DOCSLIB.ORG

&Conservatories

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
&Conservatories CONSERVATORIES SCHOOLS OF MUSIC& Special Advertising Section Aaron Copland School of Music AdmiSSiOn RequiRementS SCHOLARSHip inFORmAtiOn COntACt Average GPA: 3.0 % Students Receiving Aid: 75% Jane Cho Scholastic Tests: Yes Program Specific Related Awards: Yes Director of Administration Average ACT: English 21, Math 22 Other Financial Aid: Special Awards, Macaulay Average SAT: 1020 minimum (Math: 520, Verbal: 500) Honors College Scholarship Interview Required: No AddReSS Placement Tests Required: Yes enSemBLeS 65-30 Kissena Boulevard Auditions Live: Yes Tape: OK–DVD required inStRumentAL Orchestra, String Ensemble, Brass Flushing, NY 11367 Ensemble, Early Music Ensemble, Chamber Orchestra, AppLicatiOn deAdLine(S) Woodwind Ensemble, Percussion Ensemble, New pHOne Early Decision: Mid January 2011 Music Ensemble, Saxophone Ensemble 718-997-3800 CHORAL Choral Society, Choir, Chorus, Vocal inStRumentAL AuditiOnS Ensemble FAx On-Campus: Yes, all instruments 718-997-3849 Off-Campus: Yes, some woodwinds pRiVAte inStRuCtiOn Percentage Auditioning Accepted: 5-10%, varies with Private Instruction Required: Yes emAiL instrument Average Length of Lesson: 1 hour or 30 minutes [email protected] Available for Non-Majors: No VOCAL AuditiOnS Cost Included in Tuition: Yes weBSite On-Campus: Yes http://qcpages.qc.edu/music/ Off-Campus: No RepReSentAtiVe ALumni Percentage Auditioning Accepted: 5-7% Marvin Hamlisch, Bright Sheng, Erika Sunnegårdh, Joann Falletta type undeRgRAduAte FACuLty Comprehensive inStRumentAL Part Time: 50, Full Time: 10 pRACtiCe FACiLitieS Music School Student/Teacher Ratio: 4:1 Number of Rooms: 60 VOCAL Part Time: 8, Full Time: 1 Number of Rooms with Piano: 50 Setting Student/Teacher Ratio: 3:1 In Residence Hall: 2 Urban degReeS HOuSing Size OF SCHOOL BA: Yes Available: Yes (Summit) 19,700 BM: Yes See http://www.thesummitatqc.com BME: Yes On Campus First Year Required: No Others: Certificate Programs in Performance Dorms Located Near Music Building: No Size OF muSiC SCHOOL 400 gRAduAtiOn RequiRementS BA Bm Bme Total Course Hours: 120 credits Senior Recital: Yes Junior Recital: Optional Exit Exams: Yes expenSeS in-StAte Out-OF-StAte AppLiCAtiOn $65 $65 tuitiOn $2,300 $415 per credit ROOm / BOARd please visit our website http://www.thesummitatqc.com Single $6,500/semester double $4,600/semester BOOkS / SuppLieS $650 $650 LiVing expenSeS $1,500/semester $1,500/semester tOtAL $8,900 (in-state) to $23,460 (out-of-state living in the dorm) per semester 46 july/august 2010 Aaron Copland School of Music EDWARD SMALDONE, DIRECTOR Queens College’s Aaron Copland School of Music offers UNDERGRADUATE DEGREES Bachelor of Arts in Music Bachelor of Music (Classical Performance) Bachelor of Arts in Music Education Bachelor of Music with Music Education (4½-year program) GRADUATE DEGREES Master of Arts (Composition, Theory, History/Musicology, Classical Performance) Master of Arts (Jazz Performance, Jazz Composition) Master of Science (Music Education) Bachelor of Arts/Master of Arts (Accelerated Program) Graduate Certi cate and Advanced Diploma (Classical Performance, Music Education) Scholarships up to full tuition are available on a competitive basis. On-campus housing is available: visit http://www.thesummitatqc.com Our 2009 production of Monteverdi’s L’O r feo was awarded rst prize in the 2008–2009 National Opera Association Opera Production Competition. For more information contact: Jane Cho, Director of Administration [email protected] 718-997-3800 www.qc.cuny.edu/music ACSM_ChamberAd_F09.indd 1 11/24/09 10:47:23 AM Arizona State university Herberger Institute for Design and the Arts, School of Music AdmiSSiOn RequiRementS degReeS COntACt Interview Required: For Music Education, BA: Music, Arts Dr. Jeffrey Bush Music Therapy, Music