DOCSLIB.ORG

The Future of Music. Made Here

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Future of Music. Made Here the future of music. made here. Academic Catalog : 2020 / 2021 NEW ENGLAND CONSERVATORY Founded 1867 290 Huntington Avenue, Boston, MA 02115 Phone (617) 585-1100 Fax (617) 262-0500 necmusic.edu Office of Admissions (617) 585-1101 Office of the President (617) 585-1200 Office of the Provost (617) 585-1305 Office of Student Services (617) 585-1310 Office of Financial Aid (617) 585-1110 Business Office (617) 585-1220 The information herein is subject to change and amendment without notice. Edited by Rebecca Teeters, June 2020 For more information, see the Policy Sections found in the NEC Student Handbook and Employee Handbook. NEW ENGLAND CONSERVATORY IS ACCREDITED BY THE NEW ENGLAND COMMISSION OF HIGHER EDUCATION. NEW ENGLAND CONSERVATORY DOES NOT DISCRIMINATE ON THE BASIS OF RACE, COLOR, RELIGION, SEX, AGE, NATIONAL OR ETHNIC ORIGIN, SEXUAL ORIENTATION, PHYSICAL OR MENTAL DISABILITY, GENETIC MAKE-UP, OR VETERAN STATUS IN THE ADMINISTRATION OF ITS EDUCATIONAL POLICIES, ADMISSION POLICIES, EMPLOYMENT POLICIES, SCHOLARSHIP AND LOAN PROGRAMS OR OTHER CONSERVATORY-SPONSORED ACTIVITIES. table of contents 2 NEC mission 2-3 College Administrative Personnel 4-9 College Faculty 10-11 Academic Calendar 13-45 Academic Regulations and Information 47-53 Financial Information 55-71 Undergraduate Programs of Study Bachelor of Music Undergraduate Diploma Undergraduate Minors (Bachelor of Music) 73 Music-in-Education Concentration 75-93 Graduate Programs of Study Master of Music Vocal Pedagogy Concentration Graduate Music Theory Minor Graduate Diploma Professional String Quartet Program Professional Piano Trio Program Artist Diploma Doctor of Musical Arts DMA Music Theory and Musicology Minors 95-103 Chamber Music and Ensembles 105 Intercultural and Improvisation Studies 107 First Year Experience 109 Song Lab 111-209 Course Offerings and Faculty by Department 211-212 Index NEC Academic Catalog : 2020 / 2021 1 NEC mission New England Conservatory educates and trains musicians of all ages from around the world, drawing on the talent and deep reservoir of experience of our distinguished faculty. We are dedicated to inculcating the highest standards of excellence and nurturing individual artistic sensibility and creative growth. Understanding that music is one of the transcendent expressions of human civilization, NEC aspires to ensure it a central place in contemporary society. college administrative personnel OFFICE OF THE PRESIDENT ENSEMBLES ADMINISTRATION AND THE PROVOST Margie Apfelbaum Andrea Kalyn Director of Large Ensemble President Administration Thomas Novak Greta DiGiorgio Vice President and Provost Jazz and CI Production and Amy Giannini Administrative Director Executive Assistant Rich Frost Opera Production and OFFICE OF STUDENT SERVICES Administrative Director Nick Tatar Sally Millar Dean of Students Administrator for Chorus Rebecca Teeters Elizabeth Van Voorhis Senior Associate Dean of Students Administrative Director, Chamber Laura Messina Music, Strings, Woodwinds, Academic and International Percussion and Brass Student Advisor BLUMENTHAL FAMILY LIBRARY Yukii Ntumba Academic