Hermitage Piano Trio Makes Triumphant Return to Shandelee
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Hudson River Valley
Hudson River Valley 17th Annual Ramble SEPTEMBER 3-25, 2016 WALK, HIKE, PADDLE, BIKE & TOUR HudsonRiverValleyRamble.com #HudsonRamble A Celebration of the Hudson River Valley National Heritage Area, the New York State Department of Environmental Conservation’s Hudson River Estuary Program, and New York State Parks and Historic Sites B:8.4375" T:8.1875" S:7" There’s New York and then there’s New York Traveling through Stewart International Airport is the easiest way to take full advantage of the Hudson Valley’s astounding B:11.125" T:10.875" natural beauty and historic S:10" attractions. In addition to off ering hassle-free boarding, on-time performance and aff ordable fares on Allegiant, American, Delta and JetBlue, we’re also just a short drive from New York City. So, to make the most of your time in the Hudson Valley, fl y into Stewart. And begin exploring. Stewart International Airport JOB: POR-A01-M00808E DOCUMENT NAME: 6E79822_POR_a2.1_sk.indd DESCRIPTION: SWF Destinations of NY Tourism ad BLEED: 8.4375" x 11.125" TRIM: 8.1875" x 10.875" SAFETY: 7" x 10" GUTTER: None PUBLICATION: Westchester Official Travel & Meeting Guide ART DIRECTOR: COPYWRITER: ACCT. MGR.: Basem Ebied 8-3291 ART PRODUCER: PRINT PROD.: Peter Herbsman 8-3725 PROJ. MNGR.: None This advertisement prepared by Young & Rubicam, N.Y. 6E79822_POR_a2.1_sk.indd CLIENT: PANYNJ TMG #: 6E79822 HANDLE #: 2 JOB #: POR-A01-M00808E BILLING#: POR-A01-M00808 DOCUMENT NAME: 6E79822_POR_a2.1_sk.indd PAGE COUNT: 1 of 1 PRINT SCALE: None INDESIGN VERSION: CC 2015 STUDIO ARTIST: steven -
The Finding Aid to the Alf Evers Archive
FINDING AID TO THE ALF EVERS’ ARCHIVE A Account books & Ledgers Ledger, dark brown with leather-bound spine, 13 ¼ x 8 ½”: in front, 15 pp. of minutes in pen & ink of meetings of officers of Oriental Manufacturing Co., Ltd., dating from 8/9/1898 to 9/15/1899, from its incorporation to the company’s sale; in back, 42 pp. in pencil, lists of proverbs; also 2 pages of proverbs in pencil following the minutes Notebook, 7 ½ x 6”, sold by C.W. & R.A. Chipp, Kingston, N.Y.: 20 pp. of charges & payments for goods, 1841-52 (fragile) 20 unbound pages, 6 x 4”, c. 1837, Bastion Place(?), listing of charges, payments by patrons (Jacob Bonesteel, William Britt, Andrew Britt, Nicolas Britt, George Eighmey, William H. Hendricks, Shultis mentioned) Ledger, tan leather- bound, 6 ¾ x 4”, labeled “Kingston Route”, c. 1866: misc. scattered notations Notebook with ledger entries, brown cardboard, 8 x 6 ¼”, missing back cover, names & charges throughout; page 1 has pasted illustration over entries, pp. 6-7 pasted paragraphs & poems, p. 6 from back, pasted prayer; p. 23 from back, pasted poems, pp. 34-35 from back, pasted story, “The Departed,” 1831-c.1842 Notebook, cat. no. 2004.001.0937/2036, 5 1/8 x 3 ¼”, inscr. back of front cover “March 13, 1885, Charles Hoyt’s book”(?) (only a few pages have entries; appear to be personal financial entries) Accounts – Shops & Stores – see file under Glass-making c. 1853 Adams, Arthur G., letter, 1973 Adirondack Mountains Advertisements Alderfer, Doug and Judy Alexander, William, 1726-1783 Altenau, H., see Saugerties, Population History files American Revolution Typescript by AE: list of Woodstock residents who served in armed forces during the Revolution & lived in Woodstock before and after the Revolution Photocopy, “Three Cemeteries of the Wynkoop Family,” N.Y. -
MUSIC and the ECLIPSE of MODERNISM By
