Microsoft Outlook
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Lucie Vítková (1985, Boskovice, CZ); +1 347 967 2997; [email protected];
Lucie Vítková (1985, Boskovice, CZ); +1 347 967 2997; [email protected]; http://www.vitkovalucie.com. I am a composer, performer and improviser of accordion, harmonica, voice and dance from the Czech Republic. My work pursues two lines of enquiry: my compositional practice focuses on sonification (compositions based on abstract models derived from physical objects), while my improvisational practice explores characteristics of discrete spaces through the interaction between sound and movement. Recently, I have become particularly interested in the question of social relationships in music and their implications for the structural organization of musical pieces. I explore this theme in all aspects of my work. Education: [2013-present] Janacek Academy of Music and Performing Arts Brno (JAMU Brno), CZ: Doctorate in composition and music theory (Ph.D.) with Peter Graham; in the academic year 2014/2015 recipient of Nadace Český hudební fond scholarship. [1/2016-1/2017] Columbia University NYC, USA: Visiting scholar with Prof. George E. Lewis. [2/2015-12/2015] Universität der Künste Berlin, DE: Recipient of Erasmus Scholarship for studies in composition and music theory with Marc Sabat. [9/2014-1/2015] Universität der Künste Berlin: Recipient of DAAD scholarship (Deutscher Akademischer Austausch Dienst). [2011-13] JAMU Brno: Master’s Degree (MgA.) in composition with Martin Smolka and Peter Graham, including the following international exchanges: [2011-12] Royal Conservatoire The Hague, NL: Recipient of Erasmus Scholarship for studies in composition with Martijn Padding, Cornelis de Bondt, Gilius van Bergeijk and Yannis Kyriakides, and in sonology (a subset of sound studies) with Paul Berg, Joel Ryan, Peter Pabon, Richard Barrett and Kees Tazelaar. -
Immersion Into Noise
Immersion Into Noise Critical Climate Change Series Editors: Tom Cohen and Claire Colebrook The era of climate change involves the mutation of systems beyond 20th century anthropomorphic models and has stood, until recent- ly, outside representation or address. Understood in a broad and critical sense, climate change concerns material agencies that im- pact on biomass and energy, erased borders and microbial inven- tion, geological and nanographic time, and extinction events. The possibility of extinction has always been a latent figure in textual production and archives; but the current sense of depletion, decay, mutation and exhaustion calls for new modes of address, new styles of publishing and authoring, and new formats and speeds of distri- bution. As the pressures and re-alignments of this re-arrangement occur, so must the critical languages and conceptual templates, po- litical premises and definitions of ‘life.’ There is a particular need to publish in timely fashion experimental monographs that redefine the boundaries of disciplinary fields, rhetorical invasions, the in- terface of conceptual and scientific languages, and geomorphic and geopolitical interventions. Critical Climate Change is oriented, in this general manner, toward the epistemo-political mutations that correspond to the temporalities of terrestrial mutation. Immersion Into Noise Joseph Nechvatal OPEN HUMANITIES PRESS An imprint of MPublishing – University of Michigan Library, Ann Arbor, 2011 First edition published by Open Humanities Press 2011 Freely available online at http://hdl.handle.net/2027/spo.9618970.0001.001 Copyright © 2011 Joseph Nechvatal This is an open access book, licensed under the Creative Commons By Attribution Share Alike license. Under this license, authors allow anyone to download, reuse, reprint, modify, distribute, and/or copy this book so long as the authors and source are cited and resulting derivative works are licensed under the same or similar license. -
The Singing Guitar
