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N E W S R E L E A
N E W S R E L E A S E Contacts: Michael Hogue 215.545.5451 x26 [email protected] FOR IMMEDIATE RELEASE DATE: November 14, 2016 The Chamber Orchestra of Philadelphia (COP) announces the appointment of Stephen Tavani as Concertmaster and Matthew Cohen as Section Violist. COP will feature the music of Rossini, Gounod, and new works by NJ native Raphael Fusco and star French-Lebanese pianist and composer Rami Khalifé. intersect series opens with a polystylistic exploration of exoticism in music - a collaboration between COP Music Director Dirk Brossé, Singer/Songwriter Andrew Lipke, and Rami Khalifé. A founding resident company of The Kimmel Center for the Performing Arts, The Chamber Orchestra of Philadelphia (COP) will perform music by Rossini and Gounod, premiere a new arrangement by New Jersey composer, Raphael Fusco and present the U.S. premiere of Stories for piano and orchestra by French-Lebanese pianist and rising-star composer Rami Khalifé. Raphael Fusco is no stranger to COP, having premiered Alternate Routes with saxophonist BranfordMarsalis and the Chamber Orchestra on Marsalis’ “Well-Tempered” tour during COP’s 2014/2015 season. “All the instruments share the original solo saxophone line,” Fusco explains about the newly arranged work, “resulting in a concerto for chamber orchestra.” Star Lebanese pianist, Rami Khalifé, described as “positively brand new” and “musician of extreme caliber” by the Daily Star (Lebanon), is making his Chamber Orchestra debut with the American Premiere of his work Stories for piano and orchestra. Khalifé describes Stories as “a series of soundscapes that stand alone just as resolutely as they bind together. -
Transnational Habitus: Mariem Hassan As the Transcultural Representation of the Relationship Between Saharaui Music and Nubenegra Records
Transnational Habitus: Mariem Hassan as the transcultural representation of the relationship between Saharaui music and Nubenegra records Luis Gimenez Amoros Submitted in partial fullfilment of the requirements for the degree of Doctor of Philosophy, Rhodes University PhD (thesis) Department of Music and Musicology Supervisor: Dr Lee Watkins I Abstract This thesis expands on primary field research conducted for my MMus degree. Undertaken in the Saharaui refugee camps of southern Algeria (2004-2005) that research - based on ethnographic data and the analysis of Saharaui music, known as Haul 1- focussed on the musical system, the social context of musical performance and the music culture in Saharaui refugee camps. This doctoral research examines Saharaui Haul music as practised in Spain and is particularly focussed on its entry, since 1998, into the global market by way of the World Music label, Nubenegra records. The encounter between Saharaui musicians and Nubenegra records has created a new type of Saharaui Haul which is different to that played in the refugee camps. This phenomenon has emerged as a result of western music producers compelling Saharaui musicians to introduce musical changes so that both parties may be considered as musical agents occupying different positions on a continuum of tradition and change. Nubenegra undertook the commodification of Saharaui music and disseminated it from the camps to the rest of the world. A musical and social analysis of the relationship between Nubenegra and Saharaui musicians living in Spain will form the basis of the research in this thesis. In particular, Mariem Hassan is an example of a musician who had her music disseminated through the relationship with Nubenegra and she is promoted as the music ambassador of the Western Sahara. -
SFJAZZ Collective Children of All Ages Are Welcome at UMS Family and Youth Performances
