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Dark Hope : Working for Peace in Israel and Palestine
dark hope Working for Peace in Israel and Palestine DAVID SHULMAN Dark Hope Dark Hope Working for Peace in Israel and Palestine david shulman The University of Chicago Press Chicago and London david shulman The University of Chicago Press, Chicago 60637 is the Renee´ Lang The University of Chicago Press, Ltd., London Professor of Humanistic C 2007 by The University of Chicago Studies in the Department All rights reserved. Published 2007 of Comparative Religion at Printed in the United States of America the Hebrew University of 16 15 14 13 12 11 10 09 08 07 1 2 3 4 5 Jerusalem. He is the author isbn-13: 978-0-226-75574-8 (cloth) or coauthor of many isbn-10: 0-226-75574-6 (cloth) books, including The Hungry God: Hindu Tales of Library of Congress Cataloging-in-Publication Data Filicide and Devotion, also Shulman, David. published by the Press. Dark Hope: working for peace in Israel and Palestine / Originally published as David Shulman. Taayush:ë Journal d’un p. cm. combat pour la paix, Israel¨ “Originally published as Taëayush: Journal d’un combat Palestine 2002–2005, pour la paix, Israel¨ Palestine 2002–2005”—CIP datasheet. C Editions du Seuil, 2006, isbn-13: 978-0-226-75574-8 (cloth: alk. paper) Collection La Librairie du isbn-10: 0-226-75574-6 (cloth: alk. paper) XXIe siecle,` sous la 1. Arab-Israeli conflict—1993—Peace. 2. Peace direction de Maurice movements—Israel. 3.Taëayush (Organization)— Olender. Political activity. 4. Palestinian Arabs—Government policy—Israel. I. Title. ds119.76.s783 2007 956.9405 4—dc22 2006035630 ∞ The paper used in this publication meets the minimum requirements of the American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials, ansi z39.48-1992. -
Reel of the 51St Division
Published by the LONDON BRANCH of the ROYAL SCOTTISH COUNTRY DANCE SOCIETY www. rscdslondon.org.uk Registered Charity number 1067690 Dancing is FUN! No 260 MAY to AUGUST 2007 ANNUAL GENERAL SUMMER PICNIC DANCE MEETING In the Grounds of Harrow School The AGM of the Royal Scottish Country Saturday 30 June 2007 from 2.00-6.00pm. Dancing to David Hall and his Band Dance Society London Branch will be held at The nearest underground station is Harrow on the Hill. St Columba's Church (Upper Hall), Pont Programme Harrow School is 10 to 15 minutes walk east along Street, London, SWI on Friday 15 June 2007. The Dashing White Sergeant .............. 2/2 Lowlands Road (A404) and then right into Peterborough Tea will be served at 6pm and the meeting will The Happy Meeting ......................... 29/9 Road to Garlands Lane, first on left. The 258 bus from commence at 7pm. There will be dancing after Monymusk ...................................... 11/2 Harrow on the Hill tube station heading towards South the meeting. The White Cockade ......................... 5/11 Harrow drops passengers just below Garlands Lane – it’s AGENDA Neidpath Castle ............................... 22/9 about a 5 min ride. The same bus travels from South 1 Apologies. The Wild Geese .............................. 24/3 Harrow tube station also past Garlands Lane. (Note that 2 Approval of minutes of the 2006 AGM. The Reel of the 51st Division ....... 13/10 the fare is £2 now for any length of journey.) Taxis are 3 Business arising from the minutes. The Braes of Breadalbane ................ 21/7 available from the station. Ample car parking is available 4 Report on year's working of the Branch. -
A Culture of Recording: Christopher Raeburn and the Decca Record Company
