Notes on the Oedipus Works
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74TH SEASON of CONCERTS April 24, 2016 • National Gallery of Art PROGRAM
74TH SEASON OF CONCERTS april 24, 2016 • national gallery of art PROGRAM 3:30 • West Building, West Garden Court Inscape Richard Scerbo, conductor Toru Takemitsu (1930 – 1996) Rain Spell Asha Srinivasan (b. 1980) Svara-Lila John Harbison (b. 1938) Mirabai Songs It’s True, I Went to the Market All I Was Doing Was Breathing Why Mira Can’t Go Back to Her Old House Where Did You Go? The Clouds Don’t Go, Don’t Go Monica Soto-Gil, mezzo soprano Intermission Chen Yi (b. 1953) Wu Yu Praying for Rain Shifan Gong-and-Drum Toru Takemitsu Archipelago S. 2 • National Gallery of Art The Musicians Founded in 2004 by artistic director Richard Scerbo, Inscape Chamber Orchestra is pushing the boundaries of classical music in riveting performances that reach across genres and generations and transcend the confines of the traditional concert experience. With its flexible roster and unique brand of programming, this Grammy-nominated group of high-energy master musicians has quickly established itself as one of the premier performing ensembles in the Washington, DC, region and beyond. Inscape has worked with emerging American composers and has a commitment to presenting concerts featuring the music of our time. Since its inception, the group has commissioned and premiered over twenty new works. Its members regularly perform with the National, Baltimore, Philadel- phia, Virginia, Richmond, and Delaware symphonies and the Washington Opera Orchestra; they are members of the Washington service bands. Inscape’s roots can be traced to the University of Maryland School of Music, when Scerbo and other music students collaborated at the Clarice Smith Center as the Philharmonia Ensemble. -
UPA : Redesigning Animation
This document is downloaded from DR‑NTU (https://dr.ntu.edu.sg) Nanyang Technological University, Singapore. UPA : redesigning animation Bottini, Cinzia 2016 Bottini, C. (2016). UPA : redesigning animation. Doctoral thesis, Nanyang Technological University, Singapore. https://hdl.handle.net/10356/69065 https://doi.org/10.32657/10356/69065 Downloaded on 05 Oct 2021 20:18:45 SGT UPA: REDESIGNING ANIMATION CINZIA BOTTINI SCHOOL OF ART, DESIGN AND MEDIA 2016 UPA: REDESIGNING ANIMATION CINZIA BOTTINI School of Art, Design and Media A thesis submitted to the Nanyang Technological University in partial fulfillment of the requirement for the degree of Doctor of Philosophy 2016 “Art does not reproduce the visible; rather, it makes visible.” Paul Klee, “Creative Credo” Acknowledgments When I started my doctoral studies, I could never have imagined what a formative learning experience it would be, both professionally and personally. I owe many people a debt of gratitude for all their help throughout this long journey. I deeply thank my supervisor, Professor Heitor Capuzzo; my cosupervisor, Giannalberto Bendazzi; and Professor Vibeke Sorensen, chair of the School of Art, Design and Media at Nanyang Technological University, Singapore for showing sincere compassion and offering unwavering moral support during a personally difficult stage of this Ph.D. I am also grateful for all their suggestions, critiques and observations that guided me in this research project, as well as their dedication and patience. My gratitude goes to Tee Bosustow, who graciously -
Case Study: Multiverse Wireless DMX at Hadestown on Broadway
CASE STUDY: Multiverse Wireless DMX Jewelle Blackman, Kay Trinidad, and Yvette Gonzalez-Nacer in Hadestown (Matthew Murphy) PROJECT SNAPSHOT Project Name: Hadestown on Broadway Location: Walter Kerr Theatre, NY, NY Hadestown is an exciting Opening Night: April 17, 2019 new Broadway musical Scenic Design: Rachel Hauck (Tony Award) that takes the audience Lighting Design: Bradley King (Tony Award) on a journey to Hell Associate/Assistant LD: John Viesta, Alex Mannix and back. Winner of eight 2019 Tony Awards, the show Lighting Programmer: Bridget Chervenka Production Electrician: James Maloney, Jr. presents the myth of Orpheus and Eurydice set to its very Associate PE: Justin Freeman own distinctive blues stomp in the setting of a low-down Head Electrician: Patrick Medlock-Turek New Orleans