DOCSLIB.ORG

Music and Power México

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Music and Power México LUX LA MúsiCa ET VERITAS THE LATIN AMERICAN MUSIC CENTER NEWSLETTER * * Vol. 2 No. 1 June 19, 1995 Music and Power § Music and Power The 10th Argentine Conference of Musicology and the 9th Annual Conference of the Argentinian Musicology Association ∞ § Mexico: 100 Years of Music he National Institute of Musicology Carlos Vega and the Argentinian Musicology Association invite scholars and ∞ T researchers from Argentina and other countries to participate in these § LAMC Goes On-Line two events, which will take place in the city of Buenos Aires during ∞ August 24-27 of 1995. The suggested topic for this year is Music and Power, including: music and symbolic power, rhetoric and § Horacio López de la Rosa: music persuasion, music and gender, music and cultural policies, Score Collection music and colonialism, music and religion, music and identity. ∞ Papers on other topics will also be considered. The deadline for submissions is June 12. § Latin American Music Now ∞ For more information contact: § Materials Received Recently at Instituto Nacional de Musicología the LAMC México 564, 10 Piso, 1097 ∞ Buenos Aires, Argentina. § Words and Music Follow-up Phone and fax (54-1) 361-6013. ∞ México: 100 Years of Music § Call for Scores ∞ orth/South Consonance, Inc. and the New York Public Library § Cuban Music for Piano Nfor the Performing Arts sponsored three concerts in March 11, 17 and 28 featuring music written by Mexican composers during the ∞ last 100 years. The concerts coincided with the exhibition of manu- § New Recordings and the LAMC scripts by Carlos Chávez housed at the Research Division of the Library, and three unpublished works by this composer received their ∞ first performance. The programs also featured works by Salvador § Obituary: Eduardo Mata Contreras, José Pablo Moncayo, Eduardo Hernández Moncada, Mario ∞ Lavista, Salvador Moreno, Manuel Ponce, Silvestre Revueltas, Rodolfo Halffter and Ricardo Castro. The programs were designed by § Selected Discography of Latin Mexican pianist/composer Max Lifchitz. For more information, call American Colonial Music North/South Concerts (212) 592-3532. LAMC GOES ON-LINE he Latin American Music future projects planned for the home sions on it. The list welcomes T Center recently started a project page include the creation of a directory messages in English, Spanish, and to offer some of the LAMC’s of Latin American composers; a direc- Portuguese. materials and services through “on- tory of Latin American music schools line” resources. On-line resources, and institutions, institutions related to Anyone can subscribe to LAMC-L. such as Internet or World Wide Latin American music in other parts of The procedure is quite simple: log Web (hereafter: WWW) are the world; and a compilation of theses, onto your email account and follow becoming better known and more dissertations, projects, and research on these steps: popular not only in academia but Latin American Music. also among the general public. • Send a message to: The second section of the LAMC On- We believe that this project has line project is LAMC-L: Academic [email protected] many benefits: it will make the Discussion List for Latin American LAMC’s materials available to a Music. The list was created to provide • In the body of the message write: larger audience; it will allow an avenue for exchanging news about individuals to reach and interact SUBSCRIBE LAMC-L your-first- with a wider number of musicians name your-last-name and scholars around the world (especially Latin America); and it Note: If you end your email will serve as a medium for channeling with a default “signature” information around the continent. (quotation, picture, address, etc.), please disable it before you send the LAMC On-line consists of two message. main sections: LAMC Home Page and Discussion List on Latin You will receive a message con- American music (LAMC-L). firming your subscription and a “welcome message” with general The LAMC Home Page is avail- information about the use of the list able through any of the browsers— and a guide on how to obtain more such as Mosaic or Netscape—used information. on WWW, and has an initial link works-in-progress; questions of general located in the Indiana University interest about Latin American music; We