Love of Life Orchestra Ceciltaylor
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Robert Ashley the Old Man Lives in Concrete
Joan La Barbara – composer / performer / sound artist – explores the human voice as a multi-faceted instrument, expanding traditional boundaries in composition, using a unique vocabulary of experimental and extended vocal techniques – multiphonics, circular singing, ululation and glottal clicks – that have become her “signature sounds.” Awards include a 2008 American Music Center Letter of Distinction, a Guggenheim Fellowship in Music Composition, DAAD Artist-in- Residency in Berlin, seven NEA grants and numerous commissions for concert, theater and radio works. La Barbara has created sound scores for film, video and dance and produced twelve recordings of her own works, including Voice Is the Original Instrument, a double CD of her historical compositions for Lovely Music. 73 Poems, her collaboration with text-artist Kenneth Goldsmith, was included in “The American ROBERT ASHLEY Century Part II: SoundWorks” at the Whitney Museum of American Art. Messa di Voce, an interactive media performance work created in THE OLD MAN LIVES IN CONCRETE collaboration with Jaap Blonk, Golan Levin and Zachary Lieberman, premiered to acclaim at Ars Electronica 2003. La Barbara teaches Music and libretto composition at NYU and is working on a new opera. ROBERT ASHLEY Singers David Moodey has designed for and toured with Molissa Fenley and Dancers since 1986. His design for Fenley’s State of Darkness earned SAM ASHLEY, THOMAS BUCKNER, JACQUELINE HUMBERT, him a Bessie award for lighting design. He has also designed and JOAN LA BARBARA AND ROBERT ASHLEY toured numerous shows for Paul Lazar and Annie-B Parsons and their Electronic orchestra composed by company, Big Dance Theater, and for David Neumann’s feedforward at DTW. -
KUNM 89.9 FM L February 2010
P KUNM 89.9 FM l February 2010 89.9 ALBUQUERQUE l 88.7 SOCORRO l 89.9 SANTA FE l 90.9 TAOS l 90.5 CIMARRON/EAGLE NEST 91.9 ESPANOLA l 91.9 LAS VEGAS l 91.9 NAGEEZI l 90.5 CUBA KUNM celebrates Black History Month! Alfre Woodard hosts Can Do: Stories of Black Visionaries, Seekers, and Entrepreneurs, and Iyah Music Host Anthony “Ijah” Umi speaks with Activist/Comedian/Philosopher Dick Gregory on The Spoken Word Hour. Details on Page 11. KUNM Operations Staff Elaine Baumgartel...............................................................................Reporter KUNM Radio Board Carol Boss.....................................................................Membership Relations Tristan Clum...............................................................Interim Program Director UNM Faculty Representatives: Briana Cristo..........................................................Vista Youth Radio Assistant Dorothy Baca Matthew Finch ...........................................................................Music Director John Scariano Roman Garcia .......................................................Interim Production Director UNM Staff Representative: Sarah Gustavus..................................................................................Reporter Mary Jacintha Rachel Kaub ....................................................................Operations Manager Elected Community Reps: Jonathan Longcore..............................................................IT Support Analyst Graham Sharman Linda Morris .........................................................Senior -
PROGRAM NOTES the Expanded Sonic Potential of the Voice
ABOUT THE ARTISTS Joan La Barbara La Barbara is a composer, performer, sound artist and actor renowned for developing a unique vocabulary of experimental and extended vocal techniques (multiphonics, circular singing, ululation and glottal clicks; her “signature sounds”), influencing generations of other composers and singers. Awards, prizes and fellowships include The Foundation for Contemporary Arts John Cage Award (2016); Premio Internazionale Demetrio Stratos; DAAD-Berlin and Civitella Ranieri Artist-in-Residencies; Guggenheim Fellowship in Music Composition; seven National Endowment for the Arts awards (Music Composition, Opera/Music Theater, Inter-Arts, Recording, Solo Recital, Visual Arts), and numerous