Connecting Canada Conference Program
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Superstar Soprano Measha Brueggergosman Makes Triumphant Return to the Canadian Opera Stage in Opera Atelier’S Award-Winning Production of Mozart’S –Idomeneo–
FOR IMMEDIATE RELEASE February 26, 2019 Superstar Soprano Measha Brueggergosman Makes Triumphant Return to the Canadian Opera Stage in Opera Atelier’s Award-Winning Production of Mozart’s –Idomeneo– Lauded Company Makes Ed Mirvish Theatre Debut with Sumptuous Sound, Breathtaking Ballet, and Lavish Scenery Toronto, ON – Opera Atelier is delighted to present their award-winning production of Mozart’s Idomeneo from April 4–13, 2019 at the Ed Mirvish Theatre starring Canadian soprano superstar Measha Brueggergosman, who returns to the Toronto opera stage after an absence of 10 years, in her internationally acclaimed performance as Elettra. Brueggergosman is joined by a luminary cast featuring some of North America’s finest singers including tenor Colin Ainsworth in the title role, mezzo-soprano Wallis Giunta (Young Singer of the Year, 2018 International Opera Awards) as Idamante, soprano Meghan Lindsay as Ilia, bass-baritone Douglas Williams as Neptune, baritone Olivier Laquerre as Arbace, and baritone Bradley Christensen as the Priest. Brimming with Mozart’s show-stopping arias, deeply emotional ensembles, and spectacular ballet, Idomeneo tells the story of the Greek hero who is forced to choose between the life of his son and a terrible promise he has made to the god of the sea. “Idomeneo demands a unique juxtaposition of an extremely formal dramatic and musical structure coupled with an emotional intensity that foreshadows the Romantic movement,” says Opera Atelier Founding Co-Artistic Director Marshall Pynkoski, who also directs the opera. “In Opera Atelier’s production, every element - superbly rendered music, fully-integrated ballet, and historically-informed design - combine to tell this timeless story with precision and clarity.” “We have restored the ballet that closes Idomeneo,” adds Opera Atelier Co-Artistic Director and Choreographer Jeannette Lajeunesse Zingg. -
2017-18 Season Announcement News Release
N E W S R E L E A S E FOR IMMEDIATE RELEASE DATE: February 23, 2017 Yannick Nézet-Séguin and The Philadelphia Orchestra Announce 2017-2018 Season Yannick Nézet-Séguin’s Sixth Season Spans a Vast Range of Sounds Commissions • Oratorio • Chamber Music • Opera A Crowd-Sourced Celebration of Philadelphia • Broadway and a Wide Swath of Orchestral Repertoire Philadelphia Voices, a new work by Tod Machover Tosca Winter Festival focuses on British Isles Hilary Hahn is Artist-in-Residence American Sounds Leonard Bernstein Centenary Including Full Score Performances of West Side Story in Concert Premieres for Orchestra Principals (Philadelphia , February 23, 2017)—Philadelphia Orchestra Music Director Yannick Nézet-Séguin and President and CEO Allison Vulgamore today released The Philadelphia Orchestra’s 2017-18 season. Nézet-Séguin begins his sixth season in Philadelphia with a commitment to lead the world-renowned ensemble through at least 2025-26, continuing a relationship between music director and musicians that has garnered praise around the globe. “This is possibly the most varied season The Philadelphia Orchestra and I have undertaken together,” said Music – more – Yannick Nézet-Séguin and The Philadelphia Orchestra: 2017-18 Season 2 Director Yannick Nézet-Séguin. “It’s thrilling to be able to make music in every way possible, from playing piano with our wonderful principal strings in chamber music, to conducting new works, including commissions, to an oratorio I adore, to a semi-staged production of Tosca. We have some audience favorites, of course, and naturally we are celebrating the centenary of that amazing musical figure Leonard Bernstein. We hope everyone will join us!” “We truly are celebrating Yannick in every musical way this season, and we’re also celebrating our wonderful city of Philadelphia,” added Philadelphia Orchestra President and CEO Allison Vulgamore. -
FIVE CHALLENGES and SOLUTIONS in ONLINE MUSIC TEACHER EDUCATION Page 1 of 10