at the LAMC hope individuals School of Music Home Page. The announcements of conferences, festi- take advantage of these new Uniform Resource Locator (URL) vals, concerts, recordings, etc.; but facilities. We invite all those for the LAMC Home Page is the especially for serious discussion on interested in Latin American music following: issues pertaining to music in Latin to browse through the home page, America. subscribe to the list, and send us http://www.music.indiana.edu/som/lamc their comments and suggestions. LAMC-L has had a wonderful recep- Presently the home page contains tion. Just one week after its creation it If you have any questions please do several sections that include had more than seventy-five subscribers not hesitate to contact the LAMC, information about the LAMC and from several countries and backgrounds. or Erick Carballo, the project its staff, the complete collection of Groups with different interests—such as coordinator: LAMúsiCa (LAMC’s Newsletter), historians, composers, folklorists, and and links to other on-line resources performers—have joined the list with [email protected] in Latin America. Some of the the intention of carrying their discus- Horacio López de la Rosa: Score Collection n our last issue, we informed our Seis canciones, op. 3 (1958-59) Tres canciones americanas, op. 15 Ipatrons about the addition to the for voice and piano (1961) LAMC archives of a collection of Text by Juan Ramón Jiménez for voice and piano scores by Argentinian composer and Antonio Machado Text from folk traditions Horacio López de la Rosa EAM Contains: Villancico, La campana, (b. Buenos Aires, October 26, 1933; Con una manzana verde. d. Buenos Aires, September 7, 1986). Coplas de la paloma, op. 45 RA (1978-79) The collection, donated by Ms. Inés for voice and piano Invenciones, op. 34 (1969-70) de la Rosa with the mediation of Text by Jorge Vocos Lescano for piano pianist Marcela Fiorillo, contains and the composer. BARRY the following compositions: EAC Dos tangos para piano, op. 44, 48 Canciones de Altisidora, op. 35 Dos canciones, op. 7 (1960) Ediciones Guía de la Música Argentina (1970) for voice and piano Instituto Lucchelli Bonadeo for soprano and piano Text by Juan Ramón Jiménez Text by Miguel de Cervantes Contains: Los amarillos, El perdido Tempi, op. 25 (1964) EAM EAM for piano, in seven movements EAM Tango para la mano izquierda, Dos invenciones, op. 10 (1960) op. 52 (1985) for piano Tango, op. 54 (1985) for piano EAM for piano four hands and güiro EA EAC Latin American Music Now he Department of Music and the Center for Latin The keynote address of the festival was presented by TAmerica of the University of Wisconsin-Milwaukee renowned Mexican composer Mario Lavista. presented on April 20-22 a festival of contemporary art music featuring selected works by composers from Conductor Carmen Téllez and composer Gerardo Dirié, Venezuela, México, Brazil and Argentina. There were director and coordinator of the LAMC, participated in evening concerts, four sessions of lectures, demonstrations the second session of discussions : “Sharing our Musics: and panel discussions with guest performers and compos- Listening Across the Borders.” ers. Guest musicians included Horacio Franco (virtuoso recorder player), Adrián Justus (violin), the Do-Zarpas The conference was organized by Yehuda Yannay, harp duo from Mexico City, Evelyn LaBruce (mezzo Judith Jaimes and Pavel Burda of the University of soprano), Lou Cucunato and Elena Abend (pianists). Wisconsin-Madison and Frankie Kelly of Western Carolina University. Pavel Burda conducted the Music-With-Percussion Ensemble, and composer Yehuda Yannay conducted an A report of concert and discussion sessions in several ensemble with the participation of saxophonist Jonathan of this season's music festivals will appear in the next Helton, bassist Michael Britz and the Veronika Quartet. issue of LaMúsiCA. Materials Received Recently at the LAMC Compact Discs voice; Leo Brouwer - Es el amor Arizpe], Cuaderno de viaje (1989) for quien ve (1972) for voice, flute, guitar, solo viola [Mauricio Barbetti], violin, cello, piano, and vibraphone. Cuicani (1985) for flute and clarinet Nueva generación de compositores Cosentino, Buenos Aires, 1993. [Marielena Arizpe, Luis Humberto argentinos Vol. 2. Contains: Gabriel Ramos], Cante (1980) for two guitars Adamo - Variations for piano, Op. 