A Culture of Recording: Christopher Raeburn and the Decca Record Company Sally Elizabeth Drew A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy The University of Sheffield Faculty of Arts and Humanities Department of Music This work was supported by the Arts & Humanities Research Council September 2018 1 2 Abstract This thesis examines the working culture of the Decca Record Company, and how group interaction and individual agency have made an impact on the production of music recordings. Founded in London in 1929, Decca built a global reputation as a pioneer of sound recording with access to the world’s leading musicians. With its roots in manufacturing and experimental wartime engineering, the company developed a peerless classical music catalogue that showcased technological innovation alongside artistic accomplishment. This investigation focuses specifically on the contribution of the recording producer at Decca in creating this legacy, as can be illustrated by the career of Christopher Raeburn, the company’s most prolific producer and specialist in opera and vocal repertoire. It is the first study to examine Raeburn’s archive, and is supported with unpublished memoirs, private papers and recorded interviews with colleagues, collaborators and artists. Using these sources, the thesis considers the history and functions of the staff producer within Decca’s wider operational structure in parallel with the personal aspirations of the individual in exerting control, choice and authority on the process and product of recording. Having been recruited to Decca by John Culshaw in 1957, Raeburn’s fifty-year career spanned seminal moments of the company’s artistic and commercial lifecycle: from assisting in exploiting the dramatic potential of stereo technology in Culshaw’s Ring during the 1960s to his serving as audio producer for the 1990 The Three Tenors Concert international phenomenon. -
The KF International Marcella Sembrich International Voice
The KF is excited to announce the winners of the 2015 Marcella Sembrich International Voice Competition: 1st prize – Jakub Jozef Orlinski, counter-tenor; 2nd prize – Piotr Buszewski, tenor; 3rd prize – Katharine Dain, soprano; Honorable Mention – Marcelina Beucher, soprano; Out of 92 applicants, 37 contestants took part in the preliminary round of the competition on Saturday, November 7th, with 9 progressing into the final round on Sunday, November 8th at Ida K. Lang Recital Hall at Hunter College. This year's competition was evaluated by an exceptional jury: Charles Kellis (Juilliard, Prof. emeritus) served as Chairman of the Jury, joined by Damon Bristo (Vice President and Artist Manager at Columbia Artists Management Inc.), Markus Beam (Artist Manager at IMG Artists) and Dr. Malgorzata Kellis who served as a Creative Director and Polish song expert. About the KF's Marcella Sembrich Competition: Marcella Sembrich-Kochanska, soprano (1858-1935) was one of Poland's greatest opera stars. She appeared during the first season of the Metropolitan Opera in 1883, and would go on to sing in over 450 performances at the Met. Her portrait can be found at the Metropolitan Opera House, amongst the likes of Luciano Pavarotti, Placido Domingo, and Giuseppe Verdi. The KF's Marcella Sembrich Memorial Voice Competition honors the memory of this great Polish artist, with the aim of popularizing Polish song in the United States, and discovering new talents (aged 18-35) in the operatic world. This year the competition has turned out to be very successful, considering that the number of contestants have greatly increased and that we have now also attracted a number of International contestants from Japan, China, South Korea, France, Canada, Puerto Rico and Poland. -
Scottish and Irish Elements of Appalachian Fiddle Music
Butler University Digital Commons @ Butler University Undergraduate Honors Thesis Collection Undergraduate Scholarship 3-1995 Scottish and Irish Elements of Appalachian Fiddle Music Matthew S. Emmick Butler University Follow this and additional works at: https://digitalcommons.butler.edu/ugtheses Part of the Ethnomusicology Commons, and the Musicology Commons Recommended Citation Emmick, Matthew S., "Scottish and Irish Elements of Appalachian Fiddle Music" (1995). Undergraduate Honors Thesis Collection. 21. https://digitalcommons.butler.edu/ugtheses/21 This Thesis is brought to you for free and open access by the Undergraduate Scholarship at Digital Commons @ Butler University. It has been accepted for inclusion in Undergraduate Honors Thesis Collection by an authorized administrator of Digital Commons @ Butler University. For more information, please contact [email protected]. BUTLER UNIVERSITY HONORS PROGRAM Honors Thesis Certification Matthew S. Emmick Applicant (Name as It Is to appear on dtplomo) Scottish and Irish Elements of Appalachian Fiddle M'-Isic Thesis title _ May, 1995 lnter'lded date of commencemenf _ Read and approved by: ' -4~, <~ /~.