Composition BM: Performance, Theory/Composition, Placement Tests Required: Yes Music Education, Music Therapy, Jazz Studies, AddReSS Auditions Live: Yes Tape: Yes Musical Theatre Collaborative Piano P.O. Box 870405 AppLicatiOn deAdLine(S) gRAduAtiOn RequiRementS Tempe, AZ 85202 Regular Decision: University, rolling deadline. BA bm Preferential Deadline: February 1 Total Course Hours: 120 120-132 pHOne Audition Deadline: See website Course Hours in Major: 50 79-84 480-965-5069 Automatic Scholarship Consideration (University): Course Hours Outside Major: 70 42 December 1 Senior Recital: No Yes FAx Junior Recital: No Yes* 480-727-6544 inStRumentAL AuditiOnS *performance majors only On-Campus: Yes emAiL Off-Campus: No SCHOLARSHip inFORmAtiOn [email protected] Percentage Auditioning Accepted: variable by studio % Students Receiving Aid: 35% and year Program-Specific Related Awards: Several weBSite Other Financial Aid: Work-study http://music.asu.edu VOCAL AuditiOnS On-Campus: Yes enSemBLeS Off-Campus: No inStRumentAL: BAndS Sun Devil Marching Setting Percentage Auditioning Accepted: variable Band, Basketball Band, Dixie Devils, Sparky’s Sliders, Urban Chamber Ensembles, Wind Ensemble, Concert Herberger Institute for undeRgRAduAte FACuLty Band, Wind Symphony ORCHeStRAS Symphony, Design and the Arts inStRumentAL Full Time: 30 Part Time: 10 Sinfonietta, Chamber Ensembles, String Quartet Lynne Aspnes, harp; Elizabeth Buck, flute; Nancy Residency jAzz Concert Jazz, Jazz Repertory, Latin Size OF SCHOOL Buck, viola; Andrew Campbell, collaborative piano; Jazz, Percussion Jazz Ensemble, Jazz Combos 68,064 Walter Cosand, piano; John Ericson, French horn; peRCuSSiOn Contemporary Percussion, Percussion Robert Hamilton, piano; David Hickman, trumpet; Ensemble etHnOmuSiCOLOgy African Drum, Danwen Jiang, violin; Michael Kocour, jazz studies; Brazilian Bateria, Pan Devils Steel Band, Gamelan Size OF muSiC SCHOOL Frank Koonce, guitar; Thomas Landschoot, violoncello; Orchestra, Latin Marimba CHORAL Chamber 880 Kimberly Marshall, organ; Timothy McAllister, saxophone; Singers, Symphonic Chorale, Choral Union, Men’s Katherine McLin, violin; Baruch Meir, piano; Albie Chorus, Women’s Chorus, Lyric Opera Theatre Micklich, bassoon; Robert Mills, vocal coaching; Caio Pagano, piano; Samuel Pilafian, tuba/euphonium; pRiVAte inStRuCtiOn Catalin Rotaru, bass; Russell Ryan, collaborative piano; Private Instruction Required: Yes Ralph Sauer, trombone; Martin Schuring, oboe; Average Length of Lesson: 1 hour J. B. Smith, percussion; Robert Spring, clarinet; Available for Non-Majors: Occasionally Jana Starling, clarinet; Mark Sunkett, percussion; Cost Included in Tuition: Yes Jonathan Swartz, violin; Jan Thompson, piano Additional Private Instruction $150 per semester Accompanists Provided: Accompaniment pool available VOCAL Full Time: 5 Key Faculty: David Britton, Jerry Doan, pRACtiCe FACiLitieS Carole Fitzpatrick, Ann Kopta, Judy May Number of Rooms: 85 Number of Rooms with Piano: 85 Number of Rooms Assigned: 15 Number of Room Unassigned: 70 In Residence Hall: 3 HOuSing See www.asu.edu/housing expenSeS (undgd) in-StAte Out-OF-StAte Available: Yes See http://students.asu.edu/cost-attendance On Campus First Year Required: No tOtAL Calculate estimated annual student expenses Dorms Located Near Music Building: Yes at website listed above. Other: Convenient off-campus housing 48 july/august 2010 The Boston Conservatory AdmiSSiOn RequiRementS SCHOLARSHip inFORmAtiOn COntACt Average GPA: 3.2 % Students Receiving Aid: 55% – percentage of Sipra Agrawal Scholastic Tests: SAT or ACT students receiving Boston Conservatory scholarship. Interview Required: Composition, Collaborative Does not include students who are receiving federal AddReSS Piano, Music Ed, Vocal Pedagogy applicants only aid of any kind 8 The Fenway, Placement Tests Required: For non-English speaking Program-Specific