2017-01-17 Thesis Word Count and TURN IT in FILE
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(Some Other) Notes on Conceptualisms Jennifer Walshe I
(Some Other) Notes on Conceptualisms Jennifer Walshe I was asked to write about my relationship to conceptualism (including new conceptualism). I will start by talking about how conceptualism functions in my own work. A wide range of the work I do might be described as conceptual. My latest project is Historical Documents of the Irish Avant‐Garde. For this project, I worked in collaboration with a wide number of people to create a fictional history of Irish avant‐garde music, stretching from the mid‐1830s to the 1980s. All the materials related to this project are housed at aisteach.org, the website of the Aisteach Foundation, a fictional organisation which is positioned as “the avant‐garde archive of Ireland.” The site contains hours of music, numerous articles, scores, documents and historical ephemera. Every detail of this project was composed, written and designed with the utmost care and attention to detail. It’s a serious exercise in speculative composition, fiction and world‐building. The roots of the Historical Documents project lie in Dordán, a work I began in 2009. I was living in New York and playing with Tony Conrad a lot. We had been discussing the argument around who is considered the inventor of minimalism and Dordán was made in response to that. In Dordán I position the inventor of minimalism as a traditional Irish musician called Pádraig Mac Giolla Mhuire. The work includes recordings which purport to be of Mac Giolla Mhuire and collaborators playing the trad‐inflected drone music which they called “dordán” in Cork in 1952. The work also includes forged Ellis Island immigration records, explanatory text and other visual materials. -
Festivalio GAIDA 2020 Programa-Katalogas
Festivalio GAIDA 2020 žvilgsniai: ŽVILGSNIS Į MOTERIS ŽVILGSNIS Į VYRUS ŽVILGSNIS Į BALSUS ŽVILGSNIS Į MUŠAMUOSIUS ŽVILGSNIS Į AMERIKĄ ŽVILGSNIS Į MUŠAMUOSIUS ŽVILGSNIS Į MUŠAMUOSIUS ŽVILGSNIS Į ENERGIJĄ ŽVILGSNIS Į „TRANSĄ“ ŽVILGSNIS Į PRAEITĮ ŽVILGSNIS Į PRAEITĮ RINKTINĖ LIETUVIŲ MUZIKOS KOLEKCIJA–1 RINKTINĖ LIETUVIŲ MUZIKOS KOLEKCIJA–2 ŽVILGSNIS Į ATEITĮ ŽVILGSNIS Į MEISTRUS ŽVILGSNIS Į ATMINTĮ ŽVILGSNIS Į SAVE IN FOCUS – festivalio kompozitoriai | Guest Composers of the Festival: JENNIFER WALSHE | UNSUK CHIN | BEAT FURRER PB 1 PROGRAMA | TURINYS In Focus: JENNIFER WALSHE 6 UNSUK CHIN 9 BEAT FURRER 13 Susitikimai: Spalio 28 d., trečiadienis, 18 val. Spalio 30 d., penktadienis, 18 val. Menų spaustuvė Vilniaus kongresų rūmai JENNIFER WALSHE TAMARA STEFANOVICH, ANU TALI Spalio 29 d., ketvirtadienis, 18 val. Lapkričio 6 d., penktadienis, 18 val. Šiuolaikinio meno centras Šiuolaikinio meno centras UNSUK CHIN BEAT FURRER 16 Spalio 22 d., ketvirtadienis, 19 val. 36 Spalio 25 d., sekmadienis, 19 val. Lietuvos nacionalinė filharmonija Lietuvos nacionalinė filharmonija FESTIVALIO ATIDARYMO KONCERTAS STEVE REICH | DRUMMING PORTLAND PERCUSSION GROUP (JAV) PORTLAND PERCUSSION GROUP (JAV) COLIN CURRIE GROUP (Jungtinė Karalystė) Douglas Hertz. Fixtures in the Fold (2017) Lina Valionienė, Milda Zapolskaitė (balsai), Paul Lansky. Threads (2005) Lina Baublytė (fleita), Džiugas Daugirda (mušamieji) Steven Snowden. Van Gogh from Space (2015) Connor Shafran (C. Snow). Continental Steve Reich. Drumming (1970–1971) Divide (2015) Spalio 27 d., antradienis, 19 val. Philip Glass. Opening, Island, Closing 40 Lietuvos nacionalinė filharmonija iš Glassworks (1981) RINKTINĖ LIETUVIŲ MUZIKOS KOLEKCIJA–1 26 Spalio 23 d., penktadienis, 19 val. LIETUVOS KAMERINIS ORKESTRAS Lietuvos nacionalinė filharmonija PETRAS GENIUŠAS (fortepijonas) UGNIUS DIČIŪNAS (obojus) COLIN CURRIE GROUP VAIVA EIDUKAITYTĖ-STORASTIENĖ (Jungtinė Karalystė) (klavesinas) Joseph Pereira. -