commissions for multiple voices, chamber ensembles, theatre, orchestra, interactive technology, and soundscores for dance, video and film. Her multi-layered textural compositions were presented at Brisbane Biennial, Festival d’Automne à Paris, Warsaw Autumn, MaerzMusik Berlin and Lincoln Center, among other international venues. She has collaborated with visual artists Matthew Barney, Judy Chicago, Ed Emshwiller, Kenneth Goldsmith, Bruce Nauman, Steina, Woody Vasulka and Lawrence Weiner, and has premiered landmark compositions composed for her, including Morton Feldman’s Three Voices; Morton Subotnick’s chamber opera Jacob’s Room and his Hungers and Intimate Immensity; the title role in Robert Ashley’s opera Now Eleanor’s Idea and his Dust; Philip Glass and Robert Wilson’s Einstein on the Beach; Steve Reich’s Drumming; and John Cage’s Eight Whiskus and Solo for Voice 45 from Song Books. Recordings of her works include ShamanSong (New World), Sound Ellen Rietbrock Paintings and her seminal works from Voice is the Original Instrument (1970, Lovely Music). In addition to her internationally acclaimed discs of Feldman and Cage, she has recorded for A&M Horizon, Centaur, Deutsche Grammophon, Nonesuch, Mode, Music & Arts, MusicMasters, Musical Heritage, Newport Classic, Sony, Virgin, Voyager and Wergo. -
(718) 636-4123 for IMMEDIATE RELEASE October 24, 1984
NEWS CONTACT: fllen Ldmpert FOR IMMEDIATE RELEASE Susan Spier October 24, 1984 (718) 636-4123 RICHARD LANDRY PERFORMS IN BAM'S NEXT WAVE FESTIVAL ON NOVE~1BER 10, 1984 Saxophonist and composer RICHARD LANDRY will make his first New York solo appearance in over two years in the Brooklyn Academy of Music's NEXT WAVE FESTIVAL on November 10, 1984. Joining Richard Landry in the second half of his concert is guest percussionist David Van Tieghem. Born and raised in Cecilia, Louisiana, where he still resides, Richard Landry's roots are in Cajun music, rural southern rhythm and blues, and jazz. His concerts are distinguished by virtuosic improvisations on the uncharted range of the tenor saxophone, processed through a quadrophonic delay system which allows him to form his own quintet. He has also performed and recorded with Steve Reich and Musicians, the Philip Glass Ensemble, Talking Heads, and Laurie Anderson, while presenting more than two hundred solo concerts throughout the United States, Canada, and Europe. Richard Landry's concert for tenor saxophone will be held in BAM's Carey Playhouse on Saturday, November 10, at 8:00pm. Tickets are $15.00 . The NEXT WAVE Production and Touring Fund is supported by the National Endowment for the Arts, the National Endowment for the Humanities, the Rockefeller Foundation, the Howard Gilman Foundation, the Ford Foundation, the Pew Memorial Trust, AT&T, WilliWear Ltd., Warner Communications Inc. , the Educational Foundation of America, the CIGNA Corporation, the Best Products Foundation, Abraham & Straus/Federated Department Stores Foundation, Inc. and the BAM NEXT WAVE Producers Council. -
NEA-Annual-Report-1992.Pdf
N A N A L E ENT S NATIONAL ENDOWMENT FOR~THE ARTS 1992, ANNUAL REPORT NATIONAL ENDOWMENT FOR!y’THE ARTS The Federal agency that supports the Dear Mr. President: visual, literary and pe~orming arts to I have the honor to submit to you the Annual Report benefit all A mericans of the National Endowment for the Arts for the fiscal year ended September 30, 1992. Respectfully, Arts in Education Challenge &Advancement Dance Aria M. Steele Design Arts Acting Senior Deputy Chairman Expansion Arts Folk Arts International Literature The President Local Arts Agencies The White House Media Arts Washington, D.C. Museum Music April 1993 Opera-Musical Theater Presenting & Commissioning State & Regional Theater Visual Arts The Nancy Hanks Center 1100 Pennsylvania Ave. NW Washington. DC 20506 202/682-5400 6 The Arts Endowment in Brief The National Council on the Arts PROGRAMS 14 Dance 32 Design Arts 44 Expansion Arts 68 Folk Arts 82 Literature 96 Media Arts II2. Museum I46 Music I94 Opera-Musical Theater ZlO Presenting & Commissioning Theater zSZ Visual Arts ~en~ PUBLIC PARTNERSHIP z96 Arts in Education 308 Local Arts Agencies State & Regional 3z4 Underserved Communities Set-Aside POLICY, PLANNING, RESEARCH & BUDGET 338 International 346 Arts Administration Fallows 348 Research 35o Special Constituencies OVERVIEW PANELS AND FINANCIAL SUMMARIES 354 1992 Overview Panels 360 Financial Summary 36I Histos~f Authorizations and 366~redi~ At the "Parabolic Bench" outside a South Bronx school, a child discovers aspects of sound -- for instance, that it can be stopped with the wave of a hand. Sonic architects Bill & Mary Buchen designed this "Sound Playground" with help from the Design Arts Program in the form of one of the 4,141 grants that the Arts Endowment awarded in FY 1992. -
Downloads/9215D25f931f4d419461a88825f3f33f20160622021223/Cb7be6
JOAN LA BARBARA’S EARLY EXPLORATIONS OF THE VOICE by Samara Ripley B.Mus., Mount Allison University, 2014 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in The Faculty of Graduate and Postdoctoral Studies (Music) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) August 2016 © Samara Ripley, 2016 Abstract Experimental composer and performer Joan La Barbara treats the voice as a musical instrument. Through improvisation, she has developed an array of signature sounds, or extended vocal techniques, that extend the voice beyond traditional conceptions of Western classical singing. At times, her signature sounds are primal and unfamiliar, drawing upon extreme vocal registers and multiple simultaneous pitches. In 2003, La Barbara released Voice is the Original Instrument, a two-part album that comprises a selection of her earliest works from 1974 – 1980. The compositions on this album reveal La Barbara’s experimental approach to using the voice. Voice Piece: One-Note Internal Resonance Investigation explores the timbral palette within a single pitch. Circular Song plays with the necessity of a singer’s breath by vocalizing, and therefore removing, all audible inhalations and exhalations. Hear What I Feel brings the sense of touch into an improvisatory composition and performance experience. In October Music: Star Showers and Extraterrestrials, La Barbara moves past experimentation and layers her different sounds into a cohesive piece of music. This thesis is a study of La Barbara’s treatment of the voice in these four early works. I will frame my discussion with theories of the acousmatic by Mladen Dolar and Brian Kane and will also draw comparisons with Helmut Lachnemann’s musique concrète instrumentale works. -
Battles Around New Music in New York in the Seventies
Presenting the New: Battles around New Music in New York in the Seventies A Dissertation SUBMITTED TO THE FACULTY OF UNIVERSITY OF MINNESOTA BY Joshua David Jurkovskis Plocher IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY David Grayson, Adviser December 2012 © Joshua David Jurkovskis Plocher 2012 i Acknowledgements One of the best things about reaching the end of this process is the opportunity to publicly thank the people who have helped to make it happen. More than any other individual, thanks must go to my wife, who has had to put up with more of my rambling than anybody, and has graciously given me half of every weekend for the last several years to keep working. Thank you, too, to my adviser, David Grayson, whose steady support in a shifting institutional environment has been invaluable. To the rest of my committee: Sumanth Gopinath, Kelley Harness, and Richard Leppert, for their advice and willingness to jump back in on this project after every life-inflicted gap. Thanks also to my mother and to my kids, for different reasons. Thanks to the staff at the New York Public Library (the one on 5th Ave. with the lions) for helping me track down the SoHo Weekly News microfilm when it had apparently vanished, and to the professional staff at the New York Public Library for Performing Arts at Lincoln Center, and to the Fales Special Collections staff at Bobst Library at New York University. Special thanks to the much smaller archival operation at the Kitchen, where I was assisted at various times by John Migliore and Samara Davis. -
![Leonardo Music Journal [1])](https://docslib.b-cdn.net/cover/7187/leonardo-music-journal-1-1967187.webp)
Leonardo Music Journal [1])
IntroductIon LMJ 23: Sound Art What’s in a name? That which we call “Music” is judged by the full weight of history and fashion; substitute “Sound Art” and most of these preconceptions fall away. As recently as a decade ago the reaction instead might have been bemusement. The term Sound Art was coined in the late 1960s to describe sonic activities taking place outside the concert hall: interactive installations, listening walks, environmental recordings, open duration sound events—even “happenings” and performance art were occasionally lumped under this rubric. For many years Sound Art remained an interstitial activity, falling between music and visual art, embraced fully by neither. Many composers viewed self-styled Sound Artists as failed mem- bers of their own club pursuing “a career move . a branding exercise” (as Chris Mann is quoted as saying in Ricardo Arias’s contribution to this volume of Leonardo Music Journal [1]). Most museums and galleries, in turn, shied away from an art form that was often stunningly unvisual even by the standards of Conceptual Art and for which there appeared to be no mar- ket. (Gallery assistants often found it very irritating to boot.) By 2013, however, Sound Art clearly has been accepted as an identifiable musical genre, an art world commodity, and a subject of critical study. Its newfound visibility can be traced to a number of aesthetic, technological and economic factors. First and foremost, I suspect, is the ubiquity of video in contemporary life: On the heels of the ever-declining price of camcord- ers, cellphone cameras have brought the world—from out-of-tune Van Halen concerts to the Arab Spring—to our laptops, and every video clip is invariably accompanied by sound. -
The Great Society Program Book Published February 2, 2018
THE GREAT SOCIETY 2017/18 SEASON COMING IN 2018 TO ARENA STAGE Part of the Women’s American Masterpiece Voices Theater Festival SOVEREIGNTY AUGUST WILSON’S NOW PLAYING THROUGH FEBRUARY 18 TWO TRAINS Epic Political Thrill Ride RUNNING THE GREAT SOCIETY MARCH 30 — APRIL 29 NOW PLAYING THROUGH MARCH 11 World-Premiere Musical Inspirational True Story SNOW CHILD HOLD THESE TRUTHS APRIL 13 — MAY 20 FEBRUARY 23 — APRIL 8 SUBSCRIBE TODAY! 202-488-3300 ARENASTAGE.ORG THE GREAT SOCIETY TABLE OF CONTENTS 4 Artistically Speaking 5 From the Executive Director 6 Molly Smith’s 20th Anniversary Season 9 Dramaturg’s Note 11 Title Page 13 Time / Cast List 15 Bios — Cast 19 Bios — Creative Team 21 For this Production 23 Arena Stage Leadership ARENA STAGE 1101 Sixth Street SW Washington, DC 20024-2461 24 Board of Trustees / Theatre Forward ADMINISTRATION 202-554-9066 SALES OFFICE 202-488-3300 TTY 202-484-0247 25 Full Circle Society arenastage.org 26 Thank You — The Annual Fund © 2018 Arena Stage. All editorial and advertising material is fully protected and must not 29 Thank You — Institutional Donors be reproduced in any manner without written permission. 30 Theater Staff The Great Society Program Book Published February 2, 2018 Cover Illustration by Richard Davies Tom Program Book Staff Amy Horan, Associate Director of Marketing Shawn Helm, Graphic Designer 2017/18 SEASON 3 ARTISTICALLY SPEAKING Historians often argue whether history is cyclical or linear. The Great Society makes an argument for both sides of this dispute. Taking place during the most tumultuous days in Lyndon Baines Johnson’s (LBJ) second term, this play depicts the president fighting wars both at home and abroad as he faces opposition to his domestic programs and the role of the United States in the Vietnam War. -
Annea Lockwood, a New Zealand–Born Composer Who Settled in The
Annea Lockwood, a New Zealand–born composer who settled in the United States in 1973, distinguishes herself with works ingeniously combining recorded found and processed sounds, live-performance and visual components, and exhibiting her acute sense of timbre. Lockwood first explored electro-acoustic music and mixed media in the mid-1960s in Europe. Initially tutored by Peter Racine Fricker and Gottfried Michael Koenig, she gained inspiration from such experimental American composers as John Cage, Morton Feldman, Pauline Oliveros, and Ruth Anderson. While perhaps best known for her 1960s “glass concerts” featuring manifold glass-based sounds and her notorious Piano Transplants—burning, burying, and drowning obsolete pianos—she was drawn