Spring 2010 X
Total Page:16
File Type:pdf, Size:1020Kb

Load more
Recommended publications
-
Cultural Guide for Seniors: Brooklyn PHOTOGRAPHY
ART / DESIGN ARCHITECTURE DANCE / SING THEATRE / LIVE MONUMENTS GALLERIES / ® PARKSCultural Guide for Seniors: Brooklyn PHOTOGRAPHY Acknowledgments NYC-ARTS in primetime is made possible in part by First Republic Bank and by the Rubin Museum of Art. Funding for NYC-ARTS is also made possible by Rosalind P. Walter, The Paul and Irma Milstein Foundation, The Philip & Janice Levin Foundation, Elise Jaffe and Jeffrey Brown, Jody and John Arnhold, and The Lemberg Foundation. This program is NYC-ARTS.org supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council. On multiple platforms, Thirteen/WNET’s Additional funding provided by members of NYC-ARTS aims to increase awareness of THIRTEEN. New York City’s nonprofit cultural organizations, whose offerings greatly benefit We are grateful to Megan Flood for residents and visitors—from children to adults, contributing the design of the cover of this and teenagers to senior citizens. publication. NYC-ARTS promotes cultural groups’ We are grateful for the cooperation of the activities and events to tri-state, national and cultural organizations that supplied information international audiences through nonprint media, for this guide. using new technologies as they develop. Through websites, television, mobile applications and social media, NYC-ARTS This program is supported, in part, by nurtures New York City’s position as a public funds from the New York City thriving cultural capital of the world, one that Department of Cultural Affairs. has both world renowned institutions and those that are focused on local communities. WNET 825 Eighth Avenue New York, NY 10019 http://WNET.org (212) 560-2000 Cover Design: Megan Flood Copyright © 2012 WNET Table of Contents A.I.R./Artists in Residence Gallery............................................................................. -
Winter 2006 - 2007 BARGEMUSIC FULTON FERRY LANDING, BROOKLYN
Winter 2006 - 2007 BARGEMUSIC FULTON FERRY LANDING, BROOKLYN It doesn’t take long to hear what makes Bargemusic the perfect chamber music hall... In a standard hall, even a comparatively small one like Alice Tully or Merkin, the sound they produced would have been not just quiet, but distant as well. In the intimate confines of Bargemusic, though, this restrained passage sacrificed nothing in presence or fine-grained detail. Allan Kozinn, The New York Times 52 WEEKS A YEAR WWW.BARGEMUSIC.ORG THURSDAY, FRIDAY, [email protected] SATURDAY AND (718) 624-2083 SUNDAY (718) 624-4061 “To understand the universality of music, try swaying in the wakes of passing sightseeing boats while listening to Liszt’s music... played on a piano framed against the night skyline of Lower Manhattan. Moored beneath the Brooklyn Bridge and floating in the East River, Bargemusic, its loyal followers and its beautiful if improbable setting soldier on.” - Bernard Holland, The New York Times June 25, 2005 RESERVATIONS Call: (718) 624-2083 in the office or (718) 624-4061 on the Barge. Seats are assigned in order of phone call or email. Email: [email protected] Ticket Prices: Regular: $35 / Enhanced: $40 Seniors: $30 (Thursdays and Fridays) / Full-time* Students: $20 Special concerts as listed, for everyone. Purchase tickets at the concert by cash or check only, please. Ask about group sales. Credit Cards by Phone: Purchase tickets with MasterCard or VISA, only by telephone at (718) 624-2083. Cancellations: Please let us know before the concert if you cannot attend so that your seat can be reassigned. -
The-Piano-Teaching-Legacy-Of-Solomon-Mikowsky.Pdf
! " #$ % $%& $ '()*) & + & ! ! ' ,'* - .& " ' + ! / 0 # 1 2 3 0 ! 1 2 45 3 678 9 , :$, /; !! < <4 $ ! !! 6=>= < # * - / $ ? ?; ! " # $ !% ! & $ ' ' ($ ' # % %) %* % ' $ ' + " % & ' !# $, ( $ - . ! "- ( % . % % % % $ $ $ - - - - // $$$ 0 1"1"#23." 4& )*5/ +) * !6 !& 7!8%779:9& % ) - 2 ; ! * & < "-$=/-%# & # % %:>9? /- @:>9A4& )*5/ +) "3 " & :>9A 1 The Piano Teaching Legacy of Solomon Mikowsky by Kookhee Hong New York City, NY 2013 2 TABLE OF CONTENTS Preface by Koohe Hong .......................................................3 Endorsements .......................................................................3 Comments ............................................................................5 Part I: Biography ................................................................12 Part II: Pedagogy................................................................71 Part III: Appendices .........................................................148 1. Student Tributes ....................................................149 2. Student Statements ................................................176 -
July-August, 2016 from the Editor Welcome to the July-August 2016 Edition of the AAA Newsletter
