Dutch Composer Joel Bons Has Won the 2019 University of Louisville

Total Page:16

File Type:pdf, Size:1020Kb

Dutch Composer Joel Bons Has Won the 2019 University of Louisville Dutch composer Joel Bons has won the 2019 University of Louisville Grawemeyer Award for Music Composition for “Nomaden,” a one-hour work for cello solo and an ensemble of instruments from diverse cultures. Bons, 65, wrote the piece for French cellist Jean-Guihen Queyras and the Atlas Ensemble, a group of 18 eminent musicians from China, Japan, Central Asia, the Middle East and Europe. Cello Biennale Amsterdam commissioned the work, which premiered in Amsterdam in October 2016 