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Boston Symphony Orchestra Concert Programs, Summer, 2001, Tanglewood
SEMI OIAWA MUSIC DIRECTOR BERNARD HAITINK PRINCIPAL GUEST CONDUCTOR • i DALE CHIHULY INSTALLATIONS AND SCULPTURE / "^ik \ *t HOLSTEN GALLERIES CONTEMPORARY GLASS SCULPTURE ELM STREET, STOCKBRIDGE, MA 01262 . ( 41 3.298.3044 www. holstenga I leries * Save up to 70% off retail everyday! Allen-Edmoi. Nick Hilton C Baccarat Brooks Brothers msSPiSNEff3svS^:-A Coach ' 1 'Jv Cole-Haan v2^o im&. Crabtree & Evelyn OB^ Dansk Dockers Outlet by Designs Escada Garnet Hill Giorgio Armani .*, . >; General Store Godiva Chocolatier Hickey-Freeman/ "' ft & */ Bobby Jones '.-[ J. Crew At Historic Manch Johnston & Murphy Jones New York Levi's Outlet by Designs Manchester Lion's Share Bakery Maidenform Designer Outlets Mikasa Movado Visit us online at stervermo OshKosh B'Gosh Overland iMrt Peruvian Connection Polo/Ralph Lauren Seiko The Company Store Timberland Tumi/Kipling Versace Company Store Yves Delorme JUh** ! for Palais Royal Phone (800) 955 SHOP WS »'" A *Wtev : s-:s. 54 <M 5 "J* "^^SShfcjiy ORIGINS GAUCftV formerly TRIBAL ARTS GALLERY, NYC Ceremonial and modern sculpture for new and advanced collectors Open 7 Days 36 Main St. POB 905 413-298-0002 Stockbridge, MA 01262 Seiji Ozawa, Music Director Ray and Maria Stata Music Directorship Bernard Haitink, Principal Guest Conductor One Hundred and Twentieth Season, 2000-2001 SYMPHONY HALL CENTENNIAL SEASON Trustees of the Boston Symphony Orchestra, Inc. Peter A. Brooke, Chairman Dr. Nicholas T. Zervas, President Julian Cohen, Vice-Chairman Harvey Chet Krentzman, Vice-Chairman Deborah B. Davis, Vice-Chairman Vincent M. O'Reilly, Treasurer Nina L. Doggett, Vice-Chairman Ray Stata, Vice-Chairman Harlan E. Anderson John F. Cogan, Jr. Edna S. -
Microtonal University (Mu)
MICROTONAL UNIVERSITY (MU) a virtual microtonal university SCHEDULE September 5, 2021 – August 28, 2022 A Program of the American Festival of Microtonal Music Inc. (AFMM) Johnny Reinhard - Director [email protected] MU’s Definition of “Microtonal Music”: “All music is microtonal music cross-culturally. Twelve-tone equal temperament is in itself a microtonal scale, only it enjoys exorbitant attention and hegemonic power, so we focus on the other tuning arrangements.” Johnny Reinhard, MU Director Financial Structure: $50. annual subscription; after September 1, 2021 annual membership increases to $200. Checks must be made out fully to: American Festival of Microtonal Music Inc. Or, please go to www.afmm.org and look for the PayPal button at the bottom of the American Festival of Microtonal Music’s website on the front page. MU c/o Johnny Reinhard Director, MU/AFMM 615 Pearlanna Drive San Dimas, CA 91773 347-321-0591 [email protected] 2 MU MU – a virtual microtonal university Beginning September 5, 2021, the American Festival of Microtonal Music (AFMM) presents a new project: MU Faculty members are virtuoso instrumentalists, composers and improvisers Meredith Borden (voice/interstylistic) Svjetlana Bukvich (synthesizer/electronics) Jon Catler (guitar/rock) Philipp Gerschlauer (saxophone/jazz) Johnny Reinhard (bassoon/interstylistic) – Director of MU Manfred Stahnke (viola/music composition) Michael Vick (multi-instrumental/technology) Using various platforms, MU will make available a host of different courses, instruction, entertainment, connections, -
The Chapel Organ
