DOCSLIB.ORG

MIISÌCJ' Oar: `Ic S

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
MIISÌCJ' Oar: `Ic S MIISÌCJ' oar: `ic s and the duo has subsequently nicked for their own. Lemon Jelly master- ALBUMS E S S E N T I A L R E V I E W S minds Nick Franglen and Fred Deakin make springboards out of fragments Edited by Michael Paoletta LADYSMITH BLACK MAMBAZO from every genre and beef up the tid- No Boundaries bits into a nine -course meal, from the POP PRODUCER: Isak Roux meditative to the manic. "'64-'95" is Heads Up 3092 more of a response to the twosome's RELEASE DATE: Jan. 25 previous effort, "LemonJelly.KY"; its DONNY OSMOND South Africa's quintessential singing diversity and range make it a much What I Meant to Say group returns with a project where, as more serious album, though it still PRODUCERS: Donny Osmond, Gary Barlow, the title "No Boundaries" suggests, maintains a fair amount of humor and Eliot Kennedy the legendary all -male vocal ensemble camp. The pair is patient with its beats, Decca B0003737 led by Joseph Shabalala steps outside gradually embracing a style and blend- RELEASE DATE: Jan. 11 its usual repertoire and style. Joined ing it into its next cosmic vision. Being Never say never. Donny Osmond's new by the string section of the English sampled by Lemon Jelly on this aston- album, "What I Meant to Say" -his Chamber Orchestra, other instrumen- ishing new album is nothing less than 54th - debuted in the top 30 in the talists and arranger /conductor /pianist an honor. " '64 -'95" is also available as United Kingdom and spawned a No. 8 Ralf Gothoni, the music ranges from a deluxe CD (with different packaging), single in the breezy, inviting "Breeze GLADYS KNIGHT & THE SAINTS signature tunes of the group's Zulu KENNY CHESNEY a limited- edition vinyl boxed set and as On By." Fortunately, at this point in UNIFIED VOICES Be As You Are: Songs From an Old a visually stimulating DVD.-101 history, most of those who had posters One Voice Blue Chair of teen idol Donny on the wall have PRODUCER: Gladys Knight PRODUCERS: Buddy Cannon, Kenny M83 LADYSMITH BLACK MAMBAZO * grown to appreciate those things that Many Roads MRR0003 ... ENGLISH HAMRF R (TRCFIFSTRA Chesney Before the Dawn Heals Us o are precious and few in the States RELEASE DATE: Jan. 4 BNA 61530 PRODUCERS: Anthony Gonzalez, Antoine today: memorable melodies and pure, Gladys Knight's brilliant, hit -laden RELEASE DATE: Jan. 25 Gaillet, Jean -PhilippeTalaga unaffected singing. And Osmond deliv- legacy has endured for more than Kenny Chesney has copped Jimmy Mute 9281 ers aces, with a dozen personal pop four decades. With "One Voice," she Buffett licks here and there for RELEASE DATE: Jan. 25 anthems, 10 of which he wrote. Most turns her talents to gospel with quite a while to great success. Under the guise of M83, the French are lush ballads, teeming with soaring, richly satisfying results. As founder Here, though, he admirably steps duo of Nicolas Fromageau and satisfying vocals and warm, full- bodied and director of the 100 -voice choir back from the million -dollar main- Anthony Gonzalez compose music for production. 7Wo covers-Richard Saints Unified Voices, she oversees stream country formula to turn out an otherworldly orchestra. "Before Marx's "Right Here Waiting" and "This this multiethnic, musically diverse an often quiet, introspective collec- the Dawn Heals Us" is a fascinating Guy's in Love With You" from Burt group as much as she positions her- tion of self-penned tunes that still listen, a psychedelic journey through Bacharach/Hal David -ice the cake. A self as its focus. Mixing updated, owe much to Buffett. The titles tell time and space, whe.e vintage key- nice change of direction from previous classic hymns ( "Blessed Assurance ") it all: "Island Boy," "Guitars and boards create a mus- -.al dream. With Broadway and covers projects, "What I and contemporary originals (BeBe Tiki Bars," "Sherry's Living in Par- gorgeous melodies ' are alter- Meant to Say" is an inspired effort from Winans' "Right Here Waiting "), SUV iscathamiya ( "tiptoeing ") style (Paul adise." It's still an endearing set, nately grand and haun,. 