SIGNAL TO NOISE: MUSIC AND THE ECLIPSE OF MODERNISM By MATTHEW FRIEDMAN A Dissertation submitted to the Graduate School-New Brunswick Rutgers, The State University of New Jersey in partial fulfillment of the requirements for the degree of Doctor of Philosophy Graduate Program in History written under the direction of T.J. Jackson Lears and approved by ________________________ ________________________ ________________________ ________________________ New Brunswick, New Jersey May 2013 ABSTRACT OF THE DISSERTATION Signal to Noise: Music and the Eclipse of Modernism By MATTHEW FRIEDMAN Dissertation Director: T.J. Jackson Lears There was danger in the modern American soundscape; the danger of interruption and disorder. The rhetoric of postwar aural culture was preoccupied with containing sounds and keeping them in their appropriate places. The management and domestication of noise was a critical political and social issue in the quarter century following the Second World War. It was also an aesthetic issue. Although technological noise was celebrated in modern American literature, music and popular culture as a signal of technological sublime and the promise of modern rationality in the US, after 1945 noise that had been exceptional and sublime became mundane. Technological noise was resignified as "pollution" and narrated as the aural detritus of modernity. Modern music reinforced this project through the production of hegemonic fields of representation that legitimized the discursive boundaries of modernity and delegitimized that which lay outside of them. Postwar American modernist composers, reconfigured as technical specialists, developed a hyper-rational idiom of "total control" which sought to discipline aural disorder and police the boundaries between aesthetically- acceptable music and sound and disruptive noise. -
The Catskills Are Among the Things Most Certain to Give Students a Greater Appreciation for Our Region
TheCatskills Standards-basedlessonsthatpromoteappreciation andstewardshipoftheuniquenaturalandcultural resourcesoftheCatskillMountainregion. ModuleV: CultureandArts oftheCatskills TheCatskills ModuleV:CultureandArts oftheCatskills TheCatskills ASenseofPlace Standards-basedlessonsthatpromoteappreciation andstewardshipoftheuniquenaturalandcultural resourcesoftheCatskillMountainregion. ModuleV: CultureandArts oftheCatskills Compiledandportionswrittenby NathanChronister,DirectorofEducation TobiasAnderson,AmeriCorpsEducator TheCatskillCenterforConservationandDevelopment,Inc. Arkville,NewYork ThispublicationwasmadepossiblewithfundsfromTheCatskillWatershedCorporation inpartnershipwiththeNewYorkCityDepartmentofEnvironmentalProtectionandwas fundedinpartbyNYSCouncilontheArts,theBayFoundation,theDorrFoundation,the A.LindsayandOliveB.O'ConnorFoundation,theSchermanFoundation,andUSEPA. Althoughtheinformationinthisdocumenthasbeenfundedwhollyorinpartbythe UnitedStatesEnvironmentalProtectionAgencyunderassistanceagreementNE- 98222300-0toTheCatskillCenterforConservationandDevelopment,Inc.,ithasnot undergonetheAgency'spublicationsreviewprocessandthereforemaynotnecessarily reflecttheviewsoftheAgencyandnoofficialendorsementshouldbeinferred. ©2001TheCatskillCenterforConservationandDevelopment,Inc. Culture and Arts The culture and arts of the Catskills are among the things most certain to give students a greater appreciation for our region. The arts, of course, are those activities, such as painting or music, whose aim is the production of something beautiful -
John B. Flannagan (1895-1942): a Reexamination of His Life and Work
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 2004 John B. Flannagan (1895-1942): A Reexamination of His Life and Work Katherine Rangoon Doyle Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/1763 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] NOTE TO USERS Copyrighted materials in this document have not been scanned at the request of the author. They are available for consultation in the author's university library. 223-416 This reproduction is the best copy available. ® UMI Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. JOHN B. FLANNAGAN (1895-1942): A REEXAMINATION OF HIS LIFE AND WORK by KATHERINE RANGOON DOYLE A dissertation submitted to the Graduate Faculty in Art History in partial fulfillment o f the requirements for the degree of Doctor of Philosophy, The City University of New York 2004 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. UMI Number: 3159272 Copyright 2004 by Doyle, Katherine Rangoon All rights reserved. INFORMATION TO USERS The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleed-through, substandard margins, and improper alignment can adversely affect reproduction. -