FIVE CHALLENGES AND SOLUTIONS IN ONLINE MUSIC TEACHER EDUCATION Page 1 of 10 Volume 5, No. 1 September 2007 FIVE CHALLENGES AND SOLUTIONS IN ONLINE MUSIC TEACHER EDUCATION David G. Hebert Boston University [email protected] “Nearly 600 graduate students?”1 As remarkable as it may sound, that is the projected student population for the online graduate programs in music education at Boston University School of Music by the end of 2007. With the rapid proliferation of online courses among mainstream universities in recent years, it is likely that more online music education programs will continue to emerge in the near future, which begs the question of what effects this new development will have on the profession. Can online education truly be of the same quality as a traditional face-to-face program? How is it possible to effectively manage such large programs, particularly at the doctoral level? For some experienced music educators, it may be quite difficult to set aside firmly entrenched reservations and objectively consider the new possibilities for teaching and research afforded by recent technology. Yet the future is already here, and nearly 600 music educators have seized the opportunity. Through online programs, the internet has become the latest tool for offering professional development to practicing educators who otherwise would not have access, particularly those currently engaged in full-time employment or residing in rural areas. Recognizing the new opportunities afforded by recent technological developments, Director of the Boston University School of Music, Professor Andre De Quadros and colleagues launched the nation’s first online doctoral program in music education in 2005. -
Download Booklet
559216-18 bk Bolcom US 12/08/2004 12:36pm Page 40 AMERICAN CLASSICS WILLIAM BOLCOM Below: Longtime friends, composer William Bolcom and conductor Leonard Slatkin, acknowledge the Songs of Innocence audience at the close of the performance. and of Experience (William Blake) Soloists • Choirs University of Michigan Above: Close to 450 performers on stage at Hill Auditorium in Ann Arbor, Michigan, under the School of Music baton of Leonard Slatkin in William Bolcom’s Songs of Innocence and of Experience. Symphony Orchestra University Musical Society All photographs on pages 37-40 courtesy of Peter Smith/University Musical Society Leonard Slatkin 8.559216-18 40 559216-18 bk Bolcom US 12/08/2004 12:36pm Page 2 Christine Brewer • Measha Brueggergosman • Ilana Davidson • Linda Hohenfeld • Carmen Pelton, Sopranos Joan Morris, Mezzo-soprano • Marietta Simpson, Contralto Thomas Young, Tenor • Nmon Ford, Baritone • Nathan Lee Graham, Speaker/Vocals Tommy Morgan, Harmonica • Peter “Madcat” Ruth, Harmonica and Vocals • Jeremy Kittel, Fiddle The University Musical Society The University of Michigan School of Music Ann Arbor, Michigan University Symphony Orchestra/Kenneth Kiesler, Music Director Contemporary Directions Ensemble/Jonathan Shames, Music Director University Musical Society Choral Union and University of Michigan Chamber Choir/Jerry Blackstone, Conductor University of Michigan University Choir/Christopher Kiver, Conductor University of Michigan Orpheus Singers/Carole Ott, William Hammer, Jason Harris, Conductors Michigan State University Children’s Choir/Mary Alice Stollak, Music Director Leonard Slatkin Special thanks to Randall and Mary Pittman for their continued and generous support of the University Musical Society, both personally and through Forest Health Services. Grateful thanks to Professor Michael Daugherty for the initiation of this project and his inestimable help in its realization. -
Concert Program for October 22 and 23, 2009
Concert Program for October 22 and 23, 2009 David Robertson, conductor Measha Brueggergosman, soprano Kate Lindsey, mezzo-soprano Paul Groves, tenor Jubilant Sykes, baritone Saint Louis Symphony Chorus Amy Kaiser, director Saint Louis Symphony IN UNISON® Chorus Robert Ray, director IVES The Unanswered Question (c. 1908) (1874-1954) BARBER Adagio for Strings (1936) (1910-1981) ROLLO DILWORTH Freedom’s Plow (2009) World Premiere (b. 1970) Saint Louis Symphony IN UNISON® Chorus Robert Ray, director Intermission TIPPETT A Child of Our Time (1939-41) (1905-1998) Part I Chorus: The world turns on its dark side The Argument: Man has measured the heavens Scena: Is evil then good? Now in each nation Chorus of the Oppressed: When shall the usurers’ city cease I have no money for my bread How can I cherish my man in such days A Spiritual: Steal away Part II Chorus: A star rises in mid-winter And a time came Double Chorus of Persecutors and Persecuted: Away with them! Where they could, they fled Chorus of the Self-righteous: We cannot have them in our Empire And the boy’s mother wrote a letter Scena: O my son! A Spiritual: Nobody knows the trouble I see