and International Richard Vallone Student Advisor Head of Public Services Thomas Handel BUSINESS OFFICE Chair of DMA Program Andrew Barnwell Robert Winkley Receivables Accountant Registrar Steven Sweat Director of Residence Life and Housing Micah Gharavi Office Coordinator 2 OFFICE OF ADMISSIONS COMMUNITY ENGAGEMENT AND FINANCIAL AID AND PROFESSIONAL STUDIES Alex Powell Tanya Maggi Dean of Admissions and Dean of Community Engagement Financial Aid and Professional Studies Lauren Urbanek COMMUNITY PERFORMANCES Associate Dean for Financial Aid AND PARTNERSHIPS Emily Cox Grace Allendorf Assistant Director of Admissions Assistant Dean of Community and Financial Aid Performances and Partnerships Claire Paik Assistant Director of Admissions ENTREPRENEURIAL MUSICIANSHIP and Financial Aid DEPARTMENT Zachary Schwartz Annie Phillips Assistant Director of Admissions Associate Dean of Entrepreneurial and Financial Aid Musicianship Kimberly Ouellette Andrew Worden Admissions and Financial Aid Assistant Dean of Entrepreneurial Counselor Musicianship Shanell Percy Admissions and Financial Aid Counselor NEC Academic Catalog : 2020 / 2021 3 college faculty Faculty biographies, photos, Web links, and e-mail contact are available at necmusic.edu/faculty STRINGS GUITAR Lluís Claret, Chair Eliot Fisk Kristopher Tong, Assistant Chair Zaira Meneses, Performance and Repertoire Class VIOLIN Jérôme Mouffe Paul Biss Miriam Fried HARP Soovin Kim Franziska Huhn Nicholas Kitchen, Jessica Zhou, BSO Principal Borromeo String Quartet WOODWINDS Ayano Ninomiya Richard Svoboda, Chair Kristopher Tong, Borromeo String Quartet FLUTE Valeria Vilker-Kuchment, BSO John Heiss Donald Weilerstein, Renée Krimsier Dorothy Richard Starling Cynthia Meyers, BSO Violin Chair Paula Robison, Donna Hieken Jason Horowitz, BSO, Flute Chair Orchestra Repertoire Elizabeth Rowe, Orchestra Repertoire, VIOLA BSO Principal Cathy Basrak, BSO OBOE Nicholas Cords John Ferrillo, BSO Principal Kim Kashkashian Anne Marie Gabriele Martha Strongin Katz Mark McEwen, BSO Mai Motobuchi, Keisuke Wakao, BSO, Borromeo String Quartet Boston Pops Principal Marcus Thompson CLARINET VIOLONCELLO William R. Hudgins, BSO Principal Lluís Claret Thomas Martin, BSO, Mickey Katz, BSO, Boston Pops Principal Orchestra Repertoire Richard Stoltzman Paul Katz Yeesun Kim, Borromeo String Quartet BASSOON Laurence Lesser, President Emeritus, Marc Goldberg Walter W. Naumburg Chair in Music Richard Ranti, BSO, Boston Pops Principal DOUBLE BASS Richard Svoboda, BSO Principal, Donald Palma Boston Symphony Chamber Players Todd Seeber, BSO Thomas Van Dyck, BSO 4 SAXOPHONE John Heiss, Contemporary Ensemble Kenneth Radnofsky Donald Palma, Chamber Orchestra Charles Peltz, Director of Wind BRASS AND PERCUSSION Ensemble Activities James Markey, Chair Ken Schaphorst, Jazz Orchestra HORN Erica Washburn, Director of Choral Rachel Childers, BSO Activities Eli Epstein GUEST CONDUCTORS, 2003–2019 Jean Rife Stefan Asbury Richard Sebring, BSO, Django Bates, Jazz Orchestra Boston Pops Principal Carla Bley, Jazz Orchestra Jason Snider, BSO Bob Brookmeyer, Jazz Orchestra James Sommerville, BSO Principal, Mei-Ann Chen Boston Symphony Chamber Players Aram Demirjian Michael Winter, BSO JoAnn Falletta TRUMPET