.^ERS/>, urns Winter 2006 Season 127th Annual Season General Information Event Program Book Friday, March 31 through Saturday, April 15, 2006 On-site ticket offices at performance venues open 90 minutes before each performance and remain open through intermission of most events. SFJAZZ Collective Children of all ages are welcome at UMS Family and Youth Performances. Friday, March 31, 8:00pm Children under the age of three will Michigan Theater not be admitted to regular, full-length UMS performances. All children should oe able to sit quietly in their own seats Los Angeles Guitar Quartet 11 throughout any UMS performance. Sunday, April 2, 4:00 pm Children unable to do so, along with the adult accompanying them, will be Rackham Auditorium asked by an usher to leave the auditori um. Please use discretion in choosing Arab World Music Summit 10 bring a child. 21 Saturday, April 15, 8:00 pm Remember, everyone must have a Hill Auditorium ticket, regardless of age. While in the Auditorium Starting Time Every attempt is made to begin concerts on time. Latecomers are asked to wait in the lobby until seated by ushers at a predetermined time in the program. Cameras and recording equipment ere prohibited in the auditorium. If you have a question, ask your usher. They are here to help. Please turn off your cellular phones jnd other digital devices so that every one may enjoy this UMS event distur bance-free. In case of emergency, udvise your paging service of auditori um and seat location in Ann Arbor /enues, and ask them to call University Security at 734.763.1131. -
Shouka, El Disco De Mariem Hassan Que Saca La Espina Clavada En El Corazón Del Pueblo Saharaui
INICIO MADRID CATALUNYA VALENCIA MURCIA ESPAÑA INTERNACIONAL DEPORTES CULTURA ASESORÍA EMPLEO BLOGS OFERTAS DE EMPLEO NEWSLETTER COMUNIDAD VIRTUAL buscar... Buscar visto :7 VVIIEERRNNEESS,, 0055 DDEE MMAARRZZOO DDEE 22001100 0088::1144 Shouka, el disco de Mariem Hassan que saca Traducir página la espina clavada en el corazón del pueblo saharaui Cultura Mariem Hassan ha estado durante cuatro años a la sombra de los escenarios. Tras superar un cáncer, esta saharaui llena de vitalidad y que emana personalidad en cada palabra, en cada gesto, saca su nuevo disco: ‘Shouka’, un álbum que recopila 16 temas en los que se entremezclan diversos estilos musicales, marcados por los singulares ritmos de la música de su tierra y liderados por la reconocible voz desgarrada, a la vez que dulce, de esta artista. ELENA PRIETO LANDALUCE/Barcelona ‘Shouka’ signifi ca espina –“la que todos los saharauis tenemos clavada en el corazón”, dice Hassan– y este nombre da también título a uno de los temas principales del álbum, una cantata llena de rencor e ironía dirigida al ex presidente del Gobierno de España, el socialista Felipe González. “Esta espina es con la que Encuesta nos pinchó Felipe en 1976, cuando visitó los campamentos de refugiados y prometió que cuando él fuera presidente del Gobierno de España ayudaría al pueblo saharaui a que volviera a su tierra”, explica Mariem ¿A qué edad crees que debiera fijarse la Hassan, y añade: “Más tarde estuvo ciego y sordo con la causa de nuestro pueblo, sólo nos pinchó con jubilación obligatoria? mentiras”. Pero ésta es sólo una de las canciones. A los 65, como hasta ahora También dedica espacio a sus seres queridos en otras composiciones: a su madre, ya muy anciana; a su hijo A los 67, como propone el Gobierno pequeño, enfermo desde los dos años, al que le envía un mensaje de esperanza, y cómo no, al resto de sus A ninguna, trabajaría hasta que el compatriotas, con letras comprometidas social, política y religiosamente, y que desgranan la cultura de un cuerpo aguante pueblo en continua lucha por su libertad. -
Rami Khalife
[ E P K ] R a m i K h a l i f é C H A N N E L S & S O C I A L L I N K S : Booking & Contact | [email protected] Bio Rami Khalifé was born in September 25, 1981 to musician Marcel Khalifé and vocalist Yolla Khalifé amid the rough and tumble of civil war in Beirut, Lebanon. While best known for his re-envisioning of the classics, Rami Khalife, who graduated from the prestigious Juilliard school of New York, was featured as a soloist alongside some of the world’s most prized orchestras including Globalis Orchestra, Qatar Philharmonic Orchestra and Liverpool Philharmonic Orchestra. Rami Khalifé has extensively toured in the U.S, South America, Asia, Canada, Europe, Australia, in such venues as the Kennedy Center (Washington, USA), the Sydney Opera House (Sydney, Australia), the Opera House (Doha, Qatar), Place Des Arts (Montreal, Canada), Dar el Opera (Damascus, Syria), Queen Elizabeth Hall (London), Salle Pleyel (Paris, France) and