An Annotated Bibliography of Canadian Oboe Concertos
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Boston Symphony Orchestra Concert Programs, Summer, 2001, Tanglewood
SEMI OIAWA MUSIC DIRECTOR BERNARD HAITINK PRINCIPAL GUEST CONDUCTOR • i DALE CHIHULY INSTALLATIONS AND SCULPTURE / "^ik \ *t HOLSTEN GALLERIES CONTEMPORARY GLASS SCULPTURE ELM STREET, STOCKBRIDGE, MA 01262 . ( 41 3.298.3044 www. holstenga I leries * Save up to 70% off retail everyday! Allen-Edmoi. Nick Hilton C Baccarat Brooks Brothers msSPiSNEff3svS^:-A Coach ' 1 'Jv Cole-Haan v2^o im&. Crabtree & Evelyn OB^ Dansk Dockers Outlet by Designs Escada Garnet Hill Giorgio Armani .*, . >; General Store Godiva Chocolatier Hickey-Freeman/ "' ft & */ Bobby Jones '.-[ J. Crew At Historic Manch Johnston & Murphy Jones New York Levi's Outlet by Designs Manchester Lion's Share Bakery Maidenform Designer Outlets Mikasa Movado Visit us online at stervermo OshKosh B'Gosh Overland iMrt Peruvian Connection Polo/Ralph Lauren Seiko The Company Store Timberland Tumi/Kipling Versace Company Store Yves Delorme JUh** ! for Palais Royal Phone (800) 955 SHOP WS »'" A *Wtev : s-:s. 54 <M 5 "J* "^^SShfcjiy ORIGINS GAUCftV formerly TRIBAL ARTS GALLERY, NYC Ceremonial and modern sculpture for new and advanced collectors Open 7 Days 36 Main St. POB 905 413-298-0002 Stockbridge, MA 01262 Seiji Ozawa, Music Director Ray and Maria Stata Music Directorship Bernard Haitink, Principal Guest Conductor One Hundred and Twentieth Season, 2000-2001 SYMPHONY HALL CENTENNIAL SEASON Trustees of the Boston Symphony Orchestra, Inc. Peter A. Brooke, Chairman Dr. Nicholas T. Zervas, President Julian Cohen, Vice-Chairman Harvey Chet Krentzman, Vice-Chairman Deborah B. Davis, Vice-Chairman Vincent M. O'Reilly, Treasurer Nina L. Doggett, Vice-Chairman Ray Stata, Vice-Chairman Harlan E. Anderson John F. Cogan, Jr. Edna S. -
Convocation Hall, University of Alberta
STUDENT COMPOSER RECITAL 560 & 660 levels Monday, April 10, 8:00 PM Convocation Hall, University of Alberta Fugue in g minor jon Jette Jon Jette - piano / Rick Vanderwoude - organ The Flowers of Time lanKnopke Silvia Yee, Jennifer McAllister - flutes / Suzanne Yuch - clarinet / Darryl Hartshome - bassoon / John Calverley - violin / Heidi Klann - viola / Greg Ferguson - vibraphone This is based on a siiort story by J.G. Ballard called The Garden of Time and is very grooxry to dance to. I.K. Reinvention jEiCockeU" Jim Cockell - piano / Ken Myers - alto saxophone I Hide No Hate Laura Hamilton Sarah Chaput - soprano / Jim Cockell - violin Paul Radosh - cello "For A Poet" by Countee Cullen in 1925,"Madness Is" by Laura Hamilton in 1989 Rain Delay Chris McLean Betsy Steed, Lyndi Lou Pollock - violins / Jenny-Lynn Steed -viola Bonnie Pollock - cello / Anneke Smit - piano macroHvne (forstuff) Scott Godin Jim Cockell, Moni Mathew - violins / Miriam Lewis - viola / Paul Radosh - cello / Ken Myers - saxophone Winter Songs Jim Cockell Ardelle Ries - soprano / Jim Cockell - violin / Laszlo Names - piano i) Prelude ii) There's a certain slant of light Emily Dickinson (1830 - 1886) iii) To Waken an Old Lady William Carlos WiUiams (1883 - 1963) iv) The Snow Man Wallace Stevens (1879 - 1955) brief intermission * * * 'longing..." Scott Godin Corey Hamm organ "ukuTusa" Allan Gilliland Wind Ensemble " The Lamp of Poor Souls Gordon Fitzell tenor - Tom McCleay / baritone - Kevin Gagnon / recorder, ocarina BiU Damur / trumpet - Steve Williams / harpsichord - Roger Admiral / viola - Miriam Lewis / double bass - Hassisen Saied / musical glass - Silvia Yee / percussion - John McCormick, Greg Ferguson, Scott Martin, Lisa Hrabec, Helene Jurkat, Nicole Arendt, Erin Zier / candlelighter - Andriy Talpash Based on the poem of the same name bxj Canadian poet Marjorie Pickthall, this piece attempts to expose the hypocrisies of the church during the period before the Reformation. -