6; Las vanguardias en Argentina. [Grupo [Dúo Castañón-Bañuelos], Sergio Bungs - 10 Very Brief Love Encuentros. Alicia Terzián, conduc- Responsorio in memoriam Rodolfo Duets; Daniel Cocchetti -Variations, tor]. Contains: José Luis Campana - Halffter (1988), for bassoon and two Op. 11; Elena Buiani - Quartet for Noctal 1-2-3 (1992) for flute, clarinet, percussionists [Wendy Holdaway, woodwinds; Cecilia Fiorentino - violin, cello, and piano; Salvador basson; Ricardo Gallardo and Alonso Osergered or the Crumbs; Teodoro Ranieri - Un grido anche di gioia Mendoza, percussion]. CENIDIM, Cromber - Tríptico No. 3; Sergio (1979) for voice, clarinet, violin, cello, México, 1994. Parotti - Sonata no. 1, Op. 39; Luis and piano; Marcelo Koc - Música Müller - Preludio y melodía para ac. para cinco instrumentos (1983) for Cantata antillana. [Orquesta Sinfónica flute, clarinet, violin,
Load more

Recommended publications
  • Federico Ibarra - a Case Study
    Western University Scholarship@Western Electronic Thesis and Dissertation Repository 4-29-2019 11:00 AM Contexts for Musical Modernism in Post-1945 Mexico: Federico Ibarra - A Case Study Francisco Eduardo Barradas Galván The University of Western Ontario Supervisor Ansari, Emily. The University of Western Ontario Co-Supervisor Wiebe, Thomas. The University of Western Ontario Graduate Program in Music A thesis submitted in partial fulfillment of the equirr ements for the degree in Doctor of Musical Arts © Francisco Eduardo Barradas Galván 2019 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Musicology Commons, and the Music Performance Commons Recommended Citation Barradas Galván, Francisco Eduardo, "Contexts for Musical Modernism in Post-1945 Mexico: Federico Ibarra - A Case Study" (2019). Electronic Thesis and Dissertation Repository. 6131. https://ir.lib.uwo.ca/etd/6131 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. Abstract This monograph examines the musical modernist era in Mexico between 1945 and the 1970s. It aims to provide a new understanding of the eclecticism achieved by Mexican composers during this era, using three different focal points. First, I examine the cultural and musical context of this period of Mexican music history. I scrutinize the major events, personalities, and projects that precipitated Mexican composers’ move away from government-promoted musical nationalism during this period toward an embrace of international trends. I then provide a case study through which to better understand this era, examining the early life, education, and formative influences of Mexican composer Federico Ibarra (b.1946), focusing particularly on the 1960s and 1970s.
    [Show full text]
  • Download Booklet
    Credits works by Executive producer: Jonathan Golove. Nicandro Tamez Recording producer: Omar Tamez. Leandro Espinosa Session producers: Karl Toews (Tracks 1, 3-4, 6-8) and Omar Tamez (2,5). Mario Lavista Omar Tamez Audio engineer and editing: Chris Jacobs. Manuel de Elías Location: Lippes Concert Hall in Slee Hall, University at Buffalo, The State University of New York. Liner notes: Jonathan Golove, except where noted. Stephen Manes, piano Cover painting: Ubudo by Teresita Soto, based on Nicandro Tamez’s score of the same title. Emilio Tamez, percussion Publishers Nicandro Tamez’s Introduccíon al Duo I and Monomaquia I are available from Omar Tamez. Leandro Espinosa’s Duo “De la Obscuridad a la Luz” is available from the composer. Mario Lavista’s Cuaderno de viaje and Quotations are published by Ediciones Mexicana de Musica, A.C. Omar Tamez’s Las Voces Internas is available from the composer. Manuel de Elías’ Homérica is available from the composer. Acknowledgements This recording was made possible by the support of the University of Buffalo and the UB Department of Music. I wish to thank members of the University of Buffalo staff, Phil Rehard, concert manager, and Gary Shipe, piano technician, and UB faculty percussionist Tom Kolor, for their gracious assistance with this project. Thanks also to David Felder and the Robert and Carol Morris Center for 21st Century Music and Margarita Vargas and the UB Gender Institute for additional support, as well as to Ana R. Alonso-Minutti for her program notes and translation assistance. WWW.ALBANYRECORDS.COM TROY1235 ALBANY RECORDS U.S. 915 BROADWAY, ALBANY, NY 12207 TEL: 518.436.8814 FAX: 518.436.0643 ALBANY RECORDS U.K.