Experimental Practices of Music and Philosophy in John Cage and Gilles Deleuze
Experimental Practices of Music and Philosophy in John Cage and Gilles Deleuze Iain CAMPBELL This thesis is being submitted in partial fulfilment of the requirements of Kingston University for the award of the degree of Doctor of Philosophy in the Centre for Research in Modern European Philosophy. October 2015 Abstract In this thesis we construct a critical encounter between the composer John Cage and the philosopher Gilles Deleuze. This encounter circulates through a constellation of problems found across and between mid-twentieth century musical, artistic, and philosophical practices, the central focus for our line of enquiry being the concept of experimentation. We emphasize the production of a method of experimentation through a practice historically situated with regards to the traditions of the respective fields of music and philosophy. However, we argue that these experimental practices are not reducible to their historical traditions, but rather, by adopting what we term a problematic reading, or transcendental critique, with regards to historical givens, they take their historical situation as the site of an experimental departure. We follow Cage through his relation to the history of Western classical music, his contemporaries in the musical avant-garde, and artistic movements surrounding and in some respects stemming from Cage’s work, and Deleuze through his relation to Kant, phenomenology, and structuralism, in order to map the production of a practice of experimentation spanning music, art, and philosophy. Some specific figures we engage with in these respective traditions include Jean-Phillipe Rameau, Pierre Schaeffer, Marcel Duchamp, Pierre Boulez, Robert Morris, Yoko Ono, La Monte Young, Edmund Husserl, Maurice- Merleau-Ponty, Alain Badiou, and Félix Guattari. -
Abouttown Summer 2018 Calendar
BE SURE TO CHECK WITH THE SPONSORS OF EVENTS SUNDAY, JUNE 3 FRIDAY, JUNE 8 FOR CHARGES, OR IN CASE OF TYPOS. The Magic of Unison Gala celebrating 43 years of Second Fridays Swing Dance with live music by the Unison Arts Center. Magic show by world Metropolitan Hot Club; enjoy a night of swing renown magician Mark Mitton; music offered by dance with Emily Vanston; wine and refreshments Big Joe Fitz and the Lo-Fi's. Dinner catered by will be available. Purchase tickets at door: Inter- JUNE Bridgecreek Catering and a silent auction. Also cel- mediate/ Advanced swing lessons from 6:30 to 7:30 SATURDAY, JUNE 2 ebrating the 75th birthday of Stuart Bigley, one of PM ($10); must be comfortable with 8-count Hudson Valley Community Dance. English Dance the first founders, as well as the new Executive Di- swing out; Intro/ Beginner lesson for new dancers in Port Ewen. Margaret Bary calling with Tiddely rector, Alexandra Baer, in a gallery exhibit – Works from 7:30 to 8 PM (No charge). Swing Dance Pom. Admission $10 Full time students $5. Eng- from Past and Present Directors. $125/person or Party, 8 to 10 PM ($12 non-member; $10 students lish Country dance lesson 7:00PM Required for $100/person if you reserve table of 8. 5 PM. and members). new dancers.Even if you are experienced, come for Alexandra Baer. 845-255.1559. www.unisonarts.org. [email protected] ; Unison Arts Center, 68 Mountain Rest Rd, New Paltz the lesson. We need your help. 7:00pm – 10:30pm 845.255.1559, www.unisonarts.org. -
John Cage's 4′ 33
