March 3-4-5, 2011
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Julia Wolfe Magnus Lindberg Phill Niblock Frederic
FESTIVALIO KOMPOZITORIAI JULIA WOLFE COMPOSERS IN FOCUS: MAGNUS LINDBERG PHILL NIBLOCK FREDERIC RZEWSKI BERND ALOIS ZIMMERMANN Festivalyje skambės daugiau nei 100 skirtingų žanrų kūrinių, dauguma jų – premjeros Lietuvoje Festivalio programoje – 7 lietuvių kompozitorių kūriniai ir 8 pasaulinės premjeros Festivalio puošmena – pasaulinio garso solistai, ansambliai ir geriausių Lietuvos atlikėjų pajėgos The festival shall present over 100 pieces of different genres, most of them never before performed in Lithuania The programme of the festival includes 7 pieces by Lithuanian composers and 8 world-premieres World-famous soloists, ensembles and best Lithuanian performers will take part in the festival PB 1 PROGRAMA | TURINYS In Focus: Festivalio dėmesys taip pat: 6 JULIA WOLFE 18 FREDERIC RZEWSKI 10 MAGNUS LINDBERG 22 BERND ALOIS ZIMMERMANN 14 PHILL NIBLOCK 24 Spalio 20 d., šeštadienis, 20 val. 50 Spalio 26 d., penktadienis, 19 val. Vilniaus kongresų rūmai Šiuolaikinio meno centras LAURIE ANDERSON (JAV) SYNAESTHESIS THE LANGUAGE OF THE FUTURE IN FAHRENHEIT Florent Ghys. An Open Cage (2012) 28 Spalio 21 d., sekmadienis, 20 val. Frederic Rzewski. Les Moutons MO muziejus de Panurge (1969) SYNAESTHESIS Meredith Monk. Double Fiesta (1986) IN CELSIUS Julia Wolfe. Stronghold (2008) Panayiotis Kokoras. Conscious Sound (2014) Julia Wolfe. Reeling (2012) Alexander Schubert. Sugar, Maths and Whips Julia Wolfe. Big Beautiful Dark and (2011) Scary (2002) Tomas Kutavičius. Ritus rhythmus (2018, premjera)* 56 Spalio 27 d., šeštadienis, 19 val. Louis Andriessen. Workers Union (1975) Lietuvos nacionalinė filharmonija LIETUVOS NACIONALINIS 36 Spalio 24 d., trečiadienis, 19 val. SIMFONINIS ORKESTRAS Šiuolaikinio meno centras RŪTA RIKTERĖ ir ZBIGNEVAS Styginių kvartetas CHORDOS IBELHAUPTAS (fortepijoninis duetas) Dalyvauja DAUMANTAS KIRILAUSKAS COLIN CURRIE (kūno perkusija, (fortepijonas) Didžioji Britanija) Laurie Anderson. -
Sòouünd Póetry the Wages of Syntax
SòouÜnd Póetry The Wages of Syntax Monday April 9 - Saturday April 14, 2018 ODC Theater · 3153 17th St. San Francisco, CA WELCOME TO HOTEL BELLEVUE SAN LORENZO Hotel Spa Bellevue San Lorenzo, directly on Lago di Garda in the Northern Italian Alps, is the ideal four-star lodging from which to explore the art of Futurism. The grounds are filled with cypress, laurel and myrtle trees appreciated by Lawrence and Goethe. Visit the Mart Museum in nearby Rovareto, designed by Mario Botta, housing the rich archive of sound poet and painter Fortunato Depero plus innumerable works by other leaders of that influential movement. And don’t miss the nearby palatial home of eccentric writer Gabriele d’Annunzio. The hotel is filled with contemporary art and houses a large library https://www.bellevue-sanlorenzo.it/ of contemporary art publications. Enjoy full spa facilities and elegant meals overlooking picturesque Lake Garda, on private grounds brimming with contemporary sculpture. WElcome to A FESTIVAL OF UNEXPECTED NEW MUSIC The 23rd Other Minds Festival is presented by Other Minds in 2 Message from the Artistic Director association with ODC Theater, 7 What is Sound Poetry? San Francisco. 8 Gala Opening All Festival concerts take place at April 9, Monday ODC Theater, 3153 17th St., San Francisco, CA at Shotwell St. and 12 No Poets Don’t Own Words begin at 7:30 PM, with the exception April 10, Tuesday of the lecture and workshop on 14 The History Channel Tuesday. Other Minds thanks the April 11, Wednesday team at ODC for their help and hard work on our behalf. -
