Join Us at the Sutton Place Hotel in Edmonton for Music Conference Alberta 2018 October 25-27, 2018

Total Page：16

File Type：pdf, Size：1020Kb

Join us at the Sutton Place Hotel in Edmonton for Music Conference Alberta 2018 October 25-27, 2018 Ways to Save on Registration: New! 1st Time Delegate Registration $187.50 (half price!) - deadline 12:00am on October 22nd Earlybird Registration $325 - deadline 12:00am on September 30th 2-for-1 Registration: bring a friend who has never attended MCA $187.50 each - deadline 12:00am on October 22nd Keynote speaker, Alan Gordon Bell Allan Gordon Bell was born in Calgary in 1953. He received a Master of Music degree from the University of Alberta where he studied with Violet Archer, Malcolm Forsyth, and Manus Sasonkin. He also did advanced studies in composition at the Banff Centre for the Arts where his teachers were Jean Coulthard, Bruce Mather, and Oskar Morawetz. He has created works for solo instruments, chamber ensembles, orchestra, band, and electroacoustic media. His works have been performed by the National Arts Centre Orchestra, Calgary Philharmonic Orchestra, Esprit Orchestra, the Vancouver Symphony Orchestra, the Manitoba Chamber Orchestra, the Edmonton Symphony Orchestra the Orford String Quartet, the Purcell String Quartet, the ensembles of Toronto New Music Concerts, Arraymusic and the Société de musique contemporaine du Québec, and many other professional and amateur organizations in Canada, the United States, the United Kingdom, West Germany, Israel, and Japan. Bell is Professor of Music at the University of Calgary. From 1984 to 1988, he served as President of the National Board of the Canadian Music Centre. His music is available from the Canadian Music Centre, Alberta Keys and Gordon V. Thompson. Allan Bell won the JUNO Award for his composition “Field Notes.” He is a Member of the Order of Canada. Highlights for Studio Teachers * Krzyzstof Jablonski, world-class pianist, 1985 * Michèle Wheatley-Brown Laureate and now jury member of the F. Chopin What Every Musician (and their teachers) Need to Know International Piano Competition in Warsaw about the Body - Bridging the gap between the science Lecture-Recital on Chopin’s Etudes of movement and the art of making music Advanced Piano Masterclass * Reneé Pérez Rodríguez and Pedro Pérez * Gabriella Minnes Brandes, renowned Alexander Learning from Venezuela’s Sistema Guitar Orchestras Technique teacher * Jolene Wong Series of Alexander Technique sessions (Introductory Advocacy Now: How Can You Advocate For Your plus 3 focused sessions devoted to pianists, vocalists, Program? and conductors) * Timothy Anderson * Elizabeth Raycroft and Evan Westfal Academic Poster Presentations Teaching Students in the LGBTQ+ Community * David Visentin * Jacques Després and Viktoria Reiswich-Dapp: El Sistema: Then, Now and When Music for Piano Four Hands: Innovative Tools to Teach Collaborative Piano (Lecture Recital and Masterclass) * One-on-One Sessions Consult with an expert on a range of topics from artistic, * Joan Blench pedgagogical and administrative topics. Takadimi Rhythm Syllables For more information or to register, * UCalgary String Quartet go to the Music Conference Alberta website at The Klezmer-inspired String Quartet www.musicconferenceab.ca REGISTER NOW!.

Copy Link

Recommended publications

An Evening of New Canadian and American Music
Music At Bennington Presents: An Evening of New Canadian and American Music with guest artists Sylvia Shadick-Taylor & Karen J. Minish Friday, March 7, 1997 at 8 p.m. Deane Carriage Barn "This concert is made possible in part through the generous support of Judith Rosenberg Hoffberger '54 and the Henry and Bennington College Ruth Blaustein Rosenberg Foundation." About the Artists: Toronto Women's Chorus, the Claude Watson School of the Arts Orchestra, the Edmonton Symphony, and the Toronto Symphony. Competition awards have included SYLVIA SIIADICK-TAYLOR - Pianist first place prizes in th e Canadian Contempora1y Music Workshop, and Arraynrnsic's Canadian pianist, Sylvia Shadick-Taylor holds a Il.Mus. cum laude Young Composers' Competition. Hi s compositions have been recorded by CBC with from the University of Alberta, where she studied with Alexandra Munn, as future broadcasts to include the Three Spanish Songs. Two Etudes For Organ had its well as Licentiate and Associate Diplomas. Her studies have taken her from European debut in Warsaw. IJpcoming performances will feature the CBC commissioned her early years with Sheila Shinkewski in Saskatchewan, to Ilanff, Aspen, work The Painter Suite for Edmonton's Hammerhead Consort, and an orchestral work New York and Salzburg. Other teachers who have contributed ~o Sylvia's entitled 011ve1·h1re Sauvage, commissioned by the Edmonton Symphony through the musicianship have been Thomas Muraco, Menahem Pressler, Ed 1th Oppens, and Gyorgy Sebok. Now based in Edmonton, she has worked for Edmonton Alberta Arts Foundation. Opera, the Edmonton Symphony Orchestra, Pro Coro Canada, Alberta College, and the CosmoPohtan Music Society.