juke joint. For more information, read the House Electrician: Vincent Valvo Hadestown Review in Lighting & Sound America. Follow Spot Operators: Paul Valvo, Mitchell Ker Lighting Package: Christie Lites City Theatrical Solutions: Multiverse® 900MHz/2.4GHz Transmitter (5910), QolorFLEX® 2x0.9A 2.4GHz Multiverse Dimmers (5716), QolorFLEX SHoW DMX Neo® 2x5A Dimmers, DMXcat® CHALLENGES SOLUTION One of the biggest challenges for shows in Midtown Manhattan City Theatrical’s Multiverse Transmitter operating in the 900MHz looking to use wireless DMX is the crowded spectrum. With every band was selected to meet this challenge. The Multiverse lighting cue on stage being mission critical, a wireless DMX system – Transmitter provided DMX data to battery powered headlamps. especially one requiring a wide range of use, compatibility with other A Multiverse Node used as a transmitter and operating on a wireless and dimming control systems, and size restraints – needs SHoW DMX Neo SHoW ID also broadcast to QolorFlex Dimmers to work despite its high traffic surroundings. -
Artistic Hybridism in Stravinsky's Renard
Russia ‘Reimagined’: Artistic Hybridism in Stravinsky’s Renard (1915 -1916) © 2005 by Helen Kin Hoi Wong In his Souvenir sur Igor Stravinsky , the Swiss novelist Ramuz recalled his first impression of Stravinsky as a Russian man of possessiveness: What I recognized in you was an appetite and feeling for life, a love of all that is living.. The objects that made you act or react were the most commonplace... While others registered doubt or self-distrust, you immediately burst into joy, and this reaction was followed at once by a kind of act of possession, which made itself visible on your face by the appearance of two rather wicked-looking lines at the corner of your mouth. What you love is yours, and what you love ought to be yours. You throw yourself on your prey - you are in fact a man of prey. 1 Ramuz’s comment perhaps explains what make Stravinsky’s musical style so pluralistic - his desire to exploit native materials and adopt foreign things as if his own. When Stravinsky began working on the Russian libretto of Renard in 1915, he was living in Switzerland in exile, leaving France where he had established his career. As a Russian avant-garde composer of extreme folklorism (as demonstrated in the Firebird , Petrushka and the Rite ), Stravinsky was never on edge in France. His growing friendship with famous French artists such as Vati, Debussy, Ravel, Satie, Cocteau and Claudel indicated that he was gradually being perceived as part of the French artistic culture. In fact, this change of perception on Stravinsky was more than socially driven, as his musical language by the end of the War (1918) had clearly transformed to a new type which adhered to the French popular taste (as manifested in L'Histoire du Soldat , Five Easy Pieces and Ragtime ). -
Charles M. Joseph. 2011. Stravinsky's Ballets. New Haven: Yale University
Charles M. Joseph. 2011. Stravinsky’s Ballets. New Haven: Yale University Press. Reviewed by Maeve Sterbenz Charles M. Joseph’s recent monograph explores an important subset of Stravinsky’s complete oeuvre, namely his works for dance. One of the aims of the book is to stress the importance of dance for Stravinsky throughout his career as a source of inspiration that at times significantly shaped his develop- ment as a composer. Joseph offers richly contextualized and detailed pictures of Stravinsky’s ballets, ones that will be extremely useful for both dance and music scholars. While he isolates each work, several themes run through Joseph’s text. Among the most important are Stravinsky’s self–positioning as simultaneously Russian and cosmopolitan; and Stravinsky’s successes in collaboration, through which he was able to create fully integrated ballets that elevated music’s traditionally subservient role in relation to choreography. To begin, Joseph introduces his motivation for the project, arguing for the necessity of an in–depth study of Stravinsky’s works for dance in light of the fact that they comprise a significant fraction of the composer’s output (more so than any other Western classical composer) and that these works, most notably The Rite of Spring, occupy such a prominent place in the Western canon. According to Joseph, owing to Stravinsky’s sensitivity to the “complexly subtle counterpoint between ballet’s interlocking elements” (xv), the ballets stand out in the genre for their highly interdisciplinary nature. In the chapters that follow, Joseph examines each of the ballets, focusing alternately on details of the works, histories of their production and reception, and their biographical contexts. -