Other Minds 19 Official Program
SFJAZZ CENTER SFJAZZ MINDS OTHER OTHER 19 MARCH 1ST, 2014 1ST, MARCH A FESTIVAL FEBRUARY 28 FEBRUARY OF UNEXPECTED NEW MUSIC Find Left of the Dial in print or online at sfbg.com WELCOME A FESTIVAL OF UNEXPECTED TO OTHER MINDS 19 NEW MUSIC The 19th Other Minds Festival is 2 Message from the Executive & Artistic Director presented by Other Minds in association 4 Exhibition & Silent Auction with the Djerassi Resident Artists Program and SFJazz Center 11 Opening Night Gala 13 Concert 1 All festival concerts take place in Robert N. Miner Auditorium in the new SFJAZZ Center. 14 Concert 1 Program Notes Congratulations to Randall Kline and SFJAZZ 17 Concert 2 on the successful launch of their new home 19 Concert 2 Program Notes venue. This year, for the fi rst time, the Other Minds Festival focuses exclusively on compos- 20 Other Minds 18 Performers ers from Northern California. 26 Other Minds 18 Composers 35 About Other Minds 36 Festival Supporters 40 About The Festival This booklet © 2014 Other Minds. All rights reserved. Thanks to Adah Bakalinsky for underwriting the printing of our OM 19 program booklet. MESSAGE FROM THE ARTISTIC DIRECTOR WELCOME TO OTHER MINDS 19 Ever since the dawn of “modern music” in the U.S., the San Francisco Bay Area has been a leading force in exploring new territory. In 1914 it was Henry Cowell leading the way with his tone clusters and strumming directly on the strings of the concert grand, then his students Lou Harrison and John Cage in the 30s with their percussion revolution, and the protégés of Robert Erickson in the Fifties with their focus on graphic scores and improvisation, and the SF Tape Music Center’s live electronic pioneers Subotnick, Oliveros, Sender, and others in the Sixties, alongside Terry Riley, Steve Reich and La Monte Young and their new minimalism. -
Beethoven's 250 Anniversary
PIANO MAGAZINE WINTER 2020–2021 | VOL 12 | NO 5 CELEBRATING TH BEETHOVEN’S 250 ANNIVERSARY AND MUSICAL INNOVATORS WINTER 2020–2021 Anne-Marie Commissioning Stories McDermott: Composition & Celebrating | VOL 12 | NO 5 $12.99 VOL of Pianists’ Creativity Artist, Leader, Innovator Underrepresented Composers CLAVIERCOMPANION.COM / a magazine for people who are passionate about the piano PIANO MAGAZINE PUBLISHER The Frances Clark Center for Keyboard Pedagogy EDITOR-IN-CHIEF / CHIEF CONTENT DIRECTOR WHAT YOU’LL Pamela D. Pike FIND INSIDE SENIOR EDITOR / DIRECTOR OF DIGITAL CONTENT Andrea McAlister • SENIOR EDITORS Steve Betts RESOURCES TO SUPPORT Craig Sale OUR COMMUNITY IN COLUMN EDITORS MUSICAL ENGAGEMENT Linda Christensen, Technology & ADVOCACY Vanessa Cornett, Healthy Playing, Healthy Teaching Barbara Kreader Skalinder, Teaching • Artina McCain, Diversity, Equity, and Inclusion Nicholas Phillips, Recordings COVERAGE OF THE Suzanne Schons, Books, Materials, and Music NEWEST TRENDS & IDEAS Helen Smith Tarchalski, Keyboard Kids IN PERFORMANCE Jerry Wong, International Richard Zimdars, Poetry Corner AND PEDAGOGY EXECUTIVE DIRECTOR & CEO • Jennifer Snow PRACTICAL SOLUTIONS DESIGN & PRODUCTION FOR PIANO TEACHING studio Chartreuse & LEARNING PROFILES COPY EDITORS Rebecca Bellelo • Kristen Holland Shear THOUGHT-PROVOKING DIGITAL OPERATIONS Shana Kirk IDEAS FROM A RANGE OF CONTRIBUTORS ADVERTISING COORDINATOR Anna Beth Rucker • CUSTOMER SUPPORT Morgan Kline REVIEWS OF THE LATEST MUSIC, RECORDINGS, CIRCULATION The Frances Clark Center for Keyboard Pedagogy BOOKS, TECHNOLOGY, & EDUCATIONAL EDITORIAL BOARD Nancy Bachus PRODUCTS Alejandro Cremashi Barbara Fast Rebecca Grooms Johnson Scott McBride Smith Winter Issue 2020-2021 Vol 12 No 5 / 1 CONTENTS Anne-Marie McDermott: ARTIST, LEADER, INNOVATOR by Andrea McAlister 12 Photo: Group lesson at NSMS (1960s) EXPLORE LEARN TEACH 9 EDITOR’S LETTER 32 THE GIFT OF NEW 36 BECOMING WEAVERS: Pamela D. -