~~ Thesis adviser(s)/ /,J _ 3-,;13- [.> Date / / - ( /'--/----- --",,-..- Commltte~ ;'h~"'h=j.R C~.16b Honors t-,\- t'- ~/ Flrst~ ~ Date Second Reader Date Accepied and certified: JU).adr/tJ, _ 2111c<vt) Director DiJe For Honors Program use: Level of Honors conferred: University Magna Cum Laude Departmental Honors in Music and High Honors in Spanish Scottish and Irish Elements of Appalachian Fiddle Music A Thesis Presented to the Departmt!nt of Music Jordan College of Fine Arts and The Committee on Honors Butler University In Partial Fulfillment of the Requirements for Graduation Honors Matthew S. Emmick March, 24, 1995 -l _ -- -"-".,---. -
ARLEEN AUGER Soprano
UNIVERSITY MUSICAL SOCIETY ARLEEN AUGER Soprano STEVEN BLIER, Pianist Sunday Afternoon, October 27, 1991, at 4:00 Hill Auditorium, Ann Arbor, Michigan Der Knabe (Friedrich Schlegel), D. 692 Franz Schubert Im Fruhling (Ernst Schulze), D. 882 (1797-1878) Wehmut (Matthaus von Collin), D. 772 Gretchen am Spinnrade (Johann Wolfgang von Goethe), D. 118 Friihlingsglaube (Johann Ludwig Uhland), D. 686 Ganymed (Johannes Wolfgang von Goethe), D. 544 Four Mignon Songs (Goethe) Hugo Wolf Heiss mich nicht reden (1860-1903) Nur wer die Sehnsucht kennt So lasst mich scheinen Kennst du das Land INTERMISSION Sure on this shining night (James Agee), Samuel Barber Op. 13, No. 2 (19104981) Sleep now (James Joyce), Op. 10, No. 2 Nocturne (Frederic Prokosch), Op. 13, No. 4 Four Songs on Emily Dickinson texts Aaron Copland Going to Heaven (1900-1990) Heart, we will forget him Why do they shut me out of heaven? There came a wind like a bugle Snake (Theodore Roethke) Ned Rorem The Silver Swan (Orlando Gibbons) (b. 1923) The Nightingale (about 1500 A.D.) Rain in Spring (Paul Goodman) Early in the Morning (Robert Hillyer) A Birthday (Christina Rossetti) The Serpent (Theodore Roethke) Lee Hoiby (b. 1926) The Musical Society wishes to thank Richard LeSueur for this afternoon's Philips Pre-concert Presentation. Arleen Auger is represented by Columbia Artists Management Inc., New York City. Steven Blier plays the Steinway piano available through Hammell Music, Inc., Livonia. The box office in the outer lobby is open during intermission for tickets to upcoming Musical Society concerts. Ninth Concert of the 113th Season 113th Annual Choral Union Series Program Texts and Translations FRANZ SCHUBERT Der Knabe, D. -
Suggested Repertoire
THE LEINSTER SCHOOL OF RATE YOUR ABILITY REPERTOIRE LIST MUSIC & DRAMA Level 1 Repertoire List Bog Down in the Valley Garryowen Polka Level 2 Repertoire List Maggie in the Woods Planxty Fanny Power Level 3 Repertoire List Jigs Learn to Play Irish Trad Fiddle The Kesh Jig (Tom Morley) The Hag’s Purse Blarney Pilgrim The Merry Blacksmith The Swallowtail Jig Tobin’s Favourite Double Jigs: (two, and three part jigs) The Hag at the Churn I Buried My Wife and Danced on her Grave The Carraroe Jig The Bride’s Favourite Saddle the Pony Rambling Pitchfork The Geese in the Bog (Key of C or D) The Lilting Banshee The Mist Covered Meadow (Junior Crehan Tune) Strike the Gay Harp Trip it Upstairs Slip Jigs: (two, and three part jigs) The Butterfly Éilish Kelly’s Delight Drops of Brandy The Foxhunter’s Deirdre’s Fancy Fig for a Kiss The Snowy Path (Altan) Drops of Spring Water Hornpipes Learn to Play Irish Trad Fiddle Napoleon Crossing the Alps (Tom Morley) The Harvest Home Murphys Hornpipes: (two part tunes) The Boys of Bluehill The Homeruler The Pride of Petravore Cornin’s The Galway Hornpipe Off to Chicago The Harvest Home Slides Slides (Two and three Parts) The Brosna Slides 1&2 Dan O’Keefes The Kerry Slide Merrily Kiss the Quaker Reels Learn to Play Irish Trad Fiddle The Raven’s Wing (Tom Morley) The Maid Behind the Bar Miss Monaghan The Silver Spear The Abbey Reel Castle Kelly Reels: (two part reels) The Crooked Rd to Dublin The Earl’s Chair The Silver Spear The Merry Blacksmith The Morning Star Martin Wynne’s No 1 Paddy Fahy’s No 1 Fr. -
Così Fan Tutte Cast Biography