    [Show full text]
  • Cabrillo Festival of Contemporarymusic of Contemporarymusic Marin Alsop Music Director |Conductor Marin Alsop Music Director |Conductor 2015
    CABRILLO FESTIVAL OFOF CONTEMPORARYCONTEMPORARY MUSICMUSIC 2015 MARINMARIN ALSOPALSOP MUSICMUSIC DIRECTOR DIRECTOR | | CONDUCTOR CONDUCTOR SANTA CRUZ CIVIC AUDITORIUM CRUZ CIVIC AUDITORIUM SANTA BAUTISTA MISSION SAN JUAN PROGRAM GUIDE art for all OPEN<STUDIOS ART TOUR 2015 “when i came i didn’t even feel like i was capable of learning. i have learned so much here at HGP about farming and our food systems and about living a productive life.” First 3 Weekends – Mary Cherry, PrograM graduate in October Chances are you have heard our name, but what exactly is the Homeless Garden Project? on our natural Bridges organic 300 Artists farm, we provide job training, transitional employment and support services to people who are homeless. we invite you to stop by and see our beautiful farm. You can Good Times pick up some tools and garden along with us on volunteer + September 30th Issue days or come pick and buy delicious, organically grown vegetables, fruits, herbs and flowers. = FREE Artist Guide Good for the community. Good for you. share the love. homelessgardenproject.org | 831-426-3609 Visit our Downtown Gift store! artscouncilsc.org unique, Local, organic and Handmade Gifts 831.475.9600 oPen: fridays & saturdays 12-7pm, sundays 12-6 pm Cooper House Breezeway ft 110 Cooper/Pacific Ave, ste 100G AC_CF_2015_FP_ad_4C_v2.indd 1 6/26/15 2:11 PM CABRILLO FESTIVAL OF CONTEMPORARY MUSIC SANTA CRUZ, CA AUGUST 2-16, 2015 PROGRAM BOOK C ONTENT S For information contact: www.cabrillomusic.org 3 Calendar of Events 831.426.6966 Cabrillo Festival of Contemporary
    [Show full text]
  • JULY 2013 Here’S What’S from the Editor Welcome to the July 2013 Edition of the AAA Newsletter
    AMERICAN ACCORDIONISTS’ ASSOCIATION Newsletter A bi-monthly publication of the American Accordionists’ Association JULY 2013 Here’s What’s From the Editor Welcome to the July 2013 edition of the AAA Newsletter. Happening at The excitement builds as we rapidly approach the AAA’s Gala 75th Anniver- AAA in 2013 sary, a milestone for any organization and an event not to be missed! As we prepare to join together in New York next month for our Anniversary JULY 26-28, 2013 Festival, we take a moment to reflect on the sad loss of several of our AAA friends Master Class and Concert who we have recently lost. The AAA lost two of our outstanding officers within Series - The Seminars days of each other, Carmen Carrozza and Dr. Carmelo Pino. Unbelievably, we The Accordion is 3D then lost two long time AAA supporters August Arruda and Robert Paolo, also Tenri Cultural Institute within a very short time. We will miss them all greatly, but know they would 43A W.13th Street, NYC wish us well, as we celebrate our milestone 75th Anniversary event. We offer Moderator/Curator our sincerest condolences to all their families and friends, and we will always cherish the many happy William Schimmel memories of sharing their friendship through the accordion. Once again my sincere thanks to the AAA President Linda Reed and Board of Director Rita David- AUGUST 14-18, 2013 son for their kind assistance with the AAA Newsletter. Items for the September Newsletter can be AAA 75th Anniversary The New Yorker Hotel sent to me at [email protected] or to the official AAA e-mail address at: 8th Ave.
