Munich Observer February 1990 • • Inl0ns ., Parr Lounge on Being a World Citizen Many Students Who Live in Parr Hall Recently by John F

Total Page:16

File Type:pdf, Size:1020Kb

Munich Observer February 1990 • • Inl0ns ., Parr Lounge on Being a World Citizen Many Students Who Live in Parr Hall Recently by John F MUNICH server Nude, uns halt Me catalog distribution i. by Cerisse Brooks "However, it is not an effecti' Editor-in-chief ' way of presenting the campus parents of perspective students at Two photographs in the new 1990- the students themselves," Ard, 1992 Munich Campus catalog have added. halted its distribution outside Munich Campus 'until they can be removed "With regard to page 98, that wa~ by covering theni with new photo­ very simple decision," Arden said. graphs. "The impression that a profess One photo, on page 74, shows art was shot does not seem appropria students drawing a live nude model. or a desirable image of Muni, The second photo, on page 98, Campus," he explained. shows a copy of the Munich Observer "Although a reader of the artic with the headline "MC prof held at knows that it happened in China, jl gun point." looking at its headline gives a mi MC students recently received leading impression," Arden said. catalogs with the photographs still "The fact is a Munich, Camp intact, professor was not held at gunpoint, campus," he explained. The decision to COver the two The university printed 25,0 photos was made in Heidelberg, said catalogs for the first time this year Joe Arden, director of the European In past years, only 10,000 catalo Division of the University of Mary­ were printed. But mOre had to land. printed later to meet distributi With regard to page 74, Arden needs. said, "I think it is a fine photo. I am "Ordering 25,000 at one time kee pleased that Munich Campus has such Photo to be covered in new catalog. a good art prog'ram." Continued on page Registration procedures to change in fall term by Rebecca Leach Their schedules will be arranged tors for classes, students will register mitted to return for academic Staff reporter during the pre-registration week of on a computer. Faculty advisers will other reasons. the previous semester. be present. The remainder of non"returni ~ , , Munich Campus plans to change Unless changes are necessary, the Fiedler said she was "quite pleased" students were expected but simf I - ~-~~-ltsregistration procedure in upcom­ students' pre-arranged schedule will about this semester's Registration did not return, Fiedler said. ing semesters, according to Mary be in effect, Fiedler said. Day. Fiedler noted that enrollment About 1100 drop/adds took pia Fiedler, assistant to the dean for All the students will do is verify increased over last semester'. during Drop/Add week. Six or sev Admissions and Registration. on Registration Day that they have This semester, 125 new students new courses were added and sOl Fiedler said that the changes will returned and whether they need enrolled and 490 students returned. classes reopened, Fiedler said. occur next fall and spring ~emesters. changes to their schedule. Of the 113 students that did not , She said the number of drop/ad In the fall, returning students will "In the 1991 spring semester, return, 67 were not expected. was about normal. "No one waited have their schedules and will not registration will be totally com­ Of those 67 non-returning stu­ line over 20 minutes," she remark! have to register with the new stu­ puterized," Fiedler said. dents, 25 received their Associates of Overall, she felt the beginning dents, Fiedler said. Instead of registering with instruc- Arts degree and 42 were not per- this semester went "quite well." Lizards claim dismisssed Passing the time members "singled oU.t" by Kara Gerlach fraternity is a brotherhood, and they Staff reporter feel more comfortable here than anywhere else," Earhart added. The Lizards, Munich Campus' Dean William McMahon said, "It oldest fraternity, has lost 10 of its 15 was not an unusual year as far as the members from fall semester because amount of students who have been of academic dismissals, transfers or academically dismissed is concerned. disciplinary measures. It just so happens that a number of Some of the remaining Lizards feel Lizards are on that list." the university singled out their fellow "Munich Campus has the reputa­ members and treated them unfairly. tion in locarhigh schools for having "I think that the administration was a society that is dedicated to drunk­ trying to weed out the undesirables enness," he continued. "The Lizards 'by using methods that were unfair," give the university a bad name in this an unidentified Lizard said. respect." "A lot of the Lizards have the "I do not have a list of Lizards that reputation of hanging out with the I was trying to evict," he