Blabla Bio Fred Frith
BlaBla Bio Fred Frith Multi-instrumentalist, composer, and improviser Fred Frith has been making noise of one kind or ano- ther for almost 50 years, starting with the iconic rock collective Henry Cow, which he co-founded with Tim Hodgkinson in 1968. Fred is best known as a pioneering electric guitarist and improviser, song-writer, and composer for film, dance and theater. Through bands like Art Bears, Massacre, Skeleton Crew, Keep the Dog, the Fred Frith Guitar Quartet and Cosa Brava, he has stayed close to his roots in rock and folk music while branching out in many other directions. His compositions have been performed by ensembles ranging from Arditti Quartet and the Ensemble Modern to Concerto Köln and Galax Quartet, from the BBC Scottish Symphony Orchestra to ROVA and Arte Sax Quartets, from rock bands Sleepytime Gorilla Museum and Ground Zero to the Glasgow Improvisers’ Orchestra. Film music credits include the acclaimed documentaries Rivers and Tides, Touch the Sound and Leaning into the Wind, directed by Thomas Riedelsheimer, The Tango Lesson, Yes and The Party by Sally Potter, Werner Penzel’s Zen for Nothing, Peter Mettler’s Gods, Gambling and LSD, and the award-winning (and Oscar-nominated) Last Day of Freedom, by Nomi Talisman and Dee Hibbert- Jones. Composing for dance throughout his long career, Fred has worked with Rosalind Newman and Bebe Miller in New York, François Verret and Catherine Diverrès in France, and Amanda Miller and the Pretty Ugly Dance Company over the course of many years in Germany, as well as composing for two documentary films on the work of Anna Halprin. -
Full Biography
Gina Leishman – Full Biography Composer and multi-instrumentalist Gina Leishman was born in England, studied music at the Vienna Conservatory and Edinburgh University (B.Mus.Hons.), and made her home in the U.S., first on the west coast and since the early ‘90s in New York City. She has written for theater, opera, dance, film, TV and the concert stage. Ms. Leishman was composer-in-residence at the Akrai Residency Program in Sicily, 2014, and at Montalvo Arts Center, Saratoga CA, in 2009 and 2010; also Artist in Residence at Colgate University in 2012. She has been the recipient of grants from the NEA, Meet The Composer, Lila Wallace/Readers Digest Fund, Rockefeller Foundation, Arts International, Chamber Music America, Doris Duke Foundation, American Music Center, Duffy Institute for new Opera and the California Arts Council, amongst others. She is co-founder of the septet Kamikaze Ground Crew. Together for over 30 years, they celebrated their 20th anniversary with a commission from Chamber Music America’s New Works: Creation and Presentation Program. Portraits was premiered at the 2007 San Francisco Jazz Festival. Other performances include Earshot Jazz Festival (Seattle), Frankfurt Jazz Festival and Donaueschingen New Music Festival (Germany) (who also commissioned new work), Vossa Jazz Festival (Norway), Merkin Hall and Joe’s Pub (New York), as well as regular gigs in and around downtown New York and Brooklyn. She also co-leads the Mr. Wau-Wa band, a quintet dedicated to the songs of Bertolt Brecht, for which she is the chief arranger and lead singer. Her work as a singer/songwriter includes Geography (2018), Baseless Rumors (2011), In My Skin (2007) and Bed Time (2004), all explorations of the Leishman Songbook. -