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Acknowledgements Publisher AN Cheongsook, Chairperson of KOFIC 206-46, Cheongnyangni-dong, Dongdaemun-gu. Seoul, Korea (130-010) Editor in Chief Daniel D. H. PARK, Director of International Promotion Department Editors KIM YeonSoo, Hyun-chang JUNG English Translators KIM YeonSoo, Darcy PAQUET Collaborators HUH Kyoung, KANG Byeong-woon, Darcy PAQUET Contributing Writer MOON Seok Cover and Book Design Design KongKam Film image and still photographs are provided by directors, producers, production & sales companies, JIFF (Jeonju International Film Festival), GIFF (Gwangju International Film Festival) and KIFV (The Association of Korean Independent Film & Video). Korean Film Council (KOFIC), December 2005 Korean Cinema 2005 Contents Foreword 04 A Review of Korean Cinema in 2005 06 Korean Film Council 12 Feature Films 20 Fiction 22 Animation 218 Documentary 224 Feature / Middle Length 226 Short 248 Short Films 258 Fiction 260 Animation 320 Films in Production 356 Appendix 386 Statistics 388 Index of 2005 Films 402 Addresses 412 Foreword The year 2005 saw the continued solid and sound prosperity of Korean films, both in terms of the domestic and international arenas, as well as industrial and artistic aspects. As of November, the market share for Korean films in the domestic market stood at 55 percent, which indicates that the yearly market share of Korean films will be over 50 percent for the third year in a row. In the international arena as well, Korean films were invited to major international film festivals including Cannes, Berlin, Venice, Locarno, and San Sebastian and received a warm reception from critics and audiences. It is often said that the current prosperity of Korean cinema is due to the strong commitment and policies introduced by the KIM Dae-joong government in 1999 to promote Korean films. -
“No Reason to Be Seen”: Cinema, Exploitation, and the Political
“No Reason to Be Seen”: Cinema, Exploitation, and the Political by Gordon Sullivan B.A., University of Central Florida, 2004 M.A., North Carolina State University, 2007 Submitted to the Graduate Faculty of The Kenneth P. Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2017 UNIVERSITY OF PITTSBURGH THE KENNETH P. DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Gordon Sullivan It was defended on October 20, 2017 and approved by Marcia Landy, Distinguished Professor, Department of English Jennifer Waldron, Associate Professor, Department of English Daniel Morgan, Associate Professor, Department of Cinema and Media Studies, University of Chicago Dissertation Advisor: Adam Lowenstein, Professor, Department of English ii Copyright © by Gordon Sullivan 2017 iii “NO REASON TO BE SEEN”: CINEMA, EXPLOITATION, AND THE POLITICAL Gordon Sullivan, PhD University of Pittsburgh, 2017 This dissertation argues that we can best understand exploitation films as a mode of political cinema. Following the work of Peter Brooks on melodrama, the exploitation film is a mode concerned with spectacular violence and its relationship to the political, as defined by French philosopher Jacques Rancière. For Rancière, the political is an “intervention into the visible and sayable,” where members of a community who are otherwise uncounted come to be seen as part of the community through a “redistribution of the sensible.” This aesthetic rupture allows the demands of the formerly-invisible to be seen and considered. We can see this operation at work in the exploitation film, and by investigating a series of exploitation auteurs, we can augment our understanding of what Rancière means by the political. -