added. Students Erik Fox and Patrie McGuane start the wrong people," Mark Earhart (Xilla), "They were caught in a review of evening off by splitting a rack of beer. ' a Lizard, explained. academic performances just like photo by Erich Landry "Most of the Lizards feel that the Continued on page 4 INSIDE THIS ISSUE Students give Fires set in their views Munich' Campus Opinions page 2 on the decision administration to drop photos " building at Entertainment page 6 from the new end of last Poet',s Corner MCcatalog term page 9 ....... page 3 , ...... page 8 Sports page lU 2 Munich Observer February 1990 • • Inl0nS ., Parr Lounge On being a world citizen Many students who live in Parr Hall recently by John F. Aguirre how terrible and weird the country is. have complained about the fact that the Parr Hall Guest columnist The key to building a good attitude is·to have proctor's office will not reopen this semester. Munich Campus student" respect for the customs and beliefs of the people For about 100 students who live in Parr Hall, . the traveler is visiting. this means frequent long walks to the Brandl Hall This essay was written by sophomore John A traveler to another country can not look down proctor's office for things such as long distance Aguirre, winner of this year's first Matthias Buttn- on the foreign religion, government or lifestyle telephone calls, vacuum cleaner check-out, watch­ er Memorial Award. without biasing the visit. ing wide-screen television and refreshments. Once a visitor to another country has realized But if the complaining students understood All people are biologically alike. It is the vari- that the foreign culture is not weird or any worse Steve Curtis', assistant to the dean for residence 0us races, religions, ethnic groups and customs than his or hers--only different-ethen. the visitor life, and other area supervisors' reasons for closing that set the members of each group apart. , can experience the difference and gain from it. the proctor's office in Parr Hall, they might rea­ There are hundreds of vastly.different cultures There is no better way to find out more about lize it had to be done. allover the world. Despite the belief of many yourself than from learning about others. The According to Curtis, the main reason the Parr people, no o.ne culture is any better or any worse same holds true for cultures. proctor's office closed was that it was losing than any other culture. Americans can learn much more about their money. Often, when people are isolated from other own culture through visiting others. cultures, they start thinking that their culture-­ . The farmer from Nebraska will never know that "It was not a monetarily sound venture," he said. "their way of doing things"--is the right way and any other culture exists but his own unless the "We would only have an average of $6 to $8 a any other culture is "weirdJl Or "wrong." farmer travels to Asia, Europe or anywhere out­ night in sales but we would take out $15 a night in This belief is called ethnocentrism. side of the United States. salaries." Ethnocentrism is essentially a bias against other People can only· gain from learning the beliefs Some students believe the proctor's office would cultures. and culture of others different from their own. have made more money if had not stopped selling This perspective is especially true when people alcohol. But Curtis said that was not a factor. The only way to overcome this bias is to get out visit places like third-world impoverished coun­ "We just about broke even when we sold al­ and experience other cultures and do this with an tries or countries behind the iron curtain. Some­ cohol," he said. "But we didn't sell a lot of beer open mind. The more isolated from other cultures times people don't know how good they have it down there anyway." that a person is, the harder this will be .. until they experience some place that is worse. Whether it is a farmer from Nebraska Or a . A true "world citizen" can do all of these things. As for Parr students having to walk to Brandl to businessperson from New York, it is important to check out vacuums and watch the big-screen He or she does not have ·to settle permanently in go to other countries and get another view ·of life. any of the countries visited, or even adopt any of television, Curtis is making arrangements to move That is what being a "world citizen" is all about. the vacuums the practices experienced. and television into the RA Center in The most important thing visitors to another The thing that is important in being a "world Ehrensberger A-I, a closer walk for Parr students. country must have is the right attitude. Attitudes citizen" is that the visitor knows that there are "We want to make it more of an entertainment can make an astounding difierence in how people center," he said.