Tracing the Development of Extended Vocal Techniques in Twentieth-Century America
CRUMP, MELANIE AUSTIN. D.M.A. When Words Are Not Enough: Tracing the Development of Extended Vocal Techniques in Twentieth-Century America. (2008) Directed by Mr. David Holley, 93 pp. Although multiple books and articles expound upon the musical culture and progress of American classical, popular and folk music in the United States, there are no publications that investigate the development of extended vocal techniques (EVTs) throughout twentieth-century American music. Scholarly interest in the contemporary music scene of the United States abounds, but few sources provide information on the exploitation of the human voice for its unique sonic capabilities. This document seeks to establish links and connections between musical trends, major artistic movements, and the global politics that shaped Western art music, with those composers utilizing EVTs in the United States, for the purpose of generating a clearer musicological picture of EVTs as a practice of twentieth-century vocal music. As demonstrated in the connecting of musicological dots found in primary and secondary historical documents, composer and performer studies, and musical scores, the study explores the history of extended vocal techniques and the culture in which they flourished. WHEN WORDS ARE NOT ENOUGH: TRACING THE DEVELOPMENT OF EXTENDED VOCAL TECHNIQUES IN TWENTIETH-CENTURY AMERICA by Melanie Austin Crump A Dissertation Submitted to the Faculty of The Graduate School at The University of North Carolina at Greensboro in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts Greensboro 2008 Approved by ___________________________________ Committee Chair To Dr. Robert Wells, Mr. Randall Outland and my husband, Scott Watson Crump ii APPROVAL PAGE This dissertation has been approved by the following committee of the Faculty of The School of Music at The University of North Carolina at Greensboro. -
Vocality and Listening in Three Operas by Luciano Berio
Clare Brady Royal Holloway, University of London The Open Voice: Vocality and Listening in three operas by Luciano Berio Submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy in Music February 2017 The Open Voice | 1 Declaration of Authorship I, Patricia Mary Clare Brady, hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: February 1st 2017 The Open Voice | 2 Abstract The human voice has undergone a seismic reappraisal in recent years, within musicology, and across disciplinary boundaries in the humanities, arts and sciences; ‘voice studies’ offers a vast and proliferating array of seemingly divergent accounts of the voice and its capacities, qualities and functions, in short, of what the voice is. In this thesis, I propose a model of the ‘open voice’, after the aesthetic theories of Umberto Eco’s seminal book ‘The Open Work’ of 1962, as a conceptual framework in which to make an account of the voice’s inherent multivalency and resistance to a singular reductive definition, and to propose the voice as a site of encounter and meaning construction between vocalist and receiver. Taking the concept of the ‘open voice’ as a starting point, I examine how the human voice is staged in three vocal works by composer Luciano Berio, and how the voice is diffracted through the musical structures of these works to display a multitude of different, and at times paradoxical forms and functions. In Passaggio (1963) I trace how the open voice invokes the hegemonic voice of a civic or political mass in counterpoint with the particularity and frailty of a sounding individual human body. -