    [Show full text]
  • Maestri Virtuosi
    Maestri Virtuosi María Cristina Kiehr António Carrilho Diego Fernández Canto Flautas de Bisel Cravo Jan Pieterszoon Sweelinck Giovanni Antonio Pandolfo Mealli (1562-1621) (ca. 1630-ca. 1669/1670) Je pars, non point de vous Sonata La Cesta Rimes françoises et italiennes, Sonate à violino solo, per chiesa e camera, mises en musique Leyden 1612 opera terza Innsbruck 1660 Ippolito Tartaglino Carlos Seixas (ca. 1539-ca.1582) (1704-1742) Canzon sopra Susanna Sonata e Minuete em Ré menor British Museum ms add 30491 (ed. American Institute of Musicology) Alessandro Scarlatti (1660-1725) Marco Uccellini Clori mia, Clori bella (1603-1680) Recitativo-ária-recitativo-ária Statsbibliotek zum Sonata nona Berlim (D:B) Mus.ms. 30188 Sonate over canzone per violino e basso continuo, opera quinta Veneza 1649 Carl Phillip Emanuel Bach (1714-1788) Jan Pieterszoon Sweelinck Sonata em Mi menor, H. 551 Beaux years, par qui l´ Amour Adagio – Allegro – Minuet com variazione Rimes françoises et italienes, mises en musique Leyden 1612 Georg Friedrich Händel Michael Lambert (1685-1757) (1610-1696) The soft complaining flute Ode for St. Cecilia ´ s Dy, HWV 76 Vos mespris chaque jour Aires de cour María Cristina Kiehr Com Armonía Concertada, duo de vihuela e canto, María Cristina Kiehr regressa, na companhia de Ariel Abramovich, ao reportório do Renascimento, o responsável pelo seu despertar para a chamada «Música Antiga». Imaginario é o primeiro registo do que ambos esperam ser o início de um frutuoso caminho. A afinidade da artista com a polifonia, em particular, e com o Humanismo e a sua influência na arte, em geral, traduziu-se em inúmeros concertos e gravações com o seu quarteto vocal La Colombina, bem como, anteriormente, com o Daedalus Ensemble (Roberto Festa).
    [Show full text]
  • Samedi 23 Février, 20H Fiesta Criolla F Iesta Crio
    Roch-Olivier Maistre, Président du Conseil d’administration Laurent Bayle, Directeur général Samedi 23 février, 20h Fiesta criolla Dans le cadre du cycle Le nouveau monde Jésuites et Amérindiens Du Mardi 19 au mardi 26 février 2008 Samedi 23 février, 20h février, 23 Samedi | Vous avez la possibilité de consulter les notes de programme en ligne, 2 jours avant chaque concert, à l’adresse suivante : www.cite-musique.fr Fiesta criolla Fiesta Cycle Le nouveau monde Jésuites et Amérindiens Du MarDi 19 au MarDi 26 féVrier À l’âge baroque, le Paraguay a connu l’une des plus À cet égard, le syncrétisme religieux fut l’un des traits intéressantes expériences humaines de toute l’amérique dominants de la ferveur populaire dans l’amérique latine avec la fameuse république jésuite du Paraguay coloniale. ainsi les negrillas et guineos renvoient au qui dura jusqu’à l’expulsion de l’ordre en 1767. Les indiens dialecte imaginé à partir de la langue espagnole par guaranis y étaient regroupés dans des missions ou les esclaves noirs et, par extension, désignent un type « réductions » où les religieux développèrent un type de villancico imitatif ou parodique sur des textes inspirés d’économie très original, l’argent y étant remplacé par par Noël : une façon imagée de nous renseigner sur un système de monnaies naturelles (étoffes de coton, la manière dont l’événement sacré était perçu par maté). cette population d’origine africaine. et plus encore, il y a le pèlerinage de Santa Maria de Guadalupe au Sans doute paternaliste, la république jésuite du Mexique qui se développa à partir des visions que Juan Paraguay a cependant permis aux populations indigènes Diego, paysan aztèque, eut en 1531 de la Vierge, apparue de vivre en semi-autarcie pendant plus d’un siècle sous les traits d’une jeune indienne.