Scena: The boy becomes desperate in his agony They took a terrible vengeance. The Terror: Burn down their houses! Men were ashamed of what was done A Spiritual of Anger: Go down, Moses The Boy sings in his Prison: My dreams are all shattered What have I done to you, my son? The dark forces rise like a flood A Spiritual: O, by and by Part III Chorus: The cold deepens The soul of man Scena: The words of wisdom are these General Ensemble: I would know my shadow and my light A Spiritual: Deep river Measha Brueggergosman, soprano Kate Lindsey, mezzo-soprano Paul Groves, tenor Jubilant Sykes, baritone Saint Louis Symphony Chorus Amy Kaiser, director Saint Louis Symphony IN UNISON® Chorus Robert Ray, director David Robertson is the Beofor Music Director and Conductor. -
Perspectives for Music Education in Schools After COVID-19: the Potential of Digital Media
Min-Ad: Israel Studies in Musicology Online, Vol. 18, 2021 Benno Spieker, Morel Koren – Perspectives for Music Education in Schools after COVID-19: The Potential of Digital Media Perspectives for Music Education in Schools after COVID-19: The Potential of Digital Media BENNO SPIEKER, MOREL KOREN Abstract: Innovations in research fields related to computer music and the advancement of the music industry have also influenced the digital sector for music education. Although many kinds of educational, edutainment, and entertainment music software appeared before the pandemic and are still in use, with the COVID-19 crisis and restrictions, it seems that music education in the primary classes has not systematically and thoroughly benefited from the innovations and advances reported by science and the music industries. However, the current need to teach music online could have an effect on the use of digital media after the pandemic. We present examples from the Netherlands, Romania, and Israel that lead to observations and suggestions about the potential of digital media after COVID-19. Keywords: music education, online music learning, singing, solfege, music literacy, primary education, voice synthesis, artificial intelligence. Introduction More than sixty years after humankind successfully programmed a computer to generate sounds from a digital composition, and almost forty years after the invention of a standard for sharing musical information digitally – MIDI (Musical Instrument Digital Interface), and the invention of the Internet, it can be said that digital media brought significant changes in almost all fields of music. Writing, composing, performing, recording, storing, disseminating with or without video are encompassing producing and consuming computerized music and digital media. -
British and Commonwealth Concertos from the Nineteenth Century to the Present
BRITISH AND COMMONWEALTH CONCERTOS FROM THE NINETEENTH CENTURY TO THE PRESENT A Discography of CDs & LPs Prepared by Michael Herman Composers I-P JOHN IRELAND (1879-1962) Born in Bowdon, Cheshire. He studied at the Royal College of Music with Stanford and simultaneously worked as a professional organist. He continued his career as an organist after graduation and also held a teaching position at the Royal College. Being also an excellent pianist he composed a lot of solo works for this instrument but in addition to the Piano Concerto he is best known for his for his orchestral pieces, especially the London Overture, and several choral works. Piano Concerto in E flat major (1930) Mark Bebbington (piano)/David Curti/Orchestra of the Swan ( + Bax: Piano Concertino) SOMM 093 (2009) Colin Horsley (piano)/Basil Cameron/Royal Philharmonic Orchestra EMI BRITISH COMPOSERS 352279-2 (2 CDs) (2006) (original LP release: HMV CLP1182) (1958) Eileen Joyce (piano)/Sir Adrian Boult/London Philharmonic Orchestra (rec. 1949) ( + The Forgotten Rite and These Things Shall Be) LONDON PHILHARMONIC ORCHESTRA LPO 0041 (2009) Eileen Joyce (piano)/Leslie Heward/Hallé Orchestra (rec. 1942) ( + Moeran: Symphony in G minor) DUTTON LABORATORIES CDBP 9807 (2011) (original LP release: HMV TREASURY EM290462-3 {2 LPs}) (1985) Piers Lane (piano)/David Lloyd-Jones/Ulster Orchestra ( + Legend and Delius: Piano Concerto) HYPERION CDA67296 (2006) John Lenehan (piano)/John Wilson/Royal Liverpool Philharmonic Orchestra ( + Legend, First Rhapsody, Pastoral, Indian Summer, A Sea Idyll and Three Dances) NAXOS 8572598 (2011) MusicWeb International Updated: August 2020 British & Commonwealth Concertos I-P Eric Parkin (piano)/Sir Adrian Boult/London Philharmonic Orchestra ( + These Things Shall Be, Legend, Satyricon Overture and 2 Symphonic Studies) LYRITA SRCD.241 (2007) (original LP release: LYRITA SRCS.36 (1968) Eric Parkin (piano)/Bryden Thomson/London Philharmonic Orchestra ( + Legend and Mai-Dun) CHANDOS CHAN 8461 (1986) Kathryn Stott (piano)/Sir Andrew Davis/BBC Symphony Orchestra (rec. -
