Gala Music Festival Concert

Total Page:16

File Type:pdf, Size:1020Kb

Gala Music Festival Concert AT&T isproud tosponsor ASAA. FREE SHIPPING | 1.866.MOBILITY – ATT.COM – VISIT A STORE Screen images simulated. ©2011 AT&T Intellectual Property. Service provided by AT&T Mobility. All rights reserved. AT&T and the AT&T logo are trademarks of AT&T Intellectual Property. All other marks contained herein are the property of their respective owners. ATM_WOI_M1_2880_ASAA_O.indd Saved at 9-20-2011 2:13 PM Printed At None Client AT&T Media Type Magazine DEPARTMENT: Art Director Copywriter Acct. Manager Studio Artist Proofreader Traffic Production Live None Trim 7.5” x 10” Bleed None APPROVAL: Job Title Alaska ASAA Program Ad Pubs Alaska ASAA Program Addl. Notes: None Ad Code None Welcome to the Festival Welcome to the 2012 ASAA/First National It is no small task when trying to gather the par- Bank Alaska All-State High School Music Festival. ticipants and to coordinate this weekend’s rehears- als and concert. Many, many thanks go to those Our Mission Statement: “The existence of this who have been involved in the process of getting Music Festival enables outstanding high school these students from that first recording session to musicians to participate as members of a select the stage of West Anchorage High School Au- statewide band, choral or orchestra music ditorium in Anchorage, Alaska. Each of ensemble and promotes the highest stan- these students have been encouraged dards of musicianship. It is the goal by a host of parents, music directors, of this activity to foster and inspire private music teachers, adjudicators, technical achievement, aesthetic un- peers, siblings, school administra- derstanding, and critical listening tions and school boards who all real- skills that allow for the culmination of ize the power and influence that qual- a final creative musical performance ity music can have in a young person’s of the highest artistic level.” life. They have taken that extra effort to insure that this musical experience can Beginning with 852 individual auditions continue for yet another generation of young from 57 schools throughout the State of Alaska, musicians by presenting this concert this evening. the 347 students that you will see and hear this evening represent the finest of Alaska’s young Thank you, thank you! musicians. These accomplished young students, taught by 88 dedicated and equally capable school music directors, have gathered for three days of intense rehearsals with four outstanding Cam Bohman professional conductors to provide this final con- ASAA Music Festival Coordinator cert for you. What a treat you have in store! Table of Contents • Festival Gala Concert Schedule . 3 • Guest Conductors . 5-11 • All State Conductors List . 13 • AMEA Awards . 14 • Music Educator of the Year - Mark Robinson . 15 • Music Advocate of the Year - Linda Harriger . 17 • Schools & Musical Directors . 21-23 • Past 1st Chair Awards . 25-29 • 2012 All State Treble Choir . 31 • 2012 All State Mixed Choir . 33 • 2012 All State Orchestra . 35-37 • 2012 All State Band . 37-39 • Festival Supporters . 41 2012 ASAA/1st National Bank of Alaska All-State Music Festival 1 MUSIC VOLUNTEERS NEEDED Thank you for attending ASAA seeks volunteers to this evening’s assist the ASAA MUSIC COORDINATOR with the two state music festivals GALA ALL-STATE MUSIC held each year. FESTIVAL CONCERT The ALL-STATE MUSIC FESTIVAL occurs during the We respectfully request that you remember the following third week in November. theater concert etiquette so all might have an enjoyable, This festival showcases the musical evening. finest of Alaskan musicians in four performing groups- PLEASE the All-State Band, the • No food or drinks in the auditorium All-State Mixed Choir, the All-State Orchestra and the All-State Treble Choir who • Turn off your cell phones and pagers perform in a Gala Concert after three days of intensive • No cameras or videos are allowed on stage rehearsals with national conductors. • Do not take pictures during a performance: The STATE SOLO and • Group, first chair and candid pictures are ENSEMBLE MUSIC FESTIVAL available as indicated in the program and occurs during the first may be purchased after the concert week in May. This festival provides an opportunity for outstanding musicians • Stay quiet during the performance who have received superior ratings at their individual • Whistling, calling out individual student’s regional music festivals to names, etc. is not appropriate. This is a concert come to a state level music presentation vs an athletic contest. festival for further competi- tion. One student from • Not sure when to clap? each musical category is Wait and watch those around you and the conductor. then selected to perform in When the conductor turns around to face a Command Performance Concert at the end of the the audience, clap with enthusiasm. three day festival. If needed, exit between musical selections and/or groups. Volunteers are needed for: adjudicators, accompanists, • If you need to leave while a group is performing, exit preparing packets for direc- only through the end doors at the rear of the auditorium. tors and students, room and door monitors, festival and • You may exit through all doors at the rear concert set-up. of the auditorium between groups. To volunteer or for more information, please contact Thank you for supporting Cam Bohman, ASAA Music Coordinator, at our young, talented, ASAA 563-3723, or at www.asaa.org. Alaskan musicians! 