Benjamin Bierman, Ph.D. [email protected]
Benjamin Bierman, Ph.D. [email protected] www.benbierman.com Teaching Associate Professor, Department of Art and Music, John Jay College of Criminal Justice, City University of New York (2009-present) Recipient, 2016 Faculty Scholarship Excellence Award Substitute Assistant Professor Conservatory of Music, Brooklyn College, CUNY (2006–2007) Graduate and undergraduate theory, composition, ear training, 20th-century analysis, jazz analysis, Graduate Deputy (administrative responsibilities include advisement of all graduate students, curriculum development, preparation of comprehensive exam, etc.) Substitute Instructor Queensborough Community College, CUNY (2005–2006) Musicianship, Intermediate Piano, Introduction to Music, Introduction to Jazz Adjunct Asst. Prof. and lecturer positions (2007-2009): Brooklyn College: Composition tutorials, Linear Analysis and 20th-Century Analysis Master’s seminars, Theory, Ear Training; The New School of Jazz and Contemporary Music: History of Western Music; Boston University: online course development and instruction: Jazz Arranging, Theory/Analysis, Orchestration, History of the Blues. Baruch College: History of Electronic Music, American Popular Song Publishing “Pharoah Sanders, Straight-Ahead and Avant-Garde.” Jazz Perspectives (January 2016). Peer-review journal. Listening to Jazz (Oxford University Press, 2015). “Duke Ellington’s Legacy and Influence.” Cambridge Companion to Duke Ellington (Cambridge University Press, 2014). “Solidarity Forever: Music and the Labor Movement in the United States.” The Routledge History of Social Protest in Popular Music (Routledge Press, June 2013). “Progressive Jazz.” The Encyclopedia of Popular Music of the World (Continuum, 2012). “Unlocking the Mysteries of the Second Miles Davis Quintet.” Journal of Jazz Studies, Vol. 7, No. 2, pp. 258-265 (Fall 2011). Review; Peer-review journal. “Appreciating the Mix: Teaching Music Listening through Sound-Mixing Techniques.” Pop-Culture Pedagogy in the Music Classroom: Teaching Tools from American Idol to YouTube (Scarecrow Press, 2010). -
Stravinsky, the Fire-Bird, "The Fire-Bird's Dance,"
/N81 AI2319 Ti VILSKY' USE OF IEhPIAN IN HIS ORCHESTRAL WORKS THE IS Presented to the Graduate Council of the North Texas State College in Partial Fulfillment of the Requirements For the Degree of M1- JiROF JU.SIC by Wayne Griffith, B. Mus. Conway, Arkansas January, 1955 TABLE OF CONTENT4 Page LIST OF ILLUSTRATIONS . ,.. , , * . Chap ter I. THE USE OF PIANO1E A' Al ORCTHE TL I:ThUERIMT BEFOR 1910 . , , . , , l STRAICY II. S U6 OF 2E PIANO S E114ORCHES L ORK HIS OF "RUSIA PERIOD . 15 The Fire-Bird Pe~trouchka Le han u hossignol III. STAVIL C ' 0 USE OF TE PI 40IN 9M ORCHESTRAL .RKS OF HIS "NEO-CLASSIO" PERIOD . 56 Symphonyof Psalms Scherzo a la Russe Scenes IBfallet Symphony~in Three Movements BIIORPHYy * - . 100 iii 1I3T OF ILLUSTRATIONS Figure Page 1. Berlioz, Leio, Finale, (from Berlioz' Treatise on Instrumentation, p . 157) . 4 2. Saint-Saena, ym phony in 0-minor, (from Prof. H. Kling's Modern Orchestration and Instrumentation, a a.~~~~*f0" 0. 7 p. 74) . 0 0 * * * 3. Moussorgsky, Boris Godunov, "Coronation Scene,'" 36-40 mm.f . -a - - --. " " . 10 4. oussorgsky, Boris Godunov, "Coronation :scene," mm. 241-247 . f . * . 11 5. imsky-Korsakoff, Sadko , (from rimkir -Korsakoff' s Principles of 0rchtiration, Lart II, p. 135) . 12 6. ximsky-Korsakoff, The Snow aiden, (from Zimsky torsatoff'c tTTrin~lecs ofhOrchestration, Part II, . 01) . - - . - . * - - . 12 7 . i s akosy-. o Rf, TVe <now %aiN , (f 0r 1;i s^ky Korsaoif ' s Prciniles of Orchestration, Part II, 'p. 58) . aa. .a. .a- -.-"- -a-a -r . .". 13 8. Stravinsky, The Fire-Bird, "The Fire-Bird's Dance," 9. -
Stepping out of the Frame Alternative Realities in Rushdie’S the Ground Beneath Her Feet