Così fan tutte Cast Biography (Cahir, Ireland) Jennifer Davis is an alumna of the Jette Parker Young Artist Programme and has appeared at the Royal Opera, Covent Garden as Adina in L’Elisir d’Amore; Erste Dame in Die Zauberflöte; Ifigenia in Oreste; Arbate in Mitridate, re di Ponto; and Ines in Il Trovatore, among other roles. Following her sensational 2018 role debut as Elsa von Brabant in a new production of Lohengrin conducted by Andris Nelsons at the Royal Opera House, Davis has been propelled to international attention, winning praise for her gleaming, silvery tone, and dramatic characterisation of remarkable immediacy. (Sacramento, California) American Mezzo-soprano Irene Roberts continues to enjoy international acclaim as a singer of exceptional versatility and vocal suppleness. Following her “stunning and dramatically compelling” (SF Classical Voice) performances as Carmen at the San Francisco Opera in June, Roberts begins the 2016/2017 season in San Francisco as Bao Chai in the world premiere of Bright Sheng’s Dream of the Red Chamber. Currently in her second season with the Deutsche Oper Berlin, her upcoming assignments include four role debuts, beginning in November with her debut as Urbain in David Alden’s new production of Les Huguenots led by Michele Mariotti. She performs in her first Ring cycle in 2017 singing Waltraute in Die Walküre and the Second Norn in Götterdämmerung under the baton of Music Director Donald Runnicles, who also conducts her role debut as Hänsel in Hänsel und Gretel. Additional roles for Roberts this season include Rosina in Il barbiere di Siviglia, Fenena in Nabucco, Siebel in Faust, and the title role of Carmen at Deutsche Oper Berlin. -
Artificial Authority: Our Relationship to Music and Genre Labeling By
Artificial Authority: Our Relationship to Music and Genre Labeling by Jake Sabetta A thesis submitted in partial fulfillment of the requirements for the degree, Bachelor of Arts (Music) The Colorado College 5/15/2017 Approved by ___________________________________ Date_____________________ Ryan Banagale ___________________________________ Date_____________________ Victoria Levine Sabetta 1 For my senior capstone-project I elected to compose and record a full-length album. During the process of writing and recording what I would label as “rock music” I began to feel weighted down by certain expectations and external factors. I felt as though by making a “rock” album I was letting down different people and forces in my life. Mentors and family members who had introduced me to genres such as jazz and soul, friends who taught me to love heavy metal, and finally I felt as though I let down my own music department as I had not composed much classical music during my time at Colorado College. This line of questioning led me to wonder where such expectations originate. I began to examine the role that expectations and external influences play in our relationships with music as well as what gives those external influences the perceived “authority” to do so. I believe authority in musical choice is derived, in part, from the way in which we categorize music. Objectively assigning a label to something such as music, which is subjective in nature, gives rise to a series of value judgments and expectations. I have come to define the judgments and expectations placed on music as “artificial authority.” In his book Studying Popular Music, Richard Middleton writes that a society's organization of taste is a function of the force field through which the power relations of that society are expressed in cultural practice. -
MU 270/Voice
California State Polytechnic University, Pomona COURSE SYLLABUS MU 270 - Performance Seminar/VOICE –Spring 2014 Time and Location: T 1-1:50 Bldg. 24-191 Instructor/ office: Lynne Nagle; Bldg. 24 – 155 and 133 Office Hours: M 9:30-10:30; T11:00-12:00; T 4:00-5:00; others TBA Phone: (909) 869-3558 e-mail: [email protected] Textbook and Supplies: No textbook is needed; notebook required. Course Objectives: To provide a laboratory recital situation wherein students may perform for each other, as well as for the instructor, for critical review. They will share song literature, musical ideas, production techniques, stylistic approaches, etc., in order to learn from each other as well as from the instructor. Assignments and