2 2012 ASAA/1st National Bank of Alaska All-State Music Festival Gala Music Festival Concert November 17, 2012 – West Anchorage High School, Anchorage, Alaska MASTER of CEREMONIES Rick Goodfellow, KLEF Radio ALL-STATE TREBLE CHOIR Conducted by Betsy Cook-Weber, University of Houston All-State Coordinator, Katy Green, West Anchorage High School Choir Director Piano Accompaniment by Janet Carr-Campbell Spirit Moving Over Chaos .................................................. David Ashley White This Little Babe from ‘Ceremony of Carols’ ..................................Benjamin Britten There Is No Rose from ‘Ceremony of Carols’ ...............................Benjamin Britten Regina Coeli; Litanie della Madonna ........................................ Michael Hayden Yo le Canto Todo el Dia .............................................................. David Brunner Sisters ...................................................................................Gwyneth Walker -- Presentation of the AMEA MUSIC ADVOCATE of the year Award -- ALL-STATE MIXED CHOIR Conducted by Richard Bjella, Texas Tech University All-State Coordinator, Ron Lange, Chugiak High School Choir Director Piano Accompaniment by Susan Wingrove Sumer Is Icumen In ................................................................Arr. Richard Bjella Psalm 96: Chantez a Dieu ............................................... Jan Pieters Sweelinck Adoramus Te ........................................................................Quirino Gasparini Famine Song .................................................................. Arr. Matthew Culloton O Swiftly Guides the Bonnie Boat ........................................... Ludwig Beethoven All My Trials ....................................................................... Arr. Norman Luboff No Rocks a Cryin’ ......................................................................Rollo Dilworth • Presentation of the ASAA ACADEMIC AWARD • ALL-STATE ORCHESTRA Conducted by Anthony Elliott, University of Michigan All-State Coordinator, Jean Lenoir, Chugiak High School Orchestra Director Brandenburg Concerto No. 3 in G ......................................................J.S. Bach Fanfare for the Uncommon Woman ..................................................Joan Tower • Presentation of the AMEA MUSIC EDUCATOR of the year Award • ALL-STATE BAND Conducted by Timothy Salzman, University of Washington All-State Coordinator, Mike Martinson, Chugiak High School Band Director Century Tower Overture ................................................................James Barnes Three Vespers from ‘All Night Vigil’ ...........................Rachmaninov arr. Salzman Bali ......................................................................................Michael Colgrass Sheltering Sky ............................................................................. John Mackey 2012 ASAA/1st National Bank of Alaska All-State Music Festival 3 4 2012 ASAA/1st National Bank of Alaska All-State Music Festival Guest Conductor Treble Choir BETSY COOK WEBER: Betsy Cook Weber is Professor of Music and Direc- tor of Choral Studies at the University of Houston’s Moores School of Music. Dr. Weber teaches a full load of coursework, oversees the large and varied choral area at the Moores School, and is also highly active as a clinician, adjudicator, lecturer, and con- ductor. Recent engagements include serving as conductor of All-State choirs of Nebraska, New York, Virgin- ia, and Arkansas as well as working at festivals in Texas, Florida, California, Mississippi, Ohio, Georgia, Louisiana, Tennessee and New Mexico. Recently, she also presented lectures for ACDA and MENC chap- ters in West Virginia, Alabama, and Texas. Dr. Weber served seven years as Assistant and, later, Associate Director of the Houston Symphony Chorus, helping prepare major works for renowned conduc- tors including Robert Shaw, Christoph Eschenbach, Roger Wagner, Nicholas McKegan, and Christopher Seaman. Before coming to the University of Houston, Dr. Weber was a successful music teacher in the public schools at the elementary,