JOHN SURMAN Title: FLASHPOINT: NDR JAZZ WORKSHOP – APRIL '69 (Cuneiform Rune 315-316)
Bio information: JOHN SURMAN Title: FLASHPOINT: NDR JAZZ WORKSHOP – APRIL '69 (Cuneiform Rune 315-316) Cuneiform publicity/promotion dept.: (301) 589-8894 / fax (301) 589-1819 email: joyce [-at-] cuneiformrecords.com [Press & world radio]; radio [-at-] cuneiformrecords.com [North American radio] www.cuneiformrecords.com FILE UNDER: JAZZ One of Europe’s foremost jazz musicians, John Surman is a masterful improvisor, composer, and multi-instrumentalist (baritone and soprano sax, bass clarinet, and synthesizers/electronics). For 45 years, he has been a major force, producing a prodigious and creative body of work that expands beyond jazz. Surman’s extensive discography as a leader and a side man numbers more than 100 recordings to date. Surman has worked with dozens of prominent artists worldwide, including John McLaughlin, Chick Corea, Chris McGregor’s Brotherhood of Breath, Dave Holland, Miroslav Vitous, Jack DeJohnette, Terje Rypdal, Weather Report, Karin Krog, Bill Frisell, Paul Motian and many more. Surman is probably most popularly known for his longstanding association with the German label ECM, who began releasing Surman’s recordings in 1979. Surman has won numerous jazz polls and awards and a number of important commissions. Every period of his career is filled with highlights, which is why Cuneiform is exceedingly proud to release for the first time ever this amazing document of the late 60s 'Brit-jazz' scene. Born in Tavistock, in England, Surman discovered music as a child, singing as soprano soloist in a Plymouth-area choir. He later bought a second- hand clarinet, took lessons from a Royal Marine Band clarinetist, and began playing traditional Dixieland jazz at local jazz clubs. -
Neuer Nachrichtenbrief Der Gesellschaft Für Exilforschung E. V
Neuer Nachrichtenbrief der Gesellschaft für Exilforschung e. V. Nr. 56 ISSN 0946-1957 Dezember 2020 Inhalt In eigener Sache In eigener Sache 1 Jahrestagung 2020 1 Not macht erfinderisch, und die Corona- Protokoll Mitgliederversammlung 5 Not, die es unmöglich machte, sich wie AG Frauen im Exil 8 gewohnt zur Jahrestagung zu treffen, Call for Papers 2021 9 machte die Organisatorinnen so Exposé 2022 11 erfinderisch, dass sie eine eindrucksvolle Nachruf Ruth Klüger 13 Online-Tagung auf die Beine stellten, der Nachruf Lieselotte Maas 14 nichts fehlte – außer eben dem persönlichen Ausstellung Erika Mann 15 Austausch in den Pausen und beim Projekt Ilse Losa 17 Rahmenprogramm. So haben wir gemerkt, Neuerscheinungen 18 dass man virtuell wissenschaftliche Urban Exile 27 Ergebnisse präsentieren und diskutieren Ausstellung Max Halberstadt 29 kann, dass aber der private Dialog zwischen Suchanzeigen 30 den Teilnehmenden auch eine wichtige Leserbriefe 30 Funktion hat, die online schwer zu Impressum 30 realisieren ist. Wir hoffen also im nächsten Jahr wieder auf eine „Präsenz-Tagung“! Katja B. Zaich Aus der Gesellschaft für Exilforschung Fährten. Mensch-Tier-Verhältnisse in Reflexionen des Exils Virtuelle Jahrestagung der Gesellschaft für Exilforschung e.V. in Zusammenarbeit mit der Österreichischen Exilbibliothek im Literaturhaus Wien und der Gesellschaft der Freunde der Österreichischen Exilbibliothek vom 22. bis 24. Oktober 2020 Die interdisziplinäre Jahrestagung der Gesellschaft für Exilforschung e.V. fand 2020 unter den besonderen Umständen der Corona-Pandemie statt. Wenngleich die persönliche Begegnung fehlte, ist es den Veranstalterinnen gelungen, einen regen wissenschaftlichen Austausch im virtuellen Raum zu ermöglichen. Durch die Vielfalt medialer Präsentationsformen wurden die Möglichkeiten digitaler Wissenschaftskommunikation für alle Anwesenden erfahrbar. -