Related Awards: Yes students only Other Financial Aid: Federal Loans, Grants and Boston, MA 02215 Audition Required: Yes Work-Study Auditions Live: Yes Tape: Yes pHOne Other: Some instruments require a prescreening recording. enSemBLeS 617-912-9153 Masters in Opera, Artists Diploma, Collaborative Piano inStRumentAL The Boston Conservatory Orchestra, and Vocal Pedagogy require a live audition Hemenway Strings; Wind Ensemble, Brass Ensemble, FAx Saxophone Ensemble; Percussion Ensemble; Opera and 617-247-3159 AppLicatiOn deAdLine(S) Musical Theater Pit Orchestra; Dance Orchestra and Early Decision: No more... emAiL Regular Decision: December 1, 2010 CHORAL Women’s Chorus, Chorale, admissions@ Opera Workshop bostonconservatory.edu inStRumentAL AuditiOnS On-Campus: Yes pRiVAte inStRuCtiOn weBSite Off-Campus: Yes Private Instruction Required: Yes www.bostonconservatory.edu Percentage Auditioning Accepted: 47% Average Length of Lesson: 1 hour Available for Non-Majors: No VOCAL AuditiOnS Cost Included in Tuition: Yes type On-Campus: Yes Accompanists Provided: Yes Private Conservatory of Off-Campus: Yes music, dance and theater Percentage Auditioning Accepted: 44% pRACtiCe FACiLitieS Yes, we do have practice facilities, the majority Setting undeRgRAduAte FACuLty with pianos Urban muSiC: Part Time: 82, Full Time: 41 In Residence Hall: None Student-Teacher Ration: 201:123 or 1.5:1 Size OF SCHOOL frateRnal & professiOnal muSiC degReeS ORgAnizAtiOnS 684 BM: Yes Phi Mu Alpha, Sigma Alpha Iota, International Others: MM, MMED, GPD, AD, CDP Student Organization, Music Educators National Size OF muSiC SCHOOL Conference (MENC), Umoja, and more... 382 gRAduAtiOn RequiRementS BA MM HOuSing Total Course Hours: 121-132 30-45 Available: Yes, first year only guaranteed Course Hours Outside Major: 30 On Campus First Year Required: Yes Senior Recital: Yes Dorms Located Near Music Building:
Load more

Recommended publications
  • Tokyo String Quartet
    THE UNIVERSITY MUSICAL SOCIETY OF THE UNIVERSITY OF MICHIGAN Tokyo String Quartet PETER OUNDJIAN, Violinist KAZUHIDE ISOMURA, Violist KIKUEI IKEDA, Violinist SADAO HARADA, Cellist THURSDAY EVENING, SEPTEMBER 29, 1988, AT 8:00 RACKHAM AUDITORIUM, ANN ARBOR, MICHIGAN A Program Celebrating Rackham's 50th Anniversary Quartet in B-flat major, Op. 18, No. 6 .......................... BEETHOVEN Allegro con brio Adagio ma non troppo Scherzo La Malinconia: adagio, allegretto quasi allegro Quartet No. 3 ................................................... BARTOK Prima parte: moderate Seconda parte: allegro Ricapitulazione della prima parte: moderate Coda: allegro molto (in one continuous movement) INTERMISSION Quartet in D minor, D. 810 ("Death and the Maiden") .............. SCHUBERT Allegro Andante con moto (variations) Scherzo: allegro molto Presto John D'Arms, Dean of the Graduate School, invites all concertgoers to join him in the lobby after the concert for a champagne toast to the 50th birthday of the Rackham Building. The Tokyo String Quartet appears by arrangement with /CM Artists, Ltd., New York. Halls Cough Tablets, courtesy of Warner-Lambert Company, are available in the lobby. Second Concert of the 110th Season Special Concert PROGRAM NOTES Quartet in B-flat major, Op. 18, No. 6 .............. LUDWIG VAN BEETHOVEN (1770-1827) Beethoven's Opus 18 consists of six string quartets that were written mostly in 1799, though they were not published until 1801. This was a successful and contented period for the young composer, who was not yet troubled by any signs of his impending tragic deafness and was achieving a respected reputation as a pianist and composer in musical and aristocratic circles in Vienna. A composer writing in this medium at that time could not fail to have been constantly aware of the great masterpieces of eighteenth-century quartet literature that had been produced by Mozart and Haydn.