Recommended publications
  • Fall 2012 Volume 39, No
    ILLINOIS CHAPTER OF THE AMERICAN CHORAL DIRECTORS ASSOCIATION Fall 2012 Volume 39, No. 1 PODIUM techniques, ideas, song titles....IL- President’s Message ILLINOIS ACDA EXECUTIVE BOARD ACDA works well not just because of our guest clinicians, but because we have so many generous experts President in our own organization who are Beth Best HOT TIME IN THE OLD TOWN! willing to share with the rest of us. Hill Middle School [email protected] Thank you to all who attended and Dr. Karyl Carlson is putting the Past President helped with the Summer ReTreat 2013 Re-treat together, and has some exciting headliners and ses- Brett Goad in June! It was definitely a "hot time" in more ways than one! Our sions planned! Watch for her arti- Hinsdale South High School—retired director's chorus guest conductor, cles in the winter and spring issues [email protected] Dr. Josh Habermann, gave us a lot of The Podium. Also, please read President-Elect to think about in preparing and ex- Karyl Carlson pressing the varied music he chose Continued on page 2 Illinois State University for us. He was a joy to work with. Laura Farnell shared many of her [email protected] ideas for working with younger In this issue Treasurer voices. A highlight of her sessions Leslie Manfredo was the work she did with Deb President’s Message p. 1 Save the Date—ReTreat 2012 p. 2 Illinois State University Aurelius-Muir's boys, and practical Commissioning New Music p. 3 Just thinking...Why we do what p. 8 [email protected] tips for teaching the changing voice.
    [Show full text]
  • Conducting Studies Conference 2016
    Conducting Studies Conference 2016 24th – 26th June St Anne’s College University of Oxford Conducting Studies Conference 2016 24-26 June, St Anne’s College WELCOME It is with great pleasure that we welcome you to St Anne’s College and the Oxford Conducting Institute Conducting Studies Conference 2016. The conference brings together 44 speakers from around the globe presenting on a wide range of topics demonstrating the rich and multifaceted realm of conducting studies. The practice of conducting has significant impact on music-making across a wide variety of ensembles and musical contexts. While professional organizations and educational institutions have worked to develop the field through conducting masterclasses and conferences focused on professional development, and academic researchers have sought to explicate various aspects of conducting through focussed studies, there has yet to be a space where this knowledge has been brought together and explored as a cohesive topic. The OCI Conducting Studies Conference aims to redress this by bringing together practitioners and researchers into productive dialogue, promoting practice as research and raising awareness of the state of research in the field of conducting studies. We hope that this conference will provide a fruitful exchange of ideas and serve as a lightning rod for the further development of conducting studies research. The OCI Conducting Studies Conference Committee, Cayenna Ponchione-Bailey Dr John Traill Dr Benjamin Loeb Dr Anthony Gritten University of Oxford University of
    [Show full text]
  • Levy, Racing Foundation Agree on Support Package Cont
    SATURDAY, 18 APRIL 2020 LEVY, RACING DUNLOP REMEMBERED IN REGALLY BRED COLT By Emma Berry FOUNDATION AGREE ON Naming a horse in someone's memory can be a risky strategy but, for Juddmonte, naming a Galileo (Ire) colt after their late SUPPORT PACKAGE American trainer Bobby Frankel was certainly no drawback. Since the outstanding Frankel (GB) retired to stud, a number of his offspring have also been named after trainers of note. Atty Persse (Ire) took the name of the trainer of The Tetrarch (Ire) and became Frankel's first Royal Ascot winner in 2017. He was wearing the Godolphin silks by that time but he raced initially for his breeder, Bjorn Nielsen, whose love of racing history, and particularly the Derby, doubtless led to him naming another Frankel colt Ginistrelli (Ire). Edoardo Ginistrelli ranks alongside Arthur Budgett as one of only a few people to have bred, owned and trained a Derby winner. Ginistrelli's story is all the more unusual for the fact that his Derby winner was a filly, Signorinetta (GB), who followed up her 100/1 victory in 1908 by winning the Oaks just two days later. Cont. p2 The relief fund will benefit a wide range of British racing's workforce | Emma Berry The Horserace Betting Levy Board (HBLB) and the Racing Foundation have announced an immediate ,22-million hardship funding package to support the British racing industry during the COVID-19 pandemic. The two organisations have combined with other racing bodies to identify the areas within the sport most in need of emergency support.