to the complex beauty of sounds found in the natural environment, which she captured on tape. Lockwood was especially fascinated with the sonorities of moving water and water’s calming and healing properties and thus started an archive of recorded river sounds. This project led to various sound installations and, most important, to her now legendary and large-scale A Sound Map of the Hudson River (1982) and A Sound Map of the Danube (2005), soundscapes tracing these rivers from their sources to their deltas.1 Lockwood also incorporated recorded sounds of mating tigers, purring cats, tree frogs, volcanoes, earthquakes, and fire in such works as Tiger Balm (1970) and World Rhythms (1975). From the 1970s, she explored improvisation and alternative performance techniques and asked her performers to use natural sound sources and instruments including rocks, stones, and conch shells in Rokke (with Eva Karczag, 1987), Nautilus (1989), A Thousand Year Dreaming (1990), Ear-Walking Woman (1996), and Jitterbug (2007), among other compositions. -
Read a Complete Transcript of the Interview
NewMusicBox In the 1st Person : January 2004 Annea Lockwood in conversation with Frank J. Oteri beside the Hudson River Tuesday, November 11, 2003 1:00-2:30 p.m. Garrison, NY Videotaped and transcribed by Randy Nordschow 1. Listening to the Environment FRANK J. OTERI: This has got to be the most stunning physical environment that we've ever been in for a NewMusicBox conversation. It's sort of fitting because your music is all about the environment. ANNEA LOCKWOOD: A lot of it is. Not all of it, but a lot of it. FRANK J. OTERI: It leads me to ask you, what is the best environment to hear music in? ANNEA LOCKWOOD: There's a mixed grab bag of parts to the answer… I like resonant spaces. I love listening to music and sound in resonant spaces. Sometimes it works; of course, sometimes it doesn't work at all. You know, I like doing installations-it's not the only thing I do by any means. I do quite a lot of concert music. But I love doing installations because those are spaces, essentially, in which the audience can come and go at will. So there is real freedom of movement, freedom of choice for the people who come to look and listen. Those are favorite setups. The best place to hear music though… Not in my car. [laughs] FRANK J. OTERI: Do you think the process of listening to music is different from the process of listening to other things? ANNEA LOCKWOOD: Yes. There are a lot of differences, right? When I'm listening to music there's direct emotional input, sometimes very strong. -
An Ethnomusicological Study of the Policies and Aspirations for US
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2014 Beyond the Blockade: An Ethnomusicological Study of the Policies and Aspirations for U.S.-Cuban Musical Interaction Timothy P. Storhoff Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC BEYOND THE BLOCKADE: AN ETHNOMUSICOLOGICAL STUDY OF THE POLICIES AND ASPIRATIONS FOR U.S.-CUBAN MUSICAL INTERACTION By TIMOTHY P. STORHOFF A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Spring Semester, 2014 Timothy Storhoff defended this dissertation on April 2, 2014. The members of the supervisory committee were: Frank Gunderson Professor Directing Dissertation José Gomáriz University Representative Michael B. Bakan Committee Member Denise Von Glahn Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the dissertation has been approved in accordance with university requirements. ii To Mom and Dad, for always encouraging me to write and perform. iii ACKNOWLEDGMENTS This dissertation was made possible through the support, assistance and encouragement of numerous individuals. I am particularly grateful to my advisor, Frank Gunderson, and my dissertation committee members, Michael Bakan, Denise Von Glahn and José Gomáriz. Along with the rest of the FSU Musicology faculty, they have helped me refine my ideas and ask the right questions while exemplifying the qualities required of outstanding educators and scholars. From the beginning of my coursework through the completion of my dissertation, I could not have asked for a finer community of colleagues, musicians and scholars than the musicologists at the Florida State University.