    [Show full text]
  • Vespro Della Beata Vergine
    Claudio Monteverdi VESPRO DELLA BEATA VERGINE da concerto, composto sopra canti fermi (1610) versione a cura di Giuseppe Collisani e Gabriel Garrido Ensemble Elyma Coro Antonio Il Verso Coro Madrigalia Illustration couverture livret / coffret : Maestro valenciano, 1450 ca. Les Sacqueboutiers de Toulouse Madonna con il Bambino e Angeli direction : Jean-Pierre Canihac reggicortina tempera grassa su tavola. Inv. 143 - Museo - Trapani / Italie conception graphisme : VU Intégral Direction & réalisation musicale traduction : Diomède SARL - Metz Gabriel Garrido Assitant : Gonzalo Martinez 1 Page de titre de l’édition de 1610 : Bassus generalis 2 Ce disque constitue la mémoire des concerts des Vespro della Beata Vergine (Vêpres de la Bienheureuse Vierge) de Claudio Monteverdi qui ont eu lieu à Palerme dans l'église de Santa Maria dello Spasimo du 15 au 17 juillet 1999 à l'occasion de l'été musical (Estate Musicale) du Teatro Massimo (Fondazione Teatro Massimo). Les concerts ont été réalisés par le Teatro Massimo et la délégation régionale à la culture de la ville de Palerme, en collaboration avec l'association pour la Musique ancienne Antonio Il Verso et l'Institut de l'Histoire de la Musique de l'Université de Palerme pour le Projet Monteverdi. L'enregistrement a eu lieu à Erice, province de Trapani, dans l'église San Martino, du 18 au 26 juillet 1999. Nous tenons à remercier chaleureusement le père Francesco Pirrera et le facteur d’orgue Franco Oliveri, directeur de l'entreprise artisanale de facture d’orgue d’Acicatena (CT). Questo disco costituisce la memoria dei concerti del Vespro della Beata Vergine di Claudio Monteverdi che hanno avuto luogo a Palermo presso la Chiesa di Santa Maria dello Spasimo dal 15 al 17 luglio 1999 nell’ambito dell’Estate Musicale della Fondazione Teatro Massimo di Palermo.