August 2011 | No. 112 Your FREE Guide to the NYC Jazz Scene nycjazzrecord.com Mike Stern The Singing Guitar Billy Martin • JD Allen • SoLyd Records • Event Calendar Part of what has kept jazz vital over the past several decades despite its commercial decline is the constant influx of new talent and ideas. Jazz is one of the last renewable resources the country and the world has left. Each graduating class of New York@Night musicians, each child who attends an outdoor festival (what’s cuter than a toddler 4 gyrating to “Giant Steps”?), each parent who plays an album for their progeny is Interview: Billy Martin another bulwark against the prematurely-declared demise of jazz. And each generation molds the music to their own image, making it far more than just a 6 by Anders Griffen dusty museum piece. Artist Feature: JD Allen Our features this month are just three examples of dozens, if not hundreds, of individuals who have contributed a swatch to the ever-expanding quilt of jazz. by Martin Longley 7 Guitarist Mike Stern (On The Cover) has fused the innovations of his heroes Miles On The Cover: Mike Stern Davis and Jimi Hendrix. He plays at his home away from home 55Bar several by Laurel Gross times this month. Drummer Billy Martin (Interview) is best known as one-third of 9 Medeski Martin and Wood, themselves a fusion of many styles, but has also Encore: Lest We Forget: worked with many different artists and advanced the language of modern 10 percussion. He will be at the Whitney Museum four times this month as part of Dickie Landry Ray Bryant different groups, including MMW. -
The Philip Glass Ensemble in Downtown New York, 1966-1976 David Allen Chapman Washington University in St
Washington University in St. Louis Washington University Open Scholarship All Theses and Dissertations (ETDs) Spring 4-27-2013 Collaboration, Presence, and Community: The Philip Glass Ensemble in Downtown New York, 1966-1976 David Allen Chapman Washington University in St. Louis Follow this and additional works at: https://openscholarship.wustl.edu/etd Part of the Music Commons Recommended Citation Chapman, David Allen, "Collaboration, Presence, and Community: The hiP lip Glass Ensemble in Downtown New York, 1966-1976" (2013). All Theses and Dissertations (ETDs). 1098. https://openscholarship.wustl.edu/etd/1098 This Dissertation is brought to you for free and open access by Washington University Open Scholarship. It has been accepted for inclusion in All Theses and Dissertations (ETDs) by an authorized administrator of Washington University Open Scholarship. For more information, please contact [email protected]. WASHINGTON UNIVERSITY IN ST. LOUIS Department of Music Dissertation Examination Committee: Peter Schmelz, Chair Patrick Burke Pannill Camp Mary-Jean Cowell Craig Monson Paul Steinbeck Collaboration, Presence, and Community: The Philip Glass Ensemble in Downtown New York, 1966–1976 by David Allen Chapman, Jr. A dissertation presented to the Graduate School of Arts and Sciences of Washington University in partial fulfillment of the requirements for the degree of Doctor of Philosophy May 2013 St. Louis, Missouri © Copyright 2013 by David Allen Chapman, Jr. All rights reserved. CONTENTS LIST OF FIGURES .................................................................................................................... -
Charlemagne Palestine 17 Mai – 19 Novembre 2017