In-Demand Drummer Rudy Royston Steps out As a Leader with 303
Two for the Show Media Chris DiGirolamo PO Box 534 Mattituck, New York 11952 tel: 631-298-7823 cell: 718-669-0752 www.Twofortheshowmedia.com Email: [email protected] _________________________________________ th For Immediate Release: Release Date: February 4 , 2013 Greenleaf Records In-Demand Drummer Rudy Royston Steps Out as a Leader with 303. Greenleaf Music debut scheduled for February 4th, 2014 release features ten Royston originals plus interpretations of Mozart and Radiohead. Since moving to New York City in 2006 from his home base in Denver, Rudy Royston has emerged as one of the most exciting and in- demand young drummers on the jazz scene. Having already racked up a list of impressive credits as a sideman with the likes of rising star of the tenor sax, J.D. Allen, alto saxophonist Tia Fuller, bassist Ben Allison, guitarist Bill Frisell and trumpeter Dave Douglas, Royston was ready to step out as a leader in his own right. His debut on Greenleaf Music, 303 (named for Denver’s area code), not only features his brilliant and versatile playing on the kit but also showcases his considerable skills as a composer on ten originals. With a stellar crew of some of the brightest young lights on the New York scene -- guitarist Nir Felder, pianist Sam Harris, saxophonist Jon Irabagon, trumpeter Nadja Noordhuis and the two-bass tandem of Mimi Jones and Yasushi Nakamura -- Royston and company also turn in dramatic interpretations of Mozart’s “Ave Verum Corpus” and Radiohead’s “High and Dry” on this outstanding debut. “Rudy is such a dynamic drummer, intensely polyrhythmic, both subtle and explosive,” says trumpeter-composer-bandleader and Greenleaf Music founder Dave Douglas. -
The APDT CHRONICLE Summer 2014 of the Dog
The APDT CHRONICLE Summer 2014 of the Dog BAT 2.0: A New Version of BAT for Fear and Aggression by Grisha Stewart, MA, CPDT-KA, KPA CTP Where Did Dogs Come From? What We Know and What We Don't Know About Dog Domestication by Jessica Hekman, DVM, MS Clearing Up the Confusion: Assistance Dogs and Their Public Access Rights by Mary McNeight, CPDT-KA, CCS, BGS CertifyInBehavior.org Broaden your horizons. How do you stand out from other trainers? You’ve spent a lot of time developing your skills through education and by solving real world problems. It’s time your colleagues, clients, and local veterinarians see you in a new light. The IAABC offers two certification levels, including the field’s only mid-level certification for trainers working in behavior: • FULL CERTIFICATION (CDBC) Indicates your proven expertise and critical thinking, sound reasoning in client assessments, and excellent skills in behavior modification application. • ASSOCIATE CERTIFICATION (ACDBC) Associate Certified status indicates your excellent, yet still burgeoning skills in behavior modification and understanding of current scientific theory and application. Certification is for the serious professional. Our applications for certification require written case studies as well as responses to questions about application of learning theory and common practices in behavior consulting. Learn more about our professional behavior consulting community at CertifyInBehavior.org INTERNATIONAL ASSOCIATION OF ANIMALIAABC BEHAVIOR CONSULTANTS iaabc.org 2 w The APDT Chronicle of the Dog w Summer 2014 www.APDT.com The Association of Professional Dog Trainers P.O. Box 1148 Table of Contents Greenville, SC 29602-1148 Summer 2014 1-800-PET-DOGS [email protected] Columns www.APDT.com A Message From the Chair - Jill Marie O'Brien, CNWI, CPDT-KA 4 APDT Vision Statement: The APDT is the recognized voice of the dog training Member News - Mychelle Blake, MSW, CDBC, CAE 5 profession. -