NewsletterAMERICAN ACCORDIONISTS’ ASSOCIATION A bi-monthly publication of the American Accordionists’ Association July-August, 2016 From the Editor Welcome to the July-August 2016 edition of the AAA Newsletter. Congratulations to all those that made the 2016 Festival in Buffalo a tremen- dous success. The annual festival showcased a diverse and talented array of ac- cordionists, performing a variety of genres of music. You will have all received information that this Newsletter is now available in both a printed format and also as a .pdf file. While some prefer to have a printed copy to browse at leisure, there are also a number of people who enjoy having their news presented in an electronic format, and thus a digital version is another means for the AAA to take advantage of the technology available today. Be sure to let the AAA know of your preference, and they will be happy to arrange your Newsletter delivery accordingly. Once again my sincere thanks to all those that have assisted in providing news items and pictures, including your very own AAA Board of Director Rita Barnea who is always an avid supporter of the AAA Newsletter sharing a variety of news items from around the country. Items for the September 2016 Newsletter can be sent to me at [email protected] or to the official AAA e-mail address at: [email protected]. Please include ‘AAA Newsletter’ in the subject box, so that we don’t miss any items that come in. Text should be sent within the e-mail or as a Word attachment. -
The Philip Glass Ensemble in Downtown New York, 1966-1976 David Allen Chapman Washington University in St
Washington University in St. Louis Washington University Open Scholarship All Theses and Dissertations (ETDs) Spring 4-27-2013 Collaboration, Presence, and Community: The Philip Glass Ensemble in Downtown New York, 1966-1976 David Allen Chapman Washington University in St. Louis Follow this and additional works at: https://openscholarship.wustl.edu/etd Part of the Music Commons Recommended Citation Chapman, David Allen, "Collaboration, Presence, and Community: The hiP lip Glass Ensemble in Downtown New York, 1966-1976" (2013). All Theses and Dissertations (ETDs). 1098. https://openscholarship.wustl.edu/etd/1098 This Dissertation is brought to you for free and open access by Washington University Open Scholarship. It has been accepted for inclusion in All Theses and Dissertations (ETDs) by an authorized administrator of Washington University Open Scholarship. For more information, please contact [email protected]. WASHINGTON UNIVERSITY IN ST. LOUIS Department of Music Dissertation Examination Committee: Peter Schmelz, Chair Patrick Burke Pannill Camp Mary-Jean Cowell Craig Monson Paul Steinbeck Collaboration, Presence, and Community: The Philip Glass Ensemble in Downtown New York, 1966–1976 by David Allen Chapman, Jr. A dissertation presented to the Graduate School of Arts and Sciences of Washington University in partial fulfillment of the requirements for the degree of Doctor of Philosophy May 2013 St. Louis, Missouri © Copyright 2013 by David Allen Chapman, Jr. All rights reserved. CONTENTS LIST OF FIGURES .................................................................................................................... -
Summer 2007 X
BARGEMUSIC Unique floating concert hall— in residence to the community at large all year long. Summer 2007 X “It doesn’t take long to hear what makes Bargemusic the perfect chamber music hall… ” —Allan Kozinn, The New York Times “Bargemusic—New York’s favorite floating concert hall.” —Anne Midgette, The New York Times w www.bargemusic.org [email protected] 718.624.2083 718.624.4061 Fulton Ferry Landing, Brooklyn w Reservations W Call: 718.624.2083 in the office or 718.624.4061 on the Barge. Seats are assigned in order of phone call or email. Email: [email protected] Ticket Prices: Regular: $35 / Enhanced: $40 Seniors: $30 (Wednesdays, Thursdays and Fridays) / Full-time Students: $20 Special concerts as listed, for everyone. Purchase tickets at the concert by cash or check only, please. Ask about group sales. Credit Cards by Phone: Purchase tickets with MasterCard or VISA, only by telephone at 718.624.2083. Cancellations: Please let us know before the concert if you cannot attend so that your seat can be reassigned. If you have already paid by check or credit card, you may donate your tickets for a tax deduction. We are not able to refund payments. w Directions W Bargemusic is in Brooklyn on the Fulton Ferry Landing near the Brooklyn Bridge By Subway: From Manhattan, ride in the rear of the A train to High Street station in Brooklyn. (From Brooklyn, ride in the front of the train). Use the FULTON STREET EXIT. Walk downhill on Cadman Plaza West to the East River, 3 blocks. -
Singing in English in the 21St Century: a Study Comparing
