DOCSLIB.ORG

November Conductor David Morris

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
November Conductor David Morris T h e Mouthpiece A Publication of the East Bay Recorder Society Volume 20, Number 3 November 2016 November Conductor David Morris Monthly Chapter David Morris has made a specialty of performing 17th- and 18th-century music on a variety of historical bass instruments. Dubbed a “basso continuo Meeting wizard” by Gramophone (UK), he has performed in the U.S. and abroad Friday, November 4, with the Boston Early Music Festival Orchestra, Tafelmusik, the Boston 2016 Symphony Orchestra and the Mark Morris Dance Group. He has recorded for Harmonia Mundi, Drag City Records (Joanna Newsom’s double-CD, 7:30 pm to 10:00 pm Have One on Me), CBC/ Radio-Canada and New Line Cinema (as viola da gamba soloist for The Nativity Story). He is a frequent coach for VdGSA and Zion Lutheran Church ARS events and coached at the Amherst, Madison and SFEMS early music workshops. 5201 Park Blvd. Oakland, CA. If your last name begins with C-L, please bring a snack for break, if possible. Everyone, bring a music stand, a pencil, and instruments (SATB and lower if you have them). Please arrive in time to set up and be ready to play at 7:30 pm. H David Morris, continued. I will be bringing a nice sampler of In Nomines for us to explore on November 4. The In Nomine was an exclusively English genre from the 16th and 17th centuries in which the Sarum antiphon Gloria tibi Trinitas was used as a cantus firmus; it was the most conspicuous single form in the early development of English consort music, with over 150 examples surviving. Notable In Nomine composers include Hi everyone, Parsons, A. Ferrabosco, Gibbons, Osbert Parsley, John Bull, John Milton (father of the author), Wm I do not know if you experience the same thing I do Cranford, Jenkins, Tomkins and about 30 others. but I feel that time is just zipping by. It is almost Inspired by this rich legacy, modern composers are November and the holiday season is looming. I am still giving it a go, including the British composer/ particularly looking forward to Thanksgiving because conductor Peter Maxwell Davies, who has used it in I will have a lot of family here visiting. As I write this, several works. Viol players know this genre well, but I am also looking forward to our one-day workshop it is less well known amongst recorder players, so I with Tish Berlin. It will be old news by the time you thought I would share the wealth! read this but signups have been good and I think it will have been a thoroughly entertaining day. It will I will explain the history of the genre, and we will play also benefit our checkbook balance and cover the several different examples that demonstrate several shortfall of expenses that membership dues do not different creative approaches to the inherent cover. constraint of the form. I love this music and hope you all will, too. Circle Sunday, March 26, 2017, on your calendars. That is the day for our annual Member's Recital at Hillside Church in El Cerrito. It is not too early to think about what you want to play and with whom you would like to play it. Solos are encouraged as well as ensembles. Any group where at least one person is a member of EBRS is welcome. If you are new to performing, this event is a great place to get positive feedback. We are all very supportive of those who are brave enough to get up in front of us and play. n Happy playing everyone. Susan Jaffe omine President ~Suzanne Siebert Travel Update – Last month, The Mouthpiece published a story I told about my having met and played with a harpsichordist Recorder Players Jean-Michel) in Montpellier, France in 2015. The new beginners' group had its first meeting on October 21. We had a great time playing duets. The group is still open to new players--just phone or email Kathy to sign up. Upcoming sessions are scheduled for October 28; November 17 and 26; and December 9 and 16. Beginning in February, Kathy will lead an ad hoc ensemble to prepare for the March Members' Recital. All EBRS members are welcome. Kathy Cochran [email protected] or call 510-326-4674 I recounted that he regularly played with a traverso player, and this may be true. However, when I travelled again to the south of France in late September and early October, Jean-Michel had arranged for us to play with a recorder player. His name was Alain, and here is a photo of him. He was quite a good player, but like Jean-Michel until last year, he had never before played with a baroque oboe. We