School of Music Graduate Handbook
HUGH A. GLAUSER SCHOOL OF MUSIC COLLEGE OF THE ARTS GRADUATE HANDBOOK FALL 2015 1 TABLE OF CONTENTS Page No. I. Master’s Programs – Overview……………………………………………………………. 4-7 General Academic Requirements……………………………………………… 4 Qualitative Requirements………………………………………………………… 4 Time Limits……………………………………………………………………………. 4-5 Transfer Credit………………………………………………………………………. 5-6 Research Requirement……………………………………………………………. 6 Theory Placement Examination……………………………………………….. 6 Ensemble Requirement……………………………………………………………. 6 Degree Programs……………………………………………………………………. 6 Thesis, Recital and Final Oral Examination………………………………… 7 II. Master’s Programs – Guidelines for Degree Options……………………………….. 8-17 Guidelines for M.A. Degree Program…………………………………………. 8-11 Guidelines for M.M. Degree Program………………………………………… 12-15 Guidelines for the Online Music Education Program……………………. 16 Guidelines for Committee Members of Final Oral Examinations……. 17 III. Doctoral Programs – Overview……………………………………………………………. 18-28 General Academic Requirements……………………………………………… 18 Qualitative Requirement…………………………………………………………. 18 Time Limits……………………………………………………………………………. 19 Transfer Credit………………………………………………………………………. 19-20 Advisory Committee……………………………………………………………….. 20 Residence……………………………………………………………………………… 21 Research Requirements…………………………………………………………. 21 Theory Placement Examination……………………………………………….. 21 Candidacy Examination…………………………………………………………… 21-23 Dissertation…………………………………………………………………………… 23-26 The Examining Committee………………………………………………………. 26-27 Final Oral Examination……………………………………………………………. -
Summer 2019 NEWSLETTER : BULLETIN Été 2018
Société d' Opéra National Capital de la Capitale Nationale Opera Society Summer 2019 NEWSLETTER : BULLETIN Été 2018 A Feast of Ottawa Singers! by Shelagh Williams The Canadian Opera Company(COC)’s final two of- butter wouldn’t melt in his mouth, but when he was ferings of the season, Verdi’s Otello and Puccini’s La alone his voice and manner revealed his true nature, as Bohème were a testament to Ottawa singers, the in his Credo. His eyes had a red, devilish gleam and NCOS, and the Brian Law Opera Competition twice he dropped a lit match to dramatically light a (BLOC)! fire on stage! The staging of the oath of vengeance To begin, we saw the last night of Otello, star- between Iago and Otello at the end of Act II, with the ring the NCOS patron, baritone Gerald Finley, as knife to cut and blood to smear, was very powerful. Iago, originally Verdi’s title character! The produc- At the end, with Desdemona and Otello both dead, tion was created by English National Opera as a Iago just sat there with a big satanic smile on his face, co-production with Royal Swedish Opera and Teatro like the devil incarnate. It was fascinating to watch Real Madrid, and so came with director David Alden. Gerald Finley, without overacting, seem so easily to He gave us a fairly straightforward production, with orchestrate the downfall of first Cassio, then Otello, only a few quirky, head scratching aspects to distract and finally Desdemona, all the while appearing to be one from the opera itself and its marvellous music. -
Measha Brueggergosman & Simon Lepper
Measha Brueggergosman & Simon Lepper Wednesday 8 May 2019 7.30pm, Milton Court Concert Hall Ravel Shéhérazade Debussy Chansons de Bilitis Duparc Chanson triste; L’invitation au voyage; Phidylé; La vie antérieure interval 20 minutes Cage The Wonderful Widow of Eighteen Springs Montsalvatge Cinco canciones negras William Bolcom Cabaret Songs: Surprise; The total stranger in the garden; Lisa MacIntosh Toothbrush time; Song of Black Max; George; Amor Measha Brueggergosman soprano Simon Lepper piano Part of Barbican Presents 2018–19 Programme produced by Harriet Smith; printed by Trade Winds Colour Printers Ltd; advertising by Cabbell (tel 020 3603 7930) Please turn off watch alarms, phones, pagers etc during the performance. Taking photographs, capturing images or using recording devices during a performance is strictly prohibited. Please remember that to use our induction loop you should switch your hearing aid to T setting on entering the hall. If your hearing aid is not correctly