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Download the November 23, 2016 Issuepdf
N O T I C E IN THIS ISSUE Navigating U N I V E R S I T Y New Human Resources head sees Oakland: A the recruitment and retention of Senate com- millennials as one of the challenges mittee tour ahead...................................................5 shows it can be a challenge. Katz students turn car salespeople See pages 7 in hands-on marketing class............6 & 8. TIMES THE FACULTY & STAFF NEWSPAPER SINCE 1968 VOLUME 49 • NUMBER 7 NOVEMBER 23, 2016 UNIVERSITY OF PITTSBURGH Become engaged, faculty are urged after Nov. election n the aftermath of this month’s road, we need to be engaged,” elections, University Senate he said. IPresident Frank Wilson is The University Senate gov- urging faculty to become more ernmental relations committee engaged. “is trying to remake itself to be “We’re at a moment where, more engaged with the Office in my view, what we do is more of Governmental Relations” by important than it’s ever been,” said providing more research and Wilson in his Nov. 16 report to faculty expertise, as well as by Senate Council. “thinking of politics at the more “Those of us who teach are in grassroots level than we have the midst of a teachable moment before,” Wilson said. of some significance,” Wilson ‘We’re not a partisan group; said. “There are questions now we’re trying to act on behalf of about policy that’s being made the University and other institu- that will affect all of our lives.” tions of higher education which The systematic approach to are, without question, under the knowledge and objective pursuit gun,” Wilson said. -
The Boston Modern Orchestra Project's January 2008 Premiere of Ezra Sims's Concert Piece II, Featuring Clarinetists Michael
The Boston Modern Orchestra Project’s January 2008 premiere of Ezra Sims’s Concert Piece II, featuring clarinetists Michael Norsworthy and Amy Advocat, was one of the most thrilling concert experiences I can remember. I’ve been an admirer of Sims’s music for many years, and I am familiar with his distinctive microtonal style—certain characteristic intervals and harmonies, ostinati, and phrase contours. But despite my familiarity, I found myself laughing out loud with pleasure at this latest, and very grand, example of Sims’s continued resolve and daring. Years ago the Boston Globe music critic Richard Buell called Sims’s music “subversive,” and I believe in a sense he was right. With certain aspects of his music Sims sticks to tradition; for example, Concert Piece II is a double concerto with classic instrumentation, in ABA form, with clear motivic development, arching “antecedent” and “consequent” phrases, even tonality (albeit of an idiosyncratic kind). However, within conventional parameters such as these Sims produces sonorities that subvert our expectations on a visceral level. From the very opening of Concert Piece II, over undulating and pulsating microtonal figures in the strings and bassoons, the clarinets begin trading off strange, soaring lines with intervals such as 1/3 tones, 2/3 tones, and 1/6-tone-augmented minor thirds. The melodies are elegant, articulate, intensely expressive, and even seem to have familiar contours—yet they are also startlingly alien. This feeling is somehow underscored when the oboe enters with its own wild take on the theme, and then even further when later the violins, flutes, and oboe take up the thematic line in unison. -
Higher Education in the Creation of Individual Social Capital: a Student Organization Ethnography
HIGHER EDUCATION IN THE CREATION OF INDIVIDUAL SOCIAL CAPITAL: A STUDENT ORGANIZATION ETHNOGRAPHY by Jeffrie W. Miracle Bachelor of Arts, Brigham Young University, 2004 Master of Education, University of Pittsburgh, 2009 Submitted to the Graduate Faculty of The School of Education in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2013 UNIVERSITY OF PITTSBURGH SCHOOL OF EDUCATION This dissertation was presented by Jeffrie W. Miracle It was defended on April 3, 2013 and approved by Dr. Audrey J. Murrell, Associate Professor, Business Administration, Psychology, Public and International Affairs, Katz Graduate School of Business Dr. B. Jean Ferketish, Adjunct Professor, Department of Administrative and Policy Studies, Assistant Chancellor and Secretary of the Board of Trustees Dr. John