'g, "Before a performer who has been working his is a perfect counterpart to Knight's Simon's "Homeless ") to "Amazing from the gentle "Old Blue Chair" to the Dawn" is colored with L -rely magic for an astonishing 40 years now. ever-stirring vocals and features Grace" and new arrangements of the wistful "Somewhere in the audible vocals and a choir that sounds And he has never sounded better. -CT several strong soloists of its own. Bach's "Jesu" and the "Sanctus" Sun." "Something Sexy About the just beyond the reach of the living. "He Lives," co-written by Knight movement from Schubert's Rain" is an atmospheric torch song, Walls of guitars cascade around intri- SOUNDTRACK and her husband, William McDow- "Deutsche Messe." The results are while the devil- may -care "French cately constructed pieces, all of it Hotel Rwanda: Music From the Film ell -along with Kenny G and Walter sweetly delivered with that gorgeous Kissing Life" is delivered with a designed to capture a schizophrenic PRODUCERS: various Afanasieff-is a powerful, benedic- and unmistakably Ladysmith sound, confident, laid -back flair. It goes flash of emotion somewhere between Commotion CR005 tive ballad. Here Knight touches, as but too often the sheer beauty of its without saying that the record is serenity and anxiety. The act's sec- RELEASE DATE: Jan. 11 she has for years, that nameless, voices are lost in a wash of glittering flawlessly produced, and after a ond U.S. release is as bold and Mixing original and traditional songs transcendent place that is the very strings, winds, piano, harpsichord, remarkable decade of hits, Chesney adventurous as last year's "Dead drawn from R &B, pop and world essence of true heart and soul. One harp and varied percussion that adds has earned the right to make a Buf- Cities, Red Seas & Lost Ghosts," a music, this album aurally paints the voice, indeed. -GE little to its performance. -AT fett record if he wants to. -RW showcase for a duo seeking to rede- action in the lauded film "Hotel fine electronic music. -TM Rwanda," a true story based on hotel manager Paul Rusesabaginá s rescue tion hand in eight of the 10 cuts on "Hold Tight," Geary's songwriting and Love Open the Door." Calexico deliv- efforts during the 1994 Rwandan Faithfull's new album. This winning delivery recall such top contemporary ers a jaunty uptempo interpretation of COUNTRY genocide. An impressive lineup - collaborative combination makes practitioners as Ron Sexsmith. Joy Division's "Love Will Tear Us including Wyclef Jean, Jimmy Jam & "Before the Poison" even stronger than "Ghosts" also evokes Van Morrison, Apart." Joseph Arthur's plaintive * DAVID FRIZZELL Terry Lewis, Deborah Cox and Ugan- its 2002 predecessor, "Kissin' Time," but particularly his early -1970s era. Per- singing of the Smiths' "There Is a Confidentially da's Bernard Kabanda -helps tell an with production and arrangements that haps most satisfying about the album Light That Never Goes Out" keeps the PRODUCER: David Frizzell inspirational story that embodies are minimalist, dark and desolate. Har- is that such a project can be released lyrics "If a ten -ton truck/Should kill Nashville America 50877 myriad emotions. The urgent drum vey's lead track "The Mystery of Love," in 2005 at all -apart from occasional the both of us /To die by your side ... RELEASE DATE: Jan. 25 beats on opener "Mama Ararira" by nominally a love song, still sounds drum programming, these are fully the pleasure, the privilege is mine" Veteran country stylist David Frizzell the Afro -fusion Afro Celt Sound Sys- oppressively grim, while the title track organic, natural- sounding recordings; from getting too gruesome. Jim re- emerges on the Nashville America tem set the scene, further under- hints at a cataclysmic personal event at vocoder, synthesizers