    [Show full text]
  • Teacher's Notes Subbie and His Mate
    Teacher’s Notes Subbie and his mate Author: Corinne Fenton Illustrator: Mark Wilson Publisher: Ford Street Publishing 2022 ‘Every morning Subbie would wait at the gate for Graham, and every morning they would talk. Subbie’s eyes watched Graham wherever he went and, whenever he could, he followed.’ About the Author Corinne Fenton writes picture books about animals whose lives have touched our hearts. Many of her picture books have been shortlisted or won awards and three have been chosen as themes for the Myer Christmas windows. Corinne has spent time as the Assistant Regional Advisor for the Society of Children’s Books Writers and Illustrators in Australia and as a judge for the Dorothea Mackellar poetry competition. In her picture books, Corinne introduces us to animals who have a special place in Australian history. This is one of them. Web: https://corinnefenton.com/ About the Illustrator Mark Wilson is a multiple award-winning author/illustrator with 23 books in print worldwide in 14 languages. Mark grew up with a love of comics, drawing, rock music, Australian history and endangered species - exploring most of these themes through his writing, illustrating, paintings and workshops. Mark has won seven Australian National Fine Art awards, five Whitley Awards for children’s literature, nine CBCA Awards, four Wilderness Society Awards and the 3rd C. J. Picture Book International Award. Mark was also presented with the 2011 Dromkeen Medal for Services to Children’s Literature. Mark hopes his books and workshops encourage students to study their own family and local history, as well as native species and conservation.
    [Show full text]
  • Teaching Music Videos
    Who am I? • Matt Sheriff • Head of Media and Film Studies at Shenfield High School for 11 years • AS OCR Media Team leader (in the past) • A2 OCR Media Examiner (in the past) Initial worries about the new specification (Teaching Music Videos) • Music Video Set Texts (loss of freedom to choose/flexibility to update case studies) • Loss of coursework percentage + switch to individual coursework • Choosing the right set texts • Student and Teacher knowledge of chosen music videos • Compulsory theorists (Eduqas) • Loss of student creativity and enjoyment Starting Point Using what I know as a means to teach NEA The Basics • The artist is the main subject “star” of the music video. • Videos are used to promote artists- their music and fan base. This increases sales and their individual profile. • Can usually clearly show the development of the artist. • Artists are given most screen time. Focus is on the use of close-ups and long takes on the artist. • Artists typically have a way that they are represented • A performance element of the video needs to be present, as well as a storyline, in order for the audience to watch over and over again. • Artists typically act as both performer and narrator (main subject of music video) to make the sequence feel more authentic. Using the old guard • A music promo video means a short, moving image track shot for the express purpose of accompanying a pre-existing music and usually in order to encourage sales of the music in another format • Music video is used for promotion, • Part of the construction of
    [Show full text]
  • A Sea Symphony’ “Richly Drawn Is the Second Symphony – the Romantic, Its Second Movement Anthem Beloved of Millions of Americans
    559704 bk Hanson US_559704 bk Hanson US 02/11/2011 14:30 Page 8 Also available in this series: AMERICAN CLASSICS “This is confident, generous, beautifully made music, richly (and sensitively) scored. Tell-tale indications of things to come can be heard in the bonding between strings and descanting horns (the film composer’s favourite tool), the gorgeous ‘old-fashioned’ harmonies radiating from within, and the craggy, wind-swept tuttis (lots of highriding piccolo skirling) so suggestive of that Northern terrain’s stress and strife... Schwarz, and his splendid Seattle orchestra do not short- HOWARD HANSON change us on any of this and they are beautifully, ripely, recorded here.” Gramophone on the original Delos recording Symphony No. 6 • Lumen in Christo 8.559700 Symphony No. 7 ‘A Sea Symphony’ “Richly drawn is the Second Symphony – the Romantic, its second movement anthem beloved of millions of Americans. [Schwarz’s] feeling for long-term growth is possibly the surest of all, leading us from one resolution to the next with an increasing sense of expectation. It’s a Seattle Symphony and Chorale • Gerard Schwarz symphony full of resolutions: of one door opening on to another until we finally step out into the blue beyond. At that point in the finale, Schwarz more than anyone, leaves us in no doubt whatsoever that we have arrived; the emotional release is irresistible.” Gramophone on the original Delos recording 8.559701 “The Symphony No. 3, Hanson’s most extended essay in the form, was written during the late 1930s and is a representative example of the composer at the height of his powers..