C. Weidman, Professor, Department of Administrative and Policy Studies Dissertation Advisor: Dr. W. James Jacob, Associate Professor, Department of Administrative and Policy Studies ii Copyright © by Jeffrie W. Miracle 2013 iii HIGHER EDUCATION IN THE CREATION OF INDIVIDUAL SOCIAL CAPITAL: A STUDENT ORGANIZATION ETHNOGRAPHY Jeffrie W. Miracle, PhD University of Pittsburgh, 2013 Higher education is often credited with being an effective means for an individual to invest in and acquire skills and knowledge—often referred to as human capital. Participating in higher education may also provide an individual with the opportunity to build valuable relationships with individuals that result in access to resources such as information, the mutual exchange of favors, emotional support and career networking—often referred to as social capital. While it is understood that higher education is an effective way for an individual to invest in and accumulate human capital, it is not as clearly understood how higher education can be an effective way for an individual to invest in and accumulate other forms of capital, such as social capital. -
February March 2016
Tawas Bay Players Newsletter February/March 2016 TBP Tradition of Perchville Royalty Continues Congratulations Mike and Judy Merluzzi, the latest in a long line of Tawas Bay Players members to serve as Perchville King and Queen. This year was very special since last year’s king and queen TBP members Tim Haskin and Jolene Grusecki crowned Mike and Judy. Other TBP members to receive this honor were Carol Klenow, June Hudgins, Tara and Bill Western, Sharon Miller, Pat Ruster, Jo Ann Lutz, Brenda Chadwick, Deb DeBois, Judy Quarters, Lyle Groff and Keith Frank. Twelve Angry Jurors Our winter show, the fast paced courtroom drama, Twelve Angry Jurors opens this weekend. The show is directed by Deb DeBois assisted by Sharon Langley and is produced by June Hudgins. In addition to some of TBP’s finest actors this classic features many new faces. The cast includes Buck Weaver as the Judge, Terry Popielarz as the Guard and Sue Duncan, Beth Borowski, Chris Mundy, Eric Perrot, Wade Sydenstricker, Andre' De Wilde, Curtis Davenport, Michal Jacot, Le Roy Wenzel, Rodger McElveen, Waverley Monroe, and Sheilah Monroe as Jurors #1 through #12. We would like to welcome first time TBP performers Eric, Wade, Curtis, Waverley, and Sheliah to our stage and let Terry and Andre' know how happy we are to have them back. We finally get to see Sue Duncan on stage with a speaking part. Make sure you get a chance to see this thought provoking play. Performance dates are February 12, 13, 14, 18, 19, 20, & 21. Really Groovy Dinner Interrupted By Murder. -
Blue & Gold Spring 2012-Issue 97
Pitt-Greensburg receives $500,000 grant he University of Pittsburgh at Greensburg is the recipientT of a $500,000 grant from the Richard King Mellon Foundation that will be used to fund Pitt-Greensburg’s Liberal Arts for the 21st Century (LA21c) initiative. During the next two years, the funding will be used to implement a model for liberal arts education in the 21st century that builds on the high-level of student-faculty-staff engagement at Pitt-Greensburg while incorporating digital and global methods and skills, expanding opportunities for career exploration and experiential learning, and promoting curricular innovation to enhance new and existing offerings with the goal of providing a “ladder of success” for each Pitt-Greensburg student. “is grant will enable us to continue our progress toward our long-term goal of transforming Pitt-Greensburg into a Personalized academic attention is a hallmark of the model liberal arts college with appropriate adjustments for the Pitt-Greensburg educational experience. needs and skills of 21st century students and the demands and providing continued support to faculty and staff as they work to requirements of the 21st century world,” explained Dr. Sharon P. innovate and experiment with new program ideas. Smith, president of the University of Pittsburgh at Greensburg. “Digitalization and globalization have individually and “We believe that a classical liberal arts education can provide a interactively transformed the world during the past two decades. useful and robust foundation for continuous learning when e advance of information technology has not only changed the rethought for the digital world and supplemented with way people think, learn, and communicate but has also facilitated opportunities for experiential learning that point to applications the global integration of thought and activity in a climate of of academic studies in the workplace.” dynamic and accelerating change,” said Smith. -