    [Show full text]
  • Miracolo D'amore
    SÉMELE enero de 2017 - novedades discográficas de música clásica - semelemusic.com Raquel Andueza Xavier Sabata La Galanía Miracolo d’amore SÉMELE enero de 2017 novedades discográficas de música clásica semelemusic.com SÉMELE es un innovador servicio de distribución discográfica, licenciación de derechos fonográficos y promoción de artistas, sellos e instituciones internacionales de música clásica. SÉMELE tiene su sede en San Lorenzo de El Escorial, al noroeste de Madrid. Algunos de los sellos representados en exclusiva por SÉMELE en España, y muchos de ellos también en Portugal, son los siguientes (por orden alfabético): Accent, Aeon, Alpha, Anima e Corpo, Arcana, Arte Verum, BIS, Cantus, Carpe Diem, Carus, CDM Capella de Ministrers, Chandos, Christophorus, CPO, Cypres, Dynamic, Ediciones Singulares, Enchiriadis, Fra Bernardo, Fuga Libera, Glossa, Hänssler Classic, Kairos, Lauda, Linn Records, MDG Dabringhaus und Grimm, Melodiya, Ondine, Opera Rara, Orfeo, Pan Classics, Passacaille, Pentatone, Phi, Profil, Ramée, Raumklang, Ricercar, Soli Deo Gloria, Supraphon, SWRmusic, Tactus, Timpani, Tudor, Vivat. SÉMELE publica mensualmente un boletín de novedades discográficas en formato PDF. Todos los números de este boletín pueden descargarse gratuitamente. * Bajo el sello Ediciones Singulares, SÉMELE publica sus propias colecciones de refinados libro-discos que sitúan a la música en su contexto histórico, cultural y social. SÉMELE está además asociada a La Quinta de Mahler, espacio físico (y online) de venta de discos y libros y lugar de encuentro para todos los aficionados a la música clásica, ubicado en el centro de la ciudad de Madrid (c/ Amnistía, 5), a pocos pasos de destinos emblemáticos como la Puerta del Sol, el Teatro Real y la Plaza Mayor.
    [Show full text]
  • CMS Fifty-Ninth National Conference October 27–29, 2016 Santa Fe, New Mexico
    CMS Fifty-Ninth National Conference October 27–29, 2016 Santa Fe, New Mexico PRESENTER & COMPOSER BIOS updated September 12, 2016 Alberti, Alexander Alex Alberti is the current director of instrumental music at Longleaf School of the Arts in Raleigh, North Carolina. He also works with the Middle Creek High School marching band, instructing front ensemble and percussion. Alberti formerly taught at Southern Lee High School in Sanford, where he directed band, orchestra, and chorus, as well as an extracurricular a cappella program. Alberti is an active researcher in the field of music theory pedagogy and music education, presenting his findings at NAfME, CMS National, and NCUR. Alberti currently holds a Bachelor of Music Education degree from Appalachian State University with a minor in Psychology. At Appalachian State, he participated in the wind ensemble, concert band, men’s glee club, symphonic band, and orchestra, while serving as a music theory tutor for the entire sequence of theory and aural skills courses. In his spare time, Alberti composes both choral and instrumental works, judges for the International Competition for Collegiate A Cappella, and participates in the Durham Chorale. Alhadeff, Peter Peter Alhadeff is a Professor and a founding faculty member of the Music Business/Management Department at Berklee. He is a distinguished Oxford economist and historian who has a made his own unique and successful career in the US music business. Alhadeff has published and been engaged by the National Academy of Recording Arts and Sciences, the Harvard Berkman Center, the Latin Grammy, the Interamerican Bank at the Di Tella Institute in Buenos Aires, and the Business and Economics Society International, for which he delivered the keynote address on the state of the music trade in Athens, Greece.
    [Show full text]
  • BASULTO-DISSERTATION-May 19-B
    An Introduction to the Life and Work of Javier Alvarez by Alejandro Basulto Martínez A thesis submitted to the Moores School of Music, Kathrine G. McGovern College of the Arts in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Conducting with an emphasis in Opera Conducting Chair of Committee: Howard Pollack Committee Member: Raymond Harvey Committee Member: Timothy Koozin Committee Member: Rob Smith University of Houston May 2021 Copyright 2021, Alejandro Basulto Martínez DEDICATION To Silvana Batllori. iii ACKNOWLEDGMENTS My sincerest gratitude to the National Fund for Culture and Arts (Fondo Nacional para la Cultura y las Artes, FONCA), the National Council of Science and Technology (Consejo Nacional de Ciencia y Tecnología, CONACYT), as well as the Schissler Foundation, for financially supporting my studies. I would like to thank my committee chair, Dr. Howard Pollack, who has spent countless hours giving valuable advice. Thank you to the other members of my committee—Dr. Raymond Harvey, Dr. Tim Koozin, and Dr. Rob Smith—for your support and knowledge. To Dr. Barbara Rose Lange, thank you for guiding the beginnings of this research documents. To Madelyn Washington and her team at the UH Music Library, thank you for helping me find valuable sources. Thank you to Marley Foster, from the UH Writing Center, who revised this document several times. A special thank you to Dr. Daniel Castro Pantoja, for sharing his passion and knowledge of Latin American music. I would also like to thank Dr. Javier Alvarez, who granted me access to his personal files and has always been available to answer my questions.