    [Show full text]
  • Audition Repertoire, Please Contact the Music Department at 812.941.2655 Or by E-Mail at AUDITION REQUIREMENTS for VARIOUS DEGREE CONCENTRATIONS
    1 AUDITION GUIDE AND SUGGESTED REPERTOIRE 1 2 TABLE OF CONTENTS AUDITION REQUIREMENTS AND GUIDE . 3 SUGGESTED REPERTOIRE Piano/Keyboard . 5 STRINGS Violin . 6 Viola . 7 Cello . 8 String Bass . 10 WOODWINDS Flute . 12 Oboe . 13 Bassoon . 14 Clarinet . 15 Alto Saxophone . 16 Tenor Saxophone . 17 BRASS Trumpet/Cornet . 18 Horn . 19 Trombone . 20 Euphonium/Baritone . 21 Tuba/Sousaphone . 21 PERCUSSION Drum Set . 23 Xylophone-Marimba-Vibraphone . 23 Snare Drum . 24 Timpani . 26 Multiple Percussion . 26 Multi-Tenor . 27 VOICE Female Voice . 28 Male Voice . 30 Guitar . 33 2 3 The repertoire lists which follow should be used as a guide when choosing audition selections. There are no required selections. However, the following lists illustrate Students wishing to pursue the Instrumental or Vocal Performancethe genres, styles, degrees and difficulty are strongly levels encouraged of music that to adhereis typically closely expected to the of repertoire a student suggestionspursuing a music in this degree. list. Students pursuing the Sound Engineering, Music Business and Music Composition degrees may select repertoire that is slightly less demanding, but should select compositions that are similar to the selections on this list. If you have [email protected] questions about. this list or whether or not a specific piece is acceptable audition repertoire, please contact the Music Department at 812.941.2655 or by e-mail at AUDITION REQUIREMENTS FOR VARIOUS DEGREE CONCENTRATIONS All students applying for admission to the Music Department must complete a performance audition regardless of the student’s intended degree concentration. However, the performance standards and appropriaterequirements audition do vary repertoire.depending on which concentration the student intends to pursue.
    [Show full text]
  • Saints Church 132 N Euclid Ave Pasadena CA 91101 626.796.1172
    NOTE: This liturgy is intended for personal worship purposes only and not for distribution. Any reproduction of this material for monetary purposes is illegal. SUNDAY, AUGUST 9, 2020 The Tenth Sunday after Pentecost Worship at 11:15 a.m. All Saints Church 132 N Euclid Ave Pasadena CA 91101 626.796.1172 www.allsaints-pas.org 2 Welcome! “Whoever you are and wherever you find yourself on the journey of faith there is a place for you here.” Learn more about All Saints : allsaints-pas.org/welcome-to-asc/get-connected Prayer requests can be submitted by calling 626.583.2707 to leave a message for the Pastoral Care office or by email to [email protected] or by texting 910-839-8272 (910-TEXT-ASC) Each week we put our faith into action: Sign two petitions to Congress in remembrance of the 75th anniversaries of the atomic bombings of Hiroshima and Nagasaki. The first petition supports legislation that prohibits funds for explosive nuclear weapons testing. According to recent reports, the Trump Administration considered conducting nuclear explosion tests with top security officials. Following through on this would upend a decades long moratorium on explosive nuclear testing that would potentially trigger a global nuclear arms race. https://qrs.ly/lmbr1ap The second petition originates from the Hibakusha, survivors of the Hiroshima and Nagasaki bombings. It is part of a worldwide petition that calls on our U.S. Federal lawmakers to pledge for global nuclear disarmament and to work towards the elimination of all nuclear weapons as we fight for a livable future for all communities around the Earth.