Guillermo Figueroa Michael Dobrinski Jimmy Heath, Jazz Orchestra Steve Emery, former BSO David Holland, Jazz Orchestra Thomas Rolfs, BSO Principal, John Hollenbeck, Jazz Orchestra Boston Symphony Chamber Players Jeffrey Kahane Tom Siders, BSO Julian Kuerti Benjamin Wright, BSO Steven Lipsitt Andrew Litton TROMBONE Andres Lopera Norman Bolter, former BSO Ken-David Masur Stephen Lange, BSO Jim McNeely, Jazz Orchestra James Markey, BSO David Alan Miller Toby Oft, BSO Principal Ludovic Morlot TUBA Tito Munoz Mike Roylance, BSO Principal Alasdair Neale Larry Rachleff PERCUSSION Gil Rose Daniel Bauch BSO Mischa Santora Jim Gwin, Drum Set Class Maria Schneider, Jazz Orchestra Will Hudgins, BSO Gunther Schuller Matt McKay, BSO Joseph Silverstein CONDUCTING Leonard Slatkin Hugh Wolff, Director of Orchestras Robert Spano David Loebel, Associate Director Shi-Yeon Sung of Orchestras Michael Tilson Thomas Frank Carlberg, Jazz Composers’ Yan Pascal Tortelier Workshop Orchestra Joshua Weilerstein Stephen Drury, Avant-Garde Ensemble Xian Zhang William Drury, Associate Conductor of Wind Ensembles, Symphonic Winds NEC Academic Catalog : 2020 / 2021 5 CHAMBER MUSIC RESIDENT ENSEMBLES Merry Peckham, Chair Borromeo String Quartet Jean Rife, Assistant Chair NEC’s Weilerstein Trio Paul Biss PIANO Borromeo String Quartet: Bruce Brubaker, Chair Nicholas Kitchen, Violin Kristopher Tong, Violin Alessio Bax Mai Motobuchi, Viola Bruce Brubaker Yeesun Kim, Violoncello Wha Kyung Byun Rachel Childers Thai Son Dang Lluís Claret Stephen Drury Nicholas Cords Randall Hodgkinson Stephen Drury Alexander Korsantia Eli Epstein Meng-Chieh Liu Jonathan Feldman HaeSun Paik John Ferrillo A. Ramón Rivera, Piano Pedagogy Guy Fishman Vivian Hornik Weilerstein Eliot Fisk Distinguished Artist-in-Residence John Heiss Russell Sherman Will Hudgins COLLABORATIVE PIANO Kim Kashkashian Paul Katz, Professional String Cameron Stowe, Chair Quartet Training Program Tanya Blaich Soovin Kim Jonathan Feldman Pei-Shan Lee Damien Francoeur-Krzyzek Max Levinson Pei-Shan Lee Tanya Maggi Max Levinson James Markey Cameron Stowe Jérôme Mouffe Vivian Hornik Weilerstein Ayano Ninomiya JAZZ STUDIES Thomas Novak Ken Schaphorst, Chair Carol Ou Brian Levy, Assistant Chair Donald Palma Kenneth Radnofsky Students in Jazz Studies may request to study improvisation, composition, Paula Robison and musicianship with Jazz faculty James Sommerville members regardless of instrument. Donald Weilerstein Jerry Bergonzi, Saxophone, Ensemble Vivian Hornik Weilerstein, Ran Blake, Piano, Professional Piano Trio Contemporary Improvisation Training Program Frank Carlberg, Composition, Piano Benjamin Wright Anthony Coleman, Composition, Piano, Ensemble Jorrit Dijkstra, Ensemble 6 College Faculty Dominique Eade, Voice, Dominique Eade, Voice, Improvisation, Vocal Ensemble Ensemble Henrique Eisenmann, Piano, Aaron Hartley, Film Noir Ensemble, Brazilian Ensemble Improvisation, Ear Training Billy Hart, Percussion Nima Janmohammadi, Persian Ethan Iverson, Piano Music Ensemble Jerry Leake, African and Indian Tanya Kalmanovitch, Viola, Percussion, Tabla Improvisation Brian Levy, Saxophone, Ensemble Carla Kihlstedt, Strings, Improvisation, John Lockwood, Double Bass, Songwriting,
Load more