Pedal Organ Couplers 23 stops, 11 ranks (Pulpit and Lectern Great to Great 16/4 Positiv Unison Off THE CHAPEL ORGAN sides, partly exposed and enclosed) Great Unison Of Great to Positiv Resultant 32 derived Swell to Great 16/8/4 Swell to Positiv 16/8/4 Principal 16 32 pipes F Choir to Great 16/8/4 Choir to Positiv 16/8/4 Brummbass 16 32 pipes* Positiv to Great 16/8 Rohrflöte 16 (Swell) Swell to Swell 16/4 Violone 16 (Great) Swell Unison Off Octave 8 32 pipes A Choir to Choir 16/4 Great Organ Positiv Organ Choir Unison Off Great to Pedal Bordun 8 12 pipes* 12 stops, 15 ranks (Pulpit side, 11 stops, 14 ranks (Lectern side, Great to Choir Swell to Pedal 8/4 Rohrflöte 8 (Swell) partly exposed on wall, unenclosed) partly exposed on wall, unenclosed) Swell to Choir Choir to Pedal 8/4 Violone 8 (Great) Violone 16 61 pipes F Holzflöte 8 61 pipes B Positiv to Choir Positiv to Pedal Choralbass 4 32 pipes Principal 8 61 pipes A Octave 4 61 pipes A Flöte 4 12 pipes Bordun 8 61 pipes B Koppelflöte 4 61 pipes B Accessories Octavin 2 (from Mix II) Violone 8 12 pipes Super Octave 2 61 pipes A 256 Memory Levels Mixture II 2 2/3 64 pipes* Octave 4 61 pipes A Waldflöte 2 61 pipes B (12 Generals and 8 Divisionals) Mixture IV 1 1/3 128 pipes Hohlflöte 4 61 pipes B Quinte 1 1/3 61 pipes A 2 Tuttis Kontra Posaune 32 12 pipes Fifteenth 2 61 pipes A Sesquialtera II 2 2/3 122 pipes B Crescendo with Indicator Posaune 16 32 pipes Cornet III 2 2/3 183 pipes B Scharf IV 1 244 pipes A Nave Shades Off Basson-Hautbois 16 (Swell) Mixture V 2 305 pipes A Dulcian 16 12 pipes -
PIERRE COCHEREAU: a LEGACY of IMPROVISATION at NOTRE DAME DE PARIS By
PIERRE COCHEREAU: A LEGACY OF IMPROVISATION AT NOTRE DAME DE PARIS By ©2019 Matt Gender Submitted to the graduate degree program in School of Music and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Musical Arts. ______________________________ Chairperson: Michael Bauer ______________________________ James Higdon ______________________________ Colin Roust ______________________________ David Alan Street ______________________________ Martin Bergee Date Defended: 05/15/19 The Dissertation Committee for Matt Gender certifies that this is the approved version of the following dissertation: PIERRE COCHEREAU: A LEGACY OF IMPROVISATION AT NOTRE DAME DE PARIS _____________________________ Chairperson: Michael Bauer Date Approved: 05/15/19 ii ABSTRACT Pierre Cochereau (1924–84) was the organist of Notre Dame Cathedral in Paris and an improviser of organ music in both concert and liturgical settings. He transformed the already established practices of improvising in the church into a modern artform. He was influenced by the teachers with whom he studied, including Marcel Dupré, Maurice Duruflé, and André Fleury. The legacy of modern organ improvisation that he established at Notre Dame in Paris, his synthesis of influences from significant figures in the French organ world, and his development of a personal and highly distinctive style make Cochereau’s recorded improvisations musically significant and worthy of transcription. The transcription of Cochereau’s recorded improvisations is a task that is seldom undertaken by organists or scholars. Thus, the published improvisations that have been transcribed are musically significant in their own way because of their relative scarcity in print and in concert performances. This project seeks to add to this published collection, giving organists another glimpse into the vast career of this colorful organist and composer. -
December 2016 Issue Of
Eastern Catholic Life Official Publication of the Byzantine Catholic Eparchy of Passaic VOL. LII, NO. 12 DECEMBER 2016 Christmas Bells Bishop Kurt’s Reflection on the Feast of the Nativity of Our Lord his book for me. When I returned to my parish in Portland, my Ukrai- nian parishioners wanted to see the autograph and touched the book like a holy relic. Here is the begin- ning of Yevtushenko’s poem “New York Taxis”: or there is one Lord, New York is all mankind in the one Faith, one Bap- same casserole. tism, one God and Don’t ask New York for mercy, Father“F of us all who is above all you’ll get cooked anyway. and through all and in all.” We read Crawling like yellow turtles, these words a few weeks ago from flying like golden bullets, the Epistle to the Ephesians—Saint New York taxis, taxis, taxis.” Paul tells us boldly that there is only (translated by Albert Todd) One Christ, and therefore all Chris- tians must be united. Nevertheless, In the English language, we have there is beauty in diversity, and that three famous poems about bells, is never more on display than at and one of them has a surprising Christmas. As all the different kinds connection with the greatest art of of Christians show off their Christ- Eastern Europe. mas traditions, it’s like a house full of exotic birds spreading out their In 1850, Alfred Lord Tennyson many-colored feathers. The differ- was made poet laureate of England, ent churches compete in a dizzying and in the same year he published a kaleidoscope of images and music. -