three played a chaconne from Purcell’s Fairy Queen (not originally written for oboe, and quite a Conductors for 2016/2017 “blow” for me) as well as a trio sonata by Telemann for recorder, oboe and continuo. November 4 David Morris Alain said he very much liked the blend of the December 2 Frances Blaker recorder and oboe, especially in the Telemann piece. Neither Alain nor Jean-Michel seemed to be well January 7 (@3:30) Shira Kammen acquainted with Telemann’s chamber music for two February 3 Frances Feldon or more melody instruments. I wish I had explored March 3 Tish Berlin what music they usually played, but my brain was beginning to fry at the end of 2 1/2 hours trying to April 7 Andrew Levy speak French. They both spoke some English, but we May 5 Louise Carslake communicated primarily in French. June 2 Rebecca Molinari The Devil's in the Details: Tone is among the trickiest things to improve on the recorder. The best way to improve your tone is to Tuning Tips from Recorder work with a teacher -- learning to blow and breathe Professional Anne Timberlake properly is a complex process that benefits from expert advice and consistent feedback. You can find a teacher on the American Recorder Society website. If One of the questions I am you don't have access to a teacher, the ARS website asked most frequently as a has a series of instructional videos by recorder teacher is how to play in professional Vicki Boeckman. tune on the recorder. There is, unfortunately, no magic tuning fork. The recorder may be relatively easy to pick up and make noise on, but as many have discovered, it is an instrumental honey trap, keeping its difficulties in reserve until you are Anne Timberlake hooked! Photo by Jennifer Carpenter It is possible to play in tune on the recorder, and Learn your instrument some intelligent work can help you move closer to The recorder is a sensitive -- and particular! -- your goal. instrument. Every recorder is different, and each note on the recorder wants to be blown in a specific way. Change your mindset Spend time with each of your recorders, learning their The ability to play in tune is a skill. It is not a talent, tendencies. Is your recorder particularly sharp? Is this something a person possesses or not. Nor is it a particular note unusually low? A tuner with a needle discrete piece of knowledge that can be absorbed and can be useful for this task. implemented in one go. Whether or not you can play in tune does not speak to your musicianship, intelligence, or value If the recorder is generally out of tune, it can be as a person. Be kind to yourself, and to others! "pulled out" or "pushed in." In other words, the head Skills require practice, but are ultimately accessible to joint can be slightly pulled away from the body, everyone. It is true that, due to innate predisposition lengthening the instrument and lowering its pitch, or or prior experience, some of us pick up particular pushed back in, raising its pitch back up. Make sure skills more quickly than others. However, with your recorder is warmed up before you assess its focused practice over time, anyone can improve a tuning, since a warm recorder will be a different pitch skill. Viewing tuning as a learnable skill, just like than a cold one. Make sure you do not pull out very moving your fingers between notes, is the first step to far -- more than a few millimeters and you will have playing better in tune. disrupted the relationships between individual notes. Improve your tone Step away from the needle Recorders are designed to play in tune when they are Tuning comprises two separate, yet interlocking, being blown correctly. If you are not producing a skills: the ability to hear whether something is in tune, clear, open, resonant, and steady tone on the and the ability to adjust your playing according to recorder, there is a very small chance that you are what you hear. playing in tune. In contrast, if you are breathing efficiently and producing an excellent tone, you have A tuner that provides you with visual feedback, like a fought at least half the battle already. needle or lights, is very useful when you are working on the first of these skills. Many people still rely on the needle when it comes time to practice adjusting Trust their own tuning. This is a mistake. You do not need If you have put in sufficient time with your to learn how to adjust your tuning to visual feedback. instrument and a drone, you have likely developed a You need to learn to adjust to a note you hear, subconscious feel for playing in tune.
Load more

Recommended publications
  • 59Th Annual Critics Poll
    Paul Maria Abbey Lincoln Rudresh Ambrose Schneider Chambers Akinmusire Hall of Fame Poll Winners Paul Motian Craig Taborn Mahanthappa 66 Album Picks £3.50 £3.50 .K. U 59th Annual Critics Poll Critics Annual 59th The Critics’ Pick Critics’ The Artist, Jazz for Album Jazz and Piano UGUST 2011 MORAN Jason DOWNBEAT.COM A DOWNBEAT 59TH ANNUAL CRITICS POLL // ABBEY LINCOLN // PAUL CHAMBERS // JASON MORAN // AMBROSE AKINMUSIRE AU G U S T 2011 AUGUST 2011 VOLUme 78 – NUMBER 8 President Kevin Maher Publisher Frank Alkyer Managing Editor Bobby Reed Associate Editor Aaron Cohen Contributing Editor Ed Enright Art Director Ara Tirado Production Associate Andy Williams Bookkeeper Margaret Stevens Circulation Manager Sue Mahal Circulation Assistant Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] Advertising Sales Assistant Theresa Hill 630-941-2030 [email protected] OFFICES 102 N. Haven Road Elmhurst, IL 60126–2970 630-941-2030 Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, John McDonough Atlanta: Jon Ross; Austin: Michael Point, Kevin Whitehead; Boston: Fred Bouchard, Frank-John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Bob Doerschuk; New Or- leans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D.
    [Show full text]
  • Nostalgia in Indie Folk by Claire Coleman
    WESTERN SYDNEY UNIVE RSITY Humanities and Communication Arts “Hold on, hold on to your old ways”: Nostalgia in Indie Folk by Claire Coleman For acceptance into the degree of Doctor of Philosophy December 20, 2017 Student number 17630782 “Hold on, hold on to your old ways” – Sufjan Stevens, “He Woke Me Up Again,” Seven Swans Statement of Authentication The work presented in this thesis is, to the best of my knowledge and belief, original except as acknowledged in the text. I hereby declare that I have not submitted this material, either in full or in part, for a degree at this or any other institution. .............................................................................................. Claire Coleman Acknowledgements This thesis could not have been completed without the invaluable assistance of numerous colleagues, friends and family. The love, respect and practical support of these people, too many to name, buoyed me through the arduous privilege that is doctoral research. With special thanks to: The Supers – Dr Kate Fagan, Mr John Encarnacao and Associate Prof. Diana Blom My beloved – Mike Ford My family – Nola Coleman, Gemma Devenish, Neale Devenish, and the Fords. The proof-readers – Alex Witt, Anna Dunnill, Pina Ford, Connor Weightman and Nina Levy. My choir families – Menagerie, Berlin Pop Ensemble and Dienstag Choir Administrative staff at Western Sydney University Dr Peter Elliott Ali Kirby, Kate Ballard, Carol Shepherd, Kathryn Smith, Judith Schroiff, Lujan Cordaro, Kate Ford and the many cafes in Perth, Sydney and Berlin
    [Show full text]
  • Apollo Ghosts Caribou / Babe Rainbow / Ryan Walter Wagner / the New Pornographers / Sxsw / Bison B.C
    FREE! MAY 2010 // THAT EAZY-DUZ-IT MAGAZINE FROM CiTR 101.9 FM // SUPPORTING VANCOUVER'S INDEPENDENT MUSIC COMMUNITY FOR OVER 25 YEARS APOLLO GHOSTS CARIBOU / BABE RAINBOW / RYAN WALTER WAGNER / THE NEW PORNOGRAPHERS / SXSW / BISON B.C. / HOW TO BE A DJ PT. 2 EDITOR EDITOR'S NOTE Jordie Yow ART DIRECTOR Dear Discorder: Lindsey Hampton With spring just around the corner, this is time to Now, getting back to this issue: We've got some of make plans for summer. This is the time of year when Vancouver's heaviest hitters talking to us: Carl Newman PRODUCTION MANAGER all the planning for local festivals and concerts are hap- from the New Pornographers dropped Dan Fumano a line Debby Reis pening and I have a challenge for them. Over the last few to chat about his new album on page 14, James Farwell COPY EDITORS years members of Discorder and CiTR have been playing from Bison B.C., who's music is heavy in a different sense Alison Atkinson, Liz Brant, Debby a number of friendly softball games against groups like of the word, discusses the maturation of their music with Reis, Miné Salkin Megaphone, Adbusters and CBC Radio 3. This year we Scott Lyon on page 18, Polaris award winner Dan Snaith would like to extend the challenge to the entire Vancouver of Caribou talked with our Jackie Wong about his newest AD MANAGER music community. This is a personal challenge, but it is on endeavour on page 12, Sancho McCann met with some David Stansfield behalf of Discorder and CiTR.
    [Show full text]
  • For a Lark the Poetry of Songs
    UNIVERSIDADE DE LISBOA FACULDADE DE LETRAS PROGRAMA EM TEORIA DA LITERATURA FOR A LARK THE POETRY OF SONGS Telmo Rodrigues DOUTORAMENTO EM ESTUDOS DE LITERATURA E DE CULTURA TEORIA DA LITERATURA 2014 Universidade de Lisboa Faculdade de Letras Programa em Teoria da Literatura FOR A LARK THE POETRY OF SONGS Telmo Rodrigues Dissertação orientada por: PROFESSOR DOUTOR ANTÓNIO M. FEIJÓ PROFESSOR DOUTOR MIGUEL TAMEN Doutoramento em Estudos de Literatura e de Cultura Teoria da Literatura 2014 Acknowledgments The work for this thesis was done under a fellowship granted by the Foundation for Science and Technology (FCT): the time granted to think is priceless, and I am indeed thankful for being allowed to benefit from it. During this period I have also benefited from the resources put at my disposal by my host institution, the Nova Institute of Philosophy (IFILNOVA). Professor António Feijó has been teaching me since my first year of undergraduate studies and Professor Miguel Tamen since I started graduate studies: I am still to this day amazed at the luck I have for being given the opportunity to work with both of them, and my gratitude for their efforts and enthusiasm in crafting this thesis is immeasurable. As a student of the Program in Literary Theory I must extend my thanks to Professor João Figueiredo, who is an integral part of the Program and with whom I have learnt many valuable things about art. When writing a thesis, a friend who enjoys editing is a blessing one must always be thankful for; in any case, I would gladly dismiss Helena’s editing skills for the friendship which has shaped this work beyond recognition and, necessarily, beyond any written acknowledgment.
    [Show full text]
  • Classical Thesis Draft
    THE PENNSYLVANIA STATE UNIVERSITY SCHREYER HONORS COLLEGE SCHOOL OF MUSIC SOUNDSCLASSICAL.COM: INTRODUCING CLASSICAL MUSIC THROUGH COMPARISON WITH MODERN MUSIC EDWARD SUNDRA SPRING 2014 A thesis submitted in partial fulfillment of the requirements for a baccalaureate degree in Music with honors in Music Reviewed and approved* by the following: Mark Ballora Associate Professor, Music Technology Thesis Supervisor, Honors Adviser Charles Youmans Professor of Musicology Faculty Reader * Signatures are on file in the Schreyer Honors College. i ABSTRACT This thesis serves as a steppingstone for a larger project which aims to build a website introducing classical music to a broad audience in new and innovative ways. Soundsclassical.com is distinct from other introductory websites in that it attempts to bridge the gap between the classical and modern music worlds more effectively than many other introductory classical websites do. In this thesis, there are two sections: 1) reviews of other classical music websites and ways they are less effective than they could be, and 2) a series of articles that demonstrate some of the content that will eventually be on Soundclassical.com. These medium-length articles compare certain modern genres and/or artists to classical equivalents, in order to create stronger emotional and contextual ties between seemingly unrelated composers and their work. ii TABLE OF CONTENTS List of Figures ...........................................................................................................................iii
    [Show full text]
  • Joanna Newsom Have One on Me Mp3, Flac, Wma
    Joanna Newsom Have One On Me mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Folk, World, & Country Album: Have One On Me Country: US Released: 2010 Style: Acoustic, Folk MP3 version RAR size: 1542 mb FLAC version RAR size: 1632 mb WMA version RAR size: 1360 mb Rating: 4.5 Votes: 766 Other Formats: MIDI MP2 ASF AIFF TTA MMF MPC Tracklist Hide Credits Easy Cello – Sascha GroschangDouble Bass – Andrew RoitsteinDrums [Drum Set] – Neal A1 MorganFlute – Phaedon SinisPiano, Vocals – Joanna NewsomTrombone – Andrew 6:04 StrainTrumpet – Eric OberthalerViola – Djeina HarutaViolin – Katie Kresek, Philip Payton, Yeolim Nam Have One On Me Alto Recorder, Recorder [Tenor, & Bass Recorder] – Judith LinsenbergBacking Vocals – Lily StormBassoon – Shawn Jones Drums [Drum Set], Timpani – Neal MorganFiddle [Tarhu], Kemenche [Kemençe] – Phaedon SinisHarp, Vocals, Backing Vocals – Joanna A2 11:02 NewsomHorn – Alex CamphouseOboe – Laura ReynoldsPiano – Dan CantrellRecorded By [Bulgarian Tambura, Kaval] – Ryan FrancesconiTambura [Bulgarian Tambura], Kaval – Ryan FrancesconiTimpani – Dan KoretzkyTrumpet – Eric OberthalerViolin – Katie Kresek, Philip Payton '81 A3 3:52 Harp, Voice – Joanna Newsom Good Intentions Paving Company Acoustic Guitar, Electric Guitar, Electric Bass, Banjo, Mandolin – Ryan FrancesconiDrums B1 [Drum Set], Percussion – Neal MorganOrgan [Hammond Organ] – Dan CantrellPiano, 7:02 Vocals, Backing Vocals – Joanna NewsomRecorded By [Acoustic Guitar, Electric Guitar, Banjo, Mandolin, Electric Bass] – Ryan FrancesconiTrombone – Andrew Strain No Provenance
    [Show full text]
  • Lise Haller Baggesen
    Lise Haller Baggesen The Mothernist’s Audio Guide to Laguna Gloria Presented in conjunction with the exhibition Mothernism, on view in the Gatehouse Gallery through May 22, 2016. The Mothernist’s Audio Guide to Laguna Gloria is a newly commissioned work of art by Lise Haller Baggesen. Go on an intimate walk with the artist, who ,through her own musings, provides new ways to see, hear and think about the sculptures, gardens, and history of Laguna Gloria. IMAGE: Lise Haller Baggesen, Mothernism, 2013-ongoing. Audio-installation. Installation view (in action), Lise Haller Baggesen :Mothernism, The Contemporary Austin - Gatehouse Gallery at the Betty and Edward Marcus Sculpture Park at Laguna Gloria, 2016. Artwork © Lise Haller Baggesen. Image courtesy The Contemporary Austin. Photograph by Brian Fitzsimmons. 1 The Mothernist’s Audio Guide to Laguna Gloria Track 1: Intro (Villa and Wishing Well) Dear, Let’s go for a walk. Walk with me Like lovers do Talk with me Like lovers do1 Pretend for a moment that we can walk together, like lovers do, or like a mother and her child –who are also lovers, but of a different kind. Or even, like walking a little old lady across the street— I’ll let you decide who is who—a loving gesture of yet another order; the kindness of strangers. What more could we wish for? Let’s think about that, while we walk toward the Wishing Well. Exit through the front door and turn right. Turn right again around the corner of the villa past the gated archway and onto the flagstone path.
    [Show full text]
  • Wargo Gets Life
    I r - ffV’ '-'d-i-'-’ AVKBAGB OAILS- dBOUIAHOH Moatli «f PebnMTj, UM4 l^awiiif5 , 4ol 0the 2 Audit Buftdue* VOL. LIIL, NO. 185. (Cleeetfliid Adverttataf eu Page lA). MANGHESTEIL C O ^ m roiDAT^ MARCH 1994. (SIXTEEN PAGE9) PRICE THREE € » » » STAIOiEATER GERMANY PLANS First Lady On Cuban Sdil After Hop From Miami EIGffniARMY ♦ - G U ILn, TOBESEmNG TO REARM, SHE FLIER K U E D ; OF BUSY WEEK TEU^ JiAGUE CAR»NAIL TO DIE IN CHAIR; H eraU Cooking School to Says Disannament Is an Bewfldertd by HeafySaow WARGO GETS LIFE Dhision as AD Other Na­ Hold Forth Four Mornings S q all His P lm Crashes O P n S E E 'tCM panioB,^ Beginning Tuesday— F r^ tions A re Speeding Up on ia Ohio— Tea Bags of i F n u n i w i i K I w f t Capikted ol M v - to AD Women. War Programs. Mafl Saved. dk k SHMi Depee — Geneva, M arch 9.— ( A P ) — ^Dis­ B U U ^ l l N ! N o t row s ai little laboratory ta­ State QiiiniiSr Objects i» bles and small gas burners, not a armament is an illusion, says Ger­ Dsqrtena Besudi, Manta 8 •— teacher and little girls learning many, hence she is going to rearm. (A P)—Private Bmert B. F n w M ^ of Mmdcipal their first lessons in Home Econom­ But in a document published today wae killed tanteatiy aeisr here S p r ln g f i^ Maps., M arch 9.—« today'tai ttae oraMi at am A rm y ics—but a model kitchen on the for the first time, she promised to iMHnber m pfl ptame w tfttai a fe w (A P )—Alexander Kaminski of New stage, an experienced lecturer eind be moderate.
    [Show full text]
  • Type Artist Album Barcode Price 32.95 21.95 20.95 26.95 26.95
    Type Artist Album Barcode Price 10" 13th Floor Elevators You`re Gonna Miss Me (pic disc) 803415820412 32.95 10" A Perfect Circle Doomed/Disillusioned 4050538363975 21.95 10" A.F.I. All Hallow's Eve (Orange Vinyl) 888072367173 20.95 10" African Head Charge 2016RSD - Super Mystic Brakes 5060263721505 26.95 10" Allah-Las Covers #1 (Ltd) 184923124217 26.95 10" Andrew Jackson Jihad Only God Can Judge Me (white vinyl) 612851017214 24.95 10" Animals 2016RSD - Animal Tracks 018771849919 21.95 10" Animals The Animals Are Back 018771893417 21.95 10" Animals The Animals Is Here (EP) 018771893516 21.95 10" Beach Boys Surfin' Safari 5099997931119 26.95 10" Belly 2018RSD - Feel 888608668293 21.95 10" Black Flag Jealous Again (EP) 018861090719 26.95 10" Black Flag Six Pack 018861092010 26.95 10" Black Lips This Sick Beat 616892522843 26.95 10" Black Moth Super Rainbow Drippers n/a 20.95 10" Blitzen Trapper 2018RSD - Kids Album! 616948913199 32.95 10" Blossoms 2017RSD - Unplugged At Festival No. 6 602557297607 31.95 (45rpm) 10" Bon Jovi Live 2 (pic disc) 602537994205 26.95 10" Bouncing Souls Complete Control Recording Sessions 603967144314 17.95 10" Brian Jonestown Massacre Dropping Bombs On the Sun (UFO 5055869542852 26.95 Paycheck) 10" Brian Jonestown Massacre Groove Is In the Heart 5055869507837 28.95 10" Brian Jonestown Massacre Mini Album Thingy Wingy (2x10") 5055869507585 47.95 10" Brian Jonestown Massacre The Sun Ship 5055869507783 20.95 10" Bugg, Jake Messed Up Kids 602537784158 22.95 10" Burial Rodent 5055869558495 22.95 10" Burial Subtemple / Beachfires 5055300386793 21.95 10" Butthole Surfers Locust Abortion Technician 868798000332 22.95 10" Butthole Surfers Locust Abortion Technician (Red 868798000325 29.95 Vinyl/Indie-retail-only) 10" Cisneros, Al Ark Procession/Jericho 781484055815 22.95 10" Civil Wars Between The Bars EP 888837937276 19.95 10" Clark, Gary Jr.