Universiteit Gent 2007 Stepping Out of the Frame Alternative Realities in Rushdie’s The Ground Beneath Her Feet Verhandeling voorgelegd aan de Faculteit Letteren en Wijsbegeerte voor het verkrijgen van de graad van Prof. Gert Buelens Licentiaat in de taal- en letterkunde: Prof. Stef Craps Germaanse talen door Elke Behiels 1 Preface.................................................................................................................. 3 2 Historical Background: the (De-)Colonization Process in India.......................... 6 2.1 The Rise of the Mughal Empire................................................................... 6 2.2 Infiltration and Colonisation of India: the Raj ............................................. 8 2.3 India, the Nation-in-the-making and Independence (1947) ....................... 11 2.3.1 The Rise of Nationalism in India ....................................................... 11 2.3.2 Partition and Independence................................................................ 12 2.3.3 The Early Postcolonial Years: Nehru and Indira Gandhi................... 13 2.4 Contemporary India: Remnants of the British Presence............................ 15 3 Postcolonial Discourse: A (De)Construction of ‘the Other’.............................. 19 3.1 Imperialism – Colonialism – Post-colonialism – Globalization ................ 19 3.2 Defining the West and Orientalism............................................................ 23 3.3 Subaltern Studies: the Need for a New Perspective.................................. -
2020-21 Season Brochure
2020 SEA- This year. This season. This orchestra. This music director. Our This performance. This artist. World This moment. This breath. This breath. 2021 SON This breath. Don’t blink. ThePhiladelphiaOrchestra MUSIC DIRECTOR YANNICK NÉZET-SÉGUIN our world Ours is a world divided. And yet, night after night, live music brings audiences together, gifting them with a shared experience. This season, Music Director Yannick Nézet-Séguin and The Philadelphia Orchestra invite you to experience the transformative power of fellowship through a bold exploration of sound. 2 2020–21 Season 3 “For me, music is more than an art form. It’s an artistic force connecting us to each other and to the world around us. I love that our concerts create a space for people to gather as a community—to explore and experience an incredible spectrum of music. Sometimes, we spend an evening in the concert hall together, and it’s simply some hours of joy and beauty. Other times there may be an additional purpose, music in dialogue with an issue or an idea, maybe historic or current, or even a thought that is still not fully formed in our minds and hearts. What’s wonderful is that music gives voice to ideas and feelings that words alone do not; it touches all aspects of our being. Music inspires us to reflect deeply, and music brings us great joy, and so much more. In the end, music connects us more deeply to Our World NOW.” —Yannick Nézet-Séguin 4 2020–21 Season 5 philorch.org / 215.893.1955 6A Thursday Yannick Leads Return to Brahms and Ravel Favorites the Academy Garrick Ohlsson Thursday, October 1 / 7:30 PM Thursday, January 21 / 7:30 PM Thursday, March 25 / 7:30 PM Academy of Music, Philadelphia Yannick Nézet-Séguin Conductor Michael Tilson Thomas Conductor Lisa Batiashvili Violin Yannick Nézet-Séguin Conductor Garrick Ohlsson Piano Hai-Ye Ni Cello Westminster Symphonic Choir Ravel Le Tombeau de Couperin Joe Miller Director Szymanowski Violin Concerto No. -
Ballet? Y First the Ballerina Glides Across the Stage, Her Arms M Making Lovely Lines in the Air
My First alle B Album t What is Ballet? Firs The ballerina glides across the stage, her arms My t making lovely lines in the air. A beautiful tune comes from the strings of the large orchestra. She is the Sleeping Beauty: she was put into a allet deep magic sleep by the wicked witch. But she B lbum has now been woken by her handsome prince, A and he dances joyfully with her, athletic and strong. Another time, she is Princess Odette from Swan Lake, and around her the other dancers – swans in white chiffon – weave patterns in time to the music. And yet another time, she is the Sugar Plum Fairy celebrating the joy of Christmas in The Nutcracker. This is ballet, the classical dance that, once seen, is never forgotten. Even though today we have film and video games, ballet is still a powerful vision of beauty and excitement. The dancers use the strength of an athlete, the balance of a gymnast and the sensitivity of a violinist to tell stories through their dancing. Here is some of the best music which has propelled dancers for hundreds of years. 