Download Download
Journal of the International Society for Orthodox Church Music Vol. 4 (1), Section II: Conference papers, pp. 83-97 ISSN 2342-1258 https://journal.fi/jisocm Stifling Creativity: Problems Born out of the Promulgation of the 1906 Tserkovnoje Prostopinije Fr Silouan Sloan Rolando [email protected] At the beginning of the twentieth century, the Greek Catholic Bishop of the city of Mukačevo in what is now Ukraine promulgated an anthology of Carpatho- Rusyn chant known as the Церковноє Простопѣніє (hereafter, the Prostopinije) or Ecclesiastical Plainchant. While this book follows in the tradition of printed Heirmologia found throughout the Orthodox and Greek Catholic churches of Belarus, Ukraine, and Russia starting in the sixteenth century, this book presents us with a number of issues that affect the quality and usability of this chant in both its homeland and abroad as well as in the original language, Old Church Slavonic, and in modern languages such as Ukrainian, Hungarian and English. Assuming that creativity is more than just producing new music out of thin air, the problems revealed in the Prostopinije can be a starting point the better to understand how creativity can be unintentionally stifled and what can be done to overcome these particular obstacles. A Brief History Heirmologia in this tradition are anthologies of traditional chant that developed in the emergence of the Kievan five-line notation in place of the older Znamenny neums. With the emergence of patterned chant systems variously called Kievan, Galician, Greek and Bulharski, each touting unique melodies for each tone and each element of liturgy, the Heirmologia would be augmented with these chants often replacing the older Znamenny, especially for the troparia, stichera and prokeimena of the Octoechos. -
Multiple Choice
Unit 4: Renaissance Practice Test 1. The Renaissance may be described as an age of A. the “rebirth” of human creativity B. curiosity and individualism C. exploration and adventure D. all of the above 2. The dominant intellectual movement of the Renaissance was called A. paganism B. feudalism C. classicism D. humanism 3. The intellectual movement called humanism A. treated the Madonna as a childlike unearthly creature B. focused on human life and its accomplishments C. condemned any remnant of pagan antiquity D. focused on the afterlife in heaven and hell 4. The Renaissance in music occurred between A. 1000 and 1150 B. 1150 and 1450 C. 1450 and 1600 D. 1600 and 1750 5. Which of the following statements is not true of the Renaissance? A. Musical activity gradually shifted from the church to the court. B. The Catholic church was even more powerful in the Renaissance than during the Middle Ages. C. Every educated person was expected to be trained in music. D. Education was considered a status symbol by aristocrats and the upper middle class. 6. Many prominent Renaissance composers, who held important posts all over Europe, came from an area known at that time as A. England B. Spain C. Flanders D. Scandinavia 7. Which of the following statements is not true of Renaissance music? A. The Renaissance period is sometimes called “the golden age” of a cappella choral music because the music did not need instrumental accompaniment. B. The texture of Renaissance music is chiefly polyphonic. C. Instrumental music became more important than vocal music during the Renaissance. -
Annual Report 1995
