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Sòouünd Póetry the Wages of Syntax
SòouÜnd Póetry The Wages of Syntax Monday April 9 - Saturday April 14, 2018 ODC Theater · 3153 17th St. San Francisco, CA WELCOME TO HOTEL BELLEVUE SAN LORENZO Hotel Spa Bellevue San Lorenzo, directly on Lago di Garda in the Northern Italian Alps, is the ideal four-star lodging from which to explore the art of Futurism. The grounds are filled with cypress, laurel and myrtle trees appreciated by Lawrence and Goethe. Visit the Mart Museum in nearby Rovareto, designed by Mario Botta, housing the rich archive of sound poet and painter Fortunato Depero plus innumerable works by other leaders of that influential movement. And don’t miss the nearby palatial home of eccentric writer Gabriele d’Annunzio. The hotel is filled with contemporary art and houses a large library https://www.bellevue-sanlorenzo.it/ of contemporary art publications. Enjoy full spa facilities and elegant meals overlooking picturesque Lake Garda, on private grounds brimming with contemporary sculpture. WElcome to A FESTIVAL OF UNEXPECTED NEW MUSIC The 23rd Other Minds Festival is presented by Other Minds in 2 Message from the Artistic Director association with ODC Theater, 7 What is Sound Poetry? San Francisco. 8 Gala Opening All Festival concerts take place at April 9, Monday ODC Theater, 3153 17th St., San Francisco, CA at Shotwell St. and 12 No Poets Don’t Own Words begin at 7:30 PM, with the exception April 10, Tuesday of the lecture and workshop on 14 The History Channel Tuesday. Other Minds thanks the April 11, Wednesday team at ODC for their help and hard work on our behalf. -
Proceedings of the 20Th International Seminar of the ISME Commission on Music in Special Education, Music Therapy, and Music Medicine
Proceedings of the 20th International Seminar of the ISME Commission on Music in Special Education, Music Therapy, and Music Medicine Faculdade de Artes do Paraná – FAP CuritiBa, Brazil 17-18 July 2014 Editor Melita Belgrave ©International Society for Music Education 2014 www.isme.org All abstracts presented at the 2014 ISME World Conference in Porto Alegre, Brazil, were peer refereed before inclusion in the Conference program. In addition, completed papers were fully (blind) refereed by a panel of international authorities before inclusion in the Seminar Proceedings. Editorial Board Melita Belgrave, Editor Jessie Chen Helen Farrell Markku Kaikkonen Bo Nilsson Lyn Schraer-Joiner National Library of Australia Cataloguing-in-Publication Author: ISME Commission on Music in Special Education, Music Therapy, and Music Medicine International Seminar (20th: 2014: Curitba, Brazil) Title: Proceedings of the 20th International Seminar of the Commission on Music in Special Education, Music Therapy, and Music Medicine, Curitiba, Brazil [electronic resource] / ISBN: 978-0-9942055-3-7 (ebook) Notes: Includes bibliographical references. Subjects: Music--Congresses. Music in education--Congresses. ISME Commission on Music in Special Education, Music Therapy, and Music Medicine Dewey Number: 780.7 ii The Conference Organizing Committee and ISME are grateful to the following people who provided expert, independent advice and who acted as referees for selecting papers and workshops for presentation at the 2014 ISME World Conference: Commissioners 2012-2014 -
The Thumper C Docx
Project Number: MQPWZM-RB08 MQPECC-B708 The Thumper Robotic Bass A Major Qualifying Project Report Submitted to the Faculty Of the Worcester Polytechnic Institute In partial fulfillment of the requirements for the Degree of Bachelor of Science By ______________________________________ Matt Brown, Electrical and Computer Engineering, Class of 2008 ______________________________________ Barry Kosherick, Electrical and Computer Engineering, Class of 2009 ______________________________________ Adam Teti, Mechanical Engineering, Class of 2008 April 18, 2008 ________________________________ Prof. William R. Michalson, Co-Advisor ________________________________ Prof. Eben C. Cobb, Co-Advisor Abstract The Thumper Robotic Bass MQP is an attempt at creating a self-playing bass guitar that responds to MIDI input as well as input from an electric guitar to provide accompaniment. By bringing together a team of electrical and mechanical engineers, the project was structured to emulate an engineering design as encountered in industry. Table of Contents Introduction .................................................................................................................................................. 