DOCSLIB.ORG

J.Peter Schwalm “How We Fall” LP/CD/Digital – 8 Giugno 2018 - Rarenoise Records/Goodfellas

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
J.Peter Schwalm “How We Fall” LP/CD/Digital – 8 Giugno 2018 - Rarenoise Records/Goodfellas J.Peter Schwalm “How We Fall” LP/CD/Digital – 8 giugno 2018 - RareNoise Records/Goodfellas Per anni le composizioni e le produzioni di J. Peter Schwalm sono state una prova impressionante dell'intensità dei suoni senza parole. Più coerente che mai, nel suo nuovo album “How We Fall”, Schwalm crea sculture sonore che trascendono le categorie più comuni. Le loro strutture possono assumere forme ruvide o dolcemente curve, dispiegare effetti associativi o contemplativi e possono anche far rabbrividire l'ascoltatore. La sensibilità di Schwalm per le sfumature, gli archi di tensione e i suoni individuali si basa sul talento e su un'esperienza pluriennale. Il suo ultimo album prima di questo nuovo “How We Fall”, intitolato “The Beauty Of Disaster”, risale alla primavera del 2016; il lavoro ruotava intorno ad una dualità che modella le arti visive e la musica, oltre che la vita stessa: una certa malinconia che è sempre insita nella speranza. Poi, nell'autunno 2016 una svolta nella sua vita, un'esperienza esistenziale che ha lasciato tracce profonde: al musicista (nato a Francoforte sul Meno nel 1970) viene diagnosticato un tumore cerebrale, che deve essere rimosso chirugicamente. Durante l'intervento la procedura si dimostra però impossibile e Schwalm viene sottoposto a chemioterapia. Nel corso dell'anno successivo il nostro si rimette al lavoro su una serie di pezzi che inevitabilmente rifettono stati d'animo quali irrequietezza, paura, disperazione e rabbia, mentre lo sforzo artistico è concentrato nella capacità di elaborare queste emozioni in suoni astratti. La ripartenza dopo la pausa per malattia non è stata facile: "Nelle prime settimane dopo l'operazione, ho ascoltato il mio archivio per distrarmi e ispirarmi. Ho iniziato a progettare miniature al pianoforte, sviluppando armonie che ho poi trasferito alle mie macchine. Mi sono però reso conto che dovevo riscoprire parti della mia attrezzatura perché non ne ricordavo tutte le funzioni". Questo si spiega in parte con il fatto che il musicista tedesco ha negli anni utilizzato tecniche avanzate e molto particolari, alcune delle quali da lui personalmente sviluppate e insegnate in occasioni di festival e seminari in tutto il mondo. Nel corso del tempo, Schwalm ha trasformato le sue idee originali, ha variato e ampliato la gamma dei timbri delle sue composizioni fno a rendere irriconoscibili gli strumenti di cui si avvale. "Durante il processo mi sono reso conto che ci sono paralleli tra le mie esperienze personali e le mie emozioni e l'attuale situazione sociale e politica nel mondo", aggiunge Schwalm. Questo pensiero lo ha portato a scegliere per alcuni pezzi del nuovo album titoli che assomigliano in modo ingannevole a dei termini inglesi. "Altri sono invece nomi di veri villaggi tedeschi, luoghi appartenenti ad un'area scelta dal comando militare americano durante la Guerra Fredda come zona di eventuale sgancio di armi nucleari, per prevenire possibili attacchi sovietici che tentassero di occupare la Germania" spiega Schwalm, che proviene proprio da questa regione, chiamata "Fulda Gap" (Varco di Fulda). I sorprendenti cambiamenti sonori che troviamo nella iniziale “Strofort” sono un esempio per i successivi 45 minuti. Suggestivo come una colonna sonora