Choral Music in Gilbert & Sullivan's Operas
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Public Parks Review: Summary Harriet Jordan
PUBLIC PARKS REVIEW: SUMMARY HARRIET JORDAN INTRODUCTION Very few public parks were included on the Register of Parks and Gardens of special historic interest in England when it was first published between 1983 and 1988. This was primarily a result of the general lack of appreciation of the interest and quality of this category of designed landscapes. Knowledge increased rapidly through the 1990s however, the development being reflected in a number of ‘spot registrations’ of public parks in this period the decade, and the preparation of a broad set of criteria against which sites could be assessed (see Annex A). It was clear, though, that a more concerted consideration of the type was needed if public parks were to be properly represented on the Register. THE THEMATIC SURVEY Between 1999 and the end of 2002, the Designed Landscapes team at English Heritage carried out a thematic survey intended to track down the majority of public parks which should be classed as being ‘of special historic interest’ as defined for the Register. Some 120 sites were short-listed for detailed assessment, of which 56 have so far been formally registered; a further 39 are still pending. The regional breakdown of those registered is given in Table 1. The public parks identified during the survey offer an impressive range of examples of the provision of public open space since the beginning of the 18th century. This summary discusses the main categories of site which have emerged and illustrates these with brief notes about examples registered during the project. 02/04/03 1 TABLE 1 Public Park Registrations 45 40 Project 35 Pre-project 30 25 20 No of Sites 15 10 5 0 North London Yorks East West South South North East West Mids Mids East West East Region DATE RANGE Those sites which are included on the Register are identified in bold. -
Creative Synthesis: Collaborative Cross Disciplinary Studies in the Arts
Western Oregon University Digital Commons@WOU Honors Senior Theses/Projects Student Scholarship 6-1-2012 Creative Synthesis: Collaborative Cross Disciplinary Studies in the Arts Ermine Todd Western Oregon University, [email protected] Follow this and additional works at: https://digitalcommons.wou.edu/honors_theses Part of the Dance Commons Recommended Citation Todd, Ermine, "Creative Synthesis: Collaborative Cross Disciplinary Studies in the Arts" (2012). Honors Senior Theses/Projects. 82. https://digitalcommons.wou.edu/honors_theses/82 This Undergraduate Honors Thesis/Project is brought to you for free and open access by the Student Scholarship at Digital Commons@WOU. It has been accepted for inclusion in Honors Senior Theses/Projects by an authorized administrator of Digital Commons@WOU. For more information, please contact [email protected], [email protected], [email protected]. Creative Synthesis: Collaborative Cross Disciplinary Studies in the Arts By Ermine Todd IV An Honors Thesis Submitted in Partial Fulfillment of the Requirements for Graduation from the Western Oregon University Honors Program Professor Darryl Thomas Thesis Advisor Dr. Gavin Keulks, Honors Program Director Western Oregon University June 2012 Todd 2 Acknowledgements This project would not have been possible without the tireless support of these people. My professor, Thesis Advisor and guide along my journey, Darryl Thomas. Academic advisor Sharon Oberst for always keeping the finish line in sight. Cassie Malmquist for her artistry and mastery of technical theatre. Tad Shannon for guiding the setup of Maple Hall and troubleshooting all technical requirements. Brandon Woodard for immense photographic contributions throughout the length of the project and Photography credit for my poster and program. -
Los Angeles Master Chorale Receives Major Grant from the James Irvine Foundation
PRESS RELEASE Los Angeles Master Chorale Receives Major Grant from The James Irvine Foundation $450,000 two-year grant will support the Big Sing California project through 2018 Los Angeles, CA (Sep. 1, 2016) - The Los Angeles Master Chorale announced today that The James Irvine Foundation has awarded a $450,000 Exploring Engagement Fund grant to support the Chorale’s launch of Big Sing California that will culminate in June 2018. This two-year grant will support the Chorale’s ongoing efforts to utilize state-of-the-art live- streaming technology to enable thousands of Californians to connect with others throughout the state for a shared singing experience, led by its Swan Family Artist-in- Residence and Grammy award-winning composer/conductor Eric Whitacre. “We are honored and delighted and extremely thankful to The James Irvine Foundation,” said Grant Gershon, Los Angeles Master Chorale’s Artistic Director. “Our goal for the Big Sing California is simply to inspire people to tap into a gift each person is born with, namely, the ability to sing. As one of the nation’s most prominent choruses, the Master Chorale is taking a leadership role in creating the fertile environment in which the love of singing and the choral arts can grow and thrive.” The Los Angeles Master Chorale’s grant was highlighted in yesterday’s announcement by The James Irvine Foundation which approved $7.73 million in grants. These grants reflect the Foundation’s continued commitments to current grantees, as well as new investments related to the foundation’s new focus: increasing economic and political opportunity for California families and young adults who are working but struggling with poverty. -