and other sound White's sensual Creole twist to Bill imprint with a sturdy collection of scored by Jean's moving "Million the cause of her emotional descent. But manipulators need not apply. "Ghosts" Withers' "Use Me" makes exploitation classic country graced by his expres- Voices," Cox's plaintive plea on while despair is the overriding tone-as is a collection of superb songs deliv- feel like foreplay, and Mindy Smith's sive tenor and likable 1970s -era retro "Nobody Cares," Tilly Key's heartfelt signified in the cacophonous rap "Des - ered with a quiet intensity that will "A Nightingale Sang in Berkeley production. Warm flamenco guitars "Ne Me Laisse Pas Seule Ici" and peranto"- Faithfull always triumphs, in endear itself to listeners. -CW Square" is a lounge- smooth, starry- add flavor to the atmospheric "Warm Andrea Guerra's hopeful "Children music if not in mood.-R3 eyed ode to love at first sight. -CLT Spanish Wine," while rockish guitars Found." The true testament of an VARIOUS ARTISTS and organ add bite to the roadhouse engaging soundtrack is its ability to * MARK GEARY Sweetheart: Love Songs saga'Boogyin' & Woogyin'." The real- underscore a film's action yet remain Ghosts PRODUCERS: various DANCE /ELECTRONIC ities of aging are humorously compelling on its own merits. This PRODUCERS: various Starbucks Hear Music 190327 addressed on the wry "It Takes Me All album does just that. -GM Signature Sounds SIG 1290 RELEASE DATE: Jan. 18 * LEMON JELLY Night Long," and "Run Like the RELEASE DATE: Jan. 25 Starbucks Hear Music has brewed a '64 -'95 Wind" is a panoramic midtempo. But * MARIANNE FAITHFULL New York -based Irishman Mark Geary, second edition of its "Sweetheart" PRODUCER: Nick Franglen Frizzell is at his best on soulful bal- Before the Poison a recent finalist in Disc Makers' Inde- album (in as many years) by having XL Recordings IFXLCD182 lads, like the warm title cut and the PRODUCERS: various pendent Music World Series (of which another group of selected artists RELEASE DATE: Jan.
Load more

Recommended publications
  • 2015 Regional Music Scholars Conference Abstracts Friday, March 27 Paper Session 1 1:00-3:05
    2015 REGIONAL MUSIC SCHOLARS CONFERENCE A Joint Meeting of the Rocky Mountain Society for Music Theory (RMSMT), Society for Ethnomusicology, Southwest Chapter (SEMSW), and Rocky Mountain Chapter of the American Musicological Society (AMS-RMC) School of Music, Theatre, and Dance, Colorado State University March 27 and 28, 2015 ABSTRACTS FRIDAY, MARCH 27 PAPER SESSION 1 1:00-3:05— NEW APPROACHES TO FORM (RMSMT) Peter M. Mueller (University of Arizona) Connecting the Blocks: Formal Continuity in Stravinsky’s Sérénade en La Phrase structure and cadences did not expire with the suppression of common practice tonality. Joseph Straus points out the increased importance of thematic contrast to delineate sections of the sonata form in the beginning of the nineteenth century. Igor Stravinsky exploited other musical elements (texture, range, counterpoint, dynamics, etc.) to delineate sections in his neoclassical works. While theorists have introduced large-scale formal approaches to Stravinsky’s works (block juxtaposition, stratification, etc.), this paper presents an examination of smaller units to determine how they combine to form coherence within and between blocks. The four movements of the Sérénade present unique variations of phrase construction and continuity between sections. The absence of clear tonic/dominant relationships calls for alternative formal approaches to this piece. Techniques of encirclement, enharmonic ties, and rebarring reveal methods of closure. Staggering of phrases, cadences, and contrapuntal lines aid coherence to formal segments. By reversing the order of phrases in outer sections, Stravinsky provides symmetrical “bookends” to frame an entire movement. Many of these techniques help to identify traditional formal units, such as phrases, periods, and small ternary forms.