    [Show full text]
  • Record Series 1121-105.4, W. W. Law Music Collection-Compact Discs, Inventory by Genre
    Record Series 1121-105.4, W. W. Law Music Collection-Compact Discs, Inventory by Genre Genre Album title Contributor (s) Date Final Box # Item # Additional Notes Original CD Blues (music) James Cotton Living the Blues James Cotton; Larry McCray; John Primer; Johnny B. Gayden; Brian Jones; Dr. John; Lucky Peterson; Joe Louis Walker 1994 1121-105-242 19 Blues (music) Willie Dixon Willie Dixon; Andy McKaie; Don Snowden 1988 1121-105-249 01 Oversized case; 2 CD box set Blues (music) Cincinnati Blues (1928-1936) Bob Coleman's Cincinnati Jug Band and Associates; Walter Coleman; Bob Coleman no date 1121-105-242 17 Found with CD album in Box #10, Item #28; Case was found separately Blues (music) Willie Dixon, The Big Three Trio Willie Dixon; The Big Three Trio 1990 1121-105-242 18 Blues (music) The Best of Muddy Waters Muddy Waters 1987 1121-105-242 08 Blues (music) The Roots of Robert Johnson Robert Johnson 1990 1121-105-242 07 Blues (music) The Best of Mississippi John Hurt Mississippi John Hurt; Bob Scherl 1987 1121-105-242 06 Blues (music) Bud Powell: Blues for Bouffemont Bud Powell; Alan Bates 1989 1121-105-242 36 Friday, May 11, 2018 Page 1 of 89 Genre Album title Contributor (s) Date Final Box # Item # Additional Notes Original CD Blues (music) Big Bill Broonzy Good Time Tonight Big Bill Broonzy 1990 1121-105-242 04 Blues (music) Bessie Smith The Collection Bessie Smith; John Hammond; Frank Walker 1989 1121-105-242 38 Blues (music) Blind Willie Johnson Praise God I'm Satisfied Blind Willie Johnson 1989 1121-105-242 20 Post-it note was found on the back of this CD case, photocopy made and placed in envelope behind CD.
    [Show full text]
  • Handel Itunes 572745-46 Bk Handel 17/04/2012 12:12 Page 1
    iTunes 572745-46 bk Handel_iTunes 572745-46 bk Handel 17/04/2012 12:12 Page 1 2 CDs HANDEL Acis and Galatea Kotoski • Gordon • Siebert • Opalach Seattle Symphony Chorale Seattle Symphony • Gerard Schwarz iTunes 572745-46 bk Handel_iTunes 572745-46 bk Handel 17/04/2012 12:12 Page 2 George Frideric CD 1 43:07 CD 2 58:33 HANDEL Act I Act II (1685-1759) 1 Sinfonia 3:44 1 Wretched lovers! Fate has passed (Chorus) 6:10 Acis and Galatea, HWV 49 2 Oh, the pleasure of the plains! 2 I rage, I melt, I burn (Polyphemus) 1:20 (Chorus, Acis, Galatea) 5:40 3 Air: O ruddier than the cherry (Polyphemus) 3:27 A Masque in Two Acts 3 Ye verdant plains and woody mountains 4 Whither, fairest, art thou running? Words by John Gay and others (Galatea) 0:49 (Polyphemus, Galatea) 1:22 4 Air: Hush, ye pretty warbling quire! (Galatea) 6:56 5 Air: Cease to beauty to be suing 5 Air: Where shall I seek the charming fair? (Polyphemus) 5:37 (Acis) 3:01 6 Air: Would you gain the tender creature Galatea . Dawn Kotoski, Soprano 6 Stay, shepherd, stay! (Damon) 0:24 (Damon) 5:31 Acis . David Gordon, Tenor 7 Air: Shepherd, what art thou pursuing? 7 His hideous love provokes my rage (Acis) 0:30 (Damon) 4:54 8 Air: Love sounds th’alarm (Acis) 5:20 Damon . Glenn Siebert, Tenor 8 Lo! here my love, turn (Acis) 0:28 9 Air: Consider, fond shepherd (Damon) 5:23 Polyphemus . Jan Opalach, Bass 9 Air: Love in her eyes sits playing (Acis) 7:01 0 Cease, oh cease, thou gentle youth (Galatea) 0:26 0 Oh! didst thou know the pains of absent love ! The flocks shall leave the mountains / (Galatea) 0:17 Torture, fury, rage, despair Scott Goff, Flute ! Air: As when the dove laments (Galatea) 6:19 (Acis, Galatea, Polyphemus) 3:01 @ Happy we! (Acis and Galatea, Chorus) 3:34 @ Help, Galatea! Help, ye parent gods! (Acis) 1:11 Judy Kriewall, Piccolo # Mourn, all ye muses (Chorus) 5:54 Bernard Shapiro, Oboe $ Must I my Acis still bemoan? / Susan Williams, Cello Cease, Galatea, cease to grieve (Galatea, Chorus) 6:37 Michael G.