1 Problem Statement ................................................................................................................................... 1 Background ............................................................................................................................................... 2 Economics and Target Market ................................................................................................................. -
Irregular Incurve Xiaoyang Feng Media Researcher, NYU ITP 721 Broadway, 4Th Floor New York, NY 10003 503 953 4862 [email protected]
Proceedings of the 2010 Conference on New Interfaces for Musical Expression (NIME 2010), Sydney, Australia Irregular Incurve Xiaoyang Feng Media Researcher, NYU ITP 721 Broadway, 4th floor New York, NY 10003 503 953 4862 [email protected] developed based on the prototype of traditional instruments only for people. Unlike traditional instruments, Irregular Incurve is designed as an acoustic instrument played by a robot. Twelve strings of same thickness but different lengths are laid out on a sound box. The robot operates twelve corresponding guitar picks to pluck each string. The musical scale of this instrument can be potentially expanded through connecting it with more robotic musical instruments of the same type. The design philosophy behind Irregular Incurve is to visualize and enhance the aesthetic expression of the music generating process. The designer believes that the enjoyment of music appreciation does not only happen at the moment when music reaches the Figure 1. First Prototype without control interface audience, but is also stimulated by watching the visual interactions between the musician and the instrument. Irregular Incurve attempts to enlarge this imagination about music by ABSTRACT visually expressing the beauty of mechanical movements. Irregular Incurve is a MIDI controllable robotic string instrument. The twelve independent string-units compose the complete musical scale of 12 units. Each string can be plucked by a motor control guitar pick. A MIDI keyboard is attached to the instrument and serves as an interface for real-time interactions between the instrument and the audience. Irregular Incurve can also play pre- programmed music by itself. This paper presents the design concept and the technical solutions to realizing the functionality of Irregular Incurve. -
Dalton Document Final Draft 4/25
! ! WIND MUSIC FOR THEATER: CAVE, COMPOSED BY RUSSELL PECK ! ! by! ADAM FITZGERALD! DALTON KENNETH B. OZZELLO,! COMMITTEE CHAIR STACY L. ALLEY RANDALL O. COLEMAN LINDA PAGE CUMMINS SHELLY D. MYERS THOMAS ROBINSON! ! A MANUSCRIPT! ! Submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in the School of Music in the Graduate School of The University! of Alabama ! ! TUSCALOOSA,! ALABAMA ! 2014! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! Copyright Adam Dalton 2014 ALL RIGHTS RESERVED ABSTRACT! This DMA manuscript is composed of two parts. The first is an essay focusing on Russell Peck (1949-2005) and his piece Cave. The written essay begins with a discussion of wind music for theater and the different techniques that composers use in this genre. It also looks more in-depth at a small sample of these pieces and the purpose, place, and intention of these works. The majority of this essay, however, focuses on Russell Peck and his piece Cave. The essay looks at technical, musical, and performance considerations of the piece and how they enhance the performance. Recommendations for future performances are discussed. Interviews with friends and family members of Russell Peck provides greater insight into him as a person as well as his compositional style and thought process when composing this piece. The second part of this DMA manuscript is a professional quality DVD of a full performance of Cave with the University of Alabama Symphonic Band on their April 14, 2014, concert. ! ! !ii ! ACKNOWLEDGMENTS There are many people I would like to thank who helped me along this journey. I would like to start with my committee. -
Beneath a Canvas of Green a Conductor's Analysis and Comprehensive Survey of Related Works for Percussion Ensemble and Winds B
