the summer holidays. Organiser: Krakow Festival Office www.boskakomedia.pl Opera Rara: A. Vivaldi – L’Oracolo in Messenia 8 December 2011 December’s performance in the Opera Rara cycle perfectly achieves the goals set by originator Filip Berkowicz when he began the project in 2009 – to present above all works which are rarely played or which have been restored to the repertoire after centuries of absence in concert halls. This will be the world première of the opera written by Antonio Vivaldi in the last years of his life, published just after his death and then lost for a very long time. -
2018 BAM Next Wave Festival #Bamnextwave
2018 BAM Next Wave Festival #BAMNextWave Brooklyn Academy of Music Adam E. Max, Katy Clark, Chairman of the Board President William I. Campbell, Joseph V. Melillo, Vice Chairman of the Board Executive Producer Place BAM Harvey Theater Oct 11—13 at 7:30pm; Oct 13 at 2pm Running time: approx. one hour 15 minutes, no intermission Created by Ted Hearne, Patricia McGregor, and Saul Williams Music by Ted Hearne Libretto by Saul Williams and Ted Hearne Directed by Patricia McGregor Conducted by Ted Hearne Scenic design by Tim Brown and Sanford Biggers Video design by Tim Brown Lighting design by Pablo Santiago Costume design by Rachel Myers and E.B. Brooks Sound design by Jody Elff Assistant director Jennifer Newman Co-produced by Beth Morrison Projects and LA Phil Season Sponsor: Leadership support for music programs at BAM provided by the Baisley Powell Elebash Fund Major support for Place provided by Agnes Gund Place FEATURING Steven Bradshaw Sophia Byrd Josephine Lee Isaiah Robinson Sol Ruiz Ayanna Woods INSTRUMENTAL ENSEMBLE Rachel Drehmann French Horn Diana Wade Viola Jacob Garchik Trombone Nathan Schram Viola Matt Wright Trombone Erin Wight Viola Clara Warnaar Percussion Ashley Bathgate Cello Ron Wiltrout Drum Set Melody Giron Cello Taylor Levine Electric Guitar John Popham Cello Braylon Lacy Electric Bass Eileen Mack Bass Clarinet/Clarinet RC Williams Keyboard Christa Van Alstine Bass Clarinet/Contrabass Philip White Electronics Clarinet James Johnston Rehearsal pianist Gareth Flowers Trumpet ADDITIONAL PRODUCTION CREDITS Carolina Ortiz Herrera Lighting Associate Lindsey Turteltaub Stage Manager Shayna Penn Assistant Stage Manager Co-commissioned by the Los Angeles Phil, Beth Morrison Projects, Barbican Centre, Lynn Loacker and Elizabeth & Justus Schlichting with additional commissioning support from Sue Bienkowski, Nancy & Barry Sanders, and the Francis Goelet Charitable Lead Trusts. -
Red Note New Music Festival Program, 2013 School of Music Illinois State University
Illinois State University ISU ReD: Research and eData Red Note New Music Festival Music 2013 Red Note New Music Festival Program, 2013 School of Music Illinois State University Follow this and additional works at: https://ir.library.illinoisstate.edu/rnf Part of the Music Commons Recommended Citation School of Music, "Red Note New Music Festival Program, 2013" (2013). Red Note New Music Festival. 7. https://ir.library.illinoisstate.edu/rnf/7 This Book is brought to you for free and open access by the Music at ISU ReD: Research and eData. It has been accepted for inclusion in Red Note New Music Festival by an authorized administrator of ISU ReD: Research and eData. For more information, please contact [email protected]. calendar of events SUNDAY, MARCH 3, 2013 3 PM COMPOSER PRESENTATION CENTER FOR THE PERFORMING ARTS David Kirkland Garner centennial east building, room 229 2 - 2:50 pm the illinois state university wind symphony, conducted by daniel belongia, performs music composer david kirkland garner, winner of the by scott lindroth, john mackey, and paul dooley, composition competition, presents on his music as well as marcus maroney’s “rochambeau” (winner of the red note call for scores). COMPOSER Q&A - Tony Solitro MONDAY, MARCH 4, 2013 2-4 PM Kemp Recital Hall 4 - 5:30 pm KEMP RECITAL HALL composer tony solitro discusses his vocal music and career as a composer of opera and songs chicago-based spektral quartet leads a master class for string students in the illinois state university school of music string studio. TUESDAY, MARCH 5, 2013 8 PM KEMP RECITAL HALL MONDAY, MARCH 4, 2013 8 PM KEMP RECITAL HALL illinois state university faculty members and guest pianist blair mcmillen perform works of guest composer joan tower. -
An African-American Contribution to the Percussion Literature in the Western Art Music Tradition