    [Show full text]
  • The Challenge of African Art Music Le Défi De La Musique Savante Africaine Kofi Agawu
    Document generated on 09/27/2021 1:07 p.m. Circuit Musiques contemporaines The Challenge of African Art Music Le défi de la musique savante africaine Kofi Agawu Musiciens sans frontières Article abstract Volume 21, Number 2, 2011 This essay offers broad reflection on some of the challenges faced by African composers of art music. The specific point of departure is the publication of a URI: https://id.erudit.org/iderudit/1005272ar new anthology, Piano Music of Africa and the African Diaspora, edited by DOI: https://doi.org/10.7202/1005272ar Ghanaian pianist and scholar William Chapman Nyaho and published in 2009 by Oxford University Press. The anthology exemplifies a diverse range of See table of contents creative achievement in a genre that is less often associated with Africa than urban ‘popular’ music or ‘traditional’ music of pre-colonial origins. Noting the virtues of musical knowledge gained through individual composition rather than ethnography, the article first comments on the significance of the Publisher(s) encounters of Steve Reich and György Ligeti with various African repertories. Les Presses de l’Université de Montréal Then, turning directly to selected pieces from the anthology, attention is given to the multiple heritage of the African composer and how this affects his or her choices of pitch, rhythm and phrase structure. Excerpts from works by Nketia, ISSN Uzoigwe, Euba, Labi and Osman serve as illustration. 1183-1693 (print) 1488-9692 (digital) Explore this journal Cite this article Agawu, K. (2011). The Challenge of African Art Music. Circuit, 21(2), 49–64. https://doi.org/10.7202/1005272ar Tous droits réservés © Les Presses de l’Université de Montréal, 2011 This document is protected by copyright law.
    [Show full text]
  • Pdfdownload April/May/June 2021 MMTA Newsletter
    MMTA Newsletter January, February, March 2021 10800 Lyndale Ave S, Ste. 120 Bloomington, MN 55420 MMTA President’s Letter (952) 345-0629 www.mnmusicteachers.com Dear MMTA Friends and Colleagues, [email protected] It’s late April. The grass is the lush, deep green of first spring, and MMTA Board of Directors simultaneously there are snow flurries on the Western Minnesota Dr. Ann DuHamel, NCTM prairie. Over last three weeks I’ve eagerly examined the tulips I President planted last fall. First, verifying the bulbs weren’t devoured by Camille Buddecke, NCTM President-Elect squirrels during the winter and will, in fact, sprout. Now, Inese Krievans, NCTM inspecting their progress daily and spraying natural deterrents to VP-Piano Contests discourage the rampant bunny population of Morris from Doug Rohde feasting on them before they bloom. If I’m a bit obsessive, it’s VP-Convention because tulips are my favorite flowers. Beyond their sheer beauty, I love their Barbara Kennedy, NCTM VP-Piano Educational symbolism. Tulips herald spring—a new season, a new start. A time for growth, for Programs re-birth and transformation. Moreover, optimism is required to plant these tiny, onion- Siri Caltvedt, NCTM like bulbs in the darkening days of autumn—knowing that if we cultivate patience, hope, VP-Voice & Instrumental Programs and faith as we wait through the long, dark night of the winter, our anticipation will be Dr. Jacob Fitzpatrick NCTM rewarded when we see the emerging buds awaken. VP-Finance Nancy Van Kampen The last fourteen months have been a real challenge for us all, there is no doubt about VP-Marketing it.