SINGING IN ENGLISH IN THE 21ST CENTURY: A STUDY COMPARING AND APPLYING THE TENETS OF MADELEINE MARSHALL AND KATHRYN LABOUFF Helen Dewey Reikofski Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS August 2015 APPROVED:….……………….. Jeffrey Snider, Major Professor Stephen Dubberly, Committee Member Benjamin Brand, Committee Member Stephen Austin, Committee Member and Chair of the Department of Vocal Studies … James C. Scott, Dean of the College of Music Costas Tsatsoulis, Interim Dean of the Toulouse Graduate School Reikofski, Helen Dewey. Singing in English in the 21st Century: A Study Comparing and Applying the Tenets of Madeleine Marshall and Kathryn LaBouff. Doctor of Musical Arts (Performance), August 2015, 171 pp., 6 tables, 21 figures, bibliography, 141 titles. The English diction texts by Madeleine Marshall and Kathryn LaBouff are two of the most acclaimed manuals on singing in this language. Differences in style between the two have separated proponents to be primarily devoted to one or the other. An in- depth study, comparing the precepts of both authors, and applying their principles, has resulted in an understanding of their common ground, as well as the need for the more comprehensive information, included by LaBouff, on singing in the dialect of American Standard, and changes in current Received Pronunciation, for British works, and Mid- Atlantic dialect, for English language works not specifically North American or British. Chapter 1 introduces Marshall and The Singer’s Manual of English Diction, and LaBouff and Singing and Communicating in English. An overview of selected works from Opera America’s resources exemplifies the need for three dialects in standardized English training. -
6. the Evolving Role of Music Journalism Zachary Woolfe and Alex Ross
Classical Music Contemporary Perspectives and Challenges Classical Music This kaleidoscopic collection reflects on the multifaceted world of classical music as it advances through the twenty-first century. With insights drawn from Contemporary Perspectives and Challenges leading composers, performers, academics, journalists, and arts administrators, special focus is placed on classical music’s defining traditions, challenges and contemporary scope. Innovative in structure and approach, the volume comprises two parts. The first provides detailed analyses of issues central to classical music in the present day, including diversity, governance, the identity and perception of classical music, and the challenges facing the achievement of financial stability in non-profit arts organizations. The second part offers case studies, from Miami to Seoul, of the innovative ways in which some arts organizations have responded to the challenges analyzed in the first part. Introductory material, as well as several of the essays, provide some preliminary thoughts about the impact of the crisis year 2020 on the world of classical music. Classical Music Classical Classical Music: Contemporary Perspectives and Challenges will be a valuable and engaging resource for all readers interested in the development of the arts and classical music, especially academics, arts administrators and organizers, and classical music practitioners and audiences. Edited by Paul Boghossian Michael Beckerman Julius Silver Professor of Philosophy Carroll and Milton Petrie Professor and Chair; Director, Global Institute for of Music and Chair; Collegiate Advanced Study, New York University Professor, New York University This is the author-approved edition of this Open Access title. As with all Open Book publications, this entire book is available to read for free on the publisher’s website. -
EASTMAN NOTES JUNE 2005 Draft: Web Date: July 5, 2005 INSIDE
NOTES JUNE 2005 A MAGAZINE FOR ALUMNI OF THE EASTMAN SCHOOL OF MUSIC FROM THE EDITOR Loss, love, and legacies Dear Eastman Alumni: More than any time since I began editing Eastman Notes, the winter and spring of 2004¬2005 was marked by a sense of loss, with the deaths of two inimitable NOTES figures in Eastman’s history: Frederick Fennell and Ruth Watanabe, who died in Volume 23, Number 2 December 2004 and February 2005 respectively. June 2005 It’s representative of their importance, not just to the School but to the musical world in general, that everyone reading this magazine, no matter when they at- Editor tended, knows who Frederick Fennell and Ruth Watanabe are. Both are indelibly David Raymond associated with two monuments of the School—the Wind Ensemble and the Sib- Assistant editor ley Library. Fennell built a new model for wind band playing—and a repertory— Juliet Grabowski pretty much from scratch; while Ruth Watanabe didn’t found the Sibley Library, Contributing writers she certainly developed it to its present eminence over a 40-year career. (See Martial Bednar Christine Corrado pages 6 and 8 for more Susan Hawkshaw on their remarkable ca- Contributing photographers reers.) Both continued Richard Baker to be generous with Kurt Brownell their time and talent Bob Klein well after retirement— Gelfand-Piper Photography Amy Vetter Fennell visiting Eastman numerous times to con- Photography coordinators Nathan Martel duct, Watanabe as the Amy Vetter School’s historian. Design These two people were Steve Boerner Typography & Design definitely respected as professionals, but they Frederick Fennell Ruth Watanabe Published twice a year by the Office of were also loved as people— Communications, Eastman School of Music, 26 Gibbs Street, Rochester, NY, see the brief tributes to Fennell by his successors Don Hunsberger and Mark 14604, (585) 274-1050. -