Recommended publications
  • Kūnqǔ in Practice: a Case Study
    KŪNQǓ IN PRACTICE: A CASE STUDY A DISSERTATION SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWAI‘I AT MĀNOA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN THEATRE OCTOBER 2019 By Ju-Hua Wei Dissertation Committee: Elizabeth A. Wichmann-Walczak, Chairperson Lurana Donnels O’Malley Kirstin A. Pauka Cathryn H. Clayton Shana J. Brown Keywords: kunqu, kunju, opera, performance, text, music, creation, practice, Wei Liangfu © 2019, Ju-Hua Wei ii ACKNOWLEDGEMENTS I wish to express my gratitude to the individuals who helped me in completion of my dissertation and on my journey of exploring the world of theatre and music: Shén Fúqìng 沈福庆 (1933-2013), for being a thoughtful teacher and a father figure. He taught me the spirit of jīngjù and demonstrated the ultimate fine art of jīngjù music and singing. He was an inspiration to all of us who learned from him. And to his spouse, Zhāng Qìnglán 张庆兰, for her motherly love during my jīngjù research in Nánjīng 南京. Sūn Jiàn’ān 孙建安, for being a great mentor to me, bringing me along on all occasions, introducing me to the production team which initiated the project for my dissertation, attending the kūnqǔ performances in which he was involved, meeting his kūnqǔ expert friends, listening to his music lessons, and more; anything which he thought might benefit my understanding of all aspects of kūnqǔ. I am grateful for all his support and his profound knowledge of kūnqǔ music composition. Wichmann-Walczak, Elizabeth, for her years of endeavor producing jīngjù productions in the US.
    [Show full text]
  • Download a PDF of the Program
    THE INAUGURATION OF CLAYTON S. ROSE Fifteenth President of Bowdoin College Saturday, October 17, 2015 10:30 a.m. Farley Field House Bowdoin College Brunswick, Maine Bricks The pattern of brick used in these materials is derived from the brick of the terrace of the Walker Art Building, which houses the Bowdoin College Museum of Art. The Walker Art Building is an anchor of Bowdoin’s historic Quad, and it is a true architectural beauty. It is also a place full of life—on warm days, the terrace is the first place you will see students and others enjoying the sunshine—and it is standing on this brick that students both begin and end their time at Bowdoin. At the end of their orientation to the College, the incoming class gathers on the terrace for their first photo as a class, and at Commencement they walk across the terrace to shake the hand of Bowdoin’s president and receive their diplomas. Art by Nicole E. Faber ’16 ACADEMIC PROCESSION Bagpipes George Pulkkinen Pipe Major Grand Marshal Thomas E. Walsh Jr. ’83 President of the Alumni Council Student Marshal Bill De La Rosa ’16 Student Delegates Delegate Marshal Jennifer R. Scanlon Interim Dean for Academic Affairs and William R. Kenan Jr. Professor of the Humanities in Gender, Sexuality, and Women’s Studies Delegates College Marshal Jean M. Yarbrough Gary M. Pendy Sr. Professor of Social Sciences Faculty and Staff Trustee Marshal Gregory E. Kerr ’79 Vice Chair, Board of Trustees Board of Trustees Officers of Investiture President Clayton S. Rose The audience is asked to remain seated during the processional.