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Society of Composers Inc. National Student Conference 2001 Presented by The Indiana School of Music welcomes you to the 2001 Society of Composers Inc. National Student Conference Dear Composers and Friends: I am pleased to attend the Third Annual National Student Conference of the Society of Composers, Inc. This event, ably hosted by Jason Bahr with generous support from Don Freund, will give you that rare opportunity to meet and hear each other's works performed by some of the most talented performers in this country. Take advantage of this timethese are your future colleagues, for you can never predict when you will meet them again. This is the weekend we will choose the three winners of the SCI/ASCAP Student Composition Commission Competition, to be announced at the banquet on Saturday evening. You will hear three new compositions by the winners of the 2000 competition: Lansing D. McLoskey's new choral work on Saturday at 4:00 p.m.; Karim Al-Zand's Wind Ensemble work to be performed Thursday night at 8:00 p.m.; and Ching-chu Hu's chamber ensemble work on the Friday night concert. SCI is grateful to Fran Richard and ASCAP for their support with this ongoing commissioning project. Last month I was asked by the editor of the on-line journal at the American Music Center in New York to discuss the dominant musical style of today and to predict what the dominant musical style might be of tomorrow. If only I could predict future trends! And yet, today's music depends upon whom you ask. -
Program Notes Hosted by the Score Board 7:00
DOUBLE TROUBLE SATURDAY JANUARY 22, 2011 8:00 DOUBLE TROUBLE SATURDAY JANUARY 22, 2011 8:00 JORDAN HALL AT NEW ENGLAND CONSERVATORY Program Notes hosted by the Score Board 7:00 MICHAEL TIPPETT Concerto for Double String Orchestra HAROLD MELTZER Full Faith and Credit (2004) (1938–39) I. Rugged I. Allegro con brio II. Homespun II. Adagio cantabile III. Blistering III. Allegro molto – Poco allargando IV. Viscous V. Genteel VI. Hymn VII. Rugged MATHEW ROSENBLUM Double Concerto for Baritone Saxophone, Percussion, and Orchestra (2010) Ronald Haroutunian, bassoon World Premiere Adrian Morejon, bassoon I. II. III. STEPHEN PAULUs Concerto for Two Trumpets and Orchestra (2003) IV. I. Fantasy V. II. Elegy III. Dance Kenneth Coon, baritone saxophone Terry Everson, trumpet Lisa Pegher, percussion Eric Berlin, trumpet INTERMISSION GIL ROSE, CONDUCTOR * Commissioned by the Fromm Music Foundation for Kenneth Coon and the Boston Modern Orchestra Project (Gil Rose, conductor) 4 5 PROGRAM NOTES By Robert Kirzinger TONIGHT’s COLLECTION OF DOUBLE CONCERTOS demonstrates the modern range of a genre that developed beginning about the end of the 1600s, essentially parallel to the solo concerto. Double and other multiple concertos were quite common in the High Baroque, including lots of examples by Vivaldi and, under his influence, Bach, but the solo concerto dominates the Classical period and beyond, with relatively few notable exceptions—Mozart’s two-piano concerto and sinfonias concertante, Beethoven’s Triple, Brahms’s Double—remaining solidly in today’s orchestral repertoire. This concert’s variety of approaches has as its chronological and stylistic extremes Michael Tippett’s 1939 GER Concerto for Double String Orchestra—one of the composer’s first works of significance— N and the brand-new, up-to-the-moment world premiere of the Double Concerto for Baritone GRAI Saxophone, Percussion, and Orchestra written for BMOP by Pittsburgh-based Mathew CLIVE Rosenblum. -
Spring 2014 Nationality Rooms Newsletter
Nationality Rooms Newsletter Nationality Rooms and Intercultural Exchange Programs at the University of Pittsburgh http://www.nationalityrooms.pitt.edu/news-events Volume Spring 2014 THE LITHUANIAN NATIONALITY ROOM Dedicated October 4, 1940 THE LITHUANIAN NATIONALITY ROOM E. Maxine Bruhns A fresco depicting Ciurlionis’ famous paint- ing The Two Kings portrays the reverence Lithuanians have for their villages. This mu- ral sets the tone for a room that pays tribute to the symbolism and love of nature and home reflected in Lithuanian folk art. The door bears a carved rosette, symbol of fire. Above, a stylized sun between two horses’ heads represents light and sound be- lieved to ward off evil spirits. The white oak molding of intersecting scallops resembles decorations found on farm granaries, or klei- tis. Names of famous Lithuanians are carved Two Kings on the frieze above the blackboard. The wall linen is woven in a design called “The Path of the Birds,” framed by white oak and rare bog oak. Black or bog oak acquires its deep hue while submerged in a marshy bog for decades. Farmers thus preserve prime trees to make furniture pieces that are treasured as heirlooms. The professor’s chair is of bog oak. The desk is modeled after a household table, and the lectern incorporates details of a spinning wheel spindle. Stu- dent chairs are carved with a design found on household utensils. On the ra- diator enclosure, perforated with a design of wild rue leaves, stands a sculp- ture of the “School of Sorrows” depicting a mother teaching her son the for- bidden Lithuanian language. -
Klezmer Madness
Klezmer Madness SATURDAY NOVEMBER 23, 2019 8:00 Klezmer Madness Welcome to New England SATURDAY NOVEMBER 23, 2019 8:00 JORDAN HALL AT NEW ENGLAND CONSERVATORY Conservatory’s Jordan Hall. Pre-concert talk at 7:00 New England Conservatory is home to acoustically superb Jordan Hall, where you’re seated now. Welcome, and enjoy the performance! AVNER DORMAN Uriah (2009) NEC is also the oldest independent music school in the United States, home to musical innovators across our College, Preparatory School, MATHEW ROSENBLUM Lament / Witches’ Sabbath (2017) and School of Continuing Education. David Krakauer, clarinet From chamber and orchestral music to jazz to Contemporary Improvisation, it’s all right here at NEC. INTERMISSION Join us for a concert, take WLAD MARHULETS Concerto for Klezmer Clarinet (2008) lessons, or join an ensemble: David Krakauer, clarinet necmusic.edu I. II. III. AVNER DORMAN Ellef Symphony (2000) I. Adagio II. Feroce III. Con Moto IV. Adagio GIL ROSE, conductor PROGRAM NOTES 5 By Clifton Ingram AVNER DORMAN (b. 1975) Uriah : The Man The King Wanted Dead (2009) Avner Dorman is not shy about his roots, which grow deep in his art. Born in Tel Aviv in 1975, Dorman has since transplanted to the United States, where he is currently an as- sociate professor at Sunderman Conservatory of Music at Gettysburg College. But whether composing music about the Tanakh (Hebrew Bible) or the American Civil War (both of which he has done, for the record) Dorman identifies Israel as home. Through his music, this sense of home becomes more a feeling, one almost utopian in its endless urge for a hopeful future in spite of harsh reality. -
New Music Festival COMPOSITION COMPETITION & COMPOSITION WORKSHOP FEBRUARY 10 — 14, 2019 RED NOTE New Music Festival Composition Competition
Chen Yi Eric Moe distinguished guest composer s ILLINOIS STATE Fifth House Ensemble REDRED UNIVERSITY Iridium Quartet guest ensembles CARL SCHIMMEL ROY MAGNUSON co-directors NOTENOTE new music festival COMPOSITION COMPETITION & COMPOSITION WORKSHOP FEBRUARY 10 — 14, 2019 RED NOTE New Music Festival Composition Competition Now in its twelfth season, the RED NOTE New Music Festival at Illinois State University is a week-long event which features outstanding performances of contemporary concert music. Highlights of past seasons include appearances by the Orchid Ensemble, Fulcrum Point New Music Ensemble, Color Field Ensemble, Spektral Quartet, Ensemble Dal Niente, Momenta Quartet, the City of Tomorrow, Ensemble Mise-En, Del Sol Quartet, and loadbang. Featured guest composers have included William Bolcom, Stephen Hartke, Sydney Hodkinson, Lee Hyla, Steven Stucky, Augusta Read Thomas, and Joan Tower. RED NOTE also holds an annual Composition Competition which brings in entries from around the world. This year, we are pleased to host featured guest composers Chen Yi and Eric Moe, as well as featured guest ensembles Fifth House Ensemble and Iridium Quartet. Together with the ISU music composition faculty, Professors Chen and Moe and the two guest ensembles will lead a Composition Workshop which is open to all student composers. Please see the reverse side of this flyer to learn more about the Workshop. RULES AND GUIDELINES GUIDELINES — CATEGORY B (Full Orchestra) The competition is open to all composers, regardless of age or nationality. This year Submitted works should be scored for orchestra, with the following there are three categories: Category A (Works for Chamber Ensemble), Category B maximum instrumentation: (Works for Full Orchestra), and Category C (Works for Chorus). -