Remembrances of the Irish Past Through the Prism of the Present in Music by Donnacha Dennehy (B
Technological University Dublin ARROW@TU Dublin Masters Applied Arts 2020-10 Composing Irishness: Remembrances of the Irish Past Through the Prism of the Present in Music by Donnacha Dennehy (b. 1970) and Jennifer Walshe (b. 1974) Timothy Diovanni Technological University Dublin Follow this and additional works at: https://arrow.tudublin.ie/appamas Part of the Music Education Commons, Music Performance Commons, Music Practice Commons, and the Music Theory Commons Recommended Citation Diovanni, T. (2020) Composing Irishness: Remembrances of the Irish Past Through the Prism of the Present in Music by Donnacha Dennehy (b. 1970) and Jennifer Walshe (b. 1974), Masters Thesis, Technological University Dublin. doi:10.21427/j9f0-hh44 This Theses, Masters is brought to you for free and open access by the Applied Arts at ARROW@TU Dublin. It has been accepted for inclusion in Masters by an authorized administrator of ARROW@TU Dublin. For more information, please contact [email protected], [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-Share Alike 4.0 License Composing Irishness: Remembrances of the Irish Past Through the Prism of the Present in Music by Donnacha Dennehy (b. 1970) and Jennifer Walshe (b. 1974) Timothy Diovanni, B.A. Thesis submitted for the award of M.Phil. to the Technological University Dublin College of Arts and Tourism Supervisor: Dr Mark Fitzgerald Technological University Dublin Conservatoire October 2020 ABSTRACT Although modern remembrances in the fields of literature, theatre, poetry, and the visual arts have received considerable scholarly attention in Ireland since the publication of History and Memory in Modern Ireland in 2001, similar activities in an Irish art music context remain unexplored. -
2017 NYC Program Booklet
THE 2017 RESONANT BODIES FESTIVAL RESONANT BODIES FESTIVAL Welcome! It is my pleasure to welcome you to the fifth-annual Resonant Bodies Festival in New York City. RBF began in 2013, with a mission to catalyze the creation of new vocal music, expand new vocal music’s audience, and challenge and transform the role of the vocal recitalist. To my delight, critics, performers, and audiences have greeted our efforts with sustained acclaim. Four years later, we have reached a new chapter in the Festival’s evolution: expanding beyond New York City. This past May, I visited Melbourne for the first-ever Resonant Bodies Festival Australia. It was thrilling to dive into the musical culture of the city and hear local artists. The experience profoundly affected me as a curator, widening my scope of what we call “contemporary music”—who belongs to it, and for whom it is performed. As we continue to take Resonant Bodies to new places, we will adapt our format to the culture of the location, which means sometimes changing how we do things. This brings up the question: what is at the core of Resonant Bodies Festival? The answer is always: freedom. Empowering artists with curatorial control. And in this, RBF’s aim is quietly revolutionary: for much of the history of Western classical music, vocalists were trained to be “vessels”—instruments at the (typically male) composer’s disposal. The autonomous vocalist and performer, empowered to realize their own creative potential, is a radical paradigm shift. We believe the art form as a whole will correspondingly advance when vocalists have “full voice” in the process and are treated as creative, self-actualizing beings.