i BENEATH A CANVAS OF GREEN A CONDUCTOR’S ANALYSIS AND COMPREHENSIVE SURVEY OF RELATED WORKS FOR PERCUSSION ENSEMBLE AND WINDS BY TONYA PATRICE MITCHELL Submitted to the graduate degree program in the School of Music and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Musical Arts. ____________________________________ Chairperson Paul W. Popiel ____________________________________ Matthew O. Smith ____________________________________ Sharon Toulouse ____________________________________ Forest Pierce ____________________________________ Martin Bergee Date Defended: April 18, 2018 ii The Lecture Recital Committee for TONYA P. MITCHELL certifies that this is the approved version of the following document: BENEATH A CANVAS OF GREEN A CONDUCTOR’S ANALYSIS AND COMPREHENSIVE SURVEY OF RELATED WORKS FOR PERCUSSION ENSEMBLE AND WINDS ____________________________________ Chairperson Paul W. Popiel Date Approved: April 18, 2018 iii ABSTRACT This document functions as an examination of Aaron Perrine’s (1979) Beneath a Canvas of Green (2018), a work for percussion ensemble and wind band. Included in this paper are sections outlining the composer’s background, the conception and commissioning process of the piece, a conductor’s analysis, rehearsal considerations, final thoughts regarding the necessity of new commissions and their impact on the development of band repertoire, as well as a historical overview of the percussion ensemble and list of similar works for this medium. iv ACKNOWLEDGEMENTS I would like to thank Aaron Perrine for collaborating with me on the production of this beautiful composition. I’d also like to thank Michael Compitello for assisting with the percussion design and set-up. I thank the members of the University of Kansas Wind Ensemble for enacting our vision. -
Enhancing the Visualization of Percussion Gestures by Virtual Character Animation
Proceedings of the 2008 Conference on New Interfaces for Musical Expression (NIME08), Genova, Italy Enhancing the visualization of percussion gestures by virtual character animation Alexandre Bouenard¨ Sylvie Gibet∗ Marcelo M. Wanderley∗ Samsara / VALORIA Bunraku / IRISA IDMIL / CIRMMT Univ. Europeenne´ Bretagne Univ. Europeenne´ Bretagne McGill University Vannes, France Rennes, France Montreal, Qc, Canada [email protected] [email protected] [email protected] ABSTRACT is composed of different views of both the virtual character A new interface for visualizing and analyzing percussion ges- and the instrument. It is finally enhanced with interactions tures is presented, proposing enhancements of existing mo- between graphics modeling, physics synthesis of gesture and tion capture analysis tools. This is achieved by offering a sound replay. percussion gesture analysis protocol using motion capture. The paper is organized as follows. In section 2, previous A virtual character dynamic model is then designed in or- work and motivations are discussed. The analysis process der to take advantage of gesture characteristics, yielding to of percussion (timpani) gestures is detailed in section 3. Vi- improve gesture analysis with visualization and interaction sualization and interaction concerns are discussed in section cues of different types. 4. Finally, we conclude with further perspectives. Keywords 2. RELATED WORK Gesture and sound, interface, percussion gesture, virtual Previous works concern both percussion-related models character, interaction. and interfaces, and works combining virtual character ani- mation and music. Most of the work about percussion gesture and sound 1. INTRODUCTION deals with the design of new electronic percussion devices, Designing new musical interfaces is one of the most impor- thus creating either new interfaces (controllers) and/or new tant trends of the past decades. -
Joe Henderson: a Biographical Study of His Life and Career Joel Geoffrey Harris