19 9 5 ANNUAL REPORT 1995 Annual Report Copyright © 1996, Board of Trustees, Photographic credits: Details illustrated at section openings: National Gallery of Art. All rights p. 16: photo courtesy of PaceWildenstein p. 5: Alexander Archipenko, Woman Combing Her reserved. Works of art in the National Gallery of Art's collec- Hair, 1915, Ailsa Mellon Bruce Fund, 1971.66.10 tions have been photographed by the department p. 7: Giovanni Domenico Tiepolo, Punchinello's This publication was produced by the of imaging and visual services. Other photographs Farewell to Venice, 1797/1804, Gift of Robert H. and Editors Office, National Gallery of Art, are by: Robert Shelley (pp. 12, 26, 27, 34, 37), Clarice Smith, 1979.76.4 Editor-in-chief, Frances P. Smyth Philip Charles (p. 30), Andrew Krieger (pp. 33, 59, p. 9: Jacques-Louis David, Napoleon in His Study, Editors, Tarn L. Curry, Julie Warnement 107), and William D. Wilson (p. 64). 1812, Samuel H. Kress Collection, 1961.9.15 Editorial assistance, Mariah Seagle Cover: Paul Cezanne, Boy in a Red Waistcoat (detail), p. 13: Giovanni Paolo Pannini, The Interior of the 1888-1890, Collection of Mr. and Mrs. Paul Mellon Pantheon, c. 1740, Samuel H. Kress Collection, Designed by Susan Lehmann, in Honor of the 50th Anniversary of the National 1939.1.24 Washington, DC Gallery of Art, 1995.47.5 p. 53: Jacob Jordaens, Design for a Wall Decoration (recto), 1640-1645, Ailsa Mellon Bruce Fund, Printed by Schneidereith & Sons, Title page: Jean Dubuffet, Le temps presse (Time Is 1875.13.1.a Baltimore, Maryland Running Out), 1950, The Stephen Hahn Family p. -
Chance the Rapper's Creation of a New Community of Christian
Bates College SCARAB Honors Theses Capstone Projects 5-2020 “Your Favorite Rapper’s a Christian Rapper”: Chance the Rapper’s Creation of a New Community of Christian Hip Hop Through His Use of Religious Discourse on the 2016 Mixtape Coloring Book Samuel Patrick Glenn [email protected] Follow this and additional works at: https://scarab.bates.edu/honorstheses Recommended Citation Glenn, Samuel Patrick, "“Your Favorite Rapper’s a Christian Rapper”: Chance the Rapper’s Creation of a New Community of Christian Hip Hop Through His Use of Religious Discourse on the 2016 Mixtape Coloring Book" (2020). Honors Theses. 336. https://scarab.bates.edu/honorstheses/336 This Open Access is brought to you for free and open access by the Capstone Projects at SCARAB. It has been accepted for inclusion in Honors Theses by an authorized administrator of SCARAB. For more information, please contact [email protected]. “Your Favorite Rapper’s a Christian Rapper”: Chance the Rapper’s Creation of a New Community of Christian Hip Hop Through His Use of Religious Discourse on the 2016 Mixtape Coloring Book An Honors Thesis Presented to The Faculty of the Religious Studies Department Bates College in partial fulfillment of the requirements for the Degree of Bachelor of Arts By Samuel Patrick Glenn Lewiston, Maine March 30 2020 Acknowledgements I would first like to acknowledge my thesis advisor, Professor Marcus Bruce, for his never-ending support, interest, and positivity in this project. You have supported me through the lows and the highs. You have endlessly made sacrifices for myself and this project and I cannot express my thanks enough. -
A Day in the Life of a Church Musician Deadline for Next Issue: Jan
welcome I’m one of those Episcopalians who usually sits in the front pew. I know we’re not a common lot. It’s just that I like to sing as loud as I want to the hymns selected for me, especially when they’re delightfully familiar. But I don’t want to inflict my voice on anyone. The Episcopal Diocese I’ve noticed that it’s when I’m singing in church that I feel closest to my mother, who died 15 years ago. I stood beside her for years and years listen- of Atlanta is a community of 54,700 members ing to her lilting soprano rejoicing to “Crown Him with Many Crowns,” in 27,000 households “For All the Saints,” “Praise My Soul the King of Heaven,” and so many and 95 congregations more great traditional hymns. She probably was feeling close then to her in North and Middle Georgia. own mother, who earned a small amount of money as a church soloist and It is part of the Episcopal Church and died way too young. the Anglican Communion. But I like the new songs, too, and love the challenges they present. I’ll never be asked to sing in a choir, but I’ll be happy to start a pew chorus up Bishop there in the front row. The Rt. Rev. J. Neil Alexander I hope you enjoy this sampling of stories about the rich musical life of [email protected] our diocese. I only wish I could replicate for you here the beautiful sounds that go with them. -
John La Montaine Collection
JOHN LA MONTAINE COLLECTION RUTH T. WATANABE SPECIAL COLLECTIONS SIBLEY MUSIC LIBRARY EASTMAN SCHOOL OF MUSIC UNIVERSITY OF ROCHESTER Prepared by Gail E. Lowther Summer 2016 John La Montaine (at far right) presents John F. Kennedy with score to From Sea to Shining Sea, op. 30, which had been commissioned for Kennedy’s inauguration ceremony, with Jackie Kennedy and Howard Mitchell (National Symphony Orchestra conductor) (1961). Photograph from John La Montaine Collection, Box 16, Folder 9, Sleeve 1. John La Montaine and Howard Hanson during rehearsal with the Eastman Philharmonia in preparation for the performance of La Montaine’s Concerto for Piano and Orchestra, op. 9, at Carnegie Hall (November 1962). Photograph from ESPA 27-32 (8 x 10). 2 TABLE OF CONTENTS Description of Collection . 5 Description of Series . 6 INVENTORY Series 1: Manuscripts and sketches Sub-series A: Student works and sketches . 12 Sub-series B: Mature works . 13 Sub-series C: Works with no opus number . 43 Sub-series D: Sketches . 54 Series 2: Personal papers Sub-series A: Original writings . 58 Sub-series B: Notes on composition projects . 59 Sub-series C: Pedagogical material . 65 Sub-series D: Ephemera . 65 Series 3: Correspondence Sub-series A: Correspondence to/from John La Montaine . 69 Sub-series B: Correspondence to/from Paul Sifler . 88 Sub-series C: Other correspondents . 89 Series 4: Publicity and press materials Sub-series A: Biographical information . 91 Sub-series B: Resume and works lists . 91 Sub-series C: Programs, articles, and reviews . 92 Sub-series D: Additional publicity materials . 104 3 Series 5: Library Sub-series A: Published literature . -
The Anchor, Volume 118.04: September 22, 2004
Hope College Hope College Digital Commons The Anchor: 2004 The Anchor: 2000-2009 9-22-2004 The Anchor, Volume 118.04: September 22, 2004 Hope College Follow this and additional works at: https://digitalcommons.hope.edu/anchor_2004 Part of the Library and Information Science Commons Recommended Citation Repository citation: Hope College, "The Anchor, Volume 118.04: September 22, 2004" (2004). The Anchor: 2004. Paper 16. https://digitalcommons.hope.edu/anchor_2004/16 Published in: The Anchor, Volume 118, Issue 4, September 22, 2004. Copyright © 2004 Hope College, Holland, Michigan. This News Article is brought to you for free and open access by the The Anchor: 2000-2009 at Hope College Digital Commons. It has been accepted for inclusion in The Anchor: 2004 by an authorized administrator of Hope College Digital Commons. For more information, please contact [email protected]. September 2004 tHe "h" word ••••••• Hope College Holland, Michigan A student-run nonprofit publication Serving the Hope College Community for 118 years Campus HOUSE MAKEOVER TIME Briefs Campus ministries teams with Jubilee to English prof rejuvenate community iiini publishes new The Extreme House Makeover, held this past Saturday, was sponsored by Ju- children's book bilee Ministries, a local Christian out- Hcalhcr Sellers, professor f. ! reach program. of English, has a new book on Campus ministries promoted the the market. "Spike and project in chapel and the Gathering for Cubby's Ice Cream Island several weeks, but were still over- Adventure," features Seller's whelmed by the 200 students who turned corgi and aulhor/illusiraior out to help improve a house for low-in- Amy Young's black lab as two come families on 15th Street, as well as dogs trapped in a boat during businesses on 17ih Street.