Sopor Aeternus & the Ensemble of Shadows ...Ich Töte

Total Page：16

File Type：pdf, Size：1020Kb

Sopor Aeternus & The Ensemble Of Shadows ...Ich Töte Mich Jedesmal Aufs Neue, Doch Ich Bin Unsterblich, Und Ich Erstehe Wieder Auf; In Einer Vision Des Untergangs... mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Classical Album: ...Ich Töte Mich Jedesmal Aufs Neue, Doch Ich Bin Unsterblich, Und Ich Erstehe Wieder Auf; In Einer Vision Des Untergangs... Country: Germany Style: Medieval MP3 version RAR size: 1174 mb FLAC version RAR size: 1399 mb WMA version RAR size: 1810 mb Rating: 4.3 Votes: 813 Other Formats: FLAC MOD XM MP3 DMF WAV DXD Tracklist 1 Travel On Breath (The Breath Of The World) 2 Falling Into Different Flesh 3 Birth - Fiendish Figuration 4 Tanz Der Grausamkeit 5 Im Garten Des Nichts (A Secret Light In The Garden Of My Void) 6 Time Stands Still... (...But Stops For No-One) 7 Do You Know My Name? (Falling... - Reprise) 8 Penance & Pain 9 Holy Water Moonlight 10 Beautiful Thorn 11 The Feast Of Blood 12 Dark Delight (Dedicated To Victor Bertrand) 13 Baptisma 14 Birth - Fiendish Figuration ("The Inner Hell" - Orig. Demo) Notes May Have the release code wrong, but the ones added are the only ones visible. Jewel case with 10 page insert. Sticker on case "Digitally remastered Includes 7 Bonus Tracks" Barcode and Other Identifiers Barcode: 718750155221 Matrix / Runout: Panteon 00735AA7 Other versions Category Artist Title (Format) Label Category Country Year ...Ich Töte Mich Jedesmal Aufs Neue, Doch Ich Bin Sopor Unsterblich, Und Ich Apocalyptic AV 003 CD AV 003 CD Germany 1994 Aeternus* Erstehe Wieder Auf; In Einer Vision Vision Des Untergangs... (CD, Album, Ltd, 1st) ...Ich Töte Mich Jedesmal Sopor Aufs Neue, Doch Ich Bin Aeternus & Unsterblich, Und Ich Apocalyptic AV-001-LP The AV-001-LP Germany 2012 Erstehe Wieder Auf; In Einer Vision Ensemble Vision Des Untergangs... Of Shadows (2xLP, Album, Ltd, Mar) ...Ich Töte Mich Jedesmal Aufs Neue, Doch Ich Bin Sopor Unsterblich, Und Ich Apocalyptic AV 003 CD AV 003 CD Austria 1994 Aeternus* Erstehe Wieder Auf; In Einer Vision Vision Des Untergangs... (CD, Album, 4th) ...Ich Töte Mich Jedesmal Aufs Neue, Doch Ich Bin Sopor Unsterblich, Und Ich Apocalyptic AV 003 CD AV 003 CD Germany Unknown Aeternus* Erstehe Wieder Auf; In Einer Vision Vision Des Untergangs... (CD, Album, Ltd, 3rd) ...Ich Töte Mich Jedesmal Aufs Neue, Doch Ich Bin Sopor Unsterblich, Und Ich Apocalyptic AV003 CD AV003 CD Germany 1999 Aeternus* Erstehe Wieder Auf; In Einer Vision Vision Des Untergangs... (CD, Album, RE, RM) Related Music albums to ...Ich Töte Mich Jedesmal Aufs Neue, Doch Ich Bin Unsterblich, Und Ich Erstehe Wieder Auf; In Einer Vision Des Untergangs... by Sopor Aeternus & The Ensemble Of Shadows 1. Sopor Aeternus & The Ensemble Of Shadows - A Strange Thing 2 Say (Collector's Edition) 2. White Onyx Elephants - The Secret Order Of White Onyx Elephants 3. Sopor Aeternus & The Ensemble Of Shadows - Dead Lovers' Sarabande (Face Two) 4. Sopor Aeternus & The Ensemble Of Shadows - The Spiral Sacrifice 5. Visible Breath - Fuse 6. Sopor Aeternus & The Ensemble of Shadows - Flowers In Formaldehyde 7. Fiendish Gloom - Only Death Is Forever 8. Sopor Aeternus & The Ensemble Of Shadows - Like A Corpse Standing In Desperation 9. Balzac - When The Fiendish Ghouls Night Official Bootleg 10. Sopor Aeternus & The Ensemble Of Shadows - The Inexperienced Spiral Traveller (Aus Dem Schoß Der Hölle Ward Geboren Die Totensonne).

Copy Link

Recommended publications

David Dzubay
all water has a perfect memory DAVID DZUBAY david Dzubay Disc A 69:46 Disc B 58:29 String Quartet No. 1 “Astral” 1. Double Black Diamond 10:08 common sense COMPOSERS’ COLLECTIVE SPARK 1. Voyage 5:57 Indiana University New Music Ensemble; 2. Starry Night 4:07 David Dzubay, conductor 3. S.E.T.I. 1:50 4. Wintu Dream Song 6:23 Kukulkan II 5. Supernova 3:39 2. Kukulkan’s Ascent (El Castillo March equinox) 2:37 all water has a perfect memory Orion String Quartet 3. Water Run (Profane Well) 3:31 6. all water has a perfect memory 15:12 4. Celestial Determination (El Caracol) 1:56 Voices of Change 5. Processional-Offering (Sacred Well) 4:51 6. Quetzalcoatl’s Sacrifice (The Great Ball Court) 4:13 7. Producing For A While 8:21 7. Kukulkan’s Descent (El Castillo September equinox) 2:13 Voices of Change Indiana University New Music Ensemble 8. Delicious Silence 7:11 Chamber Concerto for Trumpet, Violin & Ensemble Miranda Cuckson, violin 8. Déjà vu (passacaglia sospeso) 13:20 9. Rapprochement (intermezzo) 9:08 9. Lament 9:28 10. Détente(s) (scherzo) 6:31 Barkada Quartet Indiana University New Music Ensemble; 10. Volando 4:27 David Dzubay, conductor Zephyr Simin Ganatra, violin John Rommel, trumpet/flugelhorn/piccolo trumpet 11. Lullaby 3:09 Emily Levin, harp innova 011 © David Dzubay. All Rights Reserved, 2019. innova 024 innova® Recordings is the label of the American Composers Forum. innova.mu pronovamusic.com all water has a perfect memory solo, chamber and ensemble music by David Dzubay Welcome to this survey of some of my music from the narrative-based music remains somewhat abstract and early 21st century! The first disc assembles performanc- personal; the composer and audience may have very es from a variety of chamber ensembles and soloists, different interpretations of the same music because so spanning a period from 2003-2015.
[Show full text]
2001-2002 North American Music Festival
NORTH AMERICAN MUSIC FESTIVAL Lynn University Philharmonia Orchestra. Arthur Weisberg, conductor 7:30 p.m. April 13, 2002 Olympic .Heights Performing Arts Theater Simply. Grand Those who know ... choose Kretzer • Ballet Florida • Crest Theatre • Old School Square • • Colony Hotel • Florida Stage • Four Seasons Resort· • Governors Club • Kravis Center· Lynn University· • Palm Beach County Cultural Center • • Palm Beach County School of the Arts • • Palm Beach Opera • Renato's • • Tommy Smith • The Backstreet Boys • kretzer P A N 0 860 North Military Trail* West Palm Beach, FL* 33415 * (561) 478-5320 www.kretzerpiano.com PROGRAM Skyscrapers (World Premiere) ...................... Gregory J. Hutter Mies Steel and Glass A Haunted Landscape .................................. George Crumb (dedicated to Arthur Weisberg and the New York Philharmonic} {1929- ) INTERMISSION The Rite of Spring ...................................... Igor Stravinsky (1882-1971) Part I: The Adoration OfThe Earth Intro Augurs Of Spring- Dances OfThe Young Girls Ritual OfAbduction Spring Rounds Ritual OfThe Rival Tribes Procession OfThe Sage The Sage Dance OfThe Earth Part II: The Sacrifice Intro Mystic Circles OfThe Young Girls Glorification OfThe Chosen One Evocation OfThe Ancestors Ritual Action OfThe Ancestors Sacrificial Dance: The Chosen One ARTHUR WEISBERG CONDUCTOR Arthur Weisberg is considered to be among the world's leading bassoonists. He has played with the Houston, Baltimore, and Cleveland Orchestras, as well as with the Symphony of the Air and the New York Woodwind Quintet. As a music director, Mr. Weisberg has worked with the New Chamber Orchestra of Westchester, Orchestra da Camera (of Long Island, New York), Contemporary Chamber Ensemble, Orchestra of the 20th Century, Stony Brook Symphony, Iceland Symphony, and Ensemble 21.
[Show full text]
Final Thesis
Appendix – Compositions included in this study Date of Title Composer Ensemble Type Instrumentation Composition 1/01/1972322 Doubles for Wind Quartet Colin Brumby Quartet Flute, Oboe, Clarinet, Bassoon 1/01/1972 Pas De deux Malcolm Williamson Duo Clarinet, Piano 2/10/1972 Divertimento Raymond Hanson Wind Quintet Flute, Oboe, Clarinet, Alto Saxophone, Bassoon Horn 1/01/1973 Carrion Comfort Felix Werder Septet Voice (Treble), Flute, Oboe, Clarinet, French Horn, Percussion, Piano 1/01/1973 Chromatalea Haydn Reeder Quartet Flute/ Alto Flute, Clarinet (A)/ Bass Clarinet, Violin/ Viola, Violoncello 1/01/1973 Concert music for five solo Felix Werder Wind Quintet Flute, Oboe, Clarinet, Bassoon, French Horn instruments, op.60 1/01/1973 Portraits of my friends and others Eric Austin-Phillips Quintet Flute, Oboe, Clarinet, Bassoon, Piano 322 Works where only the year of composition has been able to be determined have been given the default date of 01/01/YEAR. The date of composition has been left blank for works that have been unable to be definitively dated at this time. 1/01/1973 Recollections of a Latvian song Ann Ghandar Quartet Flute, Oboe, Clarinet, Piano 1/01/1973 Scherzo Felix Gethen Trio Oboe (or Flute or Violin), Clarinet, Bassoon (or Violoncello) 1/01/1973 Waltz: three instruments in and out Richard Peter Maddox Trio Flute, Oboe, Clarinet of three-quarter time 1/05/1973 Shadows Theodore Dollarhide Wind Quintet Flute, Oboe, Clarinet, Bassoon, French Horn 20/06/1973 5 inventions Frederick Hill Duo Clarinet, Clarinet/ Bass Clarinet 4/09/1973
[Show full text]
White Onyx Elephants the Secret Order of White Onyx Elephants Mp3, Flac, Wma
White Onyx Elephants The Secret Order Of White Onyx Elephants mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Electronic / Non Music Album: The Secret Order Of White Onyx Elephants Country: Germany Released: 2012 Style: Dark Ambient, Industrial MP3 version RAR size: 1833 mb FLAC version RAR size: 1568 mb WMA version RAR size: 1819 mb Rating: 4.7 Votes: 616 Other Formats: MIDI VOC RA MP4 AAC AHX VOX Tracklist A Introduction - The Termite People 6:46 B Deep The Eternal Forest 1:41 Credits Artwork – Anna-Varney Cantodea Notes Limited edition 173 copies. No cover, no inner sleeve just insert on specially thick paper (300g, matt) Signed by A.V.C. There are several variations of inscription with green and red felt pen. It was given as a gift to people who ordered the entire Sopor Aeternus vinyl reissue series ("Ich töte mich...", "Todeswunsch", "Ehjeh Ascher Ehjeh", "The Inexperienced Spiral Traveler" and "Voyager") from Infrarot, and was never officially for sale anywhere. Related Music albums to The Secret Order Of White Onyx Elephants by White Onyx Elephants 1. Sopor Aeternus & The Ensemble Of Shadows - A Strange Thing 2 Say (Collector's Edition) 2. Sopor - Les Fleurs Du Mal 3. Sopor Aeternus & The Ensemble Of Shadows - Dead Lovers' Sarabande (Face Two) 4. Sopor Aeternus & The Ensemble Of Shadows - The Spiral Sacrifice 5. Sopor Aeternus & The Ensemble of Shadows - Flowers In Formaldehyde 6. Onyx - Onyx Complete Works 1981-1983 7. Sopor Aeternus & The Ensemble Of Shadows - Like A Corpse Standing In Desperation 8. Onyx - All We Got Iz Us 9. Sopor Aeternus & The Ensemble Of Shadows - ...Ich Töte Mich Jedesmal Aufs Neue, Doch Ich Bin Unsterblich, Und Ich Erstehe Wieder Auf; In Einer Vision Des Untergangs..