Illuminating Silent Voices: An African-American Contribution to the Percussion Literature in the Western Art Music Tradition by Darrell Irwin Thompson A Research Paper Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts Approved April 2012 by the Graduate Supervisory Committee: Mark Sunkett, Chair Bliss Little Kay Norton James DeMars Jeffrey Bush ARIZONA STATE UNIVERSITY May 2012 ABSTRACT Illuminating Silent Voices: An African-American Contribution to the Percussion Literature in the Western Art Music Tradition will discuss how Raymond Ridley's original composition, FyrStar (2009), is comparable to other pre-existing percussion works in the literature. Selected compositions for comparison included Darius Milhaud's Concerto for Marimba, Vibraphone and Orchestra, Op. 278 (1949); David Friedman's and Dave Samuels's Carousel (1985); Raymond Helble's Duo Concertante for Vibraphone and Marimba, Op. 54 (2009); Tera de Marez Oyens's Octopus: for Bass Clarinet and one Percussionist (marimba/vibraphone) (1982). In the course of this document, the author will discuss the uniqueness of FyrStar's instrumentation of nine single reed instruments--E-flat clarinet, B-flat clarinet, alto clarinet, bass clarinet, B-flat contrabass clarinet, B-flat soprano saxophone, alto saxophone, tenor saxophone, and B-flat baritone saxophone, juxtaposing this unique instrumentation to the symbolic relationship between the ensemble, marimba, and vibraphone. i ACKNOWLEDGMENTS I first want to thank God, for guiding my thoughts, hands, and feet. I am grateful, for the support, understanding, and guidance I have received from my parents. I also want to thank my grandmother, sister, brother, and to the rest of my family for being one of the best support groups anyone could have. -
Richard O'neill
Richard O’Neill 1276 Aikins Way Boulder, CO 80305 917.826.7041 [email protected] www.richard-oneill.com Education University of North Carolina School of the Arts 1997 High School Diploma University of Southern California, Thornton School of Music 2001 Bachelor of Music, magna cum laude The Juilliard School 2003 Master of Music The Juilliard School 2005 Artist Diploma Teaching University of Colorado, Boulder, College of Music 2020 - present Experience Artist in Residence, Takacs Quartet University of California Los Angeles, Herb Alpert School of Music 2007 - 2016 Lecturer of Viola University of Southern California, Thornton School of Music 2008 Viola Masterclasses Hello?! Orchestra (South Korea) 2012 - present Multicultural Youth Orchestra Founder, conductor and teacher Music Academy of the West, Santa Barbara 2014 - present Viola and Chamber Music Florida International University 2014 Viola Masterclass Brown University 2015 Viola Masterclass Hong Kong Academy of Performing Arts. 2016, 2018 Viola Masterclasses Scotia Festival 2017 Viola Masterclasses Asia Society, Hong Kong 2018 Viola and Chamber Music Masterclasses Mannes School of Music 2018 Viola Masterclass The Broad Stage, Santa Monica 2018 - 2019 Artist-in-residence, viola masterclasses, community events Affiliations Sejong Soloists 2001 - 2007 Principal Viola The Chamber Music Society of Lincoln Center 2003 - present CMS Two/Bowers YoungArtist from 2004-06 CREDIA International Artist Management 2004 - present Worldwide manager, based in South Korea Seattle Chamber Music Society -
Hear Me Now: the Implication and Significance of the Female Composer’S Voice As Sound Source in Her Electroacoustic Music
Hear Me Now: the implication and significance of the female composer’s voice as sound source in her electroacoustic music Elizabeth Hinkle-Turner Computing and Information Technology Center, University of North Texas [email protected] This subject also interests me as I am myself a composer Abstract of primarily text-based electroacoustic music and video works. In several instances I am the recorded female voice In her writings about the role of the female voice in on the tape. After reading Bosma’s research which is readily electroacoustic music, noted Dutch researcher Hannah available on her website, I began to think about how I had Bosma has identified a variety of issues surrounding the used my own voice in my music and also why I had done compositional choices of those utilizing spoken and sung so. The reasons range from the practical to the symbolic and text in their work and illustrated the differences of use in will be discussed later in this paper. A question from an relationship to the chosen vocalist’s gender. Bosma article reviewer about the music of Alice Shields (which I exclusively focuses upon the musical works of men in her have researched extensively) got me thinking about other studies. This paper explores how women utilize the voice in women who use their own voice in the creation of their electroacoustic music and more specifically whether their music. The result is Hear Me Now, a discussion of a very treatment of the female voice in any way differs from the small number of the many women who use their voice as the treatment of the female voice by their male counterparts. -
Peter Liebersonbiography and W