Peter and Lorraine Hunt Lieberson 1
21ST CENTURY MUSIC JANUARY 2006 INFORMATION FOR SUBSCRIBERS 21ST-CENTURY MUSIC is published monthly by 21ST-CENTURY MUSIC, P.O. Box 2842, San Anselmo, CA 94960. ISSN 1534-3219. Subscription rates in the U.S. are $84.00 per year; subscribers elsewhere should add $36.00 for postage. Single copies of the current volume and back issues are $10.00. Large back orders must be ordered by volume and be pre-paid. Please allow one month for receipt of first issue. Domestic claims for non-receipt of issues should be made within 90 days of the month of publication, overseas claims within 180 days. Thereafter, the regular back issue rate will be charged for replacement. Overseas delivery is not guaranteed. Send orders to 21ST-CENTURY MUSIC, P.O. Box 2842, San Anselmo, CA 94960. email: [email protected]. Typeset in Times New Roman. Copyright 2006 by 21ST-CENTURY MUSIC. This journal is printed on recycled paper. Copyright notice: Authorization to photocopy items for internal or personal use is granted by 21ST-CENTURY MUSIC. INFORMATION FOR CONTRIBUTORS 21ST-CENTURY MUSIC invites pertinent contributions in analysis, composition, criticism, interdisciplinary studies, musicology, and performance practice; and welcomes reviews of books, concerts, music, recordings, and videos. The journal also seeks items of interest for its calendar, chronicle, comment, communications, opportunities, publications, recordings, and videos sections. Typescripts should be double-spaced on 8 1/2 x 11 -inch paper, with ample margins. Authors with access to IBM compatible word-processing systems are encouraged to submit a floppy disk, or e-mail, in addition to hard copy. -
Traficante Final Dissertation
UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE AN ANALYSIS OF JOHN ADAMS’ GRAND PIANOLA MUSIC A DOCUMENT SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the Degree of DOCTOR OF MUSICAL ARTS By DEBRA LEE TRAFICANTE Norman, Oklahoma 2010 AN ANALYSIS OF JOHN ADAMS’ GRAND PIANOLA MUSIC A DOCUMENT APPROVED FOR THE SCHOOL OF MUSIC BY ________________________________ Dr. William K. Wakefield, Chair ________________________________ Dr. Roland Barrett ________________________________ Dr. Paula Conlon ________________________________ Dr. Michael Raiber ________________________________ Dr. Teresa DeBacker © Copyright by DEBRA LEE TRAFICANTE 2010 All Rights Reserved. ACKNOWLEDGEMENTS My document committee consists of Dr. William K. Wakefield, Dr. Roland Barrett, Dr. Michael Raiber, Dr. Paula Conlon, and Dr. Teresa DeBacker, and I thank each of them for their careful reading and great assistance in the execution of this document. I feel very fortunate to have had the members who served on this committee, and hold them each in high regard. Special thanks are especially due to Dr. Wakefield, chair of my committee; he tirelessly helped me clarify ideas, find new ways to experience the piece, and express my thoughts more cogently. Without his unremitting support, this document would not exist. To my parents, Ron and Mary Ann Manna, I owe any success I have ever achieved to you both. The never-ending support you have afforded me is why I have accomplished what I have. I love you both and thank you. To my in-laws, Harry and Cheryl Craig, I sincerely appreciate the endless love and support you have given to me for the last fifteen years. -
Summer 2009 X
BARGEMUSIC Unique floating concert hall— in residence to the community at large all year long. Summer 2009 X “It doesn’t take long to hear what makes Bargemusic the perfect chamber music hall… ” —Allan Kozinn, The New York Times “Bargemusic—New York’s favorite floating concert hall.” —Anne Midgette, The New York Times w www.bargemusic.org [email protected] 718.624.2083 718.624.4061 Fulton Ferry Landing, Brooklyn w www.bargemusic.org W w Reservations W For reservations & all inquiries: 718.624.2083 or 718.624.4061 Seats are assigned in order of phone call or email. Email: [email protected] Ticket Prices: Regular: $35 / Enhanced: $40 Seniors: $30 (Enhanced: $35) / Full-time Students: $15 (Enhanced: $20) Special concerts as listed, for everyone. Purchase tickets at the concert by cash or check only, please. Ask about group sales. Credit Cards by Phone: Purchase tickets with MasterCard or VISA, only by telephone at 718.624.2083. Cancellations: Please let us know before the concert if you cannot attend so that your seat can be reassigned. If you have already paid by check or credit card, you may donate your tickets for a tax deduction. We are not able to refund payments. w Directions W Bargemusic is in Brooklyn on the Fulton Ferry Landing near the Brooklyn Bridge See map online at www.bargemusic.org. By Subway: From Manhattan, ride in the rear of the A or C train to High Street station in Brooklyn. (From Brooklyn, ride in the front of the train). Use the FULTON STREET EXIT. Walk downhill on Cadman Plaza West to the East River, 3 blocks.