Three World Premieres FRIDAY JANUARY 17, 2014 8:00 Triple Threat Three World Premieres
Triple Threat Three World Premieres FRIDAY JANUARY 17, 2014 8:00 Triple Threat Three World Premieres FRIDAY JANUARY 17, 2014 8:00 JORDAN HALL AT NEW ENGLAND CONSERVATORY Pre-concert talk with the composers – 7:00 ELENA RUEHR Summer Days (2013) KEN UENO Hapax Legomenon, a concerto for two-bow cello and orchestra (2013) Frances-Marie Uitti, cello INTERMISSION DAVID RAKOWSKI Piano Concerto No. 2 (2011) Amy Briggs, piano GIL ROSE, Conductor Summer Days and Piano Concerto No. 2 were made possible by a grant from the Jebediah Foundation New Music Commissions. Hapax Legomenon was commissioned by the Harvard Musical Association and composed at Civitella Rainieri. PROGRAM NOTES 5 By Robert Kirzinger A true representative microcosm of the stylistic range of BMOP’s repertory history would be absurd, albeit maybe entertaining: forty-seven two-minute pieces for thirty-one different ensemble types? Something of that ilk might come close. The present program, though, TINA TALLON is at least an indicator of the range of the orchestra’s repertoire: all three composers of tonight’s world premieres have collaborated with BMOP before, but their individual compositional voices are highly distinctive. All three works were commissioned for and TONIGHT’S PERFORMERS written for the Boston Modern Orchestra Project. There are some broad connections, though: David Rakowski’s and Ken Ueno’s pieces are both concertos, and both Ueno’s FLUTE TROMBONE VIOLA and Elena Ruehr’s pieces were partly inspired by visual art. Sarah Brady Hans Bohn Noriko Herndon Rachel Braude Martin Wittenberg Emily Rideout Dimitar Petkov ELENA RUEHR (b. 1963) OBOE PERCUSSION Lilit Muradyan Summer Days (2013) Jennifer Slowik Nick Tolle Willine Thoe Laura Pardee Aaron Trant Kim Lehmann Mike Williams Elena Ruehr was BMOP’s first composer in residence from 2000 until 2005. -
The Coordinator's Report on the ELT Project in Los Angeles: Educational
EOCUMENT RESUME ED 045 641 24m TE 002 128 AUTHOR Stern, Hans Georg TITLE The Coordinatorls Report on the ELT Project in Ics Angeles; Educational Laboratory Theatre Project, 1966-70. Final Report. INSTITUTICN Central Midwestern Regional Educational Lab., St. Ann, Mo. SPONS AGENCY Office of Education (DHEW), Washington, D.C. Bureau of Research. BUREAU NO ER-7-0310 PUB DATE 70 CONTFACT CEC-3-7-07C310-1605 NOTE 183p.; Volume 3 AVAILABLE FECM Verna Smith, CEMPEL, Inc., 10646 St. Charles Rock Road, St.Ann, Mo. 63074 ($1.85) EDRS PRICE EDRS Price MF-$0.75 HC Not Available from EDPS. DESCRIPTORS *Attitudes, Cultural Activities, Dramatics, *Experimental Programs, Instructional Materials, Program Costs, Program Development, *Program Evaluation, Race Relations, *Secondary Education, Student Behavior, Student Reaction, Teacher Attitudes, *Theater Arts, Urban Schools IDENTIFIERS *Educaticnal Laboratory Theatre Project, Los Angeles ABSTRACT This third of fcur volumes of the final report cn the Educational Labcratory Theatre (ELT) Project provides an on-the-scene account of the Project1s history at its Los Angeles site, from the pcint of view of the school-system people involved. Useful to planners of future cultural programs in its presentation of the practical difficulties of operating such a program in the context of a large urban school system, this volume recounts the planning of the Project, discusses the financial and contractual aspects of the Project, reviews the curriculum and inservice education program, assesses student and teacher reaction to the plays and the Project, and provides a statistical summary, conclusion, and some recommendaticns for the future. Appendices include the 1967-68 and 19E8-69 ccntracts between the school district and the Inner City Cultural Center, a sample poster, and a summary of the September 22, 1969 ELT meeting.(See also TE 002 12E, TE 002 127, and TE 002 129.) (MF) /3/? 7 -b3,0 U.S.