    [Show full text]
  • Mario Lavista
    Música para charlar Música para charlar is the title of a piece by Silvestre Revueltas, and can be translated as “chit-chat” or “background music.” Hopefully, the music on this concert will mark the beginning of a fruitful dialogue between those who make music on both sides of the border: some small talk over the picket fence that separates our neighboring backyards or, as Revueltas would have liked it, a frank exchange of ideas over, let’s say, a few glasses of tequila. —Carlos Sanchez-Gutierrez This concert is made possible in part by major grants from the US-Mexico San Francisco Contemporary Music Players Fund for Culture and the Clarence E. Heller Charitable Foundation. We thank also the Zellerbach Family Fund and the William and Flora Hewlett Monday, May 13, 2002 at 8 pm Foundation for their support of this evening’s program. Center for the Arts Theater Carlos Sanchez-Gutierrez’s Clyde Beatty is Dead was commissioned with a grant from the Fromm Music Foundation at Harvard University, which has also helped to underwrite this premiere performance. Música para charlar JAVIER TORRES MALDONADO Performers Figuralmusik II (1996) U.S. Premiere Tod Brody, flute William Wohlmacher, clarinet RICARDO ZOHN-MULDOON Blair Tindall, oboe Danza Nocturna (1986, rev. 1989) Rufus Olivier, bassoon Gianna Abondolo, cello Lawrence Ragent, horn Julie Steinberg, piano Charles Metzger, trumpet I William Winant, percussion Ralph Wagner, trumpet II Hall Goff, trombone UAN RIGOS Peter Wahrhaftig, tuba J T Roy Malan, violin I Ricercare II (1993, rev. 1998)
    [Show full text]
  • Guide to Early Music in Flanders
    GUIDE TO EARLY MUSIC IN FLANDERS SECOND EDITION 2009 CONTENTS 6 PREFACE 7 INTRODUCTION: A Devil and a Pederast: On historical performance practice in Flanders and its international ramifications PART 1 ARTISTS 14 Ensembles 30 Orchestras 34 Conductors 41 Soloists Singers 42 Sopranos 45 Tenors / Countertenors 47 Baritones / Bass Instrumentalist 50 Players of Keyboard Instruments 56 Players of String Instruments 60 Players of Wind Instruments PART 2 ORGANISATIONS AND STRUCTURES 68 Concert Organisations 69 Arts Centres and Concert Halls 71 Festivals 73 Research Institutions, Documentation Centres and Libraries 79 Music Education 80 Conservatories 81 Postgraduate Education 81 Universities 82 Media 85 Booking Agencies 86 Publishers 87 Record Companies 88 Instrument Makers PART 3 ADDITIONAL INFORMATION 93 ‘Flemish’ Music from the Middle Ages until circa 1750 97 On Cultural Policy in Flanders 4 FLANDERS? GATEWAY TO EUROPE Belgium is a federal state in the heart of Europe. Flanders is the northern, Dutch-speaking part of Belgium. The Flemish Community counts more than 6 million inhabitants and is run by a government of its own with a number of specific competences, such as culture, education, media… Brussels, capital of Belgium and of Flanders as well, is home to the European Commission and many international cultural institutions. 5 PREFACE Smaller than a postage stamp! That’s how minute Flanders looks on a map of the world, if you can discover it at all. However, a felicitous turn of his- tory has made this region into an exciting crossroads of different cultures. This is why Flanders is so rich in creative talent and abundant with cultural activities.
    [Show full text]