    [Show full text]
  • Rise Above XR App Press Release
    ARTECHOUSE @artechouse FOR IMMEDIATE RELEASE PRESS CONTACT: Blake Zidell and Ron Gaskill [email protected], [email protected], [email protected] ​ ​ ​ ​ ARTECHOUSE Presents Vince Fraser’s We Rise Above, an ​ ​ Augmented Reality Experience in Black Lives Matter Plazas Across the U.S. Timely Work Premieres at 34 Black Lives Matter Plazas Before Becoming Available Nationwide WASHINGTON, DC - ARTECHOUSE debuts “We Rise Above,” a nationwide collaboration with Afrosurrealist ​ ​ ​ artist, Vince Fraser, for the 57th anniversary of the March on Washington on August 28. Through the ​ ARTECHOUSE extended reality (XR) mobile app, audiences can experience Fraser’s visual art rise above the Black Lives Matter Plazas as a special preview across the 34 Black Lives Matter Plaza locations on August 24th, and nationwide on the 28th. ​ 1 We Rise Above builds upon other recent efforts to draw attention to systemic racism through murals in Black ​ Lives Matter Plaza nationwide, from Sacramento to New York—34 separate spaces where this message is now imprinted onto city streets. The experience offers people across North America a new way to experience these ​ ​ spaces, and to create virtual Black Lives Matter experiences wherever they are. The project aims to both uplift ​ and educate, as well as empower and amplify the presence of Black artists working at the intersection of art and technology. “We’re truly honored to collaborate with Vince Fraser, one of the brightest and most innovative minds in the digital art-for-social change space, to bring We Rise Above to life across America on this historic occasion,” ​ ​ shared Sandro Kereselidze, Founder and Chief Creative Officer of ARTECHOUSE.
    [Show full text]
  • MIT Announces: Chisholm, Rivest, and Thompson Appointed As New
    MIT Announces: Chisholm, Rivest, and Thompson appointed as new Institute Professors A marine biologist who studies tiny ocean organisms, a computer scientist who developed a global security standard, and an acclaimed violist who has performed with renowned orchestras have been awarded MIT’s highest faculty honor: the title of Institute Professor. Sallie “Penny” Chisholm, Ron Rivest, and Marcus Thompson join a small group of Institute Professors at MIT, now numbering 13, along with 10 Institute Professors emeriti. Their new appointments are effective July 1, making them the first faculty members to be named Institute Professors since 2008. MIT President L. Rafael Reif says, “Although our new Institute Professors were chosen as individuals, it is interesting to consider them together: Penny Chisholm, a pioneering field scientist whose discoveries revolutionized our understanding of the oceans; Ron Rivest, a brilliant theorist and problem-solver who ranks as one of the founding fathers of modern cryptography; and Marcus Thompson, among the most celebrated string performers in the United States today. “Their fields could not be more different,” Reif says. “Yet each is an explorer, creator, and teacher of the first order. Together they reflect the standard of faculty excellence that is a signature of MIT.” The appointments of Chisholm, Rivest, and Thompson as Institute Professors were announced today in an email to the faculty from Provost Martin Schmidt and Steven Hall, chair of the MIT faculty and a professor of aeronautics and astronautics. “This special position is a unique honor bestowed by the Faculty and Administration of MIT,” Schmidt and Hall wrote. “Such appointments recognize exceptional distinction by a combination of leadership, accomplishment, and service in the scholarly, educational, and general intellectual life of the Institute and wider community.” Marcus Thompson “A native of the Bronx, Marcus Thompson has been an influential presence at MIT for over four decades, as both an internationally recognized concert musician and a lauded instructor.