University of Northern Colorado Scholarship & Creative Works @ Digital UNC Dissertations Student Research 12-5-2016 Joe Henderson: A Biographical Study of His Life and Career Joel Geoffrey Harris Follow this and additional works at: http://digscholarship.unco.edu/dissertations © 2016 JOEL GEOFFREY HARRIS ALL RIGHTS RESERVED UNIVERSITY OF NORTHERN COLORADO Greeley, Colorado The Graduate School JOE HENDERSON: A BIOGRAPHICAL STUDY OF HIS LIFE AND CAREER A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Arts Joel Geoffrey Harris College of Performing and Visual Arts School of Music Jazz Studies December 2016 This Dissertation by: Joel Geoffrey Harris Entitled: Joe Henderson: A Biographical Study of His Life and Career has been approved as meeting the requirement for the Degree of Doctor of Arts in the College of Performing and Visual Arts in the School of Music, Program of Jazz Studies Accepted by the Doctoral Committee __________________________________________________ H. David Caffey, M.M., Research Advisor __________________________________________________ Jim White, M.M., Committee Member __________________________________________________ Socrates Garcia, D.A., Committee Member __________________________________________________ Stephen Luttmann, M.L.S., M.A., Faculty Representative Date of Dissertation Defense ________________________________________ Accepted by the Graduate School _______________________________________________________ Linda L. Black, Ed.D. Associate Provost and Dean Graduate School and International Admissions ABSTRACT Harris, Joel. Joe Henderson: A Biographical Study of His Life and Career. Published Doctor of Arts dissertation, University of Northern Colorado, December 2016. This study provides an overview of the life and career of Joe Henderson, who was a unique presence within the jazz musical landscape. It provides detailed biographical information, as well as discographical information and the appropriate context for Henderson’s two-hundred sixty-seven recordings. -
Final Thesis
University of Huddersfield Repository Merino, Elías THINGNESS: COMPOSITIONAL STRATEGIES FOR EMERGING VIRTUAL SONIC OBJECTS Original Citation Merino, Elías (2019) THINGNESS: COMPOSITIONAL STRATEGIES FOR EMERGING VIRTUAL SONIC OBJECTS. Doctoral thesis, University of Huddersfield. This version is available at http://eprints.hud.ac.uk/id/eprint/35168/ The University Repository is a digital collection of the research output of the University, available on Open Access. Copyright and Moral Rights for the items on this site are retained by the individual author and/or other copyright owners. Users may access full items free of charge; copies of full text items generally can be reproduced, displayed or performed and given to third parties in any format or medium for personal research or study, educational or not-for-profit purposes without prior permission or charge, provided: • The authors, title and full bibliographic details is credited in any copy; • A hyperlink and/or URL is included for the original metadata page; and • The content is not changed in any way. For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. http://eprints.hud.ac.uk/ THINGNESS: COMPOSITIONAL STRATEGIES FOR EMERGING VIRTUAL SONIC OBJECTS Elías Merino Thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy School of Music, Humanities and Media University of Huddersfield January 2019 Copyright Statement i The author of this thesis (including any appendices and/or schedules to this thesis) owns any copyright in it (the “Copyright”) and s/he has given The University of Huddersfield the right to use such Copyright for any administrative, promotional, educational and/or teaching purposes. -
Boston Symphony Orchestra Concert Programs, Summer, 1965-1966
TANGLEWOOD Festival of Contemporary American Music August 14, 15, 16, 17, 18, 1966 Sponsored by the Berkshire Music Center In Cooperation with the Fromm Music Foundation I " STMVINSKY tt.VlOW agon vam 7/re Boston Symphony SCHULLER 7 STUDIES ox THEMES of PAUL KLEE BOSTON SYMPHONY ORCHESTRA/ERICH lEINSDORf under Leinsdorf Leinsdorf expresses with great power the vivid colors of Schuller's Seven Studies on Themes of Paul Kiee and, in the same album, Stravinsky's ballet music from Agon. Forthe majorsinging roles in Menotti's dramatic cantata, The Death of the Bishop of Brindisi. Leinsdorf astutely selected George London, and Lili Chookasian, of whom the Chicago Daily Tribune has written, "Her voice has the Boston symphony ecich teinsooof / luminous tonal sheath that makes listening luxurious. menotti Also hear Chookasian in this same album, in songs from the death op the Bishop op BRSndlSI Schbnberg's Gurre-Lieder. In Dynagroove sound. Qeonoe ionoon • tilt choolusun s<:b6notec,/ou*«*--l(eoeo. sooq of the