UNESCO Palace (Beirut, Lebanon). Rami Khalifé’s work is as eclectic as it is bold, ranging from improvised concerts, recording a Prokofiev concerto to performing with Marcel Khalifé. He also composed contemporary works for orchestra, producing sound tracks for film and documentary, only to switch it all up with his classic electro group AUFGANG. His body of work includes two piano concertos, a requiem, a cello concerto and several orchestral pieces including “Tunnel to the Moon”, all of which, he premiered with the Qatar Philharmonic Orchestra. He was also commissioned by the Philadelphia chamber orchestra to write his new piece ‘’Stories’’ to be performed at the end of the year. -
2010 De Cómo Mariem Hassan Conquista Las Antípodas
2010 De cómo Mariem Hassan conquista las antípodas. Los festivales de Womad en Australia y Nueva Zelanda la reciben con los brazos abiertos. Ella, con su indómita voz, establece una asombrosa comunicación con el resto de los participantes y con el público. — O 2010 — AUSTRALIA La primera sensación del viajero, tras un periplo que en tan sólo 30 horas te ha traslado desde Barcelona al extremo opuesto del globo terráqueo, es la necesidad imperiosa de reubicarte en el tiempo y en el espacio, para conseguir ponerte cuan- to antes manos a la obra que nos ha traído desde tan lejos. Salimos el 1 de marzo por la tarde y llegamos hoy, día 3, por la mañana a Adelaida. Debemos afrontar dos semanas -una aquí, en Australia, y la otra en Nueva Zelanda- llenas de actividades, algunas inéditas. Atrás quedan unas duras negociaciones para cuadrar cada uno de los aspec- tos que hay que tener en cuenta en un acontecimiento de esta envergadura. La más desagradable, sin duda, la negociación con los músicos. El grupo estaba bien conjuntado y Mariem podía atacar cualquier tipo de repertorio, apoyándose en uno u otro guitarrista. La organización de Womad era inflexible en cuanto a los honorarios. Se escudaban en los elevados costes que debían afrontar en viajes, alo- jamiento y manutención de 7 personas durante 15 días. Conociendo al grupo y sus circunstancias, cuando ya había que empezar a reservar pasajes y tramitar visados, aprovechando que Mariem, Vadiya y Lamgaifri estaban en Madrid para participar en el concierto «Todos con Aminetu», llamé a Josemi y a Kepa para tratar el asunto de los dineros. -
Comercialización De La Música Saharaui En El Mundo Occidental a Través De Nubenegra (Madrid, 1998-2011)
Resonancias n°33, diciembre 2013 / Artículos Comercialización de la música saharaui en el mundo occidental a través de Nubenegra (Madrid, 1998-2011) Luis Giménez Candidato a Doctor en Etnomusicología Rhodes University [email protected] Resumen Este artículo analiza la diseminación y mercantilización de la música saharaui a través de la discográfica española Nubenegra. Para ello, el texto explica las diferencias musicales y sociales de la música saharaui en dos contextos distintos: en los campamentos de refugiados de Tindouf (Argelia), como experiencia transnacional y local en donde se reafirman los valores nacionales basados en la lucha política por la independencia del Sahara Occidental; y en Madrid, como experiencia comercial y global en donde Nubenegra busca maneras de promover la cultural musical saharaui. El análisis social y musical de ambos contextos sociales sirve para explicar cómo la cultura musical saharaui crece de una manera asimétrica y con diferentes propósitos (ideológicos o comerciales). Keywords: Música saharaui, Haul, Polisario, música de refugiados, blues del desierto. Abstract This article analyses the dissemination and commodification of Sahrawi music by the Spanish record label Nubenegra. The text explains the musical and social differences of the Sahrawi music in two distinct contexts: in the refugee camps of Tindouf (Algeria)¬, as a local and transnational experience in which national values are affirmed on the political struggle for the independence of Western Sahara; and in Madrid, as a commercial and global experience in which Nubenegra seeks to promote Sahrawi music culture. The social and cultural analysis of both social contexts is deployed to explain how Sahrawi music culture grows in an asymmetric form and with different goals (ideological or commercial). -