[Show full text]
At 32, Heather Schmidt Has Accomplished More Than Many Musicians Twice Her Age
At 32, Heather Schmidt has accomplished more than many musicians twice her age. She credits Albertan musical institutions and teachers as vital formative forces. 40 ALBERTA VIEWS se P te M ber 2 0 0 6 feAture profile one of our own Heather Schmidt is a product of Alberta’s outstanding musical culture—and the world is taking notice. By george fenwick Heather Schmidt is a rarity in the musical world. Most musicians would consider themselves fortunate to build a successful career as a performer or as a composer. Schmidt is in demand throughout North America and in Europe in both capacities. “It’s only in the recent century that the two roles A have become separate,” she says. “As a performer I find that I AT First THE MUsiC SParKles with energy, the orchestra perform with a composer’s insights, and likewise music that I generating dazzling colours and frenetic movement. The solo write is affected by my experience as a performer. They’re really pianist inscribes razor-sharp chords, echoed by fluttering intertwined.” gestures in the high wind instruments. The majesty of the At 32, Schmidt has accomplished more than many musicians entire orchestra is unleashed. twice her age. She has performed in solo recitals and with Then the instruments subside, and the piano descends into major symphony orchestras throughout North America, and its lowest register. The deepest, darkest tones of the solo tuba recently toured Northern Europe with cellist Shauna Rolston. indicate that the phoenix, the mythical bird whose story has In addition to her four piano concertos and a cello concerto been told since ancient Egyptian times, has reached the end written for Rolston, Schmidt has written several works for of its 500-year life cycle.
[Show full text]
Erall Texture of the Piece Consists of Sustained Tones, Repeated Aleatory Cells, and Isolated Events, Much in the Manner One Would Experience a Typical Soundscape
University of Alberta Forest in the City by Trifon Heney A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfillment of the requirements for the degree of Doctor of Music Department of Music ©Trifon Heney Spring 2014 Edmonton, Alberta Permission is hereby granted to the University of Alberta Libraries to reproduce single copies of this thesis and to lend or sell such copies for private, scholarly or scientific research purposes only. Where the thesis is converted to, or otherwise made available in digital form, the University of Alberta will advise potential users of the thesis of these terms. The author reserves all other publication and other rights in association with the copyright in the thesis and, except as herein before provided, neither the thesis nor any substantial portion thereof may be printed or otherwise reproduced in any material form whatsoever without sthe author's prior written permission. Abstract Forest in the City is a soundscape composition for string orchestra (5/4/3/2/2), divided into two concentric circles consisting of inner and outer groups, and electronics. Spatialization of string orchestra, loudspeakers, and audience is a major focus of Forest in the City, as essential as dynamics and orchestration. The electronics are controlled by a laptop performer via software created in Max 5, a real-time graphical object programming environment for music, that allows the computer to function as a musical instrument under the guidance of the conductor. The first chapter deals with the overview of acoustic ecology and soundscape, and how Forest in the City is situated within the rubric of soundscape composition.
[Show full text]
Violet Archer. Canadian Composers Portraits. Toronto: Centrediscs, 2002
Violet Archer. Canadian Composers Portraits. Toronto: Centrediscs, 2002. CMCCD 8502. $20.00. Two compact discs. Disc 1: Documentary produced and presented by Eitan Cornfield (4&:26). Disc 2: Sinfonietta (CBC Vancouver Chamber Orchestra, John Avison, conductor) (16:OO); Trio no. 2 (The Hertz Trio) (1357); String Quartet no. 3 (University of Alberta String Quartet) (2055); The Bell (CBC Chorus and Orchestra, Geoffrey Waddington, conductor) (2 1:5 1). Montreal-born composer, performer and her student days at Yale; Trio no. 2 (1956- teacher Violet Archer (1 9 13-2000) had a 57), from her professional years in the tremendous impact on musical life in United States; Sinfonietta (1968) fkom her Canada, an impact that has been University of Alberta years; and String acknowledged widely: among other Quartet no. 3 (198 1) completed after her special awards and distinctions, she was retirement. While Archer herself suggests recipient of several honorary doctorates in the liner notes that the Sinfonietta, (McGill, University of Windsor, and performed capably by the CBC Vancouver University of Calgary) and the Order of Chamber Orchestra, "may possibly be Canada (1983). Most recently, she was classified as neo-classic," the selected as one of the fist ten composers straightforward metric, phrase and formal to be represented in the Canadian Music organization places it certainly in that camp. Centre's Centredisc Portraits series. Perhaps most noteworthy is how Archer's eight-year experience as percussionist in the The sound quality and the quality of Montreal Women's Symphony, founded in performances on the Violet Archer 1940 by conductor Ethel Stark, reveals itself Portrait is somewhat mixed.
[Show full text]
TMS 3-1 Pages Couleurs
ISSUE 08 www.scena.org Spring 2005 • Vol. 3.3 $4.95 Peter Oundjian & Gary Kulesha on New Creations Will Crutchfield on Bel Canto Classical Concert Spring Picks Southern Ontario Winnipeg Calgary Edmonton Vancouver Victoria Valery Gergiev Maestro in Motion Youth: Canada’s Rising Stars • Music Camps • Careers The Music Scene Spring 2005 Vol. 3.3 La Version PDF is made available free of charge to visitors of This low resolution PDF<http://www.scena.org>. version As a web magazine, this version is Scena Musicale Online not printable. is available on yearly subscription for A high resolution printable PDF version $15 CDN (10 issues of La Scena Musicale PDF and The Music Scene PDF). Every month PDF paid subscribers will be sent by email the link to the high resolution ver- sion. Contact [email protected] to subscribe. http://www.scena.org TMS3-3cover4 2005-03-15 12:05 Page 1 ISSUE 08 www.scena.org Spring 2005 • Vol. 3.3 $4.95 Peter Oundjian & Gary Kulesha on New Creations Will Crutchfield on Bel Canto Classical Concert Spring Picks Southern Ontario Winnipeg Calgary Edmonton Vancouver Victoria Valery Gergiev Maestro in Motion Youth: Canada’s Rising Stars • Music Camps • Careers TMS3-3cover4 2005-03-15 13:32 Page 2 tms3-3_AC p03-11 3/11/05 10:07 PM Page 3 tms3-3_AC p03-11 3/11/05 10:11 PM Page 4 tms3-3_AC p03-11c 2005-03-16 14:17 Page 5 Help Promote Classical Music in Canada. Make a Donation to La Scena Musicale / The Music Scene Support Direct your gift: _____ General operations “I believe in The Music Scene and _____ Circle of Friends _____ Website La Scena Musicale's mission to promote classical music; that is All donations of $10 and above will be gratefully acknowledged, and a tax receipt will be issued.
[Show full text]
A Story That Shows an Innovative Way to Compose Music
AMinha story that shows an innovative wayTerra to compose music MINHA TERRA FILMS PRESENTS A PRODUCTION DIRECTED BY MARCELO VILHENA BASED ON DENIS NASSAR'S CREATIVE PROCESS SUPPORT: films UNIVERSITY OF CALGARY ORCHESTRA RED DEER COLLEGE www.minhaterraf ilms.com CALGARY MUSICIANS ASSOCIATION MINHA TERRA FILMS PRESENTS Minha Terra (My Land) Running time 1 hour Genre Music Documentary Rating G – General Audience – Suitable for all ages Year 2017 Language English / Portuguese / Spanish Country of Origin Canada Format 1920x1080, 24fps, 1.66:1, Sound Stereo, Rec709 Links Official website: www.minhaterrafilms.com Official Facebook: www.facebook.com/minhaterradoc IMDB: www.imdb.com/minhaterrafilms/minhaterradoc Minha Terra Documentary – Brochure Sales / Distribution Minha Terra Films – [email protected] - ph +1 (403) 926-3303 1 SHORT SYNOPSIS Minha Terra “Minha Terra” is a one-hour documentary that goes deep into the world of music composition and shows the fascinating way of generating an entire musical piece from the pitches and rhythms found in the spoken voice. We will describe the creative process behind the orchestral piece called “Minha Terra” by Denis Nassar, and show renowned composers around the world that first explored this technique and inspired the new generation of composers such as Nassar. The audience will hear pieces in different styles, which have one thing in common: they were all created based on musical materials derived from spoken voices. In the piece “Minha Terra”, the composer based his work on popular speeches and musical materials that feature dialects from different regions of Brazil. The documentary invites the audience to gradually becoming immersed into a new world of sounds and rhythms.
[Show full text]
View of Contemporary Music Resources in Canada
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2016 Canadian Works for Horn by Michael Conway Baker, Malcolm Forsyth and Elizabeth Raum Kiirsi L. Maunula Follow this and additional works at the DigiNole: FSU's Digital Repository. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC CANADIAN WORKS FOR HORN BY MICHAEL CONWAY BAKER, MALCOLM FORSYTH AND ELIZABETH RAUM By KIIRSI MAUNULA A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music 2016 Kiirsi Maunula defended this treatise on October 27, 2016. The members of the supervisory committee were: Michelle Stebleton Professor Directing Treatise Steve Kelly University Representative Christopher Moore Committee Member Alexander Jimenez Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the treatise has been approved in accordance with university requirements. ii ACKNOWLEDGMENTS I am grateful to my family, especially my parents Kevin and Tracie Maunula for their constant support through my education and the many uncertainties that come with being a musician. Thank you to my professors over the years, Michelle Stebleton, Randy Gardner, Derek Conrod, and Ron George, who continue to offer advice and inspiration, as well as my committee members for their wisdom during this process. To my fiancé, Jim Johnson thank you for your unwavering support throughout this degree and in all that I do. Finally, thank you to the composers Michael Conway Baker and Elizabeth Raum for their aid in such research as well as the Counterpoint Music Library for the inclusion of Malcolm Forsyth’s works in this document.
[Show full text]
Pantomime by Pierre Mercure, Tafelmusik by Godfrey Ridout, and from Chaos to the Birth of a Dancing Star by Allan Gordon Bell
AN EXAMINATION OF MAJOR WORKS FOR WIND BAND AND CHAMBER ENSEMBLE: “PANTOMIME” BY PIERRE MERCURE, “FROM CHAOS TO THE BIRTH OF A DANCING STAR” BY ALLAN GORDON BELL, AND “TAFELMUSIK” BY GODFREY RIDOUT by EDWARD GARRET STEIN B.Mus., The University of Alberta, 2005 B.Ed., The University of Alberta, 2005 A REPORT submitted in partial fulfillment of the requirements for the degree MASTER OF MUSIC Department of Music College of Arts and Sciences KANSAS STATE UNIVERSITY Manhattan, Kansas 2007 Approved by: Major Professor Frank Tracz, Ph.D. Abstract This document was submitted to the Graduate School of Kansas State University in partial fulfillment for the Master’s in Music degree. It contains theoretical, historical, and rehearsal analyses for the Graduate Conducting Recital of Edward Garret Stein. The recital was performed by members of the Kansas State University Symphony Band in McCain Auditorium on Wednesday, March 13, 2007. The concert was intended to be an exploration of three important and diverse chamber works for winds. Selections included Pantomime by Pierre Mercure, Tafelmusik by Godfrey Ridout, and From Chaos to the Birth of a Dancing Star by Allan Gordon Bell. Employed in this report are the analytical methods based on the Blocher/Miles Unit Study from the Teaching Music through Performance in Band series as well as the Tracz concept of macro-micro score analysis. Table of Contents List of Figures.................................................................................................................... vi Acknowledgements..........................................................................................................viii
[Show full text]
An Interview with Allan Gordon Bell Monika Zaborowski
An Interview with Allan Gordon Bell Monika Zaborowski Alberta-born composer Allan Gordon Bell is a well-known representative of what is a true “Canadian” music. Bell's music is not contemporary in the sense that he is trying to confuse the audience and apply theories that can only be understood by the few academics that wish to analyze it. Instead, his music derives its sounds from aural experiences from the Albertan landscape. Bell is fascinated with the outer world of his land. Mapping the musical sounds of his environment through ‘pure’ listening, Bell has developed a compositional language that challenges listeners to find experiential connections in his music, calling out for us to find our place in this land we call Canada. His music evokes aural memories of our Canadian surroundings, to inform us and remind us of the beauty we so often neglect. Bell is a Professor of Music at the University of Calgary, and former President of the Canadian Music Centre. I spoke with the composer via telephone on October 20, 2011. [interview begins verso] 30 Musicological Explorations I’ve read you completed your undergraduate degree in philosophy. Could you tell us the connection and transition between your studies in philosophy and later focus on composition? How did you decide to pursue composition? I began university thinking I wanted to be a writer. However when I entered English, I determined that was probably not the right direction. I was pursuing philosophy because I wanted to gain a greater understanding of what was going on in the world.