    [Show full text]
  • Intermedial Autobiography Since Roland Barthes A
    UNIVERSITY OF CALIFORNIA Los Angeles Between Erasure and Exposure: Intermedial Autobiography Since Roland Barthes A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in French and Francophone Studies by Lauren Elizabeth Van Arsdall 2015 © Copyright by Lauren Elizabeth Van Arsdall 2015 ABSTRACT OF THE DISSERTATION Between Erasure and Exposure: Intermedial Autobiography Since Roland Barthes by Lauren Elizabeth Van Arsdall Doctor of Philosophy in French and Francophone Studies University of California, Los Angeles, 2015 Professor Malina Stefanovska, Chair In my dissertation, I investigate the trend toward intermedial representations of the self in contemporary French personal writing of an autobiographical type. The theoretical framework of my dissertation is based on notions of referentiality presented in La chambre claire, and in essays contemporaneous to Roland Barthes’s by Jean-Luc Nancy, Jacques Derrida, Pierre Bourdieu, and Jean Baudrillard. As I demonstrate, they are in dialogue with it, all the while exploring the boundaries of self-representation in relation to illness and death. At the outset, an analysis of the discourses of photography in France from the 1980s to the early 2000s informs my discussion of representations of an expected death in works by Alix Cléo Roubaud, Jacques Roubaud, Annie Ernaux, and Hervé Guibert. I argue that the legacy of a Barthesian conceptualization of the photograph obliges writers to rethink their stance towards representing the self. Through gestures of erasure and exposure, they create an intermedial aesthetic coupling writing, photography, and film to explore anew certain taboos concerning self and death. Intermediality opens up the notions of referentiality presented in Roland Barthes’s La chambre ii claire: note sure la photographie— the making of traces through writing, memories, and recording the body.
    [Show full text]
  • Portfolio of Electroacoustic Music Compositions a Thesis Submitted to the University of Manchester for the Degree of Doctor of P
    Portfolio of Electroacoustic Music Compositions A thesis submitted to the University of Manchester for the degree of Doctor of Philosophy in the Faculty of Humanities 2010 Manuella Blackburn School of Arts Histories and Cultures List of Contents Abstract . 7 Declaration . 8 Copyright statement . 9 Dedication . 10 Chapter 1: Introduction . 11 Chapter 2: Kitchen Alchemy . 16 Chapter 3: Origami . 22 Chapter 4: Cajon! . 33 Chapter 5: Spectral Spaces . 41 Chapter 6: Dance Machine . 45 Chapter 7: Vista points . 50 Chapter 8: Karita oto . 56 Chapter 9: Conclusion . 64 Appendix 1. Programme notes and list of performances . .66 Appendix 2. Origami shapes photographs . .75 Appendix 3. Pedagogy notes . 78 Appendix 4. Cajón! performance instruction . document enclosed Bibliography . 80 Discography . 82 Word count – 15,469 2 List of figures Figure 1: Frequency versus time . .15 Figure 2: Structural functions . .17 Figure 3: Sound unit construction . 19 Figure 4: Morphological string . .20 Figure 5: Sonogram of Kitchen Alchemy (1’01 –1’26) . 20 Figure 6: Motion and growth processes . 24 Figure 7: Seven characteristic motions . .24 Figure 8: Three singular motions . 26 Figure 9: Composite agglomeration . 26 Figure 10: Additional vocabulary . 28 Figure 11: Seven additional descending motions . 28 Figure 12: Multi-directionality . 29 Figure 13: Spectral space . 38 Figure 14: Spectral density . 38 Figure 15: From note to noise . .40 Figure 16: Qualifiers of spectral space . 42 Figure 17: Streams . 44 Figure 18: Texture motion . 45 Figure 19: Flocking . 46 Figure 20: Behaviour . 50 Figure 21: Pressured behaviour and sound-to-sound contact . 52 Figure 22: Voluntary behaviour . 53 Figure 23: Voluntary behaviour without silence .
    [Show full text]