Dossier Exposition mahj.org de presse Charlemagne Palestine 17 mai – 19 novembre 2017 © Charlemagne Palestine Charlemagne Palestine 17 mai – 19 novembre 2017 Sculptures, peintures, installations visuelles et sonores, films et concerts... Charlemagne Palestine investit le mahJ à l’occasion d’une exposition personnelle, première du genre dans un musée français. Dans les écuries de l'hôtel de Saint-Aignan, il déploie une installation qui mêle œuvres historiques et nouvelles productions, faisant évoluer le visiteur au cœur de son univers foisonnant, où les peluches tiennent un rôle de premier ordre. Né à Brooklyn en 1947 sous le nom de Chaim Moshe Palestine, il rejoint, enfant, la chorale juive de Stanley Sapir pour atténuer par le chant les effets de son bégaiement. Élevé dans une famille originaire d’Odessa, il est partagé entre une éducation traditionnelle et son goût pour les formes artistiques expérimentales. Dès les années 1960, il évolue aux côtés de nombreuses figures de l'avant-garde new-yorkaise, dont La Monte Young, Terry Riley ou John Cage. Sa pratique du chant, du carillon, de l’orgue puis du piano lui permet de développer, à partir des années 1970, une relation physique et vibratoire à l’espace, à son corps et à ceux de l’auditoire. Ses performances s’adaptent aux contextes et aux instruments qu’il utilise, engendrant un dialogue avec les lieux qui le reçoivent. La dimension totale de sa démarche est à l’image des peluches qu’il recueille et expose : public idéal, totems, communauté choyée et perdue qu’il cherche à reconstruire, elles concrétisent aussi le caractère animiste de son œuvre. -
DB Music Shop Must Arrive 2 Months Prior to DB Cover Date
05 5 $4.99 DownBeat.com 09281 01493 0 MAY 2010MAY U.K. £3.50 001_COVER.qxd 3/16/10 2:08 PM Page 1 DOWNBEAT MIGUEL ZENÓN // RAMSEY LEWIS & KIRK WHALUM // EVAN PARKER // SUMMER FESTIVAL GUIDE MAY 2010 002-025_FRONT.qxd 3/17/10 10:28 AM Page 2 002-025_FRONT.qxd 3/17/10 10:29 AM Page 3 002-025_FRONT.qxd 3/17/10 10:29 AM Page 4 May 2010 VOLUME 77 – NUMBER 5 President Kevin Maher Publisher Frank Alkyer Editor Ed Enright Associate Editor Aaron Cohen Art Director Ara Tirado Production Associate Andy Williams Bookkeeper Margaret Stevens Circulation Manager Kelly Grosser ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] Classified Advertising Sales Sue Mahal 630-941-2030 [email protected] OFFICES 102 N. Haven Road Elmhurst, IL 60126–2970 630-941-2030 Fax: 630-941-3210 www.downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, John McDonough, Howard Mandel Austin: Michael Point; Boston: Fred Bouchard, Frank-John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Robert Doerschuk; New Orleans: Erika Goldring, David Kunian; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D. -
Bik Van Der Pol Charlemagne Palestine
FEATURES BIK VAN DER POL X CHARLEMAGNE PALESTINE BIK VAN DER POL X CHARLEMAGNE PALESTINE De eigenzinnige kunstenaar, CHARLEMAGNE PALESTINE Josine van Droffelaar, who was componist en performer Charlemagne Palestine (in 1945 of assistant curator at the Stedelijk Charlemagne Palestine 1947 geboren als Chaim Moshe Tza- in those days. I’m happy to be the dik Palestine, of Charles Martin in “Uncle Appel”.’ bespeelde het carillon van het Brooklyn, New York, tegenwoodig Hendrik Chabot Prijs 2014 van het Prins Bernhard Cultuurfonds aan Bik Van der Pol, 16 januari 2015, foto Peter van Mulken van Peter foto 2015, januari 16 Pol, der Van Bik Cultuurfonds Bernhard aan Prins het van 2014 Prijs Chabot Hendrik Uncle Appel. The last one standing. Rotterdamse stadhuis toen Bik woonachtig in Brussel) is een Ame- rikaans componist van minimalisti- ‘I was a pilot at the time.’ Van der Pol de Bart Chabot sche muziek, performer en beeldend You mean a pilot in the sense of Prijs 2014 kregen uitgereikt. kunstenaar, met, zoals Wikipedia het flying? De kleurrijke kunstenaar, die al omschrijft een voorkeur voor ‘knuf- ‘What happened is that I went to felbeesten, cognac en kretek siga- live for almost a year in Sweden, in geruime tijd in Brussel woont, retten’. Palestine, een tijdgenoot van Skåne, which is below Stockholm. vertegenwoordigt in zekere Steve Reich en Philip Glass, heeft It’s in the countryside. I had a few zin de rijke geschiedenis van altijd zijn eigen werk uitgevoerd, in performances zowel op het podium shows of these drawings I was mak- de westerse conceptuele als in kunstcentra, zoals De Appel ing those days with arrows that went kunst waar het Rotterdamse in de legendarische tijd met Wies in all kinds of directions. -