The Canadian Clarinet Works Written for James Campbell
THE CANADIAN CLARINET WORKS WRITTEN FOR JAMES CAMPBELL by Laura Chalmers Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University December 2020 Accepted by the faculty of the Indiana University Jacobs School of Music, in partial fulfillment of the requirements for the degree, Doctor of Music Doctoral Committee __________________________________________ Eli Eban, Research Director and Chair __________________________________________ James Campbell __________________________________________ Kathleen McLean __________________________________________ Peter Miksza September 29, 2020 ii Acknowledgements I would like to express my gratitude to the following people, without whom this document would not have been completed: To Prof. Campbell, Allan Gilliland, Phil Nimmons, Timothy Corlis, and Jodi Baker Contin, who gave their time and shared their recollections with me. To my wonderful friends, Emory Rosenow, Laura Kellogg, Mark Wallace, and Lilly Haley- Corbin, who not only read through this entire document to correct mistakes, but who also encouraged me and bolstered me as I wrote this paper. To my family, Mom, Marcus, and Leisha, who have always supported me and continue to do so through my Doctorate. Finally, to my husband, Jacob Darrow. This is as much his success as it is mine. iii Table of Contents Acknowledgements .................................................................................................................................... -
CALIFORNIA STATE UNIVERSITY, NORTHRIDGE CANADIAN MUSIC SINCE 1940: a QUESTION of NATIONALISM a Thesis Submitted in Partial Satis
CALIFORNIA STATE UNIVERSITY, NORTHRIDGE CANADIAN MUSIC SINCE 1940: A QUESTION OF NATIONALISM A Thesis submitted in partial satisfaction of the requirements for the degree of Master of Arts in Music by Ronald Frederick Erin August, 1983 J:lhe Thesis of Ronald Frederick Erin is approved: California StD. te Universi tJr, Northridge ii PREFACE This thesis represents a survey of Canadian music since 1940 within the conceptual framework of 'nationalism'. By this selec- tive approach, it does not represent a conclusive view of Canadian music nor does this paper wish to ascribe national priorities more importance than is due. However, Canada has a unique relationship to the question of nationalism. All the arts, including music, have shared in the convolutions of national identity. The rela- tionship between music and nationalism takes on great significance in a country that has claimed cultural independence only in the last 40 years. Therefore, witnessed by Canadian critical res- ponse, the question of national identity in music has become an important factor. \ In utilizing a national focus, I have attempted to give a progressive, accumulative direction to the six chapters covered in this discussion. At the same time, I have attempted to make each chapter self-contained, in order to increase the paper's effective- ness as a reference tool. If the reader wishes to refer back to information on the CBC's CRI-SM record label or the Canadian League of Composers, this informati6n will be found in Chapter IV. Simi- larly, work employing Indian texts will be found in Chapter V. Therefore, a certain amount of redundancy is unavoidable when interconnecting various components. -
Guest Artist Recital: the New Zealand String Quartet