    [Show full text]
  • Focus 2020 Pioneering Women Composers of the 20Th Century
    Focus 2020 Trailblazers Pioneering Women Composers of the 20th Century The Juilliard School presents 36th Annual Focus Festival Focus 2020 Trailblazers: Pioneering Women Composers of the 20th Century Joel Sachs, Director Odaline de la Martinez and Joel Sachs, Co-curators TABLE OF CONTENTS 1 Introduction to Focus 2020 3 For the Benefit of Women Composers 4 The 19th-Century Precursors 6 Acknowledgments 7 Program I Friday, January 24, 7:30pm 18 Program II Monday, January 27, 7:30pm 25 Program III Tuesday, January 28 Preconcert Roundtable, 6:30pm; Concert, 7:30pm 34 Program IV Wednesday, January 29, 7:30pm 44 Program V Thursday, January 30, 7:30pm 56 Program VI Friday, January 31, 7:30pm 67 Focus 2020 Staff These performances are supported in part by the Muriel Gluck Production Fund. Please make certain that all electronic devices are turned off during the performance. The taking of photographs and use of recording equipment are not permitted in the auditorium. Introduction to Focus 2020 by Joel Sachs The seed for this year’s Focus Festival was planted in December 2018 at a Juilliard doctoral recital by the Chilean violist Sergio Muñoz Leiva. I was especially struck by the sonata of Rebecca Clarke, an Anglo-American composer of the early 20th century who has been known largely by that one piece, now a staple of the viola repertory. Thinking about the challenges she faced in establishing her credibility as a professional composer, my mind went to a group of women in that period, roughly 1885 to 1930, who struggled to be accepted as professional composers rather than as professional performers writing as a secondary activity or as amateur composers.
    [Show full text]
  • Queens of Consciousness & Sex-Radicalism in Hip-Hop
    Queens of Consciousness & Sex-Radicalism in Hip-Hop: On Erykah Badu & The Notorious K.I.M. by Greg Thomas, Ph.D. English Department Syracuse University Greg Thomas ([email protected]) is an Assistant Professor in the English Department at Syracuse University. His interests include Pan-Africanism, Hip-Hop and Black radical traditions. He is author of The Sexual Demon of Colonial Power: Pan-African Embodiment and Erotic Schemes of Empire (Indiana University Press, 2007). He is also editor of the e-journal, Proud Flesh: New Afrikan Journal of Culture, Politics & Consciousness. Abstract This article is a study of sex, politics and lyrical literature across what could be called “Hip-Hop & Hip-Hop Soul.” It champions the concept “sexual consciousness” against popular and academic assumptions that construe “sexuality” and “consciousness” to be antithetical--in the tradition of “the mind/body split” of the white bourgeois West. An alternative, radical articulation of consciousness with an alternative, radical politics of gender and sexuality is located in the musical writings of two contemporary “iconic” figures: Lil’ Kim of “Hip-Hop” and Erykah Badu of “Neo-Soul.” Underscoring continuities between these author-figures, one of whom is coded as an icon of “sexuality (without consciousness),” conventionally, and the other as an icon of “consciousness (without sexuality),” I show how Black popular music is a space where radical sexual identities and epistemic politics are innovated out of vibrant African/Diasporic traditions. 23 The Journal of Pan African Studies, vol. 1, no. 7, March 2007 The reputed “Father of African Cinema,” Ousmane Sembène is perhaps ironically famous for what we can call his sexual consciousness, a consciousness of the politics of sex or gender and sexuality, in his radical productions of Black independent film.