che non ha bisogno di immagini, il brano collega, disponendole con cura, diverse superfci e frammenti di un linguaggio immaginario, che ci proiettano in un'altra dimensione. Nel corso dell'album ci sono pezzi come “Stormbruch” che spingono oltre il limite il concetto di drone in lenta crescita. Oppure “Clingon”, giocata interamente sullo sviluppo di pulsazioni. "Rispetto al disco precedente, questa volta ho lavorato di più con dettagli ritmici, inclusi metri dispari e opposti", spiega Schwalm. Per J. Peter Schwalm “How We Fall” è una sorta di istantanea scattata in un tempo relativamente breve rispetto ai lavori precedenti. "La musica rappresenta un universo chiuso che rifette il momento e le circostanze in cui è stata creata", spiega. Tutti i pezzi di questo album sono profondamente personali, espressione intensa di un artista sonoro che non deve scendere a compromessi. La musica senza dubbio suona scura, ma mai depressa, e quasi sempre si scorge un accenno di luce. BIOGRAFIA Per sei anni, a partire dal 1998, J. Peter Schwalm ha lavorato continuativamente con Brian Eno: insieme hanno pubblicato l'album “Drawn From Life”, scritto la colonna sonora del lungometraggio di Nicolas Winding Refn “Fear X” e tenuto concerti in Europa e Giappone. Oltre a questo importante sodalizio con Brian Eno - che ha incluso una performance congiunta con la leggenda di Krautrock Holger Czukay - J. Peter Schwalm ha collezionato una serie di variegate e prestigiose esperienze: ha composto per il Balletto di Stoccarda, per il Lyceum Theatre Sheffeld, per il coreografo londinese Hofech Shechter e per la serie Das Neue Werk des NDR. Dal 2008 Schwalm suona con il chitarrista elettrico di Oslo Eivind Aarset, che è stato a lungo un punto di riferimento per lui quanto il bassista londinese Tim Harries. Nel 2013 Schwalm è stato invitato ad eseguire un progetto appositamente sviluppato con questi due partner di lunga data e altri musicisti al 44° Festival Tedesco di Jazz a Francoforte. Nello stesso anno è stato coinvolto dall'ensemble londinese Icebreaker nel progetto di rielaborazione di musiche dei Kraftwerk “Kraftwerk Uncover”. Nel 2016, dopo l'uscita di “The Beauty Of Disaster”, Schwalm ha prodotto la band Chat Noir. ha realizzato un'installazione live al Frankfurter Kunstverein e ha presentato un estratto dei suoi adattamenti personali di Bach all'Alte Oper di Francoforte. Attualmente sta lavorando a un programma radiofonico per Hessischer Rundfunk, per il quale sta scrivendo musica, testi e regia. ”HOW WE FALL” 01. Strofort 02. Battenfeld 03. Auua 04. Ibra 05. Gangesthal 06. Stormbruch 07. Clingon 08. Musles 09. Singlis J.Peter Schwalm: guitars, pianos, electronic devices, acoustic and digital sound modules, mixing desks, drums and synths, except where indicated Eivind Aarset : additional guitars on 1,3, 4, 5, 8, 9 Tim Harries : additional bass on 1,4, 5, 6, 7, 9 All music written, composed, produced and performed by J. Peter Schwalm in 2017 Additional Guitar by Eivind Aarset, On 1, 3, 4, 5, 8, 9 Additional Bass by Tim Harries, on 1, 4, 5, 6, 7, 9 Mastering by Mike Fossenkemper Artwork by Sophie Clements Cover image and Title from “How We Fall”, Sophie Clements 2017 Photography of J.Peter Schwalm by Anja Jahn Design by Toby Cornish, JuTojo Executive Producer for RareNoiseRecords: Giacomo Bruzzo RARENOISE RECORDS www.rarenoiserecords.com www.facebook.com/rarenoise Uffcio stampa: PITBELLULA [email protected] Press page: http://www.pitbellula.com/artist/j-peter-schwalm .
Load more

Recommended publications
  • Fretam Inventory 030#17270D
    ALKEN, Henry. Ideas, Accidental and Incidental To Hunting and Other Sports. London: Thomas M'Lean, n.d.[1826-1830]. First edition, early issue, with plates watermarked 1831-32. Upright folio. Engraved title and forty-two hand colored soft- ground etchings with interleaves. Full forest green crushed morocco for Hatchards of London (stamp-signed) by either Riviere or Sangorski and Sutcliffe (ca. 1940). Occasional mild spots to margins not affecting imagery. A neat professional repair to closed margin tear. Otherwise, a beautiful copy of the most desirable edition. DB 02149. $16,500 DJB-2 ALKEN, Henry. Scraps From the Sketch-Book of Henry Alken. Engraved by Himself. London: Thomas M'Lean, 1825. Third edition (plates still dated 1820), preceded by those of 1821 and 1823, and equally scarce. Tall octavo. Title leaf and forty- two hand-colored engraved plates, twelve with multiple images. Contemporary half crimson morocco over paper boards. Red leather title label lettered in gilt to upper board. Small bookplate to front free-endpaper. DB 01902. $2,750 DJB-2 ALKEN, Henry. Specimens of Riding Near London. Drawn from Life. London: Published by Thomas M'Lean,. Repository of Wit and Humour, No. 26, Haymarket, 1823. Second edition. Oblong folio (8 3/4 x 12 3/4 in; 222 x 323 mm). Printed title and eighteen hand-colored engraved plates. Late nineteenth century half red roan over red cloth boards, ruled in gilt. Rectangular red roan gilt lettering label, bordered in gilt on front board. Spine with two raised bands, paneled and lettered in gilt. Clean tear in the inside margin of the seventeenth plate (just touching image) expertly and almost invisibly repaired.
    [Show full text]
  • New Editions 2012
    January – February 2013 Volume 2, Number 5 New Editions 2012: Reviews and Listings of Important Prints and Editions from Around the World • New Section: <100 Faye Hirsch on Nicole Eisenman • Wade Guyton OS at the Whitney • Zarina: Paper Like Skin • Superstorm Sandy • News History. Analysis. Criticism. Reviews. News. Art in Print. In print and online. www.artinprint.org Subscribe to Art in Print. January – February 2013 In This Issue Volume 2, Number 5 Editor-in-Chief Susan Tallman 2 Susan Tallman On Visibility Associate Publisher New Editions 2012 Index 3 Julie Bernatz Managing Editor Faye Hirsch 4 Annkathrin Murray Nicole Eisenman’s Year of Printing Prodigiously Associate Editor Amelia Ishmael New Editions 2012 Reviews A–Z 10 Design Director <100 42 Skip Langer Design Associate Exhibition Reviews Raymond Hayen Charles Schultz 44 Wade Guyton OS M. Brian Tichenor & Raun Thorp 46 Zarina: Paper Like Skin New Editions Listings 48 News of the Print World 58 Superstorm Sandy 62 Contributors 68 Membership Subscription Form 70 Cover Image: Rirkrit Tiravanija, I Am Busy (2012), 100% cotton towel. Published by WOW (Works on Whatever), New York, NY. Photo: James Ewing, courtesy Art Production Fund. This page: Barbara Takenaga, detail of Day for Night, State I (2012), aquatint, sugar lift, spit bite and white ground with hand coloring by the artist. Printed and published by Wingate Studio, Hinsdale, NH. Art in Print 3500 N. Lake Shore Drive Suite 10A Chicago, IL 60657-1927 www.artinprint.org [email protected] No part of this periodical may be published without the written consent of the publisher.
    [Show full text]
  • Lightspeed Magazine, Issue 122 (July 2020)
    TABLE OF CONTENTS Issue 122, July 2020 FROM THE EDITOR Editorial: July 2020 SCIENCE FICTION Zen and the Art of an Android Beatdown, or Cecile Meets a Boxer: A Love Story Tochi Onyebuchi The End of the World Measured in Values of N Adam-Troy Castro The Blue Fairy’s Manifesto Annalee Newitz The Swallows of the Storm Ray Nayler FANTASY Baba Yaga and the Seven Hills Kristina Ten A Siege of Cranes Benjamin Rosenbaum Great Gerta and the Mermaid Mari Ness Rosamojo Kiini Ibura Salaam EXCERPTS The Sin in the Steel Ryan Van Loan NONFICTION Book Reviews: July 2020 Chris Kluwe Media Review: July 2020 LaShawn M. Wanak Interview: Alaya Dawn Johnson Christian A. Coleman AUTHOR SPOTLIGHTS Kristina Ten Adam-Troy Castro Mari Ness Ray Nayler MISCELLANY Coming Attractions Stay Connected Subscriptions and Ebooks Support Us on Patreon, or How to Become a Dragonrider or Space Wizard About the Lightspeed Team Also Edited by John Joseph Adams © 2020 Lightspeed Magazine Cover by Galen Dara www.lightspeedmagazine.com Editorial: July 2020 John Joseph Adams | 247 words Welcome to Lightspeed’s 122nd issue! Our cover art this month is from Galen Dara, illustrating our first original fantasy short of the month: “Baba Yaga and the Seven Hills,” by Kristina Ten. Is there a place for a centuries- old Russian witch in San Francisco? You’d be surprised! Mari Ness takes us to Neverland in her piratical tale of “Great Gerta and the Mermaid.” Plus, we have fantasy reprints by Benjamin Rosenbaum (“A Siege of Cranes”) and Kiini Ibura Salaam (“Rosamojo”). During lockdown, it was hard not to think in terms of apocalypses.
    [Show full text]
  • Disordered Appetites: Female Flesh in the Works of Thomas Middleton
    DISORDERED APPETITES: FEMALE FLESH IN THE WORKS OF THOMAS MIDDLETON A dissertation submitted by Gregory M. Schnitzspahn in partial fulfillment of the requirements for the degree of Doctor of Philosophy in English TUFTS UNIVERSITY May 2015 Copyright © 2015 by Gregory M. Schnitzspahn Advisor: Judith Haber ii Abstract This dissertation contends that Thomas Middleton’s plays and poetry exploit an early modern psychocultural anxiety focused on the insubstantiality of symbolic or linguistic constructs. More specifically, Middleton’s works consistently examine the manipulability and immateriality of patriarchally prescribed female social identities––such as maid, wife, and widow––that are based entirely upon a woman’s sexual or marital relations with men. Employing principles drawn from psychoanalysis and ecofeminism, I argue that this Middletonian preoccupation bespeaks a more widespread uncertainty in the period about symbolic structures intended to control or contain female bodies and the natural world. My analysis of Thomas Middleton’s work therefore points to conceptual technologies that were emergent in the early modern period and which continue to exert influence in the present day. In the introduction, I describe my guiding principles and theoretical apparatus by reading the typically Middletonian complications of marital and sexual identity in two plays, The Witch and The Phoenix. Chapter One moves to a discussion of female virginity in The Changeling, Middleton’s famous collaboration with William Rowley, and argues that the play taps into cultural anxieties about the potential unreliability of symbolic technologies for controlling female bodies and appetites. Chapter Two examines Middleton’s early work, The Ghost of Lucrece, and contends that this poem’s plaintive ghost uses images of iii female corporeality as a rhetorical weapon, unleashing great floods of blood, milk, and tears that strain the written language of the poem itself.
    [Show full text]
  • Observing Protest from a Place
    VISUAL AND MATERIAL CULTURE, 13001700 Sheila McTighe Representing from LifeLife inin Seventeenth-century Italy FOR PRIVATE AND NON-COMMERCIAL USE AMSTERDAM UNIVERSITY PRESS Representing from Life in Seventeenth-century Italy FOR PRIVATE AND NON-COMMERCIAL USE AMSTERDAM UNIVERSITY PRESS Visual and Material Culture, 1300–1700 A forum for innovative research on the role of images and objects in the late me- dieval and early modern periods, Visual and Material Culture, 1300–1700 publishes monographs and essay collections that combine rigorous investigation with critical inquiry to present new narratives on a wide range of topics, from traditional arts to seemingly ordinary things. Recognizing the fluidity of images, objects, and ideas, this series fosters cross-cultural as well as multi-disciplinary exploration. We consider proposals from across the spectrum of analytic approaches and methodologies. Series Editor Dr. Allison Levy, an art historian, has written and/or edited three scholarly books, and she has been the recipient of numerous grants and awards, from the Nation- al Endowment for the Humanities, the American Association of University Wom- en, the Getty Research Institute, the Dumbarton Oaks Research Library of Harvard University, the Whiting Foundation and the Bogliasco Foundation, among others. www.allisonlevy.com. FOR PRIVATE AND NON-COMMERCIAL USE AMSTERDAM UNIVERSITY PRESS Representing from Life in Seventeenth- century Italy Sheila McTighe Amsterdam University Press FOR PRIVATE AND NON-COMMERCIAL USE AMSTERDAM UNIVERSITY PRESS Cover illustration: Claude Lorrain. An artist studying from nature. 1639. Oil on canvas. Cincinnati Art Museum, Ohio, USA / Gift of Mary Hanna / Bridgeman Images. Cover design: Coördesign, Leiden Lay-out: Newgen/Konvertus isbn 978 94 6298 328 1 e-isbn 978 90 4853 326 8 doi 10.5117/ 9789462983281 nur 685 © S.
    [Show full text]
  • SPORTELLO DI PADOVA SEZIONE INFORMATICA Padova 10/01/11 Comunicato PD001
    SPORTELLO DI PADOVA SEZIONE INFORMATICA Padova 10/01/11 Comunicato PD001 n° Autore Titolo Genere 187 Abba The definitive collection Leggera Straniera 112 Abdelli Abdelli Etnico 389 Aboriginal Beats Of Aboriginal Beat from Australia Etnico 481 AC/DS Powerage Rock Straniero 71 Adiemus Cantata mundi Etnico 417 Aerosmith The very best of Aerosmith Rock Straniero 264 Afrocelt Seed Etnico 488 Afterhours I Milanesi ammazzano il sabato Rock Italiano 314 Alanis Morissette So-Called chaos Rock Straniero 42 Alex Britti It.pop Leggera Italiana 61 Alex De Grassi The water gardon New Age 369 Alice in Chains Live Rock Straniero 307 Alicia Keys The diary of Alicia Keys Rock Straniero 375 Alicia Keys Unplugged Leggera Straniera 415 Alva Noto Ryuichi Sakamoto Insen Etnico 529 Amadou & Mariam Welcome to Mali Etnico 155 Andrea Bocelli Cieli di Toscana Leggera Italiana 258 Andrea Bocelli Sentimento Leggera Italiana 79 Anggun Chrysalis Rock Straniero 262 Ani Difranco Evolve Rock Straniero 443 Ani Difranco Reprieve Rock Straniero 471 Annie Lennox Song of mass destruction Rock Straniero 514 Annie Lennox Diva Rock Straniero 566 Annie Lennox A Cristmas Cornucopia Rock Straniero 510 Anouar Brahem The astounding eyes of Rita Etnico 269 Anovar Braim Le pass du chat noir Etnico 530 Anthony and the Johnsons The crying light Rock Straniero 567 Arcade Fire The Sububs Rock Straniero 228 Areta Franklin Let me in Your life Rock Straniero 489 Artisti vari A tribute to Joni Mitchell Roch Straniero Myths&Traditions Irish Songs&Air The Celtic 496 Artisti vari Harp Etnico 247 Arto Lindsay Invoke Rock Straniero 77 Ashkhabad City of love Etnico 335 Astor Piazzola Libertango Folk 358 Autori vari Sittin in Jazz 502 Autori vari Greek traditional music Etnico 574 Autori Vari Virgin Classics new realeases 2010/11 Classica 255 Autori vari (Musica Classica) Concerto Grosso 1 Classica 256 Autori vari (Musica Classica) Concerto Grosso 2 Classica 313 Autori vari Afrocelt volume 3 Afrocelt volume Etnico 379 Avion Travel Selezione 1990-2000 Leggera Italiana 99 B.B.
    [Show full text]
  • Artists at Work Artists at Work
    Artists at Work Artists at Work Deanna Petherbridge and Anita Viola Sganzerla edited by Ketty Gottardo and Rachel Sloan Contents First published to accompany Artists at Work The Courtauld Gallery, London, 3 May – 15 July 2018 The Courtauld Gallery is supported by the 7 Higher Education Funding Council for England (hefce) Foreword The programme of the Gilbert and Ildiko Butler Drawings Gallery is generously supported by The International Music and Art Foundation 9 Preface 11 Playful Images of Allegory and Actuality Copyright © 2018 Texts copyright © 2018 the authors deanna petherbridge All rights reserved. No part of this publication may be transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any storage or retrieval system, without the prior permission in writing from the copyright holder and publisher. 32 isbn 978-1-911300-44-1 British Library Cataloguing in Publication Data Catalogue A catalogue record for this book is available from the British Library anita viola sganzerla Produced by Paul Holberton Publishing 89 Borough High Street, London se1 1nl www.paulholberton.com 83 Designed by Laura Parker Bibliography and Photographic Credits Printing by Gomer Press, Llandysul front cover: Cat. 19 (detail) back cover: Cat. 7 (detail) frontispiece: Cat. 3 (detail, larger than actual size) Foreword Following A Civic Utopia, organised in 2016 with Drawing I wish to extend my warm thanks to Anita Viola Matter Trust, Artists at Work is the second exhibition in the Sganzerla, curator of the Katrin Bellinger collection, Gilbert and Ildiko Butler Drawings Gallery to present works who wrote the catalogue entries for this publication and chiefly from a single collection, other than The Courtauld’s contributed to many other aspects of the exhibition.
    [Show full text]
  • Musica Straniera
    MUSICA STRANIERA AUTORE TITOLO UBICAZIONE 4 Hero Two pages Reinterpretations MSS/CD FOU 4 Non Blondes <gruppo musicale>Bigger, better, faster, more! MSS/CD FOU 50 Cent Get Rich Or Die Tryin' MSS/CD FIF AA.VV. Musica coelestis MSS/CD MUS AA.VV. Rotterdam Hardcore MSS/CD ROT AA.VV. Rotterdam Hardcore MSS/CD ROT AA.VV. Febbraio 2001 MSS/CD FEB AA.VV. \Il \\mucchio selvaggio: agosto 2003 MSS/CD MUC AA.VV. \Il \\mucchio selvaggio: aprile 2004 MSS/CD MUC AA.VV. Tendenza Compilation MSS/CD TEN AA.VV. Mixage MSS/CD MIX AA.VV. Hits on five 3 MSS/CD HIT AA.VV. \Il \\mucchio selvaggio: ottobre 2003 MSS/CD MUC AA.VV. \The \\Brain storm selection MSS/CD BRA AA.VV. Solitaire gold MSS/CD SOL AA.VV. Casual love MSS/CD CAS AA.VV. Oh la la la MSS/CD OHL AA.VV. \The \\magic dance compilation MSS/CD MAG AA.VV. Balla la vita, baby vol. 2 MSS/CD BAL AA.VV. \Il \\mucchio selvaggio: dicembre 2003 MSS/CD MUC AA.VV. Harder they come. Soundtrack (The) MSS/CD HAR AA.VV. Cajun Dance Party MSS/CD CAJ AA.VV. \Les \\chansons de Paris MSS/CD CHA AA.VV. \The \\look of love : the Burt Bacharach collection MSS/CD LOO AA.VV. \Le \\canzoni del secolo : 7 MSS/CD CAN AA.VV. Burning heart CD1 MSS/CD BUR AA.VV. \The \\High spirits: spirituals dei neri d'America MSS/CD HIG AA.VV. Dark star rising MSS/CD DAR AA.VV. Merry Christmas from Motown MSS/CD MER AA.VV.
    [Show full text]
  • Jj7n\Ffaffotfz0
    Jj7N\ffAffOtfZ0 ~M., r W «^&# ^ JsT J/ARVFY 'PARTRIDGE JMITH -- ri ROMANTIC SAN ANTONIO HARVEY PARTRIDGE SMITH ILLUSTRATED WITH PEN SKETCHES DRAWN FROM LIFE BY THE AUTHOR First Edition PUBLISHED BY JACKSON PRINTING COMPANY SAN ANTONIO, TEXAS ^ us* ROMANTIC SAN ANTONIO |HE charm of an old city lies chiefly around the historic spots and buildings in which the romance of its early history is centered. Rarely do we enter a city that can boast of ancient edifices and haloed ground, the history of which is known the country over. Rarer still is the community, whose quaint buildings, picturesque scenes and romantic atmosphere is its main attraction, luring thousands to its gates each year. Such, however, is the boast of San Antonio, Texas, the quaintest, most lovable, ever-interesting and hospitable city in the United States. No where else may you find such an appeal to the romantic and the picturesque, and have such hospitable welcome extended you, no where will you find such a blending of the ancient with the modern, as in this delightful city of our own Southwest. You may enter the city on several different lines and step at once into depots, designed to augment the atmosphere of quaintness which pervades the whole city. One is a replica in part of the old mission near by. Surrounded by desert and semi-tropical plants they give an impression almost foreign. Tall stately date-palms, Spanish daggers, giant cactus, banana trees, china berry and magnolias lend their beauty, weirdness and picturesque charm to this impression of some Latin com­ munity far removed from our bustling, ultra-modern American cities.
    [Show full text]
  • Speaking of Poets 2: More Interviews with Poets Who Write for Children and Young Adults
    DOCUMENT RESUME ED 379 675 CS 214 746 AUTHOR Copeland, Jeffrey S.; Copeland, Vicky L. TITLE Speaking of Poets 2: More Interviews with Poets Who Write for Children and Young Adults. INSTITUTION National Council of Teachers of English, Urbana, Ill. REPORT NO ISBN-0-8141-4620-1 PUB DATE 94 NOTE 219p.; For volume 1, see ED 359 540. AVAILABLE FROM National Council of Teachers of English, 1111 W. Kenyon Rd., Urbana, IL 61801-1096 (Stock No. 46201-3050: $11.95 members, $15.95 nonmembers). PUB TYPE Viewpoints (Opinion/Position Papers, Essays, etc.) (120) Books (010) EDRS PRICE MF01/PC09 Plus Postage. DESCRIPTORS Adolescents; Audience Awareness; Children; *Childrens Literature; *Creative Writing; Elementary Secondary Education; Interviews; *Personal Narratives; *Poetry; *Poets; Reader Text Relationship; *Writing Processes IDENTIFIERS Author Reader Relationship; Author Text Relationship; Poetic Forms; Writing Contexts; *Writing for Children ABSTRACT Spotlighting a variety of venerable poets, ss well as some rising stars, this book is the secondseries of conversations about the lives and works of poets who write mainly for children and young people. The book presents informal interviewswith the writers about their childhoods, the influences upon their work, theirwriting processes, how they would like to see their workintroduced to youngsters, and what suggestions they have for young poetry writers. The 20 poets interviewed in the book are: J. Patrick Lewis, Marilyn Singer, Cynthia Rylant, Paul Fleischman, Bro'd Bagert, Lillian Morrison, Ashlay Bryan, Jane Yolen, Luis J. Rodriguez, Deborah Chandra, Paul Janeczko, Michael Spooner, Constance Levy, Nikki Gi,-vanni, Patricia Huboell, Victor Martinez, Lucille Clifton, Maxine Kumin, Judith Thurman, and Nancy White Carlstrom.
    [Show full text]
  • Guercino: Mind to Paper/Julian Brooks with the Assistance of Nathaniel E
    GUERCINO MIND TO PAPER GUERCINO MIND TO PAPER Julian Brooks with the assistance of Nathaniel E. Silver The J. Paul Getty Museum, Los Angeles Front and back covers: Guercino. Details from The Assassination © 2006 J. Paul Getty Trust ofAmnon (cat. no. 14), 1628. London, Courtauld Institute of Art Gallery This catalogue was published to accompany the exhibition Guercino:Mind to Paper, held at the J. Paul Getty Museum, Los Angeles, October 17,2006, to January 21,2007, and at the Courtauld Institute of Art Gallery, London, February 22 Frontispiece: Guercino. Detail from Study of a Seated Young Man to May 13,2007. (cat. no. 2), ca. 1619. Los Angeles, J. Paul Getty Museum Pages 18—ic>: Guercino. Detail from Landscape with a View of a Getty Publications Fortified Port (cat. no. 22), ca. 1635. Los Angeles, J. Paul 1200 Getty Center Drive, Suite 500 Getty Museum Los Angeles, California 90049-1682 www.getty.edu Mark Greenberg, Editor in Chief Patrick E. Pardo, Project Editor Tobi Levenberg Kaplan, Copy Editor Catherine Lorenz, Designer Suzanne Watson, Production Coordinator Typesetting by Diane Franco Printed by The Studley Press, Dalton, Massachusetts All works are reproduced (and photographs provided) courtesy of the owners, unless otherwise indicated. Library of Congress Cataloging-in-Publication Data Brooks, Julian, 1969- Guercino: mind to paper/Julian Brooks with the assistance of Nathaniel E. Silver, p. cm. "This catalogue was published to accompany the exhibition 'Guercino: mind to paper' held at the J. Paul Getty Museum, Los Angeles, October 17,2006, to January 21,2007." Includes bibliographical references and index. ISBN-13: 978-0-89236-862-4 (pbk.) ISBN-io: 0-89236-862-4 (pbk.) i.
    [Show full text]
  • Rock Album Discography Last Up-Date: September 27Th, 2021
    Rock Album Discography Last up-date: September 27th, 2021 Rock Album Discography “Music was my first love, and it will be my last” was the first line of the virteous song “Music” on the album “Rebel”, which was produced by Alan Parson, sung by John Miles, and released I n 1976. From my point of view, there is no other citation, which more properly expresses the emotional impact of music to human beings. People come and go, but music remains forever, since acoustic waves are not bound to matter like monuments, paintings, or sculptures. In contrast, music as sound in general is transmitted by matter vibrations and can be reproduced independent of space and time. In this way, music is able to connect humans from the earliest high cultures to people of our present societies all over the world. Music is indeed a universal language and likely not restricted to our planetary society. The importance of music to the human society is also underlined by the Voyager mission: Both Voyager spacecrafts, which were launched at August 20th and September 05th, 1977, are bound for the stars, now, after their visits to the outer planets of our solar system (mission status: https://voyager.jpl.nasa.gov/mission/status/). They carry a gold- plated copper phonograph record, which comprises 90 minutes of music selected from all cultures next to sounds, spoken messages, and images from our planet Earth. There is rather little hope that any extraterrestrial form of life will ever come along the Voyager spacecrafts. But if this is yet going to happen they are likely able to understand the sound of music from these records at least.
    [Show full text]