Ithaca College Digital Commons @ IC All Concert & Recital Programs Concert & Recital Programs 11-16-2010 Guest Artist Recital: The ewN Zealand String Quartet New Zealand String Quartet James Campbell Follow this and additional works at: https://digitalcommons.ithaca.edu/music_programs Part of the Music Commons Recommended Citation New Zealand String Quartet and Campbell, James, "Guest Artist Recital: The eN w Zealand String Quartet" (2010). All Concert & Recital Programs. 4238. https://digitalcommons.ithaca.edu/music_programs/4238 This Program is brought to you for free and open access by the Concert & Recital Programs at Digital Commons @ IC. It has been accepted for inclusion in All Concert & Recital Programs by an authorized administrator of Digital Commons @ IC. Ithaca College Concerts: The New Zealand String Quartet James Campbell, clarinet Ford Hall November 16, 2010 8:15 p.m. Program String Quartet No. 13 in B flat minor, Dmitri Shostakovich Op. 138 (1906-1975) Adagio, Doppio movimento, Tempo primo Quintet for Clarinet & Strings, Wolfgang Amadeus Mozart K. 581 (1756-1791) Allegro Larghetto Menuetto Allegretto con Variazioni Intermission String Quartet Opus 18, No. 2 in Ludwig van Beethoven G Major (1770-1827) Allegro Adagio cantabile, Allegro, Tempo I Scherzo: Allegro Allegro molto, quasi presto Suite from the Sound Allan Gilliland for string quartet & clarinet (b. 1965) (commissioned by James Campbell) Parry's Ground Waltz for Mr. Evans Sketches Management for James Campbell: GAMI/SIMONDS, LLC www.gamisim.com Management for New Zealand Quartet: Jonathan Wentworth Associates, Ltd. www.jwentworth.com Biographies The New Zealand String Quartet With its dynamic performing style, eloquent communication and beautiful sound, the New Zealand String Quartet has forged a major career in the busy international chamber music field, earning the acclaim of critics and the delighted response of audiences. -
ANNOUNCEMENTS 1. the Vacancy at the University of Calgary Which
ANNOUNCEMENTS 1. The vacancy at the University of Calgary which was announced in v.10, no.2 has been filled by Rita Vine. She will be starting her job on May 1. A former student at the University of Western Ontario, she graduated last spring from the com- bined musicology and M.L.S. program at SUNY Buffalo. CNIB Library is pleased to announce the appointment of Margaret Matheson to the new position of Music Librarian. Miss Matheson has an Honours Bachelor of Music Degree and a Master of Library Science Degree from the University of Toronto. She has worked for the CBC as a cataloguer in Program Archives, and in a variety of summer positions re- lated to music, such as accompanist for string master classes and program coordinator for concerts at the Banff Centre for Continuing Education. Miss Matheson has won numerous awards and scholarships in the fields of library science and music. Her personal interests include singing in the Tallis Choir, and performing on piano and harpsi- chord in chamber music recitals. At CNIB, Miss Matheson will be responsible for organizing the braille music collections in Toronto and Montreal, and in developing transcription and other special services to blind musicians across Canada. Margaret is 26 years old, and plans to marry David Macmillan in June. 3. A workshop entitled "Music Cataloguing for the Non-Musician" will be included in the CLA conference on June 14 in Saskatoon. The speakers will be CAML members Chris Bull, Acadia University Library; Joan Colquhuon, National Library; Jim Whittle, University of Alberta; and Tony Woodward, National Library. -
Heckelphone / Bass Oboe Repertoire