    [Show full text]
  • Downbeat.Com December 2014 U.K. £3.50
    £3.50 £3.50 . U.K DECEMBER 2014 DOWNBEAT.COM D O W N B E AT 79TH ANNUAL READERS POLL WINNERS | MIGUEL ZENÓN | CHICK COREA | PAT METHENY | DIANA KRALL DECEMBER 2014 DECEMBER 2014 VOLUME 81 / NUMBER 12 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Associate Editor Davis Inman Contributing Editor Ed Enright Art Director LoriAnne Nelson Contributing Designer Žaneta Čuntová Bookkeeper Margaret Stevens Circulation Manager Sue Mahal Circulation Associate Kevin R. Maher Circulation Assistant Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] Advertising Sales Associate Pete Fenech 630-941-2030 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, Howard Mandel, John McDonough Atlanta: Jon Ross; Austin: Kevin Whitehead; Boston: Fred Bouchard, Frank- John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman,
    [Show full text]
  • The Sa-Ra Creative Partnerstm Nuclear Evolution: the Age of Love
    UBIQUITY RECORDS PRESENTS THE SA-RA CREATIVE PARTNERSTM NUCLEAR EVOLUTION: THE AGE OF LOVE FOR INFORMATION AND SOUNDCLIPS OF OUR TITLES, GO TO WWW.UBIQUITYRECORDS.COM/PRESS STREET DATE: 06/09/2009 The SA-RA Creative Partners™ have dazzled & amazed with Andreas Stevens, aka Greyboy, born 1970, was the first artist to sign to Ubiquity. Freestylin’, his first full-length album, holds cult-status and is up-there with the label's all-time best sellers. Not bad for a record that cost less than $4000 to productions, collections, mixes and remixes and now, for the first time, make, and sold on an advertising budget of $0! He was a man in the right place at the right time. While the acid jazz with Nuclear Evolution: The Age of Love, they deliver a completely phenomenon was brewing in Europe in the early 1990s, Greyboy became the first American producer to mix new and original album. Built from scratch, it’s a truly coherent and instrumental hip-hop with jazz. His chunky beat-making sensibilities earned him praise from the European crowd, innovative body of work. Musical, adventurous, and even more evolved and his tracks were heard by crowds checking out DJs like UK-based Gilles Peterson, Marcus Wyatt (LA), and DJ Smash (NYC). "When I first started making beats, I was making hip-hop. Since I couldn't find MC's to work with, I than anything they’ve done before, Nuclear Evolution also shows a decided to try the jazz thing and lace my tracks with live instruments instead.
    [Show full text]
  • USC MUCO 572 Syllabus Spring 2017
    MUCO 572: Comparative Analytical Techniques: Spectral Music (2 units) MUS 303 Spring 2017, Thornton School of Music Sean Friar email: [email protected] | office hours: by appointment | office: MUS 201 _____________________________________________________________________________________ COURSE DESCRIPTION This course will follow the development of spectralism in the 20th and 21st centuries. Spectral music – in the most general sense – is music that focuses on timbre above all other musical parameters, and derives its musical material from the acoustic properties of sound itself (sound spectra), the overtone series, electronic music techniques, and psychoacoustics. Though spectralism was initially developed by a small group of young Parisian composers in the 1970’s, its influence has since spread around the world, seemingly achieving wider use and acceptance with each new generation of composers. Over the semester, we will consider the different ways composers have incorporated these ideas into their music. * This course is concerned both with the aesthetics and the rigorous analysis of spectral music. It will sometimes involve (fairly straightforward) math. Course Materials Scores, recordings, and readings will be distributed throughout the semester via Blackboard and in-class handouts. There is no textbook. Grading! Attendance/participation 10% Weekly readings/assignments 30% Final paper 40% Final presentation 20% Weekly Readings and Assignments Each week, students will be assigned listening/score study, readings, and/or assignments. It is important that students do the required listening and reading prior to each class, as the lectures and discussion will assume that students have done the work. Attendance/participation As the class only meets once per week, it is important to attend every lecture.