Anthony Braxton Five Pieces 1975
Anthony Braxton Five Pieces 1975 ANTHONY BRAXTON Five Pieces 1975 Arista AL 4064 (LP) I would like to propose now, at the beginning of this discussion, that we set aside entirely the question of the ultimate worth of Anthony Braxton's music. There are those who insist that Braxton is the new Bird, Coltrane, and Ornette, the three-in-one who is singlehandedly taking the Next Step in jazz. There are others who remain unconvinced. History will decide, and while it is doing so, we can and should appreciate Braxton's music for its own immediate value, as a particularly contemporary variety of artistic expression. However, before we can sit down, take off our shoes, and place the enclosed record on our turntables, certain issues must be dealt with. People keep asking questions about Anthony Braxton, questions such as what does he think he is doing? Since these questions involve judgments we can make now, without waiting for history, we should answer them, and what better way to do so than to go directly to the man who is making the music? "Am I an improviser or a composer?" Braxton asks rhetorically, echoing more than one critical analysis of his work. "I see myself as a creative person. And the considerations determining what's really happening in the arena of improvised music imply an understanding of composition anyway. So I would say that composition and improvisation are much more closely related than is generally understood." This is exactly the sort of statement Braxton's detractors love to pounce on. Not only has the man been known to wear cardigan sweaters, smoke a pipe, and play chess; he is an interested in composing as in improvising. -
The Dublin Gate Theatre Archive, 1928 - 1979
Charles Deering McCormick Library of Special Collections Northwestern University Libraries Dublin Gate Theatre Archive The Dublin Gate Theatre Archive, 1928 - 1979 History: The Dublin Gate Theatre was founded by Hilton Edwards (1903-1982) and Micheál MacLiammóir (1899-1978), two Englishmen who had met touring in Ireland with Anew McMaster's acting company. Edwards was a singer and established Shakespearian actor, and MacLiammóir, actually born Alfred Michael Willmore, had been a noted child actor, then a graphic artist, student of Gaelic, and enthusiast of Celtic culture. Taking their company’s name from Peter Godfrey’s Gate Theatre Studio in London, the young actors' goal was to produce and re-interpret world drama in Dublin, classic and contemporary, providing a new kind of theatre in addition to the established Abbey and its purely Irish plays. Beginning in 1928 in the Peacock Theatre for two seasons, and then in the theatre of the eighteenth century Rotunda Buildings, the two founders, with Edwards as actor, producer and lighting expert, and MacLiammóir as star, costume and scenery designer, along with their supporting board of directors, gave Dublin, and other cities when touring, a long and eclectic list of plays. The Dublin Gate Theatre produced, with their imaginative and innovative style, over 400 different works from Sophocles, Shakespeare, Congreve, Chekhov, Ibsen, O’Neill, Wilde, Shaw, Yeats and many others. They also introduced plays from younger Irish playwrights such as Denis Johnston, Mary Manning, Maura Laverty, Brian Friel, Fr. Desmond Forristal and Micheál MacLiammóir himself. Until his death early in 1978, the year of the Gate’s 50th Anniversary, MacLiammóir wrote, as well as acted and designed for the Gate, plays, revues and three one-man shows, and translated and adapted those of other authors. -
Autumn 2018 Newsletter
Registered Charity No. 298861 GARD The Kent Gardens Trust T E N N E S K T Newsletter R UST Working for Kent’s Garden Heritage Issue 45 www.kentgardenstrust.org.uk Autumn 2018 Rosemay Dymond describes... From the Editor Repton’s Peep Show Hugh Vaux 2018 has been the year of Repton, yet it is surprising how many people have never heard of him. The bicentenary of the death of the self-proclaimed successor to Capability Brown has been commemorated all over the country by individual county garden trusts and our parent body, The Gardens Trust. Kent has played its part with lectures and a study day at Cobham as well as joining Sussex Gardens Trust for their very interesting and enjoyable day at Brightling. In addition, KGT have published another book, ‘Humphry Repton in Kent’, a companion volume to ‘Capability Brown Cobham Hall from the south. in Kent’ which appeared two years Continued on page 2 Today Cobham Hall performed its artistic magic. Silhouetted against the brilliant blue sky of a perfect autumn day and basking in the warmth of the glorious In this edition Page sunshine it is no wonder that Humphry Repton returned here time and again. Repton’s Peep Show 1 Repeated visits were made to readjust and extend his vision for the landscape Humphrey Repton and the Art of within which sits this statuesque building. Landscape 2 Guests sat in comfort amidst the bookshelves of the C17th library, the very room The Restoration of Cobham 3 where Repton had his meetings with the 4th Earl of Darnley. -