Examinations:!In-class performances: You will be expected to perform a minimum of 3 times (5 for upper division) during each quarter, each performance taking place on a different day. Songs may be repeated for performance credit, but lower division students must perform at least 3 different songs and upper division at least 4 different songs. Please provide a spoken translation when performing in a foreign language. A brief synopsis of an opera, musical or scene is also appropriate if time allows. ALL PERFORMANCES IN SEMINAR ARE TO BE MEMORIZED except for traditional use of the score for oratorio literature. You are also expected to contribute to the subsequent discussion. Concert Reports: TWO (2) typed reports on choral/vocal concerts, recitals or shows must be submitted by week 10 seminar or sooner. You may use any concert you have attended since the end of the previous quarter. -
Eastman Notes July 2006
Summer 2010 FOr ALUMNI, PARENTS, AND FrIeNDS OF THe eASTmAN SCHOOL OF MUSIC FrOm THe DeAN A musical model In December of this year, we will witness the completion of George Eastman’s original dream when we open our new addition. What many once knew as the Swan Street parking lot was a small triangular parcel of land—the last piece of real estate George needed to complete his school and theater, at least as he had originally imagined it back in 1922. But the price the owner demanded was in George’s mind too high, and so the theater project went ahead without that property. In the ensuing years, the University of Rochester purchased the lot, and we are now completing the second phase of our Eastman Theatre Renovation and Expansion Project. Although “bricks and mortar” have occupied our time, energy, and resources NOTES as of late, we are equally committed to intensifying the Volume 28, Number 2 signal Eastman sends to the nation and the world. We re- Summer 2010 turned to New York City: our Eastman Virtuosi performed at Merkin Concert Hall, and the Ying Quartet performed Editor at the Morgan Library. We continued our participation in David raymond the Kennedy Center’s Conservatory Project, as well as in Contributing writers a John Adams residency in the nation’s capital (see p. 28). Clive Gillinson Douglas Lowry We are a leader in our expanding deployment of Internet2 ramon ricker technology to enhance our “virtual partnerships” around Helene Snihur the world. Our students learn from distinguished art- Contributing photographers ists and scholars from places as far away as Oslo, and we Kurt Brownell share our perspectives with those audiences, all in real- Adam Fenster time master class exchanges. -
Mouvements-Sociaux-2017
Mouvements sociaux Quand le sujet devient acteur Geoffrey Pleyers et Brieg Capitaine (dir.) DOI : 10.4000/books.editionsmsh.9891 Éditeur : Éditions de la Maison des sciences de l’homme Lieu d'édition : Paris Année d'édition : 2016 Date de mise en ligne : 31 mai 2017 Collection : 54 ISBN électronique : 9782735122868 http://books.openedition.org Édition imprimée Date de publication : 16 juin 2016 ISBN : 9782735121007 Nombre de pages : 288 Référence électronique PLEYERS, Geoffrey (dir.) ; CAPITAINE, Brieg (dir.). Mouvements sociaux : Quand le sujet devient acteur. Nouvelle édition [en ligne]. Paris : Éditions de la Maison des sciences de l’homme, 2016 (généré le 03 mai 2019). Disponible sur Internet : <http://books.openedition.org/editionsmsh/9891>. ISBN : 9782735122868. DOI : 10.4000/books.editionsmsh.9891. © Éditions de la Maison des sciences de l’homme, 2016 Conditions d’utilisation : http://www.openedition.org/6540 sous la direction de Geoffrey Pleyers & Brieg Capitaine Mouvements sociaux Quand le sujet devient acteur 54 Postface de Michel Wieviorka Mouvements sociaux sous la direction de Geoffrey Pleyers et Brieg Capitaine Mouvements sociaux Quand le sujet devient acteur Postface de Michel Wieviorka Éditions de la Maison des sciences de l’homme Collection dirigée par Michel Wieviorka Parus : Ce que la religion fait aux gens, d’Anne Gotman Communication et pouvoir, de Manuel Castells Semé sans compter, de Nicolas Ellison Musicologie et occupation, de Sara Iglesias L’humanisation de la nature, d’André Stanguennec Laïcité, laïcités. Reconigurations