Proceedings of the European Society for Aesthetics Volume 10, 2018 Edited by Connell Vaughan and Iris Vidmar Published by the European Society for Aesthetics esa Proceedings of the European Society for Aesthetics Founded in 2009 by Fabian Dorsch Internet: http://proceedings.eurosa.org Email: [email protected] ISSN: 1664 – 5278 Editors Connell Vaughan (Technological University Dublin) Iris Vidmar (University of Rijeka) Editorial Board Adam Andrzejewski (University of Warsaw) Pauline von Bonsdorff (University of Jyväskylä) Daniel Martine Feige (Stuttgart State Academy of Fine Arts) Tereza Hadravová (Charles University, Prague) Vitor Moura (University of Minho, Guimarães) Regina-Nino Mion (Estonian Academy of the Arts, Talinn) Francisca Pérez Carreño (University of Murcia) Karen Simecek (University of Warwick) Elena Tavani (University of Naples) Publisher The European Society for Aesthetics Department of Philosophy University of Fribourg Avenue de l’Europe 20 1700 Fribourg Switzerland Internet: http://www.eurosa.org Email: [email protected] Proceedings of the European Society for Aesthetics Volume 10, 2018 Edited by Connell Vaughan and Iris Vidmar Table of Contents Claire Anscomb The Epistemic Value of Photographs in the Age of New Theory ..................................................................................................... 1 Marco Arienti Some Concerns with Experientialism about Depiction: the Case of Separation seeing-in ................................................................ 19 Marta Benenti and Giovanna -
Searching for Silence
Searching for Silence - The New Yorker http://www.newyorker.com/magazine/2010/10/04/searching-f...Save paper and follow @newyorker on Twitter Onward and Upward with the Arts OCTOBER 4, 2010 ISSUE Searching for Silence John Cage’s art of noise. BY ALEX ROSS n August 29, 1952, David Cage preparing a piano, Tudor walked onto the stage in 1947. PHOTOGRAPH BY IRVING of the Maverick Concert Hall, PENN / © 1947 (RENEWED 1975) CONDÉ NAST near Woodstock, New York, PUBLICATIONS INC. Osat down at the piano, and, for four and a half minutes, made no sound. He was performing “4'33″,’’ a conceptual work by John Cage. It has been called the “silent piece,” but its purpose is to make people listen. “There’s no such thing as silence,” Cage said, recalling the première. “You could hear the wind stirring outside during the first movement. During the second, raindrops began pattering the roof, and during the third people themselves made all kinds of interesting sounds as they talked or walked out.” Indeed, some listeners didn’t care for the experiment, although they saved their loudest protests for the question-and-answer session afterward. Someone reportedly hollered, “Good people of Woodstock, let’s drive these people out of town!” Even Cage’s mother had her doubts. At a subsequent performance, she asked the composer Earle Brown, “Now, Earle, don’t you think that John has gone too far this time?” This past July, the pianist Pedja Muzijevic included “4'33″ ” in a recital at Maverick, which is in a patch of woods a couple of miles outside Woodstock. -
Reduce, Reuse, Recycle Grades 5-8 Tabletable Ofof Contentscontents
NASHVILLE SYMPHONY YOUNG PEOPLE’S CONCERTS REDUCE, REUSE, RECYCLE GRADES 5-8 TABLETABLE OFOF CONTENTSCONTENTS 3 Letter from the Conductor 4-5 Standard Equivalencies 6 Online Music Examples for the Lessons 7 Other Media 8 Concert Program 9-11 Lesson Plan #1: Recycle, Part 1—What Is Music? 12-15 Lesson Plan #2: Recycle, Part 2 – “Dies Irae” Recycled 16-19 Lesson Plan #3: Reduce—Chamber Music: The Orchestra Reduced 20-22 Lesson Plan #4: Reuse—The Transcription: Renewing Older Material 23-35 Teacher Resources 36-37 Class Survey 38 Nashville Symphony Education Department Contact Information 39 Sponsor Recognition LETTER FROM THE CONDUCTOR 3 STANDARDSTANDARD EQUIVALENCIESEQUIVALENCIES Lesson #1: Recycle, Part 1—What Is Music? Core Curriculum Standard: 5-8.RI.7 English Language Arts Integrate information presented in different media or formats (e.g., visually, quantitatively) as well as in words to develop a coherent understanding of a topic or issue. National Arts Standard: 2.0 Music Performing on instruments, alone and with others, a varied repertoire of music. 