Recommended publications
  • Here I Played with Various Rhythm Sections in Festivals, Concerts, Clubs, Film Scores, on Record Dates and So on - the List Is Too Long
    MICHAEL MANTLER RECORDINGS COMMUNICATION FONTANA 881 011 THE JAZZ COMPOSER'S ORCHESTRA Steve Lacy (soprano saxophone) Jimmy Lyons (alto saxophone) Robin Kenyatta (alto saxophone) Ken Mcintyre (alto saxophone) Bob Carducci (tenor saxophone) Fred Pirtle (baritone saxophone) Mike Mantler (trumpet) Ray Codrington (trumpet) Roswell Rudd (trombone) Paul Bley (piano) Steve Swallow (bass) Kent Carter (bass) Barry Altschul (drums) recorded live, April 10, 1965, New York TITLES Day (Communications No.4) / Communications No.5 (album also includes Roast by Carla Bley) FROM THE ALBUM LINER NOTES The Jazz Composer's Orchestra was formed in the fall of 1964 in New York City as one of the eight groups of the Jazz Composer's Guild. Mike Mantler and Carla Bley, being the only two non-leader members of the Guild, had decided to organize an orchestra made up of musicians both inside and outside the Guild. This group, then known as the Jazz Composer's Guild Orchestra and consisting of eleven musicians, began rehearsals in the downtown loft of painter Mike Snow for its premiere performance at the Guild's Judson Hall series of concerts in December 1964. The orchestra, set up in a large circle in the center of the hall, played "Communications no.3" by Mike Mantler and "Roast" by Carla Bley. The concert was so successful musically that the leaders decided to continue to write for the group and to give performances at the Guild's new headquarters, a triangular studio on top of the Village Vanguard, called the Contemporary Center. In early March 1965 at the first of these concerts, which were presented in a workshop style, the group had been enlarged to fifteen musicians and the pieces played were "Radio" by Carla Bley and "Communications no.4" (subtitled "Day") by Mike Mantler.
    [Show full text]
  • Chamber & Ensemble Music
    Chamber & Ensemble Music New Releases 2000–2011 Contents I. WORKS BY COMPOSER – Alphabetical List ���������������������������������������������������������� p.3 A. New compositions and arrangements �������������������������������������������������������������������� 3 B. Additions to the catalogue ��������������������������������������������������������������������������������������� 25 II. WORKS BY GENRE ��������������������������������������������������������������������������������������������������� 30 1. Solo instrumental (also with accompaniment) ������������������������������������������������������� 30 1.1. Violin ��������������������������������������������������������������������������������������������������������������������������� 30 1.2. Viola ���������������������������������������������������������������������������������������������������������������������������� 31 1.3. Cello ��������������������������������������������������������������������������������������������������������������������������� 31 1.4. Double bass ��������������������������������������������������������������������������������������������������������������� 32 1.5. Flute ��������������������������������������������������������������������������������������������������������������������������� 33 1.6. Oboe ��������������������������������������������������������������������������������������������������������������������������� 33 1.7. Clarinet/Bass clarinet �������������������������������������������������������������������������������������������������
    [Show full text]
  • Publicacion7135.Pdf
    BIBLIOTECA PÚBLICA DE ALICANTE BIOGRAFÍA Roy Haynes nació el 13 de marzo de 1925 en Boston, Massachusetts. A finales de los años cuarenta y principios de los cincuenta, Roy Haynes tuvo la clase de aprendizaje que constituiría el sueño de cualquier músico actual: sentarse en el puesto de baterista y acompañar al gran Charlie Parker. Ahora, cincuenta años después, y tras haber tocado con todos los grandes del jazz: Thelonius Monk, Miles Davis, o Bud Powell, todavía coloca sus grabaciones en la cima de las listas de las revistas especializadas en jazz. Este veterano baterista, comenzó su andadura profesional en las bigbands de Frankie Newton y Louis Russell (1945-1947) y el siguiente paso fue tocar entre 1947 y 1949 con el maestro el saxo tenor, Lester Young. Entre 1949 y 1952, formo parte del quinteto de Charlie Parker y desde ese privilegiado taburete vio pasar a las grandes figuras del bebop y aprender de ellas. Acompañó a la cantante Sarah Vaughan, por los circuitos del jazz en los Estados Unidos entre 1953 y 1958 y cuando finalizó su trabajo grabo con Thelonious Monk, George Shearing y Lennie Tristano entre otros y ocasionalmente sustituía a Elvin Jones en el cuarteto de John Coltrane. Participó en la dirección de la Banda Sonora Original de la película "Bird" dirigida por Clint Eastwood en 1988 y todavía hoy en activo, Roy Haynes, es una autentica bomba dentro de un escenario como pudimos personalmente comprobar en uno de sus últimos conciertos celebrados en España y mas concretamente en Sevilla en el año 2000. En 1994, Roy Haynes recibió el premio Danish Jazzpar, que se concede en Dinamarca.