    [Show full text]
  • Women Pioneers of American Music Program
    Mimi Stillman, Artistic Director Women Pioneers of American Music The Americas Project Top l to r: Marion Bauer, Amy Beach, Ruth Crawford Seeger / Bottom l to r: Jennifer Higdon, Andrea Clearfield Sunday, January 24, 2016 at 3:00pm Field Concert Hall Curtis Institute of Music 1726 Locust Street, Philadelphia Charles Abramovic Mimi Stillman Nathan Vickery Sarah Shafer We are grateful to the William Penn Foundation and the Musical Fund Society of Philadelphia for their support of The Americas Project. ProgramProgram:: WoWoWomenWo men Pioneers of American Music Dolce Suono Ensemble: Sarah Shafer, soprano – Mimi Stillman, flute Nathan Vickery, cello – Charles Abramovic, piano Prelude and Fugue, Op. 43, for Flute and Piano Marion Bauer (1882-1955) Stillman, Abramovic Prelude for Piano in B Minor, Op. 15, No. 5 Marion Bauer Abramovic Two Pieces for Flute, Cello, and Piano, Op. 90 Amy Beach (1867-1944) Pastorale Caprice Stillman, Vickery, Abramovic Songs Jennifer Higdon (1962) Morning opens Breaking Threaded To Home Falling Deeper Shafer, Abramovic Spirit Island: Variations on a Dream for Flute, Cello, and Piano Andrea Clearfield (1960) I – II Stillman, Vickery, Abramovic INTERMISSION Prelude for Piano #6 Ruth Crawford Seeger (1901-1953) Study in Mixed Accents Abramovic Animal Folk Songs for Children Ruth Crawford Seeger Little Bird – Frog He Went A-Courtin' – My Horses Ain't Hungry – I Bought Me a Cat Shafer, Abramovic Romance for Violin and Piano, Op. 23 (arr. Stillman) Amy Beach June, from Four Songs, Op. 53, No. 3, for Voice, Violin, and
    [Show full text]
  • Keeping the Tradition Y B 2 7- in MEMO4 BILL19 Cooper-Moore • Orrin Evans • Edition Records • Event Calendar
    June 2011 | No. 110 Your FREE Guide to the NYC Jazz Scene nycjazzrecord.com Dee Dee Bridgewater RIAM ANG1 01 Keeping The Tradition Y B 2 7- IN MEMO4 BILL19 Cooper-Moore • Orrin Evans • Edition Records • Event Calendar It’s always a fascinating process choosing coverage each month. We’d like to think that in a highly partisan modern world, we actually live up to the credo: “We New York@Night Report, You Decide”. No segment of jazz or improvised music or avant garde or 4 whatever you call it is overlooked, since only as a full quilt can we keep out the cold of commercialism. Interview: Cooper-Moore Sometimes it is more difficult, especially during the bleak winter months, to 6 by Kurt Gottschalk put together a good mixture of feature subjects but we quickly forget about that when June rolls around. It’s an embarrassment of riches, really, this first month of Artist Feature: Orrin Evans summer. Just like everyone pulls out shorts and skirts and sandals and flipflops, 7 by Terrell Holmes the city unleashes concert after concert, festival after festival. This month we have the Vision Fest; a mini-iteration of the Festival of New Trumpet Music (FONT); the On The Cover: Dee Dee Bridgewater inaugural Blue Note Jazz Festival taking place at the titular club as well as other 9 by Marcia Hillman city venues; the always-overwhelming Undead Jazz Festival, this year expanded to four days, two boroughs and ten venues and the 4th annual Red Hook Jazz Encore: Lest We Forget: Festival in sight of the Statue of Liberty.
    [Show full text]
  • Some Notes on John Zorn's Cobra
    Some Notes on John Zorn’s Cobra Author(s): JOHN BRACKETT Source: American Music, Vol. 28, No. 1 (Spring 2010), pp. 44-75 Published by: University of Illinois Press Stable URL: http://www.jstor.org/stable/10.5406/americanmusic.28.1.0044 . Accessed: 10/12/2013 15:16 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. University of Illinois Press is collaborating with JSTOR to digitize, preserve and extend access to American Music. http://www.jstor.org This content downloaded from 198.40.30.166 on Tue, 10 Dec 2013 15:16:53 PM All use subject to JSTOR Terms and Conditions JOHN BRACKETT Some Notes on John Zorn’s Cobra The year 2009 marks the twenty-fifth anniversary of John Zorn’s cele- brated game piece for improvisers, Cobra. Without a doubt, Cobra is Zorn’s most popular and well-known composition and one that has enjoyed remarkable success and innumerable performances all over the world since its premiere in late 1984 at the New York City club, Roulette. Some noteworthy performances of Cobra include those played by a group of jazz journalists and critics, an all-women performance, and a hip-hop ver- sion as well!1 At the same time, Cobra is routinely played by students in colleges and universities all over the world, ensuring that the work will continue to grow and evolve in the years to come.
    [Show full text]