set to T it may cause high-pitched feedback which can spoil the enjoyment of your fellow audience members. We appreciate that it’s not always possible to prevent coughing during a performance. But, for the sake of other audience members and the artists, if you feel the need to cough or sneeze, please stifle it The City of London with a handkerchief. Corporation is the founder and If anything limits your enjoyment please let us know principal funder of during your visit. Additional feedback can be given the Barbican Centre online. Welcome A warm welcome to tonight’s recital longing in Debussy’s Chansons de Bilitis given by an artist who delights in defying to the extraordinarily distilled world of expectation. -
Developing Fully Online Pre-Service Music and Arts Education Courses
aaustralian societys for musicm Developing fully online pre-service education e incorporated music and arts education courses Sharon Lierse Charles Darwin University Abstract Charles Darwin University (CDU) offers education courses for students who want to teach in Australian schools. The university is unique due to its geographic location, proximity to Asia and its high Indigenous population compared to the rest of the country. Many courses are offered fully online including music education for pre-service teachers. This shift has presented both opportunities and challenges. The study is an investigation of reviewing music and arts education courses to be delivered fully online using Participatory Action Research as the methodology. The four steps for the research are as follows: planning a change, acting and observing the processes and consequences of change, reflecting on the processes and consequences, and replanning to start the cycle again. The reflection and replanning stage of the course are especially important because courses need to be updated regularly to keep up with policy developments. It is anticipated that by the end of the year, the aspects of the course which have been successful and the ones which will require extensive reviewing will have been addressed. Through this process of rewriting, reviewing and reflecting, a fully online music education course will be able to be delivered successfully to music education students around Australia. Key words: arts education, curriculum development, music education, online learning Victorian Journal of Music Education 2015:1, 29-34 Introduction same class for an entire degree. Charles Darwin University’s main campus is located in Darwin, but In 2015, the author was appointed as lecturer there are many satellite campuses as well as some in music and the performing arts to pre-service lecturing staff working overseas. -
Model Innovation and Scheme of Music Online Open Course
2019 International Conference on Arts, Management, Education and Innovation (ICAMEI 2019) Model Innovation and Scheme of Music Online Open Course Yefei Yan Zhao Tong University, Yunnan, China, 657000 Keywords: Music online course; Education teaching reform; Mode innovation Abstract: With the opening of "listening to music" course by Yale University to the whole world in 2009, China has also initiated the relevant reform of music course standard. In November 2017, "music online open course construction and education teaching reform seminar for colleges and universities" was successfully held in capital normal university. This meeting is aimed at music online open course construction and education teaching reform and other core issues to exchange and discuss, which indicates that music online open courses in China will become one of the main directions in the future. This paper is mainly divided into three aspects. First, analyzing the demand of music online education. Second, thinking about the construction of online courses. Third, studying the reform of education teaching. This paper is expected to help students learn to explore, create, cooperate and share music, so as to improve their learning ability. 1. Introduction Statistics is a highly comprehensive subject, which widely exists in society production and daily life. Making good use of statistics will make our life more convenient. Reviewing the development process of statistics, it has been made continuous progress in actual life and application. With the rise of the era of big data, traditional statistics are also making new changes. The era of big data has injected fresh blood into traditional statistics, changed the inherent mode of thinking, and also brought a lot of challenges.