Portraits of Saharawi Music: When Cultural Preservation Meets Political Activism
PORTRAITS OF SAHARAWI MUSIC: WHEN CULTURAL PRESERVATION MEETS POLITICAL ACTIVISM by VIOLETA RUANO POSADA Abstract. Drawing from ethnographic fieldwork done mainly in the Saharawi refugee camps and the development of “Portraits of Saharawi Music” (2013–2014), a collaborative music archiving and research project in partnership with the British Library and the Saharawi Ministry of Culture, this article analyses issues in the political realities for Saharawi refugees from the perspective of the musicians and the cultural authorities in the refugee camps. In addition, it explores methodological and ethical issues derived from the uses of political and cultural activism as an ethnomusicological research method. It examines the interactions of the ideologies, motivations and personal relationships of the researcher, the musicians and the institutions involved in this recording project, focusing on the selection of repertoire as an activist act and the impact of doing advocacy research on an extremely vulnerable social group as the Saharawi refugee community. In agreement with basic principles of social responsibility of academia, it supports the role of “activist researcher”; but it cautions that it is essential for researchers to understand how relations of knowledge and power are produced, perpetuated, and challenged in specific situations of conflict, in order to turn their research into a true collaborative action. Navigating the multi-stranded and rich nature of the music being produced by the Saharawi refugees from Western Sahara1 brings -
FRENCH CONCERTOS from the 19Th Century to the Present A
FRENCH CONCERTOS From the 19th Century to the Present A Discography Of CDs And LPs Prepared by Michael Herman Edited by Stephen Ellis Composers A-K LOUIS ABBIATE (1866-1933) Born in Monaco. He learned the piano, organ and cello as a child and then attended the Conservatories Turin and Paris where he studied the cello. He worked as a cellist in the Monte Carlo Orchestra and then at Milan's La Scala. He taught the cello at the St. Petersburg Conservatory for some years and after the Russian Revolution returned to Monaco and became the first director of its École Municipale de Musique. He composed orchestral, chamber, instrumental and vocal works. Concerto Italien in A major for Piano and Orchestra, Op. 96 (1922) Maurice Bousquet (piano)/Louis Frémaux/Orchestre du Théâtre National de l'Opéra de Monte Carlo ( + Monaecencis) ECCE MUSICA CM 306 (LP) (1970s) Concerto for Cello and Orchestra in D minor, Op. 35 (1895) Elaine Magnan (cello)/Louis Frémaux/Orchestre du Théâtre National de l'Opéra de Monte Carlo ( + Les Elfes and Le Songe d'Or) ECCE MUSICA CM 312 (LP) (1970s) Monaecencis for Piano and Orchestra, Op. 110 (1925) Maurice Bousquet (piano)/Richard Blareau /Orchestre du Théâtre National de l'Opéra de Monte Carlo ( + Concerto Italien) ECCE MUSICA CM 306 (LP) (1970s) JEAN-LOUIS AGOBET (b. 1968) Born in Blois, Loir-et-Cher, Centre. He studied composition and electronic music at the Ecole Normale de Musique in Aix-en-Provence, followed by further studies at the Conservatoire National à Rayonnement in Nice and then with Philippe Manoury at the Conservatoire de Lyon. -
Marcel, Rami Et Bachar Khalifé
MARCEL, RAMI ET BACHAR KHALIFÉ photographie Alexandre Chevillard Wela 21 rue Alexis Lepère // 93100 Montreuil // France contact@wela-productions // www.wela-productions.com // tél. : +33(0)1 41 63 60 14 INFOS PRATIQUES Album en cours de productions, sortie prévue fin 2014. sur internet : http://www.wela-productions.com/marcel-rami-bachar-khalife sur facebook : https://www.facebook.com/marcel.rami.bachar.khalife ---- contact management / production : Jeremy Verrier [email protected] Wela 21 rue Alexis Lepère // 93100 Montreuil // France contact@wela-productions // www.wela-productions.com // tél. : +33(0)1 41 63 60 14 LE PROJET Marcel, Rami et Bachar Khalifé « Nous ne sommes pas un trio, précise encore Marcel Khalifé, nous sommes Marcel, Rami et Bachar Khalifé, trois entités distinctes unies dans un même corps musical ». Forts de l’idée que la musique est un langage universel, c’est à la croisée des expériences de chacun, l’oud et le chant pour Marcel, le piano pour Rami et les percussions pour Bachar, que ces trois-là ont choisi de renouer avec une autre langue première celle qui fait converger les talents. Ce projet qui a vu ces prémices au Liban est né du désir de réunir trois musiciens Trois musiciens et deux générations : le père Marcel et ses deux fils Rami et Bachar. Trois musiciens qui se sont toujours joués des questions de tradition et de modernité. Trois musiciens conscients des réalités sociales de notre monde contemporain. Mêlant musique orientale et musique actuelle, ces mélodies sont le fruit d’une vision commune de deux générations qui posent un regard commun sur notre époque. -
Portraits of Saharawi Music: When Cultural Preservation Meets Political Activism
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Rhodes University: Hosted Journals PORTRAITS OF SAHARAWI MUSIC: WHEN CULTURAL PRESERVATION MEETS POLITICAL ACTIVISM by VIOLETA RUANO POSADA Abstract. Drawing from ethnographic fieldwork done mainly in the Saharawi refugee camps and the development of “Portraits of Saharawi Music” (2013–2014), a collaborative music archiving and research project in partnership with the British Library and the Saharawi Ministry of Culture, this article analyses issues in the political realities for Saharawi refugees from the perspective of the musicians and the cultural authorities in the refugee camps. In addition, it explores methodological and ethical issues derived from the uses of political and cultural activism as an ethnomusicological research method. It examines the interactions of the ideologies, motivations and personal relationships of the researcher, the musicians and the institutions involved in this recording project, focusing on the selection of repertoire as an activist act and the impact of doing advocacy research on an extremely vulnerable social group as the Saharawi refugee community. In agreement with basic principles of social responsibility of academia, it supports the role of “activist researcher”; but it cautions that it is essential for researchers to understand how relations of knowledge and power are produced, perpetuated, and challenged in specific situations of conflict, in order to turn their research into a true collaborative action. -
Mariem Hassan: La Participación Primordial De La Mujer Saharaui En La Música Haul Luis Giménez Amorós
Mariem Hassan: La participación primordial de la mujer saharaui en la música Haul Luis Giménez Amorós Resum La tradició musical saharaui ha estat vinculada a la dona en referència al cant i a la secció rítmica. La dona saharaui apré del Haul, un sistema musical original del mon cultural Hassanya –principalment situat en Mauritania i Sahara Occidental–, composat per huit modes melòdics –entamas, seinicar, fagu, leboer,lyen,lebteit y tehrar– i set ritmes –bleida, charha, serbet, agarran, agassar, dubka y medra– –mirar apéndice 1 y 2–. En torn a la dona trobem als poetes, que són majoritàriament de gènero masculí, igualment que els guitarristes els quals s’encarreguen d’acompanyar el cant. La interacció entre ambdos gèneres en la música saharaui es d’interés cultural i musical, amb un valor social afegit donada les circumstàncies pel qual travessa el poble saharaui com refugiats polítics en el desert de la Hamada –Argelia– des de 1975. Resumen La tradición musical saharaui ha estado vinculada a la mujer en referencia al canto y a la sección rítmica. La mujer saharaui aprende del Haul, un sistema musical original del mundo cultural Hassanya (principalmente situado en Mauritania y Sahara Occidental), compuesto por ocho modos melódicos (entamas, seinicar, fagu, leboer,lyen,lebteit y tehrar– y siete ritmos –bleida, charha, serbet, agarran, agassar, dubka y medra– –mirar apéndice 1 y 2–. En torno a la mujer encontramos a los poetas, que son mayormente de género masculino, al igual que los guitarristas que se encargan de acompañar el canto. La interacción entre ambos géneros en la música saharaui es de interés cultural y musical, con un valor social añadido dada las circunstancias que atraviesa el pueblo saharaui como refugiados políticos en el desierto de la Hamada –Argelia– desde 1975.