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. -
Rethinking Minimalism: at the Intersection of Music Theory and Art Criticism
Rethinking Minimalism: At the Intersection of Music Theory and Art Criticism Peter Shelley A dissertation submitted in partial fulfillment of requirements for the degree of Doctor of Philosophy University of Washington 2013 Reading Committee Jonathan Bernard, Chair Áine Heneghan Judy Tsou Program Authorized to Offer Degree: Music Theory ©Copyright 2013 Peter Shelley University of Washington Abstract Rethinking Minimalism: At the Intersection of Music Theory and Art Criticism Peter James Shelley Chair of the Supervisory Committee: Dr. Jonathan Bernard Music Theory By now most scholars are fairly sure of what minimalism is. Even if they may be reluctant to offer a precise theory, and even if they may distrust canon formation, members of the informed public have a clear idea of who the central canonical minimalist composers were or are. Sitting front and center are always four white male Americans: La Monte Young, Terry Riley, Steve Reich, and Philip Glass. This dissertation negotiates with this received wisdom, challenging the stylistic coherence among these composers implied by the term minimalism and scrutinizing the presumed neutrality of their music. This dissertation is based in the acceptance of the aesthetic similarities between minimalist sculpture and music. Michael Fried’s essay “Art and Objecthood,” which occupies a central role in the history of minimalist sculptural criticism, serves as the point of departure for three excursions into minimalist music. The first excursion deals with the question of time in minimalism, arguing that, contrary to received wisdom, minimalist music is not always well understood as static or, in Jonathan Kramer’s terminology, vertical. The second excursion addresses anthropomorphism in minimalist music, borrowing from Fried’s concept of (bodily) presence. -
THE ORCHESTRA of FUTURIST NOISE INTONERS Luciano Chessa, Director
Intonarumori, ArtBasel Miami Beach, 2011, photo by Javier Sanchez THE ORCHESTRA OF FUTURIST NOISE INTONERS Luciano Chessa, Director A Performa 09 Commission These eccentric hurdy-gurdy instruments first created in 1913 still sounded musically radical after all these years. Roberta Smith for The New York Times The Orchestra of Futurist Noise Intoners is the only complete replica of futurist composer/sound artist Luigi Russolo’s legendary intonarumori orchestra. The orchestra tours worldwide, presenting concerts that feature historical and new works commissioned from an all-star cast of experimental composers, some performing live alongside this orchestra of raucous mechanical synthesizers. The orchestra’s composers include Sonic Youth’s founding guitarist Lee Ranaldo, seminal composer/vocalist Joan La Barbara, Einstürzende Neubauten frontman and Nick Cave collaborator Blixa Bargeld, avant-garde saxophonist John Butcher, Deep Listening pioneer Pauline Oliveros, Faith No More and Mr. Bungle vocalist Mike Patton, avant-garde musician Elliott Sharp, and composer/vocalist Jennifer Walshe collaborating with late composer and film/video artist Tony Conrad, among others. For further details and touring information contact Esa Nickle at Performa on +1 212 366 5700, or email [email protected] HISTORY As part of its celebration of the 100th anniversary of Italian Futurism, the Performa 09 biennial, in collaboration with the Experimental Media and Performing Arts Center (EMPAC) and the San Francisco Museum of Modern Art (SFMOMA), invited Luciano Chessa to reconstruct Russolo’s intonarumori. Supervising Bay Area craftsman Keith Carey, Chessa succeeded in recreating for the first time Russolo’s earliest intonarumori orchestra, originally unveiled in Milan in the Summer of 1913 (16 instruments—8 noise families of 1-3 instruments each, in various registers). -