wooo-6ove ac^acm rca Victor fa @ The most trusted name in sound ^V V BERKSHIRE MUSIC CENTER ERICH LeinsDORF, Director Joseph Silverstein, Chairman of the Faculty Aaron Copland, Chairman of the Faculty Emeritus Louis Speyer, Assistant Director Victor Babin, Chairman of the Tanglewood Institute Harry J. Kraut, Administrator FESTIVAL of CONTEMPORARY AMERICAN MUSIC presented in cooperation with THE FROMM MUSIC FOUNDATION Paul Fromm, President Alexander Schneider, Associate Director FELLOWSHIP PROGRAM Contemporary Music Activities Gunther Schuller, Head Roger Sessions, George Rochberg, and Donald Martino, Guest Teachers Paul Zukofsky, Fromm Teaching Fellow James Whitaker, Chief Coordinator Viola C Aliferis, Assistant Administrator The Berkshire Music Center is maintained for advanced study in music sponsored by the BOSTON SYMPHONY ORCHESTRA Erich Leinsdorf, Music Director Thomas D. -
A City "... Waiting for the Sunrise " : Toronto in Song and Sound*
A City "... Waiting for the Sunrise " : Toronto in Song and Sound* Michael J. Doucet Abstract: One aspect of urban culture is examined to evaluate Toronto's position within the urban hierarchy, namely, the production of songs and sounds about the city. Although much music has been performed and created in Toronto over the years, and many songs have been urritten about a variety of features of life in the city, the musical images of Toronto remain largely unknown beyond its borders—even to many of the city's own residents. If Toronto is a "world-class city," the evidence for such a claim would have to be found on other dimensions than the one explored here. No one ever wrote / A single note / About Toronto. — Johnny Wayne and Frank Shuster (19%) I find that lately, I'm missing old Toronto, Where bass is strong and drums are full of fire. — from the Lenny Breau song "New York City" (1987) No nation can exist by the balance sheet alone. Stories, song, dance, music, art and the rest are the lifeblood of a country, the cultural images defining a people just as surely as their geography and the gross national product. — Robert Lewis, editor of Maclean's (19%) Interestingly, though, we don't seem to have an immediately identifiable style. The last time anyone spoke about a 'Toronto Sound' [former Mayor] Alan Lamport was booting hippies out of Yorkville. Unlike a Nashville or Manchester, there isn't any one thing that makes you say 'That's Toronto' -- Bob Mackowycz, writer and broadcaster (1991) Toronto itself doesn't have a distinctive civic culture. -
Real Time Music Visualization: a Study in the Visual Extension of Music
REAL TIME MUSIC VISUALIZATION: A STUDY IN THE VISUAL EXTENSION OF MUSIC A Thesis Presented in Partial Fulfillment of the Requirements for the Degree Master of Fine Arts in the Graduate School of The Ohio State University By Matthew Neil Bain, B.F.A. The Ohio State University 2008 Master’s Examination Committee: Approved by Professor Alan Price, Advisor Professor Maria Palazzi ____________________________________ Dr. Gregory Proctor Advisor Graduate program in the department of Industrial, Interior, and Visual Communication Design Copyright by Matthew Neil Bain 2008 ABSTRACT This work documents a design-led process of discovery for artistic development of real time 3D animations functioning as a visual extension to a live music performance. Musical dynamics, patterns, and themes are transposed into a visual form that develops over time through a carefully orchestrated process driven by the artist and the computer. Historical animations by Fischinger, Whitney, and “light organ” projections by Wilfred inform the work’s conceptual development. Various systems automate camera controls, audio analysis, and layers of motion in addition to providing the artist with a unique set of controls that demonstrate the effectiveness of the computer as a visual instrument for the artist. The complete system balances artistic responses, live multi-channel audio input, and computer control systems to orchestrate a real time visualization of a live music performance. The artist’s sensibilities and the computer’s generative capabilities combine to create a visually-focused member in the performing music ensemble. ii Dedicated to my Grandad iii ACKNOWLEDGMENTS I would like to thank my advisor, Alan Price, for his guidance, thought provoking conversations, and lunches.