    [Show full text]
  • Ortad. Y Indice
    a c i s ú m e d s a r o d a e r c creado ras de úsic a www.migualdad.es/mujer creadoras de úsic a © Instituto de la Mujer (Ministerio de Igualdad) Edita: Instituto de la Mujer (Ministerio de Igualdad) Condesa de Venadito, 34 28027 Madrid www.inmujer.migualdad.es/mujer e-mail: [email protected] Idea original de cubierta: María José Fernández Riestra Diseño cubierta: Luis Hernáiz Ballesteros Diseño y maquetación: Charo Villa Imprime: Gráficas Monterreina, S. A. Cabo de Gata, 1-3 – 28320 Pinto (Madrid) Impreso en papel reciclado libre de cloro Nipo: 803-10-015-2 ISBN: 978-84-692-7881-9 Dep. Legal: M-51959-2009 Índice INTRODUCCIÓN 9 EDAD MEDIA: MÚSICA, AMOR, LIBERTAD 13 Blanca Aller Nalda DAMAS Y REINAS: MUSICAS EN LA CORTE. RENACIMIENTO 29 Mª Jesús Gurbindo Lambán LABERINTOS BARROCOS 41 Virginia Florentín Gimeno MÚSICA, AL SALÓN. CLASICISMO 55 María José Fernández Riestra “COMO PRUEBA DE MI TALENTO”. COMPOSITORAS DEL SIGLO XIX 69 María Jesús Fernández Sinde TIEMPOS DE VANGUARDIA, AIRES DE LIBERTAD. LAS COMPOSITORAS DE LA PRIMERA MITAD DEL SIGLO XX 89 Gemma Solache Vilela COMPONIENDO EL PRESENTE. SONIDOS FEMENINOS SIN FRONTERAS 107 Ana Alfonsel Gómez Bibliografía y Discografía 125 Libreto 151 7 Introducción En el curso académico 2006-2007, siete profesoras de Música de Educación Secun- daria llevaron a cabo un proyecto que, tanto por su planteamiento pedagógico y didáctico como por su rigor, belleza e interés, llamó la atención del Instituto de la Mujer. Algunas de estas profesoras, que habían coincidido en un Tribunal de Oposiciones al Cuerpo de Profesorado de Enseñanza Secundaria por la especialidad de música, for - maron un Grupo de Trabajo para que el alumnado investigara la composición musi - cal también como obra femenina.
    [Show full text]
  • Carla Bley Wurde Im Kalifornischen Oakland Geboren Und Lebt Heute in Den Catskill Mountains Im US-Bundes- Staat New York
    Bley, Carla Carla Bley wurde im kalifornischen Oakland geboren und lebt heute in den Catskill Mountains im US-Bundes- staat New York. Mit verschiedenen Bands, kammermusi- kalischen Ensembles und Orchestern hat sie die ganze Welt bereist, vor allem Europa und Südostasien. Als „composer-in-residence“ war sie unter anderem beim Glasgow Festival und wurde in die Essener Philharmo- nie eingeladen. Biografie Carla Bley wurde am 11. Mai 1936 als Lovella May Borg in Oakland, Kalifornien, als Tochter zweier Musiker gebo- ren. Bei ihrem Vater Emil Borg erhielt sie ersten Klavier- und Orgelunterricht und begleitete bereits im Alter von vier Jahren Hochzeiten und Begräbnisse. Mit acht Jah- ren verweigerte sie jeden weiteren Unterricht (Carla Bley betrachtet sich selbst als Autodidaktin). Im selben Jahr starb ihre Mutter Arline Borg. Fünfzehnjährig brach sie die Schule ab und jobbte in einem Plattenladen. Zusätzli- ches Geld verdiente sie mit Auftritten in örtlichen Piano- Bars. Insbesondere die Musik Erik Saties, die sie zufällig Carla Bley im Radio gehört hatte, beschäftigte ihre Fantasie. Carla Bley 1957 verließ sie Kalifornien und ging nach New York, wo Geburtsname: Carla Lovella Borg sie sich Carla Borg nannte. In den einschlägigen Jazz- clubs der Stadt nahm sie diverse Jobs von der Zigaretten- * 11. Mai 1936 in Oakland, Kalifornien, USA verkäuferin bis zur Tischfotografin an, um so die großen Musiker live hören zu können: „That is where I learned Komponistin, Pianistin, Organistin, Bandleaderin, everything“, sagte sie über diese intensive Zeit, in der sie Improvisateurin, Arrangeurin, Musik-Verlegerin, alles wie einen Schwamm aufgesogen habe (Frank Oteri, Herausgeberin On Her Own. New York, 2003, S.
    [Show full text]
  • Carla Bley Trio
    Bûhem sedmé dekády minulého století absolvovala evropská turné Nadaãní fond PJF • AB Studio Praha • za finanãní podpory Carla Bley Trio s kapelou, kterou vedl Jack Bruce, ale po jejím rozpadu se zaãala vûno- Olomouckého kraje a Statutárního mûsta Pfierova vat vlastním projektÛm s ansámblem, ve kterém hráli mj. Gary Valen- Je to neuvûfiitelné, ale teprve po zhruba ãtyfiech desetiletích umû- XXIX. âESKOSLOVENSK¯ JAZZOV¯ FESTIVAL lecké kariéry vstoupí poprvé na ãeské pódium jedna z nejoriginálnûj- te, Tony Dagradi, Michael Mantler, Bob Stewart, Steve Slagle, D. Shar- ‰ích dam svûtové jazzové scény. Na Matûjské jazzové pouti 2012 pfied- pe a Steve Swallow. V následujících ‰esti letech koncertovala v Evropû, staví své trio pianistka, varhanice, skladatelka a umûlecká vedoucí Japonsku i ve Spojen˘ch státech a obohatila svou diskografii o nová komorních i velk˘ch kapel Carla Bley. alba (napfi. Dinner Music, European Tour 1977, Musique Mecanique, Social Studies). V osmdesát˘ch letech zaznamenala její rostoucí umûleckou prestiÏ pfiedev‰ím Evropa, ale její skladby zaznû- ly také na festivalu New Music America nebo na koncertech Spoleã- nosti pro komorní hudbu pfii Lincolnovû centru. V tomto období vyda- la dal‰í desky, jako napfi. Heavy Heart, I Hate To Sing, Night-Glo, Carla Carla, Sextet, Fleur Carnivore ad. Poté, co se na zaãátku devadesát˘ch let roze‰la s Michaelem Mant- lerem, pfierostlo její dosavadní partnerství se Stevem Swallowem rámec Matûjská jazzová pouÈ ryze hudebních sympatií. Ve svazku se skvûl˘m basistou a skladate- Bley lem proud její neutuchající kompoziãní invence je‰tû zmohutnûl, o ãemÏ – festivalov˘ prolog svûdãí jak big bandové nahrávky (The Very Big Carla Bley Band, Mûstsk˘ dÛm Pfierov – velk˘ sál Big Band Theory, The Carla Bley Big Band Goes to Church, Looking For America, Appearing Nightly, Carla’s Christmas NEDùLE 19.30 Carols), tak alba rÛzn˘ch komorních seskupení (napfi.
    [Show full text]
  • Dinner and Dance Music in the 1920S & 30S Popular Tunes Performed by the Era’S Top Pianists on the Ampico Reproducing Piano
    (LYRCD 6017) Lyrichord Presents Dinner and Dance Music in the 1920s & 30s Popular Tunes Performed by the Era’s Top Pianists on the Ampico Reproducing Piano Performed by: J. Milton Delcamp Henry Lange Adam Carroll Victor Arden & Adam Carroll Paul Rickenbach Murial Pollock Ferde Grofe Frank Milne Victor Lane (Adam Carroll) & Zez Confrey Edgar Fairchild Ampico, which stood for American Piano Company, was one of the leading manufacturers of reproducing pianos in the early 20th century. Numerous musical luminaries, including composers Sergei Rachmaninoff and Fritz Kreisler and legendary pianists Arthur Rubinstein and Artur Schnabel, recorded for this musical marvel. Emil Welte patented the first true reproducing piano that used a perforated paper roll in 1883. Early interest in the Welte-Mignon reproducing piano, combined with the longstanding popularity of standard player pianos, led several firms to take note. Ampico bought the invention and hired engineer Charles Fuller Stoddard, who had patented his 1 own reproducing piano design in 1908. When he joined Ampico, the company began manufacturing reproducing instruments as well as an add-on reproducing roll-playing mechanism capable of retrofitting some standard pianos. There is a fundamental difference between the player piano and the reproducing piano. Although both use perforated paper rolls to convey the notes and tempo of the piece being played, the reproducing piano’s rolls also contain all of the expressive dynamics. This means that the roll plays the exact performance recorded by the pianist. A piano capable of reproducing an existing performance on a paper roll soon came to be the high- end, technological/musical device that any affluent music lover wanted in his or her parlor.
    [Show full text]
  • Carla Bley – First Lady of Jazz
    Jazz Collection: Carla Bley – First Lady of Jazz Dienstag, 10. Mai 2016, 21.00 - 22.00 Uhr Samstag, 14. Mai 2016, 22.05 - 24.00 Uhr (Zweitsendung) Erste Kompositionen von Carla Bley hörte man auf den Platten ihres damaligen Ehemannes Paul Bley, wundersam schöne Miniaturen mit einem ganz eigenen Ton. Bald aber emanzipierte sich Carla von Paul und wurde selbst zur wichtigsten Frau im Jazz. «Ich studierte nie Musik, und so konnte ich nie jemanden imitieren», sagt Carla Bley, und tatsächlich klang sie von ihrem allerersten Stück an wie sie selber. Ihre Musik hat einen identifizierbaren Geschmack, ob sie sie nun im Duo mit ihrem jetzigen Lebenspartner Steve Swallow spielt, mit einem Quartett oder einer Big Band. Vera Kappeler, die im Gespräch mit Annina Salis dem Phänomen Carla Bley nachspürt, ist ein ähnliches Temperament, gleich eigenständig und originell! Gast: Vera Kappeler Redaktion: Beat Blaser Moderation: Annina Salis Carla Bley, Steve Swallow: Are We There Yet? Label: Watt Works Track 1: Major Jimmy Giuffre 3: 1961 Label: ECM Track 1: Jesus Maria Charlie Haden: Liberation Music Orchestra Label: Impulse Track 5: War Orphans Carla Bley-Paul Haines: Escalator Over the Hill Label: JCOA Track I/4: Escalator Over The Hill Carla Bley: Dinner Music Label: Watt Track 6: Ida Lupino Carla Bley: Looking For America Label: Watt Track 3: Step Mother Bley/Sheppard/Swallow/Drummond: The Lost Chords Label: Watt, ECM Track 3: 3 Blind Mice: The Maze/Blind Mice Redux Bonustracks – nur in der Samstagsausgabe Carla Bley: Andando El Tiempo Label: Watt, ECM
    [Show full text]
  • Carla Bley Big Band Appearing Nightly
    ECM Carla Bley Big Band Appearing Nightly Earl Gardner, Lew Soloff, Giampaolo Casati, Florian Esch:trumpets; Beppe Calamosca, Gary Valente, Gigi Grata, Richard Henry: trombones; Roger Jannotta: soprano and alto saxophones, flute; Wolfgang Puschnig: alto saxophone, flute; Andy Sheppard: tenor saxophone; Christophe Panzani: tenor saxophone; Julian Arguelles: baritone saxophone; Carla Bley: piano, conductor; Karen Mantler: organ; Steve Swallow: bass; Billy Drummond: drums WATT 33 CD 6025 172 5516 (6) Release: August 2008 When I was young, big bands appeared regularly at jazz clubs in New York City. By working as a cigarette girl at Birdland or checking coats at Basin Street or the Jazz Gallery, I was able to hear Count Basie and many other great bands nightly. The clubs were dark and smoky. People would order drinks and talk and laugh between sets. The music was sophisticated and hard-swinging. The music I wrote for this album was inspired by the atmosphere of nightclubs in the 1950s. It began when I was commissioned to write and perform a big band composition for the 2005 Monterey Jazz Festival. Looking for a starting point, I immediately thought of “The Black Orchid”, a nightclub in Monterey where I taken a job as a pianist when I was seventeen. The piano had a bar built around it, and soldiers from the nearby military base would sit there and listen to me play standards. Often one of them would request a favorite song, but I had a very small and carefully arranged repertoire and wouldn’t play anything I didn’t like and couldn’t fake anything I didn’t know.
    [Show full text]
  • The Theme of Music in Northern Renaissance Banquet Scenes Robert Quist
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2004 The Theme of Music in Northern Renaissance Banquet Scenes Robert Quist Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF ARTS AND SCIENCES THE THEME OF MUSIC IN NORTHERN RENAISSANCE BANQUET SCENES By ROBERT QUIST A Dissertation submitted to the Program in Humanities in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Fall Semester, 2004 The members of the Committee approve the dissertation of Robert Quist defended on October 29, 2004. ___________________________ Charles E. Brewer Professor Directing Dissertation ___________________________ Patricia Rose Outside Committee Member ___________________________ Leon Golden Committee Member ___________________________ Russell M. Dancy Committee Member The Office of Graduate Studies has verified and approved the above named committee members. ii ACKNOWLEDGMENT In writing this dissertation, I have gained an appreciation for the consideration and abilities of my committee. Dr. Charles E. Brewer has shown remarkable insight, patience, and understanding. He has honored my work with constructive advice that has directed me to become my own worst critic. Throughout the course of my Ph.D. work, Dr. Golden has been a major source of inspiration and knowledge. Dr. Rose gave me my first real exposure to rich arena of northern Renaissance Art. She has also been a great source of general art history knowledge. Dr. Dancy has given me important insights regarding philosophical concepts of music and art. I would, therefore, like to thank these scholars for their tremendous help.