Magnificat: Vocal Score Free
FREE MAGNIFICAT: VOCAL SCORE PDF John Rutter | 88 pages | 01 Aug 1991 | Oxford University Press | 9780193380370 | English, Latin | Oxford, United Kingdom Vocal Score for Rutter Magnificat : Choraline For soprano or mezzo-soprano Magnificat: Vocal Score, SATB chorus and either full orchestra or chamber orchestra. Minimum recommended string forces for the chamber ensemble are 2. This edition is a publication of Oxford University Press. Full scores, vocal scores, and instrumental parts are available on hire through Oxford University Press. Home Music scores and recordings. John Rutter Magnificat. Add to wishlist. Feedback Be the first to give feedback on this product. Proceed to purchase. Additional product information. He first came to notice as a composer during his student years; much of his early work consisted of church music and other choral pieces including Christmas carols. From —79 he was Director of Music at his alma mater, Clare College, and directed the college chapel choir in various recordings and broadcasts. Since he has divided his time between composition and conducting. Today his compositions, including such concert-length works as RequiemMagnificat Magnificat: Vocal Score, Mass of the ChildrenThe Gift of Lifeand Visions are performed around the world. His music has featured in a number of British royal Magnificat: Vocal Score, including the two most recent royal weddings. In he formed his Magnificat: Vocal Score choir the Cambridge Singers, with whom he has made numerous Magnificat: Vocal Score, and he appears regularly in several countries as guest conductor and choral ambassador. Personal details. You have to be logged in to write a feedback. Magnificat: Vocal Score questions about this work There are no questions and answers available so far or you were unable to find an answer to your specific question about this work? Then click here and send your specific questions to our Customer Services! Related products. -
Los Angeles Master Chorale Celebrates the 20Th Anniversary Of
PRESS RELEASE Media Contact: Jennifer Scott [email protected] | 213-972-3142 LOS ANGELES MASTER CHORALE CELEBRATES 20TH ANNIVERSARY OF LUX AETERNA BY MORTEN LAURIDSEN & SHOWCASES LOS ANGELES COMPOSERS WITH CONCERTS & GALA JUNE 17-22 Clockwise, l-r: Composers Eric Whitacre, Morten Lauridsen, Shawn Kirchner, Moira Smiley, Billy Childs, & Esa-Pekka Salonen. Concerts include world premieres by Billy Childs and Moira Smiley, a West Coast premiere by Eric Whitacre, and works by Shawn Kirchner and Esa-Pekka Salonen 1 3 5 N O R T H G R A N D AV E N U E , LO S A N G E L E S , C A L I F O R N I A 9 0 0 1 2 - -- 3 0 1 3 2 1 3 - 9 7 2 - 3 1 2 2 | L A M A ST E R C H O R A L E . O R G LUX AETERNA 20TH ANNIVERSARY, PAGE 2 First performances of Lux Aeterna with full orchestra in Walt Disney Concert Hall, conducted by Grant Gershon Gala to honor Morten Lauridsen on Sunday, June 18 Saturday, June 17 – 2 PM Matinee Concert Sunday, June 18 – 6 PM Concert, Gala, & Lux Onstage Party Thursday, June 22 – 8 PM “Choir Night” Concert & Group Sing CONCERT TICKETS START AT $29 LAMASTERCHORALE.ORG | 213-972-7282 (Los Angeles, CA) May 31, 2017 – The Los Angeles Master Chorale brings works by six Los Angeles composers together on a concert program celebrating the 20th anniversary of Morten Lauridsen’s choral masterwork Lux Aeterna June 17-22 in Walt Disney Concert Hall. -
UNIVERSITY of CALIFORNIA Los Angeles Reexamining Portamento As an Expressive Resource in Choral Music, Ca. 1840-1940 a Disserta
UNIVERSITY OF CALIFORNIA Los Angeles Reexamining Portamento as an Expressive Resource in Choral Music, Ca. 1840-1940 A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Musical Arts by Desiree Janene Balfour 2020 © Copyright by Desiree Janene Balfour 2020 ABSTRACT OF THE DISSERTATION Reexamining Portamento as an Expressive Resource in Choral Music, ca. 1840-1940 by Desiree Janene Balfour Doctor of Musical Arts University of California, Los Angeles, 2020 Professor William A. Kinderman, Co-Chair Professor James K. Bass, Co-Chair This study reexamines portamento as an important expressive resource in nineteenth and twentieth-century Western classical choral music. For more than a half-century, portamento use has been in serious decline and its absence in choral performance is arguably an impoverishment. The issue is encapsulated by John Potter, who writes, “A significant part of the early music agenda was to strip away the vulgarity, excess, and perceived incompetence associated with bizarre vocal quirks such as portamento and vibrato. It did not occur to anyone that this might involve the rejection of a living tradition and that singers might be in denial about their own vocal past.”1 The present thesis aims to show that portamento—despite its fall from fashion—is much more than a “bizarre vocal quirk.” When blended with aspects of the modern aesthetic, 1 John Potter, "Beggar at the Door: The Rise and Fall of Portamento in Singing,” Music and Letters 87 (2006): 538. ii choral portamento is a valuable technique that can enhance the expressive qualities of a work. -