9.0 Understanding music in relation to history and culture. Lesson #2: Recycle, Part 2 - “Dies Irae” Recycled Core Curriculum Standard: 5-8.RL.2 English Language Arts Determine a theme or central idea of a text and how it is conveyed through particular details; provide a summary of the text distinct from personal opinions or judgments 5-8.W.3 Write narratives to develop real or imagined experiences or events using effective technique, relevant descriptive details, and well-structured event sequences. National Arts Standard: 6.0 Music Listening to, analyzing, and describing music. -
Vor What 4 33 Is.Pdf
Australasian Journal of Philosophy ISSN: 0004-8402 (Print) 1471-6828 (Online) Journal homepage: https://www.tandfonline.com/loi/rajp20 What 4′33″ Is Julian Dodd To cite this article: Julian Dodd (2018) What 4′33″ Is, Australasian Journal of Philosophy, 96:4, 629-641, DOI: 10.1080/00048402.2017.1408664 To link to this article: https://doi.org/10.1080/00048402.2017.1408664 © 2017 The Author(s). Published by Informa UK Limited, trading as Taylor & Francis Group Published online: 20 Dec 2017. Submit your article to this journal Article views: 4853 View related articles View Crossmark data Citing articles: 2 View citing articles Full Terms & Conditions of access and use can be found at https://www.tandfonline.com/action/journalInformation?journalCode=rajp20 AUSTRALASIAN JOURNAL OF PHILOSOPHY, 2018 VOL. 96, NO. 4, 629–641 https://doi.org/10.1080/00048402.2017.1408664 What 4 03300 Is Julian Dodd The University of Manchester ABSTRACT What is John Cage’s 4 03300? This paper disambiguates this question into three sub- questions concerning, respectively, the work’s ontological nature, the art form to which it belongs, and the genre it is in. We shall see that the work’s performances consist of silence (rather than containing environmental sounds), that it is a work of performance art (rather than music), and that it belongs to the genre of conceptual art. Seeing the work in these ways helps us to understand it better, and promises to assuage somewhat the puzzlement and irritation of those who are at first resistant to its charms. ARTICLE HISTORY Received 19 June 2017; Revised 31 October 2017 KEYWORDS John Cage; ontology; art form; genre; music; conceptual art 1. -
Ethics And/In/As Silence
© ephemera 2003 silent sounds #2 ISSN 1473-2866 e phemera www.ephemeraweb.org critical dialogues on organization volume 3(4): 277-285 Ethics and/in/as Silence Marcel Cobussen abstract Using John Cage’s familiar composition, 4’33”, as the point of departure of this essay, the first part describes how this composition deconstructs the boundaries and (hierarchical) oppositions of noise, silence, and music: music becomes silence, silence becomes noise, noise becomes music. But all this happens within the musical domain. In other words, ‘the other’ (noise, silence) enters the domain of ‘the same’ (music). In the second part of the essay, this construct is connected to a Derridaen notion of ethics. Perhaps ethics – regarded by Derrida as hospitality to an unknown stranger – is at work in 4’33’’ as the music opens its territory to allow unanticipated sounds in. 4’33’’ demands that the listener be open to all sounds, to respect all sounds (to treat them though they were music). This emphasis on the reception of music opens the possibility to discuss in the third part of the essay the ethics of listening. The author presents the idea to consider listening to the random sounds that are allowed to enter 4’33”, listening to all random sounds that form an integral part of this composition, as a receptivity to the advent of an unanticipatable alterity, as an encounter with the accidental, the unmanageable, the unintended. Regarded in this way, music (for example 4’33’’) offers the opportunity to experience the world and to relate to the world in another (perhaps ethical?) way.