Heckelphone / Bass Oboe Repertoire by Peter Hurd; reorganized and amended by Holger Hoos, editor-in-chief since 2020 version 1.2 (21 March 2021) This collection is based on the catalogue of musical works requiring heckelphone or bass oboe instrumen- tation assembled by Peter Hurd beginning in 1998. For this new edition, the original version of the repertoire list has been edited for accuracy, completeness and consistency, and it has been extended with a number of newly discovered pieces. Some entries could not (yet) be rigorously verified for accuracy; these were included nonetheless, to provide leads for future investigation, but are marked clearly. Pieces were selected for inclusion based solely on the use of heckelphone, bass oboe or lupophone, without any attempt at assessing their artistic merit. Arrangements of pieces not originally intended for these instruments were included when there was clear evidence that they had found a significant audience. The authors gratefully acknowledge contributions by Michael Finkelman, Alain Girard, Thomas Hiniker, Robert Howe, Gunther Joppig, Georg Otto Klapproth, Mark Perchanok, Andrew Shreeves and Michael Sluman. A · B · C · D · E · F · G · H · I · J · K · L · M · N · O · P · Q · R · S · T · U · V · W · X · Y · Z To suggest additions or corrections to the repertoire list, please contact the authors at [email protected]. All rights reserved by Peter Hurd and Holger H. Hoos, 2021. A Adès, Thomas (born 1971, UK): Asyla, op. 17, 1997 Duration: 22-25min Publisher: Faber Music (057151863X) Remarks: for large orchestra; commissioned by the John Feeney Charitable Trust for the CBSO; first performed on 1997/10/01 in the Symphony Hall, Birmingham, UK by the City of Birmingham Symphony Orchestra under Simon Rattle Tags: bass oboe; orchestra For a link to additional information about the piece, the composer and to a recording, please see the on-line version of this document at http://repertoire.heckelphone.org. -
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10.18132/LFZE.2012.21 Liszt Ferenc Zeneművészeti Egyetem 28. számú művészet- és művelődéstörténeti tudományok besorolású doktori iskola KELET-ÁZSIAI DUPLANÁDAS HANGSZEREK ÉS A HICHIRIKI HASZNÁLATA A 20. SZÁZADI ÉS A KORTÁRS ZENÉBEN SALVI NÓRA TÉMAVEZETŐ: JENEY ZOLTÁN DLA DOKTORI ÉRTEKEZÉS 2011 10.18132/LFZE.2012.21 SALVI NÓRA KELET-ÁZSIAI DUPLANÁDAS HANGSZEREK ÉS A HICHIRIKI HASZNÁLATA A 20. SZÁZADI ÉS A KORTÁRS ZENÉBEN DLA DOKTORI ÉRTEKEZÉS 2011 Absztrakt A disszertáció megírásában a fő motiváció a hiánypótlás volt, hiszen a kelet-ázsiai régió duplanádas hangszereiről nincs átfogó, ismeretterjesztő tudományos munka sem magyarul, sem más nyelveken. A hozzáférhető irodalom a teljes témának csak egyes részeit öleli fel és többnyire valamelyik kelet-ázsiai nyelven íródott. A disszertáció második felében a hichiriki (japán duplanádas hangszer) és a kortárs zene viszonya kerül bemutatásra, mely szintén aktuális és eleddig fel nem dolgozott téma. A hichiriki olyan hangszer, mely nagyjából eredeti formájában maradt fenn a 7. századtól napjainkig. A hagyomány előírja, hogy a viszonylag szűk repertoárt pontosan milyen módon kell előadni, és ez az előadásmód több száz éve gyakorlatilag változatlannak tekinthető. Felmerül a kérdés, hogy egy ilyen hangszer képes-e a megújulásra, integrálható-e a 20. századi és a kortárs zenébe. A dolgozat első részében a hozzáférhető szakirodalom segítségével a szerző áttekintést nyújt a duplanádas hangszerekről, bemutatja a két alapvető duplanádas hangszertípust, a hengeres és kúpos furatú duplanádas hangszereket, majd részletesen ismerteti a kelet-ázsiai régió duplanádas hangszereit és kitér a hangszerek akusztikus tulajdonságaira is. A dolgozat második részéhez a szerző összegyűjtötte a fellelhető, hichiriki-re íródott 20. századi és kortárs darabok kottáit és hangfelvételeit, és ezek elemzésével mutat rá a hangszerjáték új vonásaira.