    [Show full text]
  • ANSAMBL ( [email protected] ) Umelec
    ANSAMBL (http://ansambl1.szm.sk; [email protected] ) Umelec Názov veľkosť v MB Kód Por.č. BETTER THAN EZRA Greatest Hits (2005) 42 OGG 841 CURTIS MAYFIELD Move On Up_The Gentleman Of Soul (2005) 32 OGG 841 DISHWALLA Dishwalla (2005) 32 OGG 841 K YOUNG Learn How To Love (2005) 36 WMA 841 VARIOUS ARTISTS Dance Charts 3 (2005) 38 OGG 841 VARIOUS ARTISTS Das Beste Aus 25 Jahren Popmusik (2CD 2005) 121 VBR 841 VARIOUS ARTISTS For DJs Only 2005 (2CD 2005) 178 CBR 841 VARIOUS ARTISTS Grammy Nominees 2005 (2005) 38 WMA 841 VARIOUS ARTISTS Playboy - The Mansion (2005) 74 CBR 841 VANILLA NINJA Blue Tattoo (2005) 76 VBR 841 WILL PRESTON It's My Will (2005) 29 OGG 841 BECK Guero (2005) 36 OGG 840 FELIX DA HOUSECAT Ft Devin Drazzle-The Neon Fever (2005) 46 CBR 840 LIFEHOUSE Lifehouse (2005) 31 OGG 840 VARIOUS ARTISTS 80s Collection Vol. 3 (2005) 36 OGG 840 VARIOUS ARTISTS Ice Princess OST (2005) 57 VBR 840 VARIOUS ARTISTS Lollihits_Fruhlings Spass! (2005) 45 OGG 840 VARIOUS ARTISTS Nordkraft OST (2005) 94 VBR 840 VARIOUS ARTISTS Play House Vol. 8 (2CD 2005) 186 VBR 840 VARIOUS ARTISTS RTL2 Pres. Party Power Charts Vol.1 (2CD 2005) 163 VBR 840 VARIOUS ARTISTS Essential R&B Spring 2005 (2CD 2005) 158 VBR 839 VARIOUS ARTISTS Remixland 2005 (2CD 2005) 205 CBR 839 VARIOUS ARTISTS RTL2 Praesentiert X-Trance Vol.1 (2CD 2005) 189 VBR 839 VARIOUS ARTISTS Trance 2005 Vol. 2 (2CD 2005) 159 VBR 839 HAGGARD Eppur Si Muove (2004) 46 CBR 838 MOONSORROW Kivenkantaja (2003) 74 CBR 838 OST John Ottman - Hide And Seek (2005) 23 OGG 838 TEMNOJAR Echo of Hyperborea (2003) 29 CBR 838 THE BRAVERY The Bravery (2005) 45 VBR 838 THRUDVANGAR Ahnenthron (2004) 62 VBR 838 VARIOUS ARTISTS 70's-80's Dance Collection (2005) 49 OGG 838 VARIOUS ARTISTS Future Trance Vol.
    [Show full text]
  • Music 5364 Songs, 12.6 Days, 21.90 GB
    Music 5364 songs, 12.6 days, 21.90 GB Name Album Artist Miseria Cantare- The Beginning Sing The Sorrow A.F.I. The Leaving Song Pt. 2 Sing The Sorrow A.F.I. Bleed Black Sing The Sorrow A.F.I. Silver and Cold Sing The Sorrow A.F.I. Dancing Through Sunday Sing The Sorrow A.F.I. Girl's Not Grey Sing The Sorrow A.F.I. Death of Seasons Sing The Sorrow A.F.I. The Great Disappointment Sing The Sorrow A.F.I. Paper Airplanes (Makeshift Wings) Sing The Sorrow A.F.I. This Celluloid Dream Sing The Sorrow A.F.I. The Leaving Song Sing The Sorrow A.F.I. But Home is Nowhere Sing The Sorrow A.F.I. Hurricane Of Pain Unknown A.L.F. The Weakness Of The Inn Unknown A.L.F. I In The Shadow Of A Thousa… Abigail Williams The World Beyond In The Shadow Of A Thousa… Abigail Williams Acolytes In The Shadow Of A Thousa… Abigail Williams A Thousand Suns In The Shadow Of A Thousa… Abigail Williams Into The Ashes In The Shadow Of A Thousa… Abigail Williams Smoke and Mirrors In The Shadow Of A Thousa… Abigail Williams A Semblance Of Life In The Shadow Of A Thousa… Abigail Williams Empyrean:Into The Cold Wastes In The Shadow Of A Thousa… Abigail Williams Floods In The Shadow Of A Thousa… Abigail Williams The Departure In The Shadow Of A Thousa… Abigail Williams From A Buried Heart Legend Abigail Williams Like Carrion Birds Legend Abigail Williams The Conqueror Wyrm Legend Abigail Williams Watchtower Legend Abigail Williams Procession Of The Aeons Legend Abigail Williams Evolution Of The Elohim Unknown Abigail Williams Forced Ingestion Of Binding Chemicals Unknown Abigail
    [Show full text]
  • The History of the Clarinet in South Africa