[Show full text]
Final Document 12-12-13 with Edited Appendices.Pdf
UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE AN OVERVIEW OF THE PIANO CONCERTO IN CANADA SINCE 1900 WITH STYLISTIC ANALYSES OF WORKS SINCE 1967 BY ECKHARDT-GRAMATTÉ, DOLIN, LOUIE, KUZMENKO, AND SCHMIDT A DOCUMENT SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the Degree of DOCTOR OF MUSICAL ARTS By MICHELLE RUTHANNE PRICE Norman, Oklahoma 2013 AN OVERVIEW OF THE PIANO CONCERTO IN CANADA SINCE 1900 WITH STYLISTIC ANALYSES OF WORKS SINCE 1967 BY ECKHARDT-GRAMATTÉ, DOLIN, LOUIE, KUZMENKO, AND SCHMIDT A DOCUMENT APPROVED FOR THE SCHOOL OF MUSIC BY ______________________________ Dr. Marvin Lamb, Chair ______________________________ Dr. Edward Gates, Co-Chair ______________________________ Dr. Jane Magrath ______________________________ Dr. Sanna Pederson ______________________________ Dr. Teresa DeBacker © Copyright by MICHELLE RUTHANNE PRICE 2013 All Rights Reserved. Acknowledgments I would like to thank my committee members for their tremendous support, advice, and valuable service to the betterment of my education. Special thanks go to my chair, Dr. Marvin Lamb, for his willingness to serve as coordinator and advisor for the final semester of my document research. To Dr. Jane Magrath, I express my sincere appreciation for her editing advice and guidance as my former chair for four years. I would like to especially thank my co-chair, Dr. Ed Gates, whose editing probed into the recesses of my mind and aided my growth as a researcher, scholar, critical thinker, and confident writer. Thank you to Dr. Sanna Pederson, for her input while in both Norman and abroad in Germany. Finally, thank you to Dr. Teresa DeBacker, for her supportive service and valuable feedback.
[Show full text]
Elements of Place in the Choral Works of Malcolm Forsyth by Robert
Elements of Place in the Choral Works of Malcolm Forsyth by Robert Curtis A thesis submitted in partial fulfillment of the requirements for the degree of Doctor of Music Department of Music University of Alberta © Robert Curtis, 2015 Abstract The full thesis for this degree consists of this document as well as two public juried recitals, which were given on December 2, 2011 and June 9, 2013, at Convocation Hall, Edmonton, Alberta. The concept of place is complex and has only recently begun to receive serious study, both on its own and in terms of its relationship to music. Ideas of place rely on geography, culture, history, relationships to other places, and relationships between groups of people, and are subjective constructions. The concept of landscape is useful in examining the relationship between people and their biophysical environments; landscapes can be represented in a variety of forms including painting, photography, poetry, prose and music. Elements of place in music take a variety of forms, from obvious surface elements (such as titles and textual references to specific places) to more abstract, subjective elements wherein the composer tries to capture a personal impression or a sense of a place. A variety of approaches to “place” are examined in detail, and instances of manifestations of place in music are explored through the consideration of a number of examples from the choral music of Malcolm Forsyth. Malcolm Forsyth is a composer for whom elements of place are at the forefront of his compositions. Forsyth was born in South Africa in 1936 and immigrated to Canada in 1968, and his music contains many influences from and unique perspectives on both countries.
[Show full text]