[Show full text]
Lutist Quarterly Volume Xxxvi, No
VOLUMEXXXVI , NO . 4 S UMMER 2 0 1 1 THE lut i st QUARTERLY The Case of the Lost Flute Concerto The Sonatas of Eugène Walckiers Mercedes Smith: Two Weeks, Two Winning Performances Unity Through Diversity: Many Flutists, One World 39th Annual NFA Convention in Charlotte, North Carolina THEOFFICIALMAGAZINEOFTHENATIONALFLUTEASSOCIATION, INC Table of CONTENTS THE FLUTIST QUARTERLY VOLUME XXXVI, NO. 4 SUMMER 2011 DEPARTMENTS 11 From the Chair 65 NFA News 13 From the Editor 68 Notes from Around the World 16 High Notes 76 New Products 20 Flute Shots 80 Reviews 42 39th NFA Convention: 91 From the 2012 Convention Unity Through Diversity: Program Chair Many Flutists, One World 92 NFA Office, Coordinators, 59 Across the Miles Committee Chairs 62 Honor Roll of Donors to the NFA 97 Index of Advertisers 22 FEATURES 22 The Case of the Lost Flute Concerto by Andrew Woolley It wasn’t Scotland Yard, and he isn’t Sherlock Holmes, but a scholar’s discovery in Scotland of a flute concerto by Antonio Vivaldi, previously believed lost, is great news for flutists and historians alike. 26 The Sonatas of Eugène Walckiers by Ursula Pešek (translated by Traute Marshall) The last five works by the French flutist and composer, including one plucked from obscurity, offer modern flutists outstanding additions to the repertoire of original flute sonatas. This is the first of a two-part article, which continues in the Fall 2011 issue with a focus on the composer himself, dubbed by author R.S. Rockstro “a man of real genius.” 34 Two Weeks, Two Winning Performances by Kyle Dzapo Conscientious practice sessions, careful planning, and frequent recitals helped Mercedes Smith achieve her one-two punches in competition wins and an early jumpstart to a promising career as a flutist.
[Show full text]
Paralysis by Analysis
Rocco, Roger. Brass Pedagogy and Performance Practices (blog) This site is dedicated to the memory of Arnold Jacobs. These concepts are published to fulfill my promise to "Jake" a few months before his death in 1998. "Your work will continue through your students." Harvey Phillips, "Arnold Jacobs is our national treasure." Friday, April 19, 2013 THE PARALYZING IMPACT OF AIR AND EMBOUCHURE ANALYSIS BRASS PLAYERS WORLDWIDE MOURN THE PASSING OF ADOLPH HERSETH ON APRIL 13, 2013. THOSE WHO WERE FORTUNATE TO SHARE A STAGE WITH “BUD” KNOW THE MAGNITUDE OF HIS GREATNESS AS AN ARTIST PLAYING THE TRUMPET AND HIS INSPIRATIONAL MUSICAL LEADERSHIP. BUD'S PROFOUND INFLUENCE WILL IMPACT MY WORK FOREVER. BUD AND JAKE ARE TOGETHER AGAIN. Adolph Herseth There is nothing wrong with your chops. Your mind is messing them up. Paralysis by Analysis. When encountering problems technically or musically, first sing (vocally) then buzz (mouthpiece).Transfer the singing and buzzing to the instrument. Arnold Jacobs I believe that it is best to be somewhat unconscious of our physical maneuvers but highly conscious of our musical goals. We must not give dominance to the instrument or our various body parts. We must give dominance only to the music. Roger Rocco THE BRASS TRILOGY 1. There is no reason for success or failure other than our state of mind. 2. Sound motivates function. 3. It’s just the singing. Self-doubt is a self-inflicted wound that results from an expectation of failure. We always realize our expectations. In over forty-five years of teaching, no inexperienced young wind player has ever asked me one question about air or embouchure.
[Show full text]
Jazz Guitarist Jimmy Ponder: a Case Study of Creative Processes and Identity Formation in American Popular Music
JAZZ GUITARIST JIMMY PONDER: A CASE STUDY OF CREATIVE PROCESSES AND IDENTITY FORMATION IN AMERICAN POPULAR MUSIC By Colter Harper BM Duquesne University, 2001 Submitted to the Graduate Faculty of Department of Music in partial fulfillment of the requirements for the degree of MA, Ethnomusicology University of Pittsburgh 2006 UNIVERSITY OF PITTSBURGH Faculty of Arts and Sciences This thesis was presented by Colter Harper It was defended on November 30, 2006 and approved by Akin Euba, PhD, Andrew Mellon Professor of Music Andrew Weintraub, PhD, Associate Professor of Music Thesis Director: Nathan Davis, PhD, Professor of Music ii Copyright © by Colter Harper 2006 iii JAZZ GUITARIST JIMMY PONDER: A CASE STUDY OF CREATIVE PROCESSES AND IDENTITY FORMATION IN AMERICAN POPULAR MUSIC Colter Harper, MA University of Pittsburgh, 2006 This study examines musical and social processes in American popular music through the creative life of Pittsburgh born jazz guitarist Jimmy Ponder. I contextualize Ponder’s technical and conceptual approaches with a historical analysis of developments in jazz during the mid-20th century. In examining intersections between jazz and other popular forms of music during the 1950s, 60s, and 70s, I aim to identify Ponder’s “musical identity,” which encapsulates the totality of his musical existence. In this study, I focus on relating musical sounds to social contexts and the processes that give these sound meaning. Musical identity, as a tool for examining the creative life of the jazz musician, is comprised of the individual’s approach to their instrument(s), recording, band leading, performance, song interpretation, and improvisation. From these approaches develops a “voice” with which the musician creates meaningful musical experiences (authentic performances) as well as engages certain social realities in public contexts (affective collective listening).
[Show full text]
Dauverné Method for Trumpet 1857
METHODFOR TRUMPET Fran~oisGeorges Auguste Dauverne @.Paris Feb. 15, 1800 - dParis Nov. 5,1874) Translated by Gaetan Chenier(Hist0rical Summary-2nd half), Ruby Miller Orval (Dedication Letters, Forward, Historical Summary-1st half, Musical Exercise Section), Rebecca Pike (Musical Exercise Section), and Jeffrey Snedeker (Introduction and First Part of the Method). [Editor's Note: Dauvernt's Method of 1857 is of great importance for at least two reasons. The author gives us a unique historical perspective on the trumpet through the vast historical survey. Also,from a practical standpoint the rea&r can further appre- ciate the use of trumpetsduring this unique period. The natural trumpet,newly invented piston trumpet and slide trumpet were all in active use at this time. Dauverne' examines each instrument in a thoroughpedagogical manner. Thisis the last method to approach the use of the natural trumpet. Dauverne', an internationally known trumpet virtuoso, was born in Paris on February 15,1800 and died in that same city on November 5,1874. At the age of 14, ajier two years of study, he joined the King's Garde des Corps [Life Guard band],where he remained until 1830. From 1820to1851 he waslst trumpet with the Paris Opkra Orchestra.In 1833, he became thefirst ever professor of trumpet at the Paris Conservatory,andfilled that position until his retirement in 1869. It was at the Conservatory that Dauvernk taught Arban from 1841 to his graduation in 1845. In addition to his Trumpet Method, which was published in Paris in 1857 by the firm of Brandus, Dauvernt published a collection of 6 solos for chromatic trumpet, with 2 violins, viola, cello and double-bass accompaniment and optional flute and 2 horns, ibid.
[Show full text]
EASTMAN NOTES JANUARY 2006 Draft: Fourth Date: 1/15/2006 INSIDE
JANUARY 2006 A MAGAZINE FOR ALUMNI OF THE EASTMAN SCHOOL OF MUSIC FROM THE DIRECTOR The “Eastman Ideal” Dear Eastman Alumni: We are guided at Eastman by a mission devoted to artistry, scholarship, leadership and community. Initially George Eastman and Rush Rhees, then NOTES University President, conceived of a music conservatory within a university Volume 24, Number 1 setting, which would stimulate the artist/scholar, the “thinking artist,” January 2006 so to speak. Howard Hanson would embrace this ideal and then challenge students and Editor faculty to engage themselves in innovation and the issues of their communi- David Raymond ties. Successive generations of Eastman alumni, faculty, and administration Assistant editor have emulated these admirable qualities. Juliet Grabowski Now, however, we are all called to a more aggressive leadership, a more Contributing writers significant commitment to community, while also attaining higher and higher Martial Bednar Sally Cohen levels of artistic and academic expertise. The dramatic Johannes Müller-Stosch transitional aspects of the current music world demand Howard Potter our attention and dedication like never before. The Russell Scarbrough “Eastman Ideal” can and must offer ideas and solu- Contributing photographers tions to today’s cultural challenges. In my Convocation Richard Baker address (in this issue; see p. 13) I call for zealotry Kurt Brownell Gelfand-Piper Photography from our students. In this message, I call to the whole Annette Lein Eastman family for the same. Nathan Martel The
[Show full text]
Erard Harp 13 1.1 the Early Years, 1794-1808 14 1.2 the Transition Period, 1808-1810 18 1.3 the Development of the Double Action Harp 21 1.4 Summary 25
Erard, Bochsa and their impact on harp music-making in Australia (1830-1866): An early history from documents ` Rosemary Margaret Hallo Thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy Elder Conservatorium of Music Faculty of Humanities and Social Sciences The University of Adelaide 20 June 2014 Contents List of Tables iii List of Figures iv Abstract v Declaration vi Acknowledgements vii Note on the text viii INTRODUCTION 1 Chapter One: The Erard Harp 13 1.1 The early years, 1794-1808 14 1.2 The transition period, 1808-1810 18 1.3 The development of the double action harp 21 1.4 Summary 25 Chapter Two: Nicolas-Charles Bochsa (1789-1856) 26 2.1 Bochsa in Paris 26 2.2 Bochsa in London 29 2.3 Bochsa on tour 34 2.4 Summary 35 Chapter Three: The arrival of the Erard harp in Australia: 1830-1855 37 3.1 The social impact of the Erard harps’ arrival in Australia 37 3.2 Documentation of Erard harp arrival 41 3.3 The second period, 1842-1855 47 3.4 Summary 57 Chapter Four: Harp suppliers, music and accessories: 1830-1855 59 4.1 Harp accessories 59 4.2 Commercial sales of new music 69 4.3 Summary 71 Chapter Five: Harp education in colonial Australia: 1830-1855 72 5.1 Erard Harp and education in colonial Australia 73 5.2 Summary 85 i Chapter Six: Bochsa’s music and the Erard harp in Australian concert performances: 1830-1855 86 6.1 First Australian concert venues 87 6.2 The years 1834-1839 89 6.3 The years 1839-1849 91 6.4 The years 1853-1855 102 6.5 Harp in light entertainments 108 6.6 Summary 110 Chapter
[Show full text]
2018-2019 Lynn University Wind Ensemble-The Wind Concerto: Movement 2," Crossover Concerti"
Lynn Wind Ensemble Lynn Wind Ensemble FLUTE Tenor Saxophone TUBA Timothy Fernando Rochelle Frederick Sodienye Finebone Leanna Ginsburg Katherine Weintraub Daniel Sanchez Naomi Franklin Lydia Roth Baritone Saxophone PERCUSSION Dannel Espinoza Seth Burkhart OBOE Juanmanuel Lopez Jin Cai FRENCH HORN Davi Martinelli de Lira Daniel Graber Chase DeCarlo Miranda Smith Jonathan Hearn Alexander Hoffman Wanyue Ye Kari Jenks Ting-An lee Christa Rotolo Harp CLARINET Kaitlyn Schmitt Yana Lyashko James Abrahamson Nikita Solberg Dunia Andreu Benitez John Antisz TRUMPET Piano Stojo Miserlioski Carlos Diaz Joshua Cessna Ethan Usoskin Kevin Karabell Diana Lopez Guitar BASSOON Alexander Ramazanov Sandy Poltarack Dennis Pearson Abigail Rowland John Isaac Roles Luke Schwalbach DOUBLE BASS Meng-Hsin Shih Evan Musgrave Guillermo Yalanda TROMBONE Jordan Nashman Tyler Coffman Yu-Chen Yang Alto Saxophone Hallgrimur Hauksson Erika Andersen Omar Lawand Kyle Mechmet Tamas Markovics Mario Rivieccio A Message from the Dean Welcome to the 2018-2019 season. The talented students and exceptional faculty of the Lynn University Conservatory of Music take this opportunity to share with you the beautiful world of music. This is our 26th anniversary of the Lynn Philharmonia and our 8th season performing in the Keith C. and Elaine Johnson Wold Performing Arts Center, a world-class concert hall that greatly enhances the musical offerings of our performing artists. As the conservatory continues to expand and excel, your ongoing support, sponsorship and direct contributions ensure our place among the premier conservatories of the world and a staple of our community. Please enjoy a marvelous season of great music. Jon Robertson, dean Lynn Wind Ensemble Kenneth Amis, music director and conductor Saturday, September 8 – 7:30 p.m.
[Show full text]
Freyermuth Ku 0099D 16682
“We Shall Go Forth”: A Musical Analysis of the Women’s Music Movement, 1969-1985 By Jessica Leann Freyermuth M.M., Kansas State University, 2010 B.M., Kansas State University, 2008 Submitted to the graduate degree program in Musicology and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. Chair: Roberta Freund Schwartz Colin Roust Alan Street Ketty Wong Katie Batza Date Defended: The dissertation committee for Jessica Freyermuth certifies that this is the approved version of the following dissertation: “We Shall Go Forth”: A Musical Analysis of the Women’s Music Movement, 1969-1985 Chair: Roberta Freund Schwartz Date Approved: ii Abstract In the wake of the social and political movements that defined the 1960s, the women’s music movement emerged as a means to cultivate an outlet for young lesbian musicians who saw themselves as equal to their straight male counterparts, but were unwilling to compromise their musical integrity in order to perform on major labels. The movement became a social experience, as women’s music artists would tour coffee shops, college campuses, and feminist bookstores to perform their woman-identified woman music to all-female audiences. The concerts eventually grew into larger events, such as the National Women’s Music Festival and the Michigan Womyn’s Music Festival, which offered women of myriad backgrounds a safe space to gather as friends, family, and lovers. Within this cultural movement were musicians Margie Adam, Meg Christian, Alix Dobkin, Kay Gardner, Holly Near, Linda Tillery, Mary Watkins, and Cris Williamson.
[Show full text]