2 Tchaikovsky Swan Lake Stravinsky The Firebird 1 Scene 2:37 3 Scene I. The Firebird’s Dance 1:19 Keyword: Oboe Keyword: Fire Swan Lake is a ballet from Russia about a prince called Siegfried. In the forest he finds A firebird is a brightly coloured magical bird that comes a mysterious lake where swans are swimming, led by a beautiful but sad swan wearing out of the fire. -
Johannes Brahms's Ein Deutsches Requiem, Opus 45." Doctoral Dissertation
JOHANNES BRAHMS’S EIN DEUTSCHES REQUIEM: A COMPARISON OF THE REDUCED ORCHESTRATION TECHNIQUES IN JOACHIM LINCKELMANN’S CHAMBER ENSEMBLE VERSION TO BRAHMS’S FOUR HAND PIANO VERSION Michael Aaron Hawley, B.M.E., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS December 2016 APPROVED: Richard Sparks, Major Professor and Chair of the Division of Conducting and Ensembles Stephen F. Austin, Minor Professor Gregory Hobbs, Committee Member Benjamin Brand, Director of Graduate Studies in the College of Music John Richmond, Dean of the College of Music Victor Prybutok, Vice Provost of the Toulouse Graduate School Hawley, Michael Aaron. Johannes Brahms’s Ein deutsches Requiem: A Comparison of the Reduced Orchestration Techniques in Joachim Linckelmann’s Chamber Ensemble Version to Brahms’s Four-Hand Piano Version. Doctor of Musical Arts (Performance), December 2016, 265 pp., 29 musical examples, bibliography, 30 titles. Recognizing the challenges small groups have to program a major work, in 2010, Joachim Linckelmann created a chamber ensemble arrangement of Johannes Brahms’s Ein deutsches Requiem. In 1869, J.M. Reiter-Biedermann published Brahms’s four-hand piano arrangement of Ein deutsches Requiem. Brahms’s arrangement serves as an excellent comparison to the chamber ensemble version by Linckelmann, since it can be assumed that Brahms chose to highlight and focus on the parts he deemed the most important. This study was a comparative analysis of the two arrangements and was completed in three stages. The first stage documented every significant change in Joachim Linckelmann’s recent chamber arrangement. The second stage classified each change as either a reduction, reorganization, or elimination. -
IGOR STRAVINSKY Symphony of Psalms
IGOR STRAVINSKY Symphony of Psalms BORN: June 17, 1882, in Oranienbaum (now Lomonosov), Saint Petersburg, Russia DIED: April 6, 1971, in New York City WORK COMPOSED: 1930 WORLD PREMIERE: December 13, 1930, at the Palais des Beaux-Arts, Brussels, Belgium; Société Philharmonique de Bruxelles, Ernest Ansermet conducting The latter years of the 1920s were an emotionally trying time for Stravinsky. He was carrying on an open affair with his mistress in Paris while his wife Katya was in the south of France dying of tuberculosis. (Katya was Stravinsky’s cousin, they married in 1906. She was diagnosed with the disease in 1914 after the birth of their fourth child and was confined to a sanatorium in the Alps where she died in March 1939.) He also was finding little success with his works from this time. Vivid musical evocations of disease, deterioration, debilitation, decay and denial abound in his 1927 work Oedipus Rex, which was a failure at its premiere in Paris. Serge Koussevitzky, Stravinsky’s publisher and conductor of the Boston Symphony Orchestra (also a virtuoso double bassist!), made a suggestion to Stravinsky that he should write something popular in order to have a success. The thought was for Stravinsky to write something the people could understand. However, Stravinsky thought it should be about something universally admired; he felt that society had lost the ability to share a sacred experience. Stravinsky was a devout member of the Russian Orthodox Church during most of his life. No doubt that this inspired him to compose the Symphony of Psalms. Even though it is a large choral piece, he called it a symphony to appease Koussevitzky because the request was for an orchestral work.