    The History of the Clarinet in South Africa by Becky L. Steltzner M.Mus. (University of Southern California) Thesis Presented in partial fulfilment of the Degree of DOCTOR OF PHILOSOPHY in the South African College of Music Faculty of Humanities University of Cape Town February 2016 Supervisor: Prof. Dr. Rebekka Sandmeier University of Cape Town The copyright of this thesis vests in the author. No quotation from it or information derived from it is to be published without full acknowledgement of the source. The thesis is to be used for private study or non- commercial research purposes only. Published by the University of Cape Town (UCT) in terms of the non-exclusive license granted to UCT by the author. University of Cape Town Copyright © 2016 Becky L. Steltzner The copyright of this thesis vests in the author. No quotation from it or information derived from it is to be published without full acknowledgement of the source. The thesis is to be used for private study or non-commercial research purposes only. Abstract This thesis explores and traces the history of the clarinet in South Africa. After discussing the problems of researching western European music history in South Africa from the arrival of the Dutch in 1652, and briefly summarising that music history up to the first clarinet reference, the thesis goes through the existing clarinet references. These have been sourced from travellers’ journals, newspapers, military histories, other theses, etc., with particular emphasis on the 19th century, since the clarinet was introduced to South Africa near the beginning of it, and the most unknown part of the clarinet’s South African history is within it.
    [Show full text]
  • Chapter 1: from Autonomy to Heteronomy: a Change of Paradigm in South African Art Music, 1980-2006
    Chapter 1: From autonomy to heteronomy: A change of paradigm in South African art music, 1980-2006 Introduction Composition in South Africa has been an increasingly contested artistic and ideological space since the early 1980s. In this dissertation I argue that the demise of apartheid and the rise of democracy resulted in an institutional and aesthetic crisis for the field of composition, embodied in musical terms by a shift away from a Eurocentric paradigm to a cross-cultural one that embraced various ‘African elements’ within a framework of modernism and discourse of accessibility. In this chapter I consider the factors – both internal to the field of art music and those resulting from larger societal changes – that contributed to this artistic and ideological shift. Partly I am concerned with the politics of the field itself: the struggle for power within a highly contested cultural space. More broadly I am interested in the position of the field relative to changes in society at the macro level, in terms of race, class, and economic imperatives. A central question is, to what extent did the restructuring of the field in response to these changed imperatives affect the aesthetic choices of composers? The autonomy of art music during apartheid was challenged by the politicization of the field during the 1980s. The extent and rapidity of social and institutional change, and the new self-consciousness that it evoked in composers previously only concerned with “production for producers” (Bourdieu 1993:15), resulted in a crisis that foreshadowed an aesthetic revolution, or change of paradigm. In this chapter I present the theoretical basis for this claim and explain some of the historical reasons for its emergence.
    [Show full text]
  • Football Season Casey
    t I SPURTS -- The Gamecocks faca r do-odle 8iturtion Thuredry nlght on tha mad. Story an prgn T ..4 8 I \ That moon money is mine! " 4 f (5 \ I volume 56, Issue 7 October 11.2007 1 m MO.RE JSU st:-Tent, 21, killedin car wreck Monday ONLINE ., By Branden Hdlingsworth Pesnell, who would have graduated in May, was a Pruitt's infant, who was in the car, suffered no ap- News Editor dedicated student and avid learner, according to her parent injury. Pi- professors. As of press time, no cause for the accident has been A JSU student was killed in a car accident Monday "She was very dedicated and hard-working," English established. The Alabama Department of Public Safe- afternoon, Oct. 8, just three days shy of her 22nd birth- profesor JoAnn Gates said. ty's state trooper post in Jacksonville said the investi- day.. "1 had great confidence in her." gation into the circumstances surrounding the accident English major Karon Pesnell was traveling Mck to Dr. !George Whitesel, Pesnell's British Literature continues. her home in Heflin after classes Monday when tier car professor, concurred, calling her death a "huge loss." Funeral arrangements were pending as of Tuesday Was struck by an oncoming vehicle near White Plains. Th&driver of the other car, identified 27-year-oJd night. TkAnniston Star reported Pesnell died instantly the Erica %. Pruitt of Piedmont, was airliftgd to University For more updates, check later in the week at our Web wreck on Alabama Highway 9. ~os~&lin Birmingham with possible head injuries.
    [Show full text]
  • Ernestine White-Mifetu
    20 2018 Festival Curators Visual and Performance Art Ernestine White-Mifetu ERNESTINE WHITE-MIFETU is currently the curator of Contemporary Art at Iziko’s South African National Gallery. Her experience within the arts and culture sector spans a period of fifteen years. She holds a Bachelors degree in Fine Art (1999) cum CURATED PROGRAMME laude from the State University of Purchase College in New York, a Master Printer degree in Fine Art Lithography (2001) from the Tamarind Institute in New Mexico, a Masters degree in Fine Art (2004) from the Michaelis School of Fine Art, Cape Town, and a Honours degree in Curatorship (2013) from the University of Cape Town’s Michaelis School of Fine Art. Ms White-Mifetu obtained her initial curatorial experience working as the Exhibitions Coordinator (2004-2006) and thereafter as Senior Projects Coordinator for Parliament’s nation building initiative, the Parliamentary Millennium Programme. Prior to this she worked as the Collections Manager for Iziko’s South African National Gallery. As an independent artist her work can be found in major collections in South Africa as well as in the United States. Ernestine White’s most recent accomplishment was the inclusion of her artwork into permanent collection of the Museum of Modern Art, US. Music Samson Diamond SAMSON DIAMOND is the appointed leader of the Odeion String Quartet at the University of the Free State and concertmaster of the Free State Symphony Orchestra (FSSO). He has appeared as violin soloist with all premier South African orchestras and has played principal second of Europe’s first black and ethnic minority orchestra, Chineke! Orchestra, since its inception.
    [Show full text]
  • The Beacon, February 21, 2005 Florida International University
    Florida International University FIU Digital Commons The aP nther Press (formerly The Beacon) Special Collections and University Archives 2-21-2005 The Beacon, February 21, 2005 Florida International University Follow this and additional works at: https://digitalcommons.fiu.edu/student_newspaper Recommended Citation Florida International University, "The Beacon, February 21, 2005" (2005). The Panther Press (formerly The Beacon). 97. https://digitalcommons.fiu.edu/student_newspaper/97 This work is brought to you for free and open access by the Special Collections and University Archives at FIU Digital Commons. It has been accepted for inclusion in The aP nther Press (formerly The Beacon) by an authorized administrator of FIU Digital Commons. For more information, please contact [email protected]. The Student Newspaper THIS WEEK AT BBC: of Florida Learn about wireless International University access on campus. 3 THE BEACON Vol. 17, Issue 41 WWW.BEACONNEWSPAPER.COM February 21, 2005 FIU EXPECTS BUDGET CUTS, TUITION INCREASES By C. JOEL MARINO The governor’s budget pro- Treasurer Alexander Zyne, the Senior Staff Writer posal makes no mention of revenue from the increased special funds the BOG reserved tuition will provide FIU with an A few weeks after Governor for various developing pro- extra $6.5 - 7 million, raising the Jeb Bush proposed his 2005 grams such as nursing and hur- university’s expected income to - 2006 budget, FIU adminis- ricane research, which they had almost $11 million. trators began to look for ways labeled as important “target “The 7.5 [percent] is a man- to compensate for what might programs.” datory increase,” said Zyne. result in a loss of $13 million in Although the difference “If you ask me honestly, ‘What state funding.