    [Show full text]
  • GBFA Co-Founder Fenwick Smith Resigns from Boston Symphony Orchestra— Accomplished Flutist to Take More Active Role in GBFA
    Fenwick Smith to resign from BSO represented by RPR / CopyWriting & Creative Services For Immediate Release 54 Beach Street ™ Woburn, MA 01801 (781) 937-0389 [email protected] GBFA co-founder Fenwick Smith resigns from Boston Symphony Orchestra— Accomplished flutist to take more active role in GBFA Woburn, MA – Thursday, December 15, 2005 — Fenwick Smith, flute: Myra and Robert Kraft chair, endowed in perpetuity in 1981. Fenwick Smith took his first flute lessons in the public schools of Medford, Massachusetts. Largely self-taught until his senior year in high school, he was encouraged by Elinor Preble and Doriot Anthony Dwyer to apply to the Eastman School of Music, where he studied with Joseph Mariano, graduating in 1972. Smith showed an early interest in things mechanical. By the age of sixteen he was working as a part-time milling machine operator for a small manufacturing firm. The following summer, Verne Q. Powell Flutes Inc., the leading American flute maker, offered him employment, which continued, mostly on a part-time, work-at-home basis, for the next twelve years. During this time he built about one hundred Powell flutes, including the instrument he has played during his entire professional career. After a summer at the Tanglewood Music Center, Smith moved to West Berlin, where he promptly became an active free-lancer, taught at Schiller College, and came under the salutary influence of James Galway. He lived in Germany for three years, with forays to Greece and to Paris, where he auditioned for the French Ministry of Cultural Affairs. In 1975, soon after Smith had made plans to return to Boston, the Ministry offered him the position of principal flute in the Regional Orchestra of Toulouse.
    [Show full text]
  • ONGAKU RECORDS RELEASES “Jonathan Cohler & Claremont Trio”
    FOR IMMEDIATE RELEASE For More Information: http://ongaku-records.com/PR20090115.pdf Web http://ongaku-records.com/ Email [email protected] Phone 781-863-6108 • Fax 781-863-6105 ONGAKU RECORDS RELEASES “Jonathan Cohler & Claremont Trio” CD BOSTON January 15, 2009 — Ongaku Records announced the release of Jonathan Cohler & Claremont Trio (024-122), a CD featuring world renowned clarinetist Jonathan Cohler and the acclaimed Claremont Trio. The new release includes Beethoven Trio in B-flat Major, Op. 11, Brahms Trio in A Minor, Op. 114, and the rarely recorded Dohnányi Sextet in C Major, Op. 37. Cohler and the Claremonts are joined by Boston Symphony Orchestra principal hornist James Sommerville and Borromeo Quartet violist Mai Motobuchi in the Dohnányi. The recordings of the Beethoven and Brahms have already been acclaimed by Fanfare Magazine as the best of the best. “...the recording is ideal...and the playing is uniformly lovely... I know of no finer recording of the Beethoven, and this one stands with the best classic versions of the Brahms.” The CD features the award-winning engineering of Brad Michel, and it was recorded in the beautiful acoustics of the Rogers Center for the Arts at Merrimack College in North Andover, Massachusetts. Accompanying the CD is an in-depth 20-page booklet that gives a full and detailed explanation of the history behind these works. These detailed historical notes have become a hallmark of Ongaku Records releases that sets them apart from other recordings. This recording was produced using the latest in 24-bit digital recording technology, and was edited and mastered throughout in 24-bits to preserve the pristine audiophile quality sound for which Ongaku Records has become known.