Biography and Works Peter Lieberson “Like all of Lieberson's music, it is acutely, actively heard and written along every line, without padding. The composer handles his orchestra with imag- ination and with new, fertile invention; the string writing and the episodes for small, unusual ensembles are especially striking.” G. Schirmer and — The New Yorker Associated Music Publishers Peter Lieberson’s works first came to national enced by his practice of Tibetan Buddhism and in attention in 1983, with the premiere of his Piano particular by the teachings of Chogyam Trungpa. Biography Concerto, composed for Peter Serkin and com- missioned by Seiji Ozawa and the Boston Lieberson’s recent concert works include: Songs Peter Lieberson Symphony Orchestra (BSO) for their centennial. of Love and Sorrow, settings of a second group Andrew Porter wrote in The New Yorker that it of Neruda love sonnets for baritone Gerald Finley was a "major addition to the modern concerto and the Boston Symphony Orchestra; Remembering repertory." It was a finalist for the Pulitzer Prize JFK: An American Elegy, for narrator and orches- and the subsequent recording of the work won tra with selected excerpts from Kennedy speeches, Opus Magazine’s Contemporary Music Award for commissioned by the National Symphony Orchestra 1985. to commemorate the 50th anniversary of John F. Kennedy’s inauguration; Remembering Schumann Following that work’s success, Lieberson was for Yo-Yo Ma (cello) and Emanuel Ax (piano); and again commissioned by Ozawa and the BSO, The Coming of Light, for baritone, oboe, and which resulted in Drala (1986), "a short sympho- string quartet. -
The Music of Pierre Jalbert
" an acknowledged chamber-music master." – THE NEW YORKER American composer Pierre Jalbert has been recognized for his richly colored and superbly crafted scores and “music of fierce and delicate inventiveness [with] kaleidoscope of moods and effects.” (Cleveland Plain Dealer) Painting vibrant and picturesque sonic portraits for the listener, he has developed a musical language that is engaging, expressive, and deeply personal. Among his many honors are the Rome Prize, BBC Masterprize, Chamber Music Society of Lincoln Center's Stoeger Award, given biennially "in recognition of significant contributions to the chamber music repertory," and an award from the American Academy of Arts and Letters. Jalbert’s work has drawn inspiration from a variety of sources ranging from plainchant melodies to natural phenomena, and his French-Canadian heritage, hearing English folk songs and Catholic liturgical music growing up. He has earned a reputation for his mastery of color, in both his chamber and orchestral scores, creating timbres that are vivid yet refined and tonally centered, combining modal, tonal, and dissonant sonorities as it travels new and unusual paths, while retaining a sense of harmonic motion culminating in a completed journey. His music has been commissioned and performed worldwide, including the St. Paul and Los Angeles Chamber orchestras, the American Composers Orchestra, and the Symphonies of Houston, Vermont, Albany, Budapest, London, Boston and Milwaukee, the National Symphony, Cabrillo and Eastern Festival Orchestras. He received two Meet the Composer grants, including one for its “Magnum Opus Project.” Jalbert served as Composer-in-Residence with the Los Angeles Chamber Orchestra, California Symphony and Chicago's Music in the Loft. -
UCLA Electronic Theses and Dissertations
UCLA UCLA Electronic Theses and Dissertations Title Interpreting Henri Dutilleux’s Quotations of Baudelaire in "Tout un monde lointain..." Permalink https://escholarship.org/uc/item/0tz887wb Author Tyler, Charles Robert Publication Date 2016 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Interpreting Henri Dutilleux’s Quotations of Baudelaire in Tout un monde lointain… A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Musical Arts by Charles Robert Tyler 2016 © Copyright by Charles Robert Tyler 2016 ABSTRACT OF THE DISSERTATION Interpreting Henri Dutilleux’s Quotations of Baudelaire in Tout un monde lointain… by Charles Robert Tyler Doctor of Musical Arts University of California, Los Angeles, 2016 Professor Antonio Lysy, Chair Henri Dutilleux (1916-2013) is one of the most significant and widely acclaimed composers of the last century. Dutilleux is best known for his approach towards orchestral timbre and color and his works exhibit an individual style that defies classification. This dissertation will be dedicated to exploring the interpretive issues presented in Henri Dutilleux’s composition for cello and orchestra, Tout un monde lointain… The quotations taken from Baudelaire’s poetry found in this score above each movement leave the performer with many unanswered interpretive questions. Through researching Dutilleux’s use of quotation in other scores, examining the intricacies of Baudelaire’s poetry and considering the existing publications pertaining to his concerto, one will be considerably better equipped to answer the varying questions sense of mystery raised by these quotations. Such analysis will aid one in interpreting and executing his concerto with a heightened understanding of Dutilleux’s musical language within the aesthetics and context he provides through his quotations of Baudelaire.