Aa Sschmmettrroossppecctivve Charlemagne Palestine
Aa Sschmmettrroossppecctivve Charlemagne Palestine Subtitle ― Artist(s) Charlemagne Palestine Authors Michel Baudson, Xavier Garcia Bardón Exhibitions ‘Aa Sschmmettrroossppecctivve’, BOZAR, Brussels, 18 May 2018 - 26 August 2018 en 1000 pictures and documents from the work and life of ISBN 978 94 9232 186 2 Charlemagne Palestine explode from the pages of the Release May 2018 book, superimposed in ‘strumming’ layers, weaving the Imprint MER. Paper Kunsthalle & historical & present, works & performance, private & public BOZAR Books into a tightly knit sschmmettrroobookk. Texts by Michel Language(s) EN Baudson and Xavier Garcia Bardón. Format 30 cm × 30 cm Volume 132 pages Cover Softcover Illustrations CMYK + B&W Design Studio Luc Derycke Retail €35.00 Printrun 500 + 32 22 (0) 9 329 31 Pauline Scharmann [email protected] L, 9000 Ghent, Belgium MER. Paper Kunsthalle Burgstraat 18 www.merpaperkunsthalle.org MER. Aa Sschmmettrroossppecctivve CharlemagneCharlemagne Palestine’s Palestine’s Bear Bear Mitzvah Mitzvah in in Meshugahland Meshugahland, ,The The Jewish Jewish Museum, Museum, New New York, York, NY, NY, 3 3 March March –– 66 AugustAugust 20172017 in the Henry LeLe BœufBœuf Hall,Hall, asas initiallyinitially Palestine atat thethe startstart ofof the 1970s,the 1970s, as as fashionfashion – – that that he he had had long long since since art,art, which which he he recently recently described, described, not not proposed, sprang from this same shownshown atat thethe CentreCentre forfor FineFine Arts,Arts, andand “turned“turned [his] [his] back back on on the the minimalist minimalist withoutwithout a a sense sense of of humour, humour, as as “Gesa “Gesa-- THETHE JOYOUSJOYOUS RE-ENTRY preference, since it reminded him of inin otherother momentsmoments ofof thethe researchresearch hehe climateclimate and and the the reductive reductive currents” currents” mmttkkunsttMeshuggahhLaandttttt”.mmttkkunsttMeshuggahhLaandttttt”. -
Notes from the Underground: a Cultural, Political, and Aesthetic Mapping of Underground Music
Notes From The Underground: A Cultural, Political, and Aesthetic Mapping of Underground Music. Stephen Graham Goldsmiths College, University of London PhD 1 I declare that the work presented in this thesis is my own. Signed: …………………………………………………. Date:…………………………………………………….. 2 Abstract The term ‗underground music‘, in my account, connects various forms of music-making that exist largely outside ‗mainstream‘ cultural discourse, such as Drone Metal, Free Improvisation, Power Electronics, and DIY Noise, amongst others. Its connotations of concealment and obscurity indicate what I argue to be the music‘s central tenets of cultural reclusion, political independence, and aesthetic experiment. In response to a lack of scholarly discussion of this music, my thesis provides a cultural, political, and aesthetic mapping of the underground, whose existence as a coherent entity is being both argued for and ‗mapped‘ here. Outlining the historical context, but focusing on the underground in the digital age, I use a wide range of interdisciplinary research methodologies , including primary interviews, musical analysis, and a critical engagement with various pertinent theoretical sources. In my account, the underground emerges as a marginal, ‗antermediated‘ cultural ‗scene‘ based both on the web and in large urban centres, the latter of whose concentration of resources facilitates the growth of various localised underground scenes. I explore the radical anti-capitalist politics of many underground figures, whilst also examining their financial ties to big business and the state(s). This contradiction is critically explored, with three conclusions being drawn. First, the underground is shown in Part II to be so marginal as to escape, in effect, post- Fordist capitalist subsumption.