Alex Waterman CV
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KUNM 89.9 FM L February 2010
P KUNM 89.9 FM l February 2010 89.9 ALBUQUERQUE l 88.7 SOCORRO l 89.9 SANTA FE l 90.9 TAOS l 90.5 CIMARRON/EAGLE NEST 91.9 ESPANOLA l 91.9 LAS VEGAS l 91.9 NAGEEZI l 90.5 CUBA KUNM celebrates Black History Month! Alfre Woodard hosts Can Do: Stories of Black Visionaries, Seekers, and Entrepreneurs, and Iyah Music Host Anthony “Ijah” Umi speaks with Activist/Comedian/Philosopher Dick Gregory on The Spoken Word Hour. Details on Page 11. KUNM Operations Staff Elaine Baumgartel...............................................................................Reporter KUNM Radio Board Carol Boss.....................................................................Membership Relations Tristan Clum...............................................................Interim Program Director UNM Faculty Representatives: Briana Cristo..........................................................Vista Youth Radio Assistant Dorothy Baca Matthew Finch ...........................................................................Music Director John Scariano Roman Garcia .......................................................Interim Production Director UNM Staff Representative: Sarah Gustavus..................................................................................Reporter Mary Jacintha Rachel Kaub ....................................................................Operations Manager Elected Community Reps: Jonathan Longcore..............................................................IT Support Analyst Graham Sharman Linda Morris .........................................................Senior -
Beinecke Illuminated, No. 6, 2019–20 Annual Report
BEINECKE ILLUMINATED No. 6, 2019–20 Annual Report Front cover: Photograph of the scultpure garden by Iwan Baan. Back cover: Dr. Walter Evans, Melissa Barton, and Edwin C. Schroeder reviewing the Walter O. Evans Collection of Frederick Douglass and Douglass Family Papers. Contributors The Beinecke Rare Book & Manuscript Library acknowledges the following for their assistance in creating and compiling the content in this annual report. Articles written by, or adapted from, Michael Morand and Michael Cummings, with editorial assistance from David Baker, Bianca Ibarlucea, and Eva Knaggs. Statistics compiled by Ellen Doon, Moira Fitzgerald, Eric Friede, Michael Morand, Audrey Pearson, Allison Van Rhee, and the staff of Technical Services, Access Services, and Administration. Photographs of Beinecke Library events, exhibitions, and materials by Tubyez Cropper, Dante Haughton, and Michael Morand; Windham-Campbell Prize image from YaleNews; Georgia O’Keeffe manuscript images courtesy of Sotheby’s; Wayne Koestenbaum photo by Tim Schutsky; photograph of Matthew Dudley and Ozgen Felek by Michael Helfenbein. Design by Rebecca Martz, Office of the University Printer. Copyright ©2020 by Yale University facebook.com/beinecke @beineckelibrary twitter.com/BeineckeLibrary beinecke.library.yale.edu subsCribe to library news subscribe.yale.edu BEINECKE ILLUMINATED No. 6, 2019–20 Annual Report 4 From the Director 5 Exhibitions and Events Beyond Words: Experimental Poetry & the Avant-Garde Drafting Monique Wittig Subscribed: The Manuscript in Britain, 1500–1800 -
Battles Around New Music in New York in the Seventies
Presenting the New: Battles around New Music in New York in the Seventies A Dissertation SUBMITTED TO THE FACULTY OF UNIVERSITY OF MINNESOTA BY Joshua David Jurkovskis Plocher IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY David Grayson, Adviser December 2012 © Joshua David Jurkovskis Plocher 2012 i Acknowledgements One of the best things about reaching the end of this process is the opportunity to publicly thank the people who have helped to make it happen. More than any other individual, thanks must go to my wife, who has had to put up with more of my rambling than anybody, and has graciously given me half of every weekend for the last several years to keep working. Thank you, too, to my adviser, David Grayson, whose steady support in a shifting institutional environment has been invaluable. To the rest of my committee: Sumanth Gopinath, Kelley Harness, and Richard Leppert, for their advice and willingness to jump back in on this project after every life-inflicted gap. Thanks also to my mother and to my kids, for different reasons. Thanks to the staff at the New York Public Library (the one on 5th Ave. with the lions) for helping me track down the SoHo Weekly News microfilm when it had apparently vanished, and to the professional staff at the New York Public Library for Performing Arts at Lincoln Center, and to the Fales Special Collections staff at Bobst Library at New York University. Special thanks to the much smaller archival operation at the Kitchen, where I was assisted at various times by John Migliore and Samara Davis. -
Love of Life Orchestra Ceciltaylor
BAm BROOKLYN ACADEMY OF MUSIC LOVE OF LIFE ORCHESTRA CECIL TAYLOR / .WORLD SAXOPHONE OUARTET . ~ =~=~':i-=-. -- .~ ~ ~ @ FE S T I V A L • 8 5 'BROOKLYN ACADEMY OF MUSIC !!!!!!!!!!!!!!!! Harvey Lichtenstein, President and ChiefExecutive Officer !!!!!!!!!!!!!!! CAREY PLAYHOUSE November 29,19858:00 pm November 30, 1985 8:00 pm PETER GORDON'S LOVE OF LIFE ORCHESTRA Musical Direction: PETER GORDON AND DAVID VAN TIEGHEM Musicians: Peter Gordon Richard Landry "Blue" Gene Tyranl}Y . David Van Tieghem Lenny Pickett Linda Hudes RikAlbani Ned Sublette Tony Garnier Peter Zummo Randy Gun Rebecca Armstrong Larry Saltzman A concert of new music composed by: Peter Gordon David Van Tieghem Linda Hudes Randy Gun "Blue" Gene Tyranny Ned Sublette Sound mix: Eric'Liljestrand Lighting: Jan Kroeze NEXT WAVE FESTJVAL 1985 The NEXT WAVE Production and Touring Fund is supported by the National Endowment for the Arts, the National Endowment for the Humanities, the Rockefeller Foundation, the Ford Foundation, the Pew Memorial Trust, Remy Martin Amerique, AT&T, the William and Flora Hewlett Founda tion, WiIIiWear Ltd., Goethe House New York, the New York Council for the Humanities, the Educational Foundation of America, the Howard Gilman Foundation, the BestProducts Foundation, Mee~ the Composer, Inc., Abraham & Straus/Federated Department Stores Foundation, Inc., the CIGNA Corporation, Mary Boone,Gallery, and the BAM NEXT w.fVE Producers Council. Additional funds for the NEXT w.fVE FESJ'IVAL are proyided by ~.~.ew York State Council on the Ans~ the Mary Aagler Cary Charitable Trust, Philip Morris Incorporated, the New York Community Trust, ManufaCtu¥s Hanover, Lila Acheson Wallace, the National Institute for Music Theater, the William and Mary Greve Foundation, Inc., the Samuel I. -
An Ethnomusicological Study of the Policies and Aspirations for US
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2014 Beyond the Blockade: An Ethnomusicological Study of the Policies and Aspirations for U.S.-Cuban Musical Interaction Timothy P. Storhoff Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC BEYOND THE BLOCKADE: AN ETHNOMUSICOLOGICAL STUDY OF THE POLICIES AND ASPIRATIONS FOR U.S.-CUBAN MUSICAL INTERACTION By TIMOTHY P. STORHOFF A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Spring Semester, 2014 Timothy Storhoff defended this dissertation on April 2, 2014. The members of the supervisory committee were: Frank Gunderson Professor Directing Dissertation José Gomáriz University Representative Michael B. Bakan Committee Member Denise Von Glahn Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the dissertation has been approved in accordance with university requirements. ii To Mom and Dad, for always encouraging me to write and perform. iii ACKNOWLEDGMENTS This dissertation was made possible through the support, assistance and encouragement of numerous individuals. I am particularly grateful to my advisor, Frank Gunderson, and my dissertation committee members, Michael Bakan, Denise Von Glahn and José Gomáriz. Along with the rest of the FSU Musicology faculty, they have helped me refine my ideas and ask the right questions while exemplifying the qualities required of outstanding educators and scholars. From the beginning of my coursework through the completion of my dissertation, I could not have asked for a finer community of colleagues, musicians and scholars than the musicologists at the Florida State University. -
Creating Salsa, Claiming Salsa: Identity, Location, and Authenticity in Global Popular Music
University of Northern Iowa UNI ScholarWorks Dissertations and Theses @ UNI Student Work 2010 Creating salsa, claiming salsa: Identity, location, and authenticity in global popular music William Guthrie LeGrand University of Northern Iowa Let us know how access to this document benefits ouy Copyright ©2010 William Guthrie LeGrand Follow this and additional works at: https://scholarworks.uni.edu/etd Part of the Ethnomusicology Commons Recommended Citation LeGrand, William Guthrie, "Creating salsa, claiming salsa: Identity, location, and authenticity in global popular music" (2010). Dissertations and Theses @ UNI. 553. https://scholarworks.uni.edu/etd/553 This Open Access Thesis is brought to you for free and open access by the Student Work at UNI ScholarWorks. It has been accepted for inclusion in Dissertations and Theses @ UNI by an authorized administrator of UNI ScholarWorks. For more information, please contact [email protected]. CREATING SALSA, CLAIMING SALSA: IDENTITY, LOCATION, AND AUTHENTICITY IN A GLOBAL POPULAR MUSIC An Abstract of a Thesis Submitted in Partial Fulfillment of the Requirements for the Degree Master of Music William Guthrie LeGrand University of Northern Iowa July, 2010 ABSTRACT Although Latin American ethnomusicological scholarship in the last twenty years has addressed much of the Caribbean, particularly Cuba, the popular genre salsa has often been treated as a side project of scholars with other specialties. Much of previous Latin American scholarship has favored nation-based, particularly folkloric, genres, while current trends have largely moved toward either re-engaging nation-based scholarship within postmodern critical contexts or addressing reggae ton as part of the scholarly fascination with global hip-hop culture. Salsa, which has always been created, contested, and claimed. -
Liner Notes, Visit Our Web Site
Resonance, Decisions, Freedom: The Music of Peter Zummo With accuracy and humor, Peter Zummo (born 1948) often describes his unique music as “minimalism plus a whole lot more.” He is an important exponent of the American contemporary classical tradition whose compositions explore the methodologies of not just minimalism, but also jazz, world music, and rock, while seeking to create freedom in ensemble situations. Zummo’s realization of the contemporary urge to make music that behaves like “Nature in its manner of operation” (John Cage) is to encourage spontaneous, individual decisions within a self-structuring, self-negotiating group of performers. His scores provide unique strategies (such as a “matrix of overlapping systems,” freely modulating repetition rates, etc.) and materials for achieving that aim. Zummo has also designed new instrumental techniques for the trombone, valve trombone, dijeridu, euphonium, electronic instruments, and voice, and performed and recorded his work and that of others worldwide. The origin and nature of these ensemble freedoms and instrumental techniques form the subjects of this essay. (The composer’s comments, in quotes below, are from an interview on August 24, 2006, in New York City.) Instruments (1980) Following his early classical music studies and graduation from Wesleyan University, Zummo moved to New York City in 1975. “At the time, I was aware of the Fluxus movement, the Grand Union [a New York-based ‘anarchistic democratic theater collective’ (Steve Paxton) of avant-garde dancers formed in 1970] and that generation of free-thinking artists. I respected them a lot. I considered myself half a generation behind them but shared their mindset of free-ranging exploration. -
Louis Moreau Gottschalk (1829-1869): the Role of Early Exposure to African-Derived Musics in Shaping an American Musical Pioneer from New Orleans
LOUIS MOREAU GOTTSCHALK (1829-1869): THE ROLE OF EARLY EXPOSURE TO AFRICAN-DERIVED MUSICS IN SHAPING AN AMERICAN MUSICAL PIONEER FROM NEW ORLEANS A dissertation submitted to the College of the Arts of Kent State University in partial fulfillment of the requirements for the degree of Doctor of Philosophy by Amy Elizabeth Unruh December, 2009 © Amy Elizabeth Unruh, 2009 Dissertation written by Amy Elizabeth Unruh B.A., Bowling Green State University, 1998 B.F.A., Bowling Green State University, 1998 M.M., Bowling Green State University, 2000 Ph.D., Kent State University, 2009 Approved by ________________________ , Co-Chair, Doctoral Dissertation Committee Terry E. Miller ________________________ , Co-Chair, Doctoral Dissertation Committee John M. Lee ________________________ , Members, Doctoral Dissertation Committee Richard O. Devore ________________________ , Richard Feinberg Accepted by ________________________ , Interim Director, School of Music Denise A. Seachrist ________________________ , Interim Dean, College of the Arts John Crawford ii TABLE OF CONTENTS TABLE OF CONTENTS ................................................................................................... iii LIST OF FIGURES ........................................................................................................... vi PREFACE ........................................................................................................................ viii CHAPTER I. INTRODUCTION .............................................................................................1 -
SOUNDWORKS: BRRRRR BRRR BRRRR and MMMMMMMMMMMM 14 — 15 September 2012
SOUNDWORKS: BRRRRR BRRR BRRRR and MMMMMMMMMMMM 14 — 15 September 2012 Concluding its season on Sound, the ICA is hosting a Each part £8 / £7 Concessions / weekend exploring the sound contributions that were £5 ica Members / Limited tickets £5 Students produced as part of SOUNDWORKS. Taking its name Weekend pass available £24/£22 from Bruce Nauman’s use of raw audio materials, Concessions /£15 ica Members – call our box office. this programme brings together recordings from For Further Information please SOUNDWORKS in conjunction with presentations, visit www.ica.org.uk or call our box office 020 7930 3647 music performances, and screenings exploring the Institute of Contemporary Arts potential of sound in art. The Mall London SW1Y 5AH Follow us: flickr www.ica.orG.uk Part I: Luke Fowler: Notes and printed, Mai 36 Galerie, Zürich. Recent solo List of Speakers: to emphasize the fissures inherent to auditory within Vibrations (Spatial exhibitions include The Poor Stockinger, the Luddite experience as generative. Response to the ica Archive) Cropperand the deluded followers of Joanna Brandon LaBelle Brandon LaBelle is an artist, theorist and writer. His 14 Sep 7.00pm Southcott, The Hepworth, Wakefield (made in Echo work addresses questions of sociality, subjectivity association with Contemporary Art Society, Film and and informal articulations of agency, using sound, Video Umbrella and Wolverhampton Art Gallery) and Doubling, shadowing, mirroring... all such performance, text and sited constructions. His The ICA’s most recent artist in residence, 2012 Luke Fowler with Toshiya Tsunoda and John Haynes, performances lead to the dynamics of the echo, work has been presented at Whitney Museum, NY Turner Prize nominee Luke Fowler, presents his Inverleith House, Edinburgh (2012) for which he has tuning us to the disjoined horizon of audibility (2012), Image Music Text, London (2011), Sonic project Notes within Vibrations (Spatial Response been nominated for the 2012 Turner Prize. -
TR-50546-14 NEH Application Cover Sheet America's Media Makers
TR-50546-14 NEH Application Cover Sheet America's Media Makers PROJECT DIRECTOR Mr. R. Andrew Higgins Wyndham E-mail:[email protected] Director, VFH Media Programs Phone(W): 434-924-6894 145 Ednam Drive Phone(H): Charlottesville, VA 22903-4629 Fax: 434-296-4714 UNITED STATES Field of Expertise: Literature: British Literature INSTITUTION Rector and Visitors of University of Virginia Charlottesville, VA UNITED STATES APPLICATION INFORMATION Title: BackStory with the American History Guys--Finding the American Way (series) Grant Period: From 5/2014 to 4/2016 Field of Project: History: U.S. History Description of Project: BackStory with the American History Guys, a national, weekly one-hour broadcast show and podcast???-a program of the Virginia Foundation for the Humanities (VFH) at the University of Virginia--requests an America???s Media Makers grant of $234,868. Funds will be used to produce a special series of 22 radio programs that will ultimately comprise three mini-series. Under the banner "Finding the American Way," the grant-funded episodes will be paired with lesson plans and packaged for educational purposes. Partners include the National Council for History Education, the Gilder Lehrman Institute of American History, and HISTORY (History Channel). BUDGET Outright Request $234,868.00 Cost Sharing $1,131,617.00 Matching Request Total Budget $1,366,485.00 Total NEH $234,868.00 GRANT ADMINISTRATOR Mr. Robert M. Merhige E-mail:[email protected] Director, Grants and Contracts Phone(W): 434-924-4270 1001 North Emmett Street Fax: 434-982-3096 PO Box 400195 Charlottesville, VA 22904-4195 UNITED STATES BackStory with the American History Guys TABLE OF CONTENTS 1. -
Jonathan Weinberg's CV
Jonathan Weinberg Artist/Art Historian www.jonathanweinberg.com Current Position: Lecturer, Graduate Printmaking Department and Liberal Arts Program Rhode Island School of Design Critic, Yale School of Art EDUCATION: Art History Ph. D., Dept. of Fine Arts, Harvard University, 1990. B. A., Yale College, 1978. Painting and Design Cornell Program in Architectural Illustration, Rome, Italy, 1982 Hunter College, CUNY, New York, New York--Graduate Program in Painting, 1978-79 New York Studio School of Painting and Sculpture, New York, New York, Summer, 1977 Skowhegan School of Painting and Sculpture, Skowhegan, Maine, Summer, 1976 SUBJECT OF DISSERTATION: “Speaking for Vice: Homosexuality in the art of Charles Demuth, Marsden Hartley and the Early American Avant-Garde.” FELLOWSHIPS AND RESIDENCIES: Creative Capital, Grant to write a History of the Art and Subcultures of the Piers along the West Side Highway in New York City, 2009 Artist-in-Residence, Addison Museum of American Art, Phillips Academy, Andover, Fall 2006. J. Clawson Mills Art History Fellowship, Metropolitan Museum of Art, 2005- 2006. Sterling and Francine Clark Institute Fellowship, 2004-2005. John Simon Guggenheim, 2002 (Deferred until July 2003-June 2004) Getty Scholar and Artist in Residence 2002-2003 Senior Fellow, Vera List Center for Art and Politics, New School 2002-2003 Artist-in-Residence, St. Michael’s College, Colchester, VT, Summer 2000. Griswold Grant, Yale University, 2000 Weinberg c.v. December 13, 2015 Hilles Publication Grant, Yale University, 1999 Faculty Fellowship, Yale University, 1997-98 Griswold Grant, Yale University, 1995-96. Morse Fellowship, Yale University, 1994-95. Enders Research Grant, Yale University, 1990-91. PROFESSIONAL EXPERIENCE: Critic, School of Art, Yale University 2009- Lecturer, Rhode Island School of Design, 2009- 2012-13 Visiting Associate Professor, History of Art and Architecture Brown University, Providence, RI. -
Merce Cunningham
WINTER/SPRING SEASON ––––––––––––––––––––––––––––––––––––––––– Jan 19–22 Silencio Blanco Chiflón, El Silencio del Carbón ––––––––––––––––––––––––––––––––––––––––– Feb 11–12 MCA Cunningham Event ––––––––––––––––––––––––––––––––––––––––– Feb 18–19 CCN—Ballet de Lorraine Works by Merce Cunningham, and Petter Jacobsson and Thomas Caley ––––––––––––––––––––––––––––––––––––––––– Feb 25–26 Music for Merce ––––––––––––––––––––––––––––––––––––––––– Mar 11 Spektral Quartet, Morton Feldman String Quartet No. 2 ––––––––––––––––––––––––––––––––––––––––– Mar 23–25 Charles Atlas/ Rashaun Mitchell/ Silas Riener ––––––––––––––––––––––––––––––––––––––––– Apr 5–8 Peter Brook and Marie-Hélène Estienne Battlefield ––––––––––––––––––––––––––––––––––––––––– Apr 23 Matthew Duvall and guests Whisper(s) MUSEUM OF CONTEMPORARY ART CHICAGO –––––––––––––––––––––––––––––– –––––––––––––––––––––––––––––– February 25–26, 2017 FEBRUARY 25 FEBRUARY 26 CHRISTIAN WOLFF GEORGE LEWIS Or 4 People (1994) Shadowgraph, 5 (1977) Christian Wolff, George Lewis, Joan La Barbara, George Music for David Behrman, and John King Lewis, Ikue Mori, Zeena Parkins, Quinta, JOAN LA BARBARA and Fast Forward Solitary Journeys of the Mind (2011) Joan La Barbara ZEENA PARKINS Merce Captiva Pieces for Acoustic Harp PHILIP SELWAY/QUINTA and Processing (2016–ongoing) Yaasholl (2014) Zeena Parkins and Philip Selway, Quinta, David Behrman and Ikue Mori Curated by John King DAVID BEHRMAN ––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––– One Note Arpeggio (2014) Long Throw (2007–ongoing)