    [Show full text]
  • View/Download Concert Program
    Christmas in Medieval England Saturday, December 19, 2009 at 8 pm First Church in Cambridge, Congregational Christmas in Medieval England Saturday, December 19, 2009 at 8 pm First Church in Cambridge, Congregational I. Advent Veni, veni, Emanuel | ac & men hymn, 13th-century French? II. Annunciation Angelus ad virginem | dt bpe 13th-century monophonic song, Arundel MS / text by Philippe the Chancellor? (d. 1236) Gabriel fram Heven-King | pd ss bpe Cotton fragments (14th century) Gaude virgo salutata / Gaude virgo singularis isorhythmic motet for Annunciation John Dunstaple (d. 1453) Hayl, Mary, ful of grace Trinity roll (early 15th century) Gloria (Old Hall MS, no. 21) | jm ms ss gb pg Leonel Power (d. 1445) Ther is no rose of swych vertu | dt mb pg bpe Trinity roll Ibo michi ad montem mirre | gp jm ms Power III. Christmas Eve Veni redemptor gencium hymn for first Vespers of the Nativity on Christmas Eve, Sarum plainchant text by St Ambrose (c. 340-97) intermission IV. Christmas Dominus dixit ad me Introit for the Mass at Cock-Crow on Christmas Day, Sarum plainchant Nowel: Owt of your slepe aryse | dt pd gp Selden MS (15th century) Gloria (Old Hall MS, no. 27) | mn gp pd / jm ss / mb ms Blue Heron Pycard (?fl. 1410-20) Pamela Dellal | pd ss mb bpe Ecce, quod natura Martin Near Selden MS Gerrod Pagenkopf Missa Veterem hominem: Sanctus Daniela Tošić anonymous English, c. 1440 Ave rex angelorum | mn mb ac Michael Barrett Egerton MS (15th century) Allen Combs Jason McStoots Missa Veterem hominem: Agnus dei Steven Soph Nowel syng we bothe al and som Mark Sprinkle Trinity roll Glenn Billingsley Paul Guttry Barbara Poeschl-Edrich, Gothic harp Scott Metcalfe,director Pre-concert talk by Daniel Donoghue, Professor of English, Harvard University sponsored by the Cambridge Society for Early Music Blue Heron Renaissance Choir, Inc.
    [Show full text]
  • 2018 Available in Carbon Fibre
    NFAc_Obsession_18_Ad_1.pdf 1 6/4/18 3:56 PM Brannen & LaFIn Come see how fast your obsession can begin. C M Y CM MY CY CMY K Booth 301 · brannenutes.com Brannen Brothers Flutemakers, Inc. HANDMADE CUSTOM 18K ROSE GOLD TRY ONE TODAY AT BOOTH #515 #WEAREVQPOWELL POWELLFLUTES.COM Wiseman Flute Cases Compact. Strong. Comfortable. Stylish. And Guaranteed for life. All Wiseman cases are hand- crafted in England from the Visit us at finest materials. booth 408 in All instrument combinations the exhibit hall, supplied – choose from a range of lining colours. Now also NFA 2018 available in Carbon Fibre. Orlando! 00 44 (0)20 8778 0752 [email protected] www.wisemanlondon.com MAKE YOUR MUSIC MATTER Longy has created one of the most outstanding flute departments in the country! Seize the opportunity to study with our world-class faculty including: Cobus du Toit, Antero Winds Clint Foreman, Boston Symphony Orchestra Vanessa Breault Mulvey, Body Mapping Expert Sergio Pallottelli, Flute Faculty at the Zodiac Music Festival Continue your journey towards a meaningful life in music at Longy.edu/apply TABLE OF CONTENTS Letter from the President ................................................................... 11 Officers, Directors, Staff, Convention Volunteers, and Competition Committees ................................................................ 14 From the Convention Program Chair ................................................. 21 2018 Lifetime Achievement and Distinguished Service Awards ........ 22 Previous Lifetime Achievement and Distinguished
    [Show full text]
  • 9'; 13 November 30, Jazz Innovations, Part 1
    Lim received his fonnal. training at Indiana University, where he studied with the legendary violinist ~d teacher Josef Gingold. While at Indiana, he won First Prize in the school's Violin Concerto Competition and served on the faculty as a Visiting Lecturer. Lim later studied cham~ ber music at the Juilliard School and taught there as an assistant to the Juilliard String Quartet. No PI CI"(.. C D :::n=­ Lim has recorded for DreamWorks, Albany Records, CR!, Bayer GI rc... C p-:t:F I ~ 02-9resents a Faculty Recital: Records, and Aguava New Music, and appears on numerous television and film soundtracks. He has been heard on NPR programs such as Performance Today and All Things Considered. Lim currently lives in Seattle with his wife, violist Melia Watras. He performs on a violin MELIA WATRAS, VIOLA made by Tomaso Balestrieri in Cremona, Italy in 1774. with 2005~2006 UPCOMING EVENTS Kimberly Russ, piano Information for events listed below is available at www.music. washington. edu Michael Jinsoo Lim, violin and the School ofMusic Events Hotline (206-685-8384). Ticketsfor events listed in Brechemin Auditorium (Music Building) and Walker­ Ames Room (Kane Hall) go on sale at the door thirty minutes before the •• performance~ Tickets for events in Meany Theater and Meany Studio Theater are available from the UW Arts Ticket Office, 206:543-4880, and at November 8, 2005 7:30 PM Meany THeater the box office thirty minutes before the performance. To request disability accommodation. contact the Disability Services Office at least ten days in advance at 206-543-6450 (voice); 206-543-6452 (lTY); 685-7264 (FAX); or [email protected] (E-mail).
    [Show full text]
  • Press Release
    FOR IMMEDIATE RELEASE For More Information: http://ongaku-records.com/PR20140801.pdf Web http://ongaku-records.com/ Email [email protected] Fax 781-863-6105 ONGAKU RECORDS RELEASES “AMERICAN TRIBUTE” CD FEATURING CLARINETIST JONATHAN COHLER AND PIANIST RASA VITKAUSKAITE Boston, MA — Ongaku Records, Inc. released American Tribute (024-125), the third CD of today’s leading clarinet-piano duo, Jonathan Cohler and Rasa Vitkauskaite. The CD is dedicated to the memory of those who died at the Boston Marathon bombing on April 15, 2013, and in support of those who were injured on that terrible day. As the duo explains in the extensive and scholarly program notes, “Our real power emanates from our ideas and our freedom … As Bernstein said so eloquently, ‘This will be our reply to violence: to make music more intensely, more beautifully, more devotedly than ever before.’” American Tribute features the following repertoire: ● Leonard Bernstein Sonata ● Victor Babin Hillandale Waltzes ● Robert Muczynski Time Pieces, Op. 43 ● Simon Sargon KlezMuzik ● Dana Wilson Liquid Ebony ● Paquito D’Rivera Invitación al Danzón, Val Venezolano, Contradanza Referring to the composers, Cohler and Vitkauskaite write, “Each driven by their own inner and outer forces have become uniquely part of the American Dream.” American Tribute features almost 70 years of musical life in the United States. Across this span of time, one can see an incredible variety of styles, traditions, schools, backgrounds, and musical experiences. The music represents the essence of America and what makes America the real melting pot. American Tribute takes us on six journeys of success, acclaim, musical inspiration and freedom.