Liner Notes, Visit Our Web Site: Broadcasts by WNYC-FM (New York City) and KPFA-FM (Berkeley), 1991
CMYK 80811- 2 80817-2 [2 CDs] CHARLES AMIRKHANIAN (b. 1945) LOUDSPEAKERS CHARLES AMIRKHANIAN LOUDSPEAKERS DISC 1 [TT: 70:03] DISC 2 [TT: 61:30] Pianola (Pas de mains) (1997–2000) 39:51 1. Son of Metropolis 1. Corale Cattedrale 3:57 San Francisco (1997) 26:38 2. Pet Hop Solo 2:28 Loudspeakers 3. Valzer Provarollio 5:27 (for Morton Feldman) (1988–90) 34:32 4. Tochastic Music 2:18 2. Meyerbeer 4:35 5. Passaggio di Coltivadori 1:07 3. The Piece 5:26 6. Antheil Swoon 2:14 4. Voice Leading 6:51 7. Chaos of the Moderns (Presto) 4:24 5. Took Some Time 7:34 8. To a Nanka Rose 2:16 6. Such a Surface 3:33 9. A Rimsky Business 4:43 7. Pretty Pretty Macabre 3:08 10. Kiki Keys 10:39 8. Loudspeakers 3:24 11. Im Frühling (1989–90) 30:06 Im Frühling 1990, Son of Metropolis San Francisco ൿ 1997, Pianola ൿ 2000 A Westdeutscher Rundfunk Köln Production New World Records, 20 Jay Street, Suite 1001, Brooklyn, NY 11201 Tel (212) 290-1680 Fax (646) 224-9638 [email protected] www.newworldrecords.org This compilation ൿ & © 2019 Anthology of Recorded Music, Inc. All rights reserved. Made in U.S.A. 21907.booklet.16 10/29/19 1:12 PM Page 2 HARLES AMIRKHANIAN (b. 1945) can be regarded as a central figure repetitive elements, but are more poetic, intuitive in their form and often in American music, and on several fronts. As a composer, he’s been impressionistic in their effect. -
The New York City Jazz Record
BEST OF 2017 BEST OF 2017 BEST OF 2017 BEST OF 2017 BEST OF 2017 BEST OF 2017 THE NEW YORK CITY JAZZ RECORD BEST OF 2017 BEST OF 2017 BEST OF 2017 BEST OF 2017 BEST OF 2017 BEST OF 2017 ALBUMS OF THE YEAR CONCERTS OF THE YEAR MISCELLANEOUS CATEGORIES OF THE YEAR ANTHONY BRAXTON—Solo (Victoriaville) 2017 (Victo) BILL CHARLAP WITH CAROL SLOANE DARCY JAMES ARGUE’S SECRET SOCIETY PHILIPP GERSCHLAUER/DAVID FIUCZYNSKI— January 11th, Jazz Standard Dave Pietro, Rob Wilkerson, Chris Speed, John Ellis, UNEARTHED GEMS BOXED SETS TRIBUTES Mikrojazz: Neue Expressionistische Musik (RareNoise) Carl Maraghi, Seneca Black, Jonathan Powell, Matt Holman, ELLA FITZGERALD—Ella at Zardi’s (Verve) WILLEM BREUKER KOLLEKTIEF— TONY ALLEN—A Tribute to Art Blakey REGGIE NICHOLSON BRASS CONCEPT Nadje Noordhuis, Ingrid Jensen, Mike Fahie, Ryan Keberle, Out of the Box (BVHaast) and The Jazz Messengers (Blue Note) CHARLES LLOYD NEW QUARTET— Vincent Chancey, Nabate Isles, Jose Davila, Stafford Hunter Jacob Garchik, George Flynn, Sebastian Noelle, TUBBY HAYES QUINTET—Modes and Blues Passin’ Thru (Blue Note) February 4th, Sistas’ Place Carmen Staaf, Matt Clohesy, Jon Wikan (8th February 1964): Live at Ronnie Scott’s (Gearbox) ORNETTE COLEMAN—Celebrate Ornette (Song X) KIRK KNUFFKE—Cherryco (SteepleChase) THE NECKS—Unfold (Ideological Organ) January 6th, Winter Jazzfest, SubCulture STEVE LACY—Free For A Minute (Emanem) WILD BILL DAVISON— WADADA LEO SMITH— SAM NEWSOME/JEAN-MICHEL PILC— ED NEUMEISTER SOLO MIN XIAO-FEN/SATOSHI TAKEISHI THELONIOUS MONK— The Danish Sessions: