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THE CLEVELAND MUSEUM of ART ANNUAL REPORT 2002 1 0-Cover.P65 the CLEVELAND MUSEUM of ART
ANNUAL REPORT 2002 THE CLEVELAND MUSEUM OF ART THE CLEVELAND MUSEUM OF ART REPORT 2002 ANNUAL 0-Cover.p65 1 6/10/2003, 4:08 PM THE CLEVELAND MUSEUM OF ART ANNUAL REPORT 2002 1-Welcome-A.p65 1 6/10/2003, 4:16 PM Feathered Panel. Peru, The Cleveland Narrative: Gregory Photography credits: Brichford: pp. 7 (left, Far South Coast, Pampa Museum of Art M. Donley Works of art in the both), 9 (top), 11 Ocoña; AD 600–900; 11150 East Boulevard Editing: Barbara J. collection were photo- (bottom), 34 (left), 39 Cleveland, Ohio Bradley and graphed by museum (top), 61, 63, 64, 68, Papagayo macaw feathers 44106–1797 photographers 79, 88 (left), 92; knotted onto string and Kathleen Mills Copyright © 2003 Howard Agriesti and Rodney L. Brown: p. stitched to cotton plain- Design: Thomas H. Gary Kirchenbauer 82 (left) © 2002; Philip The Cleveland Barnard III weave cloth, camelid fiber Museum of Art and are copyright Brutz: pp. 9 (left), 88 Production: Charles by the Cleveland (top), 89 (all), 96; plain-weave upper tape; All rights reserved. 81.3 x 223.5 cm; Andrew R. Szabla Museum of Art. The Gregory M. Donley: No portion of this works of art them- front cover, pp. 4, 6 and Martha Holden Jennings publication may be Printing: Great Lakes Lithograph selves may also be (both), 7 (bottom), 8 Fund 2002.93 reproduced in any protected by copy- (bottom), 13 (both), form whatsoever The type is Adobe Front cover and frontispiece: right in the United 31, 32, 34 (bottom), 36 without the prior Palatino and States of America or (bottom), 41, 45 (top), As the sun went down, the written permission Bitstream Futura abroad and may not 60, 62, 71, 77, 83 (left), lights came up: on of the Cleveland adapted for this be reproduced in any 85 (right, center), 91; September 11, the facade Museum of Art. -
The KNIGHT REVISION of HORNBOSTEL-SACHS: a New Look at Musical Instrument Classification
The KNIGHT REVISION of HORNBOSTEL-SACHS: a new look at musical instrument classification by Roderic C. Knight, Professor of Ethnomusicology Oberlin College Conservatory of Music, © 2015, Rev. 2017 Introduction The year 2015 marks the beginning of the second century for Hornbostel-Sachs, the venerable classification system for musical instruments, created by Erich M. von Hornbostel and Curt Sachs as Systematik der Musikinstrumente in 1914. In addition to pursuing their own interest in the subject, the authors were answering a need for museum scientists and musicologists to accurately identify musical instruments that were being brought to museums from around the globe. As a guiding principle for their classification, they focused on the mechanism by which an instrument sets the air in motion. The idea was not new. The Indian sage Bharata, working nearly 2000 years earlier, in compiling the knowledge of his era on dance, drama and music in the treatise Natyashastra, (ca. 200 C.E.) grouped musical instruments into four great classes, or vadya, based on this very idea: sushira, instruments you blow into; tata, instruments with strings to set the air in motion; avanaddha, instruments with membranes (i.e. drums), and ghana, instruments, usually of metal, that you strike. (This itemization and Bharata’s further discussion of the instruments is in Chapter 28 of the Natyashastra, first translated into English in 1961 by Manomohan Ghosh (Calcutta: The Asiatic Society, v.2). The immediate predecessor of the Systematik was a catalog for a newly-acquired collection at the Royal Conservatory of Music in Brussels. The collection included a large number of instruments from India, and the curator, Victor-Charles Mahillon, familiar with the Indian four-part system, decided to apply it in preparing his catalog, published in 1880 (this is best documented by Nazir Jairazbhoy in Selected Reports in Ethnomusicology – see 1990 in the timeline below). -
THE WESTFIELD LEADER Good Luck
Good Luck WHS Football Team THE WESTFIELD LEADER In Pljd. Tomorrow THE LEADING AND MOST WIDELY CIRCULATED WEEKLY NEWSPAPER IN UNION COUNTY Published .ontl Class I'uBtiiee Paid EIGHTY-FIRST YEAR—No. 16 Every Tlwraday WESTFIELD, NEW JERSEY, WEDNESDAY, NOVEMBER 25, 1970 ut West field, N. J. 32 Papes—10 Centt Service Aids Cacciola PL Town to Begin Work Royai Natai McGroarty, Cohen, Mayer On Southside Park Day for Ham ^ • ,.• ^ Project It was a happy birthday indeed Improvements to the North Scotch assessed against the property own- last Wednesday for Matltlhew BeJl Westfield residents of all religious Plains Ave. park recreation area ers, would include granite curbing, communions will join together in a of 14 Manchester Dr.—and it even Decline New B of E Terms are slated in an ordinance expected macadam paving and a sanitary Community Thanksgiving Service at included royal greetings from King Joseph A. McGroarty, Dr. Solomon to be introduced at last night's meet- sewer lateral in the section of Nor- Hussein of Jordan. the Presbyterian Church of Westfield ing of the Town Council. The council mandy Dr., a new street which runs J. Cohen and Charles R. Mayer, the at 8 p.m. tonight. Rabbi Charles "Many happy returns of the day," three Board of Education members was in session at the time the Leader {ram Rs-hway Ave. Owners would the cablegram read: "AH my best Kroloff of Temple Emami-El will be went to press. be required to make Hie necessary -whose terms expire this year, have the featured speaker, with his sub- wishes and regards." notified the Joint Civic Committee The $20,000 improvements would connections from their homes with ject, "Between the Poles." Also par- the sewer, water and gas mains. -
Cover No Spine
2006 VOL 44, NO. 4 Special Issue: The Hans Christian Andersen Awards 2006 The Journal of IBBY,the International Board on Books for Young People Editors: Valerie Coghlan and Siobhán Parkinson Address for submissions and other editorial correspondence: [email protected] and [email protected] Bookbird’s editorial office is supported by the Church of Ireland College of Education, Dublin, Ireland. Editorial Review Board: Sandra Beckett (Canada), Nina Christensen (Denmark), Penni Cotton (UK), Hans-Heino Ewers (Germany), Jeffrey Garrett (USA), Elwyn Jenkins (South Africa),Ariko Kawabata (Japan), Kerry Mallan (Australia), Maria Nikolajeva (Sweden), Jean Perrot (France), Kimberley Reynolds (UK), Mary Shine Thompson (Ireland), Victor Watson (UK), Jochen Weber (Germany) Board of Bookbird, Inc.: Joan Glazer (USA), President; Ellis Vance (USA),Treasurer;Alida Cutts (USA), Secretary;Ann Lazim (UK); Elda Nogueira (Brazil) Cover image:The cover illustration is from Frau Meier, Die Amsel by Wolf Erlbruch, published by Peter Hammer Verlag,Wuppertal 1995 (see page 11) Production: Design and layout by Oldtown Design, Dublin ([email protected]) Proofread by Antoinette Walker Printed in Canada by Transcontinental Bookbird:A Journal of International Children’s Literature (ISSN 0006-7377) is a refereed journal published quarterly by IBBY,the International Board on Books for Young People, Nonnenweg 12 Postfach, CH-4003 Basel, Switzerland tel. +4161 272 29 17 fax: +4161 272 27 57 email: [email protected] <www.ibby.org>. Copyright © 2006 by Bookbird, Inc., an Indiana not-for-profit corporation. Reproduction of articles in Bookbird requires permission in writing from the editor. Items from Focus IBBY may be reprinted freely to disseminate the work of IBBY. -
LIU Post Chamber Music Festival 2014 33Rd Summer Season LIU POST CHAMBER MUSIC FESTIVAL with the PIERROT CONSORT July 14 to July August 1, 2014
LIU Post Chamber Music Festival 2014 33rd Summer Season LIU POST CHAMBER MUSIC FESTIVAL WITH THE PIERROT CONSORT July 14 to July August 1, 2014 SUSAN DEAVER & MAUREEN HYNES, FESTIVAL FOUNDERS SUSAN DEAVER, FESTIVAL DIRECTOR DALE STUCKENBRUCK, ASSISTANT DIRECTOR chamber ensembles ♦ chamber orchestras festival artists & participants concert series ♦ conducting program concerto competition ♦ master classes DEPARTMENT OF MUSIC LIU Post 720 Northern Blvd., Brookville, New York 11548-1300 www.liu.edu/post/chambermusic Phone: (516) 299-2103 • Fax: (516) 299-2884 e-mail: [email protected] TABLE OF CONTENTS Mission Statement & History of the LIU Post Chamber Music Festival 3 Descriptions of Festival Programs 4-5 Credit Programs – Undergraduate, Graduate & High School Enrichment Artistry Program for young professionals & preformed chamber ensembles Performance Program for college & conservatory musicians Music Educator’s Program for Advancement of Chamber Music Advanced Program for students ages 15 to 18 Seminar Program for students ages 9 to 14 Conducting Program Classes Offered at the Festival 5 Musicianship Classes, Individual Master Classes, Chamber Music Performance Classes, Master Classes with Special Guest Artists and Educational Residencies Chamber Orchestras and Larger Ensembles 6-7 Concerto Competition 7 Festival Concerts 8 General Information 9 Facilities, Housing, Transportation, Food Service, Student and Faculty ID, Distribution of Orchestral and Chamber Music, Orientation and the Festival Office Tuition and Program -
Richard O'neill
Richard O’Neill 1276 Aikins Way Boulder, CO 80305 917.826.7041 [email protected] www.richard-oneill.com Education University of North Carolina School of the Arts 1997 High School Diploma University of Southern California, Thornton School of Music 2001 Bachelor of Music, magna cum laude The Juilliard School 2003 Master of Music The Juilliard School 2005 Artist Diploma Teaching University of Colorado, Boulder, College of Music 2020 - present Experience Artist in Residence, Takacs Quartet University of California Los Angeles, Herb Alpert School of Music 2007 - 2016 Lecturer of Viola University of Southern California, Thornton School of Music 2008 Viola Masterclasses Hello?! Orchestra (South Korea) 2012 - present Multicultural Youth Orchestra Founder, conductor and teacher Music Academy of the West, Santa Barbara 2014 - present Viola and Chamber Music Florida International University 2014 Viola Masterclass Brown University 2015 Viola Masterclass Hong Kong Academy of Performing Arts. 2016, 2018 Viola Masterclasses Scotia Festival 2017 Viola Masterclasses Asia Society, Hong Kong 2018 Viola and Chamber Music Masterclasses Mannes School of Music 2018 Viola Masterclass The Broad Stage, Santa Monica 2018 - 2019 Artist-in-residence, viola masterclasses, community events Affiliations Sejong Soloists 2001 - 2007 Principal Viola The Chamber Music Society of Lincoln Center 2003 - present CMS Two/Bowers YoungArtist from 2004-06 CREDIA International Artist Management 2004 - present Worldwide manager, based in South Korea Seattle Chamber Music Society -
DEREK BERMEL: VOICES DUST DANCES | THRACIAN ECHOES | ELIXIR DEREK BERMEL B
DEREK BERMEL: VOICES DUST DANCES | THRACIAN ECHOES | ELIXIR DEREK BERMEL b. 1967 DUST DANCES [1] DUST DANCES (1994) 9:26 THRACIAN ECHOES [2] THRACIAN ECHOES (2002) 19:23 ELIXIR [3] ELIXIR (2006) 7:21 VOICES, FOR SOLO CLARINET AND ORCHESTRA VOICES, FOR SOLO CLARINET AND ORCHESTRA (1997) [4] I. Id 6:43 DEREK BERMEL clarinet [5] II. She Moved Thru the Fair 5:46 BOSTON MODERN ORCHESTRA PROJECT [6] III. Jamm on Toast 6:12 GIL ROSE, CONDUCTOR TOTAL 54:54 2 COMMENT idea in the orchestral realm by writing myself a clarinet concerto. My thoughts immediately turned to two of my favorite musicians, bass clarinetist Eric Dolphy and bassist Charles Mingus. Their conversational rapport inspired the first movement—called “Id”—and the rest of the concerto followed from there. I dedicated Voices to my father, who taught me By Derek Bermel an enormous amount about theatre. The outer movements more fully embrace my jazz From an early age, I was obsessed with the orchestra. During my preteen years I would background—using techniques including glissandi, growl tones, and flutter tongue—with return from the public library with armfuls of LP records—Stravinsky, Bartok, Debussy, a nod to the bittersweet “keening” of Irish folksong in the middle movement. Berg, Mussorgsky, Ravel, Copland, Britten, Webern, Messiaen, Ives. During the same Another tradition that had always fascinated me was Bulgarian folk music. In August period my knowledge of jazz was deepening. When my grandmother bought me a beat- 2001, I traveled to Plovdiv, Bulgaria, where I spent six months learning the Thracian folk up piano for $300 (she overpaid), I immediately began to reenact the works of Thelonious style with clarinetist Nikola Iliev. -
22.09. Mannheim
rethink 12. — 22.09. international MANNHEIM music SA — 14.09. SAWELCOME — 14.09. TO PLANET EARS! Liebe Gäste, mit Planet Ears feiert ein deutschlandweit einmaliges Veranstal- tungskonzept seine Premiere in Mannheim. An elf Tagen werden rund um die Alte Feuerwache genreübergreifend aktuelle Ent- wicklungen einer globalen Musikszene präsentiert und diskutiert, die hierzulande weitgehend unbekannt sind. Wie wichtig der kul- turelle Austausch für ein tolerantes und respektvolles Zusammen- leben in Vielfalt ist, hat man in Mannheim längst erkannt. Planet Ears leistet diesbezüglich einen entscheidenden Beitrag. Ich begrüße herzlich die zahlreichen Gäste aus dem internationa- len Ausland. Kostenlose Open-Airs ermöglichen es allen Mannhei- merinnen und Mannheimern an diesem besonderen Event teilzu- haben. Ich wünsche Ihnen allen interessante Begegnungen und eine gute Zeit auf PLANET EARS! Herzlichst, Oberbürgermeister Dr. Peter Kurz DO — 12.09. KLUB FEUERWACHE IM ANSCHLUSS VORWORT JIMI TENOR TWO TRIBES DJ-SET (FINNLAND) EINTRITT FREI Klingt freie Improvisation in Beirut anders als in Mannheim? Wo liegt der Unterschied zwischen Global Music und globalized music? Wie entsteht finnischer Afrobeat? Und was bitte ist Shamstep?! Wer sich auf der Suche nach neuen musikalischen Impulsen und Inspirationen auf die große Reise begibt, sieht sich zunächst mit einigen Fragezeichen und noch mehr neuen Welten konfrontiert. Es kann ein wenig dauern, sich in der zerklüfteten Landschaft von PLANET EARS zurecht zu finden. Und es lohnt sich! Shamstep zum Beispiel verbindet uralte arabische Dabke-Rhyth- men mit elektronischen Beats und Synthesizerklängen. Das Genre wurde von 47Soul geprägt, einer der angesagtesten Bands im Na- hen Osten, wo tausende Menschen zu ihren Konzerten kommen; z.B. beim Al Balad Music Festival in Amman/Jordanien, DEM Festi- val für alle Facetten arabischer Musik. -
New on Naxos | September 2013
NEW ON The World’s Leading ClassicalNAXO Music LabelS SEPTEMBER 2013 © Grant Leighton This Month’s Other Highlights © 2013 Naxos Rights US, Inc. • Contact Us: [email protected] www.naxos.com • www.classicsonline.com • www.naxosmusiclibrary.com • blog.naxos.com NEW ON NAXOS | SEPTEMBER 2013 8.572996 Playing Time: 64:13 7 47313 29967 6 Johannes BRAHMS (1833–1897) Ein deutsches Requiem (A German Requiem), Op. 45 Anna Lucia Richter, soprano • Stephan Genz, baritone MDR Leipzig Radio Choir and Symphony Orchestra Marin Alsop Brahms’s A German Requiem, almost certainly triggered by the death of his mother in 1865, is one of his greatest and most popular works, quite unlike any previous Requiem. With texts taken from Luther’s translation of the Bible and an emphasis on comforting the living for their loss and on hope of the Resurrection, the work is deeply rooted in the tradition of Bach and Schütz, but is vastly different in character from the Latin Requiem of Catholic tradition with its evocation of the Day of Judgement and prayers for mercy on the souls of the dead. The success of Marin Alsop as Music Director of the Baltimore Symphony Orchestra was recognized when, in 2009, her tenure was extended to 2015. In 2012 she took up the post of Chief Conductor of the São Paulo Symphony Orchestra, where she steers the orchestra in its artistic and creative programming, recording ventures and its education and outreach activities. Marin Alsop © Grant Leighton Companion Titles 8.557428 8.557429 8.557430 8.570233 © Christiane Höhne © Peter Rigaud MDR Leipzig Radio Choir MDR Leipzig Radio Symphony Orchestra © Jessylee Anna Lucia Richter Stephan Genz 2 NEW ON NAXOS | SEPTEMBER 2013 © Victor Mangona © Victor Leonard Slatkin Sergey RACHMANINOV (1873–1943) Symphony No. -
Woodwind Family
Woodwind Family What makes an instrument part of the Woodwind Family? • Woodwind instruments are instruments that make sound by blowing air over: • open hole • internal hole • single reeds • double reed • free reeds Some woodwind instruments that have open and internal holes: • Bansuri • Daegeum • Fife • Flute • Hun • Koudi • Native American Flute • Ocarina • Panpipes • Piccolo • Recorder • Xun Some woodwind instruments that have: single reeds free reeds • Clarinet • Hornpipe • Accordion • Octavin • Pibgorn • Harmonica • Saxophone • Zhaleika • Khene • Sho Some woodwind instruments that have double reeds: • Bagpipes • Bassoon • Contrabassoon • Crumhorn • English Horn • Oboe • Piri • Rhaita • Sarrusaphone • Shawm • Taepyeongso • Tromboon • Zurla Assignment: Watch: Mr. Gendreau’s woodwind lesson How a flute is made How bagpipes are made How a bassoon reed is made *Find materials in your house that you (with your parent’s/guardian’s permission) can use to make a woodwind (i.e. water bottle, straw and cup of water, piece of paper, etc). *Find some other materials that you (with your parent’s/guardian’s permission) you can make a different woodwind instrument. *What can you do to change the sound of each? *How does the length of the straw effect the sound it makes? *How does the amount of water effect the sound? When you’re done, click here for your “ticket out the door”. Some optional videos for fun: • Young woman plays music from “Mario” on the Sho • Young boy on saxophone • 9 year old girl plays the flute. -
Ross Bauer, Composer Portrait Celebrating His Sixtieth Birthday
Mika Pelo and Kurt Rohde, co-directors PeRFoRMeRS Hrabba atladottir, violin ellen Ruth Rose, viola Mary artmann, cello Michael Seth orland, piano Peter Josheff, clarinet eric Zivian, piano Jean-Michel Fonteneau, cello Ross Bauer, Composer Portrait Celebrating His Sixtieth Birthday 7:00 pm, Sunday, JanuaRy 22, 2012 Vanderhoef Studio Theatre, Robert and Margrit Mondavi Center for the Performing arts 6:15pm pre-ConCert TalK with composers Ross Bauer, Martha Horst, and Harold Meltzer EmpyRean enSemble Co-directors Mika Pelo Kurt Rohde PERFORMERS Hrabba Atladottir, violin Ellen Ruth Rose, viola Mary Artmann, cello Michael Seth Orland, piano Peter Josheff, clarinet Eric Zivian, piano Jean-Michel Fonteneau, cello adMinistraTiVe & PRoduction STaff Christina Acosta, editor Philip Daley, publicity manager Rudy Garibay, designer Joshua Paterson, production manager THe dePartmenT oF MuSiC preSents The empyrean ensemble Mika Pelo and Kurt Rohde, co-directors Ross Bauer Composer Portrait Program The Near Beyond for Clarinet and String Trio Ross Bauer (b. 1951) Pink Angels for Violin, Viola, and Violoncello Harold Meltzer (world premiere, in honor of Ross Bauer’s sixtieth birthday) (b. 1966) Riff Tides for Violin, Cello, Viola, Bass Clarinet Martha Horst (world premiere, in honor of Ross Bauer’s sixtieth birthday) (b. ) Tribute for Cello and Piano Ross Bauer intermission Sequenza IX for Solo Clarinet Luciano Berio (1925–2003) Piano Quartet Ross Bauer Moderato Adagio Allegro giocoso Please join us for a reception following the concert in the Bartholomew Room Sunday, January 22, 2012 • 7:00 pm Vanderhoef Studio Theatre, Mondavi Center We ask that you be courteous to your fellow audience members and the performers. -
Bulsechul Ensemble
bulsechul ensemble 불세출 박계전 김용하 Park Gyejeon 배정찬 Kim Yonghwa 최덕렬 Bae Jungchan 이준 Choi Deokyol 박제헌 Lee Joon Park Jehun 김진욱 전우석 Kim Jinwook Jeon Wooseok [email protected] Facebook.com/bulsechul Youtube.com/bulsechul 풍류도시 연 북청 달빛 종로풍악 신천풍류 푸너리 지옥가 Flowing City Kite Bukcheong Moonlight Song of Jongno Sincheonpungryu Puneori Divine Song 6:03 4:24 8:10 6:57 8:07 8:20 6:11 7:32 • • • • • • • • 작곡 최덕렬 작곡 김용하 작곡 김용하 작곡 최덕렬 작곡 최덕렬 작곡 박계전 작곡 이준 작·편곡 불세출 Composed by Composed by Composed by Composed by Composed by Composed by Composed by Composed and Choi Deokyol Kim Yonghwa Kim Yonghwa Choi Deokyol Choi Deokyol Park Gyejeon Lee Joon Arranged by Bulsechul 1 2 3 4 5 6 7 8 이준 가야금, 꽹과리 가야금 가야금 가야금 가야금 가야금, 꽹과리 Lee Joon Gayageum, Kkwaenggwari Gayageum Gayageum Gayageum Gayageum Gayageum, Kkwaenggwari 전우석 거문고, 바라 거문고 거문고 거문고 거문고 거문고 거문고, 바라 Jeon Wooseok Geomungo, Bara Geomungo Geomungo Geomungo Geomungo Geomungo Geomungo, Bara 김진욱 대금, 단소, 퉁소, 징 대금 대금, 단소 대금 대금, 퉁소 대금, 징 Kim Jinwook Daegeum, Danso, Tungso, Jing Daegeum Daegeum, Danso Daegeum Daegeum, Tungso Daegeum, Jing 박제헌 아쟁, 양금, 바라 아쟁 아쟁, 양금 아쟁 아쟁, 바라 Park Jehun Ajaeng, Yanggeum, Bara Ajaeng Ajaeng, Yanggeum Ajaeng Ajaeng, Bara 배정찬 장구, 소리 장구 장구 장구 장구, 소리 Bae Jungchan Janggu, Vocal Janggu Janggu Janggu Janggu, Vocal 박계전 피리, 생황, 태평소 피리, 태평소 생황 피리 피리, 생황 피리, 태평소, 생황 Park Gyejeon Piri, Saenghwang, Taepyeongso Piri, Taepyeongso Saenghwang Piri Piri, Saenghwang Piri, Taepyeongso, Saenghwang 해금, 꽹과리 해금 해금 해금 해금 해금, 꽹과리 Kim Yonghwa Haegeum, Kkwaenggwari Haegeum Haegeum Haegeum Haegeum Haegeum, Kkwaenggwari 최덕렬 기타, 징, 정주 기타 기타 기타 기타 기타 징, 정주 징 Choi Deokyol Acoustic Guitar, Jing, Jeongju Acoustic Guitar Acoustic Guitar Acoustic Guitar Acoustic Guitar Acoustic Guitar Jing, Jeongju Jing 지옥가 Divine Song 낮고 느리다.