    [Show full text]
  • FRENCH SYMPHONIES from the Nineteenth Century to the Present
    FRENCH SYMPHONIES From the Nineteenth Century To The Present A Discography Of CDs And LPs Prepared by Michael Herman NICOLAS BACRI (b. 1961) Born in Paris. He began piano lessons at the age of seven and continued with the study of harmony, counterpoint, analysis and composition as a teenager with Françoise Gangloff-Levéchin, Christian Manen and Louis Saguer. He then entered the Paris Conservatory where he studied with a number of composers including Claude Ballif, Marius Constant, Serge Nigg, and Michel Philippot. He attended the French Academy in Rome and after returning to Paris, he worked as head of chamber music for Radio France. He has since concentrated on composing. He has composed orchestral, chamber, instrumental, vocal and choral works. His unrecorded Symphonies are: Nos. 1, Op. 11 (1983-4), 2, Op. 22 (1986-8), 3, Op. 33 "Sinfonia da Requiem" (1988-94) and 5 , Op. 55 "Concerto for Orchestra" (1996-7).There is also a Sinfonietta for String Orchestra, Op. 72 (2001) and a Sinfonia Concertante for Orchestra, Op. 83a (1995-96/rév.2006) . Symphony No. 4, Op. 49 "Symphonie Classique - Sturm und Drang" (1995-6) Jean-Jacques Kantorow/Tapiola Sinfonietta ( + Flute Concerto, Concerto Amoroso, Concerto Nostalgico and Nocturne for Cello and Strings) BIS CD-1579 (2009) Symphony No. 6, Op. 60 (1998) Leonard Slatkin/Orchestre National de France ( + Henderson: Einstein's Violin, El Khoury: Les Fleuves Engloutis, Maskats: Tango, Plate: You Must Finish Your Journey Alone, and Theofanidis: Rainbow Body) GRAMOPHONE MASTE (2003) (issued by Gramophone Magazine) CLAUDE BALLIF (1924-2004) Born in Paris. His musical training began at the Bordeaux Conservatory but he went on to the Paris Conservatory where he was taught by Tony Aubin, Noël Gallon and Olivier Messiaen.
    [Show full text]
  • Summary Announcement
    Evropski centar European Center za mir i razvoj for Peace and Development Terazije 41 Centre Européen 11000 Beograd, Serbia pour la Paix et le Développement Centro Europeo ECPD Headquarters para la Paz y el Desarrollo Европейский центр мира и развития University for Peace established by the United Nations ECPD International Conference FUTURE OF THE WORLD BETWEEN GLOBALIZATION AND REGIONALIZATION (Belgrade, City Hall, 28-29 October 2016) POST CONFERENCE SUMMARY ANNOUNCEMENT The XII ECPD International Conference examined pathways between Regionalization and Globalization as determinants for the future of the world. The asked what stands in the way of integration, whether we can simultaneously think globally and think regionally and what are the strengths and weakness in the inherent processes and present outcomes over the many domains of society (which approaches to the challenges involved could be most effective for all parts of society) and in all parts of the world. In continuation, the Balkan world received a check up and (and the pressures affecting the region were assessed and global pulse was measured. Tensions between the Russian Federation and the United States of America, migration resulting from armed conflict and poverty in the Middle East, tensions within the European Union after the UK Brexit vote, and the new strategic paradigm of macro-regionalization were high on the agenda. The role of China was agreed to be of key importance in the global system. A number of presentations / additional discussion covered the ongoing global socio-economic crisis and a description of potentially accelerating global catastrophe; the survival of humanity and man’s future together with its rough edges and the paradoxes of life; our responsibility as a precondition for peace, the new Cold War and allocation of guilt; migration as an exceedingly complex problem, peace in the Middle East and the lack of Global Governance.
    [Show full text]
  • Foundation for Chinese Performing Arts 中華表演藝術基金會
    中華表演藝術基金會 FOUNDATION FOR CHINESE PERFORMING ARTS [email protected] www.ChinesePerformingArts.net The Foundation for Chinese Performing Arts, is a non-profit organization registered in the Commonwealth of Massachusetts in January, 1989. The main objectives of the Foundation are: * To enhance the understanding and the appreciation of Eastern heritage through music and performing arts. * To promote Chinese music and performing arts through performances. * To provide opportunities and assistance to young Asian artists. The Founder and the President is Dr. Catherine Tan Chan 譚嘉陵. AWARDS AND SCHOLARSHIPS The Foundation held its official opening ceremony on September 23, 1989, at the Rivers School in Weston. Professor Chou Wen-Chung of Columbia University lectured on the late Alexander Tcherepnin and his contribution in promoting Chinese music. The Tcherepnin Society, represented by the late Madame Ming Tcherepnin, an Honorable Board Member of the Foundation, donated to the Harvard Yenching Library a set of original musical manuscripts composed by Alexander Tcherepnin and his student, Chiang Wen-Yeh. Dr. Eugene Wu, Director of the Harvard Yenching Library, was there to receive the gift that includes the original orchestra score of the National Anthem of the Republic of China commissioned in 1937 to Alexander Tcherepnin by the Chinese government. The Foundation awarded Ms. Wha Kyung Byun as the outstanding music educator. In early December 1989, the Foundation, recognized Professor Sylvia Shue-Tee Lee for her contribution in educating young violinists. The recipients of the Foundation's artist scholarship award were: 1989 Jindong Cai 蔡金冬, MM conductor ,New England Conservatory, NEC (currently conductor and Associate Professor of Music, Stanford University,) 1990: (late) Pei-Kun Xi, MM, conductor, NEC; 1991: pianists John Park and J.G.
    [Show full text]
  • Mark Kaplan Professeur À La Jacobs School of Music De L’Université De L’Indiana
    Mark Kaplan Professeur à la Jacobs School of Music de l’Université de l’Indiana Mardi le 6 juillet, 17h UTC-4 https://zoom.us/j/2387216892 Comment choisir un professeur? SVP insérez votre question pour Mark ici! Lors de cette conférence, Mark Kaplan partagera ses expériences pour faire le bon choix d'un professeur, suivi d'une discussion ouverte! Veuillez soumettre vos questions via notre formulaire en ligne avant le lundi 5 juillet 2021! Ne manquez pas cette occasion! - Mark Kaplan s'est imposé comme l'un des meilleurs violonistes de sa génération. Son art consommé lui a permis de se produire en solo parmi les grands orchestres nord-américains et avec les plus grands chefs d'orchestre du monde. Mark Kaplan mène une carrière internationale florissante depuis ses débuts en Europe en 1975. Au cours des années suivantes, il a donné des concerts et des récitals très remarqués en Europe, ainsi qu'en Australie, en Nouvelle-Zélande, en Malaisie, à Hong Kong et à Singapour. En plus de ses réalisations en tant que soliste, Mark Kaplan se consacre également à la musique de chambre. Il se produit avec la pianiste Yael Weiss et le violoncelliste Peter Stumpf au sein du Trio Weiss-Kaplan- Stumpf, avec qui il a enregistré et donné des concerts dans le monde entier. Auparavant, il a joué et enregistré de nombreux concerts pendant une vingtaine d'années au sein du trio Golub-Kaplan- Carr, en compagnie du violoncelliste Colin Carr et du regretté pianiste David Golub. Depuis 2005, Mark Kaplan est professeur de violon à la Jacobs School of Music de l'Université de l'Indiana et, avant cela, il était professeur avec distinction à l'Université de Californie à Los Angeles (UCLA).
    [Show full text]
  • Elucidating the Role of Bcl6 in Helper T Cell Activation, Proliferation, and Differentiation
    ELUCIDATING THE ROLE OF BCL6 IN HELPER T CELL ACTIVATION, PROLIFERATION, AND DIFFERENTIATION Kristin N. Hollister Submitted to the faculty of the University Graduate School in partial fulfillment of the requirements for the degree Doctor of Philosophy in the Department of Microbiology and Immunology, Indiana University June 2014 Accepted by the Graduate Faculty of Indiana University, in partial fulfillment of the requirements for the degree of Doctor of Philosophy. ________________________________ Alexander L. Dent, Ph.D., Chairman Doctoral Committee ________________________________ Randy R. Brutkiewicz, Ph.D. March 7, 2014 ________________________________ Maureen A. Harrington, Ph.D. ________________________________ Mark H. Kaplan, Ph.D. ii ACKNOWLEDGEMENTS I would like to thank my mentor, Dr. Alexander Dent. Without his guidance and support this work would not have been possible. He has been a phenomenal mentor, and any student would be lucky to have him as such. Also, I would like to thank my committee members, Dr. Randy Brutkiewicz, Dr. Mark Kaplan, and Dr. Maureen Harrington. I always looked forward to our meetings and the constructive criticism and helpful encouragement they provided. Several Dent lab members, past and present, contributed greatly to this work and enabled me to complete complex experiments resulting in excellent data. These people include Hao Wu, Arpita Mondal, and Ninah Clegg. Members of the Kaplan lab were also instrumental in assisting with the work presented here. In particular, I would like to acknowledge the contributions of Dr. Duy Pham, who provided excellent technical assistance with some of the assays presented in this thesis. Our collaborators at the University of Massachusetts Medical School played a pivotal role in ascertaining the data for our HIV-1 vaccine model.
    [Show full text]