Report on the Foreign Policy of the Czech Republic 2007
CONTENTS INTRODUCTION......................................................................................................................6 I. MULTILATERAL COOPERATION ................................................................................. 14 1. The Czech Republic and the European Union ........................................................ 14 The Czech Republic and the EU Common Foreign and Security Policy ............. 33 The Czech Republic and European Security and Defence Policy ........................ 42 2. The Czech Republic and the North Atlantic Treaty Organisation (NATO) ............ 48 3. The Czech Republic and Regional Cooperation ..................................................... 74 Visegrad cooperation ............................................................................................. 74 Central European Initiative (CEI) .......................................................................... 78 Regional Partnership .............................................................................................. 80 Stability Pact for South East Europe ..................................................................... 82 4. The Czech Republic and other European international organisations and forums .. 84 The Czech Republic and the Organisation for Security and Cooperation in Europe (OSCE)................................................................................................................... 84 Council of Europe ................................................................................................. -
Wwciguide May 2020.Pdf
From the President & CEO The Guide The Member Magazine Dear Member, for WTTW and WFMT Thank you for your viewership, listenership, and continued support of WTTW and Renée Crown Public Media Center 5400 North Saint Louis Avenue WFMT. Now more than ever, we believe it is vital that you can turn to us for trusted Chicago, Illinois 60625 news and information, and high quality educational and entertaining programming whenever and wherever you want it. We have developed our May schedule with this Main Switchboard in mind. (773) 583-5000 Member and Viewer Services On WTTW, explore the personal, firsthand perspectives of people whose lives (773) 509-1111 x 6 have been upended by COVID-19 in Chicago in FIRSTHAND: Coronavirus. This new series of stories produced and released on wttw.com and our social media channels Websites wttw.com has been packaged into a one-hour special for television that will premiere on wfmt.com May 18 at 9:00 pm. Also, settle in for the new two-night special Asian Americans to commemorate Asian Pacific American Heritage Month. As America becomes more Publisher diverse, and more divided while facing unimaginable challenges, this film focuses a Anne Gleason Art Director new lens on U.S. history and the ongoing role that Asian Americans have played. On Tom Peth wttw.com, discover and learn about Chicago’s Japanese Culture Center established WTTW Contributors Julia Maish in 1977 in Chicago by Aikido Shihan (Teacher of Teachers) and Zen Master Fumio Lisa Tipton Toyoda to make the crafts, philosophical riches, and martial arts of Japan available WFMT Contributors to Chicagoans. -
Grand Music Gracious Word
Grand Music Gracious Word JULY 2012 / YEAR B Sing For Joy® is a production of St. Olaf College. by Pastor Bruce Benson, host f you look up the etymology the turns and tumbles of human society, and we of the English word chorus can all name at least a hundred reasons not to be Ior choir, you will be in- joyful. But I think it is safe to say that as long formed that it comes from the Latin chorus which as the Biblical message of grace, love, dignity, comes from the older Greek word χορός or χῶρος forgiveness is proclaimed among people there will (choros.) The Greek word originally applied to be joy, and where there is joy (if Plato is right!) a circle dance or singing dance in a circle. That there will very likely be choruses. Therefore, at makes sense. Even for a choir of singers who have least in the church, option 1) above seems far been instructed (as I was as a youth,) “Don’t move more likely. anything except your mouth!” the act of sing- ing together is really a kind of dance. The voices This is not to say that we can simply take the must learn to dance with each other. No stepping future of the church choir for granted; we cannot. on anyone else’s musical toes; let your movements But it is to say that every assembly of people complement each other. gathered around the Gospel will feel a tug not just to listen to a chorus but to be a chorus.