    [Show full text]
  • “The Innocent Moon” Radio Drama (60 Minutes)
    “The Innocent Moon” Radio Drama (60 minutes) by Cliff Burns 2 Cast: Voice #1: The Child Voice #2: The Man Voice #3: The Cynic/Realist Voice #4: The Astronaut Voice #5: The Artist Voice #6: Omniscient 3 Production Notes: Voice #6 is decidedly female. This drama utilizes numerous sound bites and “samples” from various films, songs and works that relate in some way to the Apollo missions and/or depictions of outer space. This creates an aural montage of voices and music, sometimes overlapping, competing, fading in and out...a sound portrait of human endeavor, real or imagined voyages to the moon we have gazed and wondered at for eons, creating a wealth of myths and narratives to sate our voracious curiosity. 4 The Innocent Moon “The innocent moon, which does nothing but shine, Moves all the labouring surges of the world.” -Francis Thompson SOUND FX: Fading up—President John F. Kennedy, addressing the United States Congress, vows to land a man on the moon by the end of the decade…followed by clips from old science fiction films--“Destination Moon“, “Rocketship X-M”, “Invaders From Mars”—alternating with snippets of music: CCR’s “Bad Moon Rising” , Bobby Vinton’s timeless rendering of “Blue Moon” and, finally, R.E.M.’s “Man on the Moon”. And then astronauts Aldrin and Armstrong descending at elevator speed to the lunar surface (“Houston, this is Tranquility Base. The Eagle has landed”); concluding with Neil Armstrong’s thrilling words: “That’s one small step for man, one giant leap for mankind…” And then static, until— 5 VOICE #1: (Child) I saw the man walking on the moon.
    [Show full text]
  • Curating South African Flute Compositions: Landscape As Theme of Exhibition
    Curating South African flute compositions: Landscape as theme of exhibition Esther Marié Pauw Dissertation presented for the Degree of Doctor of Philosophy in Department of Music, Faculty of Arts and Social Sciences, Stellenbosch University Supervisor: Professor Stephanus Muller Co-supervisor: Professor Corvin Matei December 2015 Stellenbosch University https://scholar.sun.ac.za Stellenbosch University https://scholar.sun.ac.za Declaration By submitting this thesis electronically, I declare that the entirety of the work contained therein is my own original work, that I am the authorship owner thereof (unless to the extent explicitly otherwise stated) and that I have not previously in its entirety or in part submitted the work for obtaining any qualification. Signature: Date: This research was partially funded by a Stellenbosch University Postgraduate Merit Scholarship as well as with research funds allocated through my supervisor. The views in the dissertation, however, are my own, and not those of the funders. This research has generated several concert curations, a paper at an international conference, and an article that is currently under review for publication. Details of these outputs are listed in the Bibliography of this dissertation. Resulting conference proceedings (a concert curation in 2013 and a paper in 2015) were funded jointly and partially by the University of Stellenbosch PGIO OCG network and the Hearing landscape critically network. Copyright © 2015 Stellenbosch University All rights reserved v Stellenbosch University https://scholar.sun.ac.za Stellenbosch University https://scholar.sun.ac.za Abstract This study explores intersections between curatorship, South African In a first phase of the research I investigate how South African flute music flute compositions in concert practice and ‘landscape’ as theme of compositions have been curated by flautists who have engaged with this exhibition for concert events.
    [Show full text]