    [Show full text]
  • Teatro Lirico Di Cagliari Stagione Concertistica 2006-2007 Al Teatro Lirico Di Cagliari “Carla Bley – the Lost Chords”, Os
    Teatro Lirico di Cagliari Fondazione Stagione concertistica 2006-2007 VII Festival di Sant’Efisio Giovedì 3 maggio, ore 20.30 Al Teatro Lirico di Cagliari “Carla Bley – The lost chords”, ospite Paolo Fresu Giovedì 3 maggio alla 20.30 ancora jazz al Teatro Lirico di Cagliari, per un nuovo appuntamento sul calendario della settima edizione del Festival di Sant’Efisio. È “Carla Bley – The lost chords”, progetto intrigante e originale, che ospita sul palcoscenico la tromba virtuosa di Paolo Fresu. Il gruppo è d’eccezione: Carla Bley (pianoforte), Andy Sheppard (sax tenore e soprano), Steve Swallow (basso) e Billy Drummond (batteria). Il concerto è fuori abbonamento. “Se pensiamo a un ideale ciclo di reincarnazioni per ognuno di noi, è chiaro come Carla Bley sia stata, o sia destinata a ritrovarsi nei panni dell’esploratrice. È quello che tra i suoni e le partiture, in una carriera poderosa, frastagliata, fitta di movimenti secchi, svolte nette, progressioni, scarti, ha sempre fatto, e continua a prospettare, a ripromettersi. Intellettualmente inquieta, impagabilmente curiosa e portata con naturalezza a fiutare l’aria della tappa successiva del suo itinerario, Carla ha fatto della musica una ragione di vita profonda, una missione possibile che conduce con grazia pari solo alla forza, fin da quando era ragazza. A studiare la sua storia pare quasi incredibile che la ragazza di Oakland stia navigando intorno ai settant’anni: non lo si immaginerebbe ad ascoltarla in concerto, a seguire le vicende produttive e i progetti di cui si fa testimone, che mai danno l’impressione di voler ribadire il passato, di riciclare idee e intuizioni già affiorate in precedenza.
    [Show full text]
  • A Classical Clarinetists Guide to Klezmer Music D.M.A
    A Classical Clarinetists Guide to Klezmer Music D.M.A. Document Presented in Partial Fulfillment of the Requirements for the Degree Doctor in Musical Arts in the Graduate School of The Ohio State University By Dylan Mikhail Lloyd, B.M. M.M. Graduate Program of Music The Ohio State University 2017 Document Committee Doctor Caroline Hartig, Advisor Doctor Russel Mikkelson Professor Karen Pierson Doctor Jan Radzynski Copyright By Dylan Mikhail Lloyd 2017 Abstract The overarching purpose of this document is to provide a classical clarinetist/musician with a starting resource that will enable them to better understand klezmer music. Klezmer music is the traditional instrumental folk music of the Jewish people. Klezmer music developed alongside the diaspora of the Jewish people across Europe. The evolution of klezmer includes a plethora of musical characteristics derived from other cultures. A consistent and official klezmer repertoire does not exist, each band would have a unique collection of songs borrowed and repurposed from Romania, Bulgaria, Serbia, Palestine, Germany, Austria, Russia, Italy, and many other countries. Klezmer musicians learned local marches, anthems and shepherd songs so they could entertain Jewish and Christian communities. Throughout history the Jewish people have had to wander from country to country, trying to find acceptance. While they may have been welcomed for a time and contributed and participated in the local culture. Each time the Jewish people were forced to leave their homes a portion of the local culture would come with them. This cross-cultural synthesis would become a hallmark feature of klezmer music. An understanding of the history of klezmer music is necessary, to grasp its spiritual and cultural significance.
    [Show full text]