    [Show full text]
  • WILDERNESS TRACKS ELIZABETH ALKER RESOURCES Here Are
    WILDERNESS TRACKS ELIZABETH ALKER RESOURCES Here are some resources linked to projects and topics discussed during this episode. Track list from this episode: See all the tracks mentioned in this episode here. https://timberfestival.org.uk/the-wilderness-tracks/ Unclassified: Tune in to Elizabeth’s show on BBC Radio 3, where she celebrates a new generation of unclassified composers. https://www.bbc.co.uk/programmes/b0b02sl2 SPEAKERS Elizabeth Alker, Geoff Bird TRANSCRIPT Geoff Bird 0:09 Welcome to Wilderness Tracks recorded at the Timber Festival in the National Forest. In each edition a writer, artist or musician, tells me Geoff Bird about six songs that somehow connect them with nature. Elizabeth Alker broadcasts on BBC Radio Three and Six Music. She's a great champion of those artists taking the best from both classical and pop traditions to find new and exciting ways of creating music. The reason I was really keen to get you to do this is because you seem to me the future somehow, in that you work as nimbly on six music, as you do on radio three. And maybe it's something to do with my age. But that's exactly where my crosshairs at the moment is a past in popular music and a future into more classical stuff that's borne out by these selections. And I'm wondering, how conscious are you of the fact that you kind of seem to be straddling all sorts of musical worlds in the work that you do? Elizabeth Alker 1:13 Yeah, I'm aware of it.
    [Show full text]
  • Great Albums
    Last Update: 14/4/13 – Changes & additions since the December 2010 version highlighted thusly 1936 Robert Johnson The Complete Recordings 1937 By universal acknowledgment, the greatest of the Old Masters of acoustic blues. It’s said that Eric Clapton wouldn’t even talk to you in the 1960s if you were not au fait with Robert Johnson. This is one of the exceptions in which I’ve allowed a “best of” compilation. I just had to in this case. There weren’t any albums in the 30s. 1959 Miles Davis Kind Of Blue He could play the trumpet a bit. This is arguably the best known full-on jazz album of all time. It had just enjoyed its 40 th anniversary on first compilation of this list. I’m not qualified to write about Miles Davis, but this I know. Despite his tetchy character, especially in defence of blacks against the white establishment (understandably), he did not come from a typical poor black background. His family were quite affluent and middle class, in as far as it was possible for blacks to be middle class in the US at that time. 1964 John Coltrane A Love Supreme He could play the sax a bit. The album was the result of Coltrane’s sudden religious awakening in 1957. Brilliant – apart from the embarrassing vocals. You're getting jazz and old-time blues up to '64 because The Great Musical Reinvention had not yet happened - but it was just around the corner... 1965 Jackson C Frank Jackson C Frank Aficionados know that this is the best folk album of all time.
    [Show full text]
  • Unconventional Formal Structures and Function in the Music of Joanna Newsom
    Unconventional Formal Structures and Function in the Music of Joanna Newsom Rachel Hottle Department of Music Research, Music Theory Area Schulich School of Music, McGill University, Montreal, QC A thesis submitted to McGill University in partial fulfilment of the requirements of the degree of Master of Arts, Music Theory, April 2020. Copyright 2020, Rachel Hottle. Table of Contents Abstract ...……………………………………………………………………………………....... ii Résumé ...……………………………………………………………………………………...… iii Positionality Statement …………………………………………………………….………...… iv Acknowledgements ...………………………………………………………………………….... v Chapter 1. Introduction ...………………………….…..………..……………………………..…. 1 Formal Functions ……………………………………………...………………...….......…. 3 Methodology…………………………………………………………………..………....... 6 Chapter 2. “Emily” ...……………………………………………………..……………...…….... 11 Chapter 3. “Monkey and Bear” ………………………………………………………………..... 26 Chapter 4. “Sawdust and Diamonds” ………………………………………………………….... 46 Chapter 5. “Only Skin” ………………………………………………………………………… 63 Chapter 6. “Cosmia” ………………………………………………………………………...…. 90 Chapter 7. Conclusion …………………………………………...……………………….…… 103 Bibliography ………………………………………………………………………………….. 109 Appendix A: Complete annotated lyrics ………………………………………………….….… 111 “Emily” ……………………………………………………………………………....… 111 “Monkey and Bear” ………………………………………………………………….… 113 “Sawdust and Diamonds” ……………………………………………………………… 116 “Only Skin” ………………………………………………………………………….… 119 “Cosmia” …………………………………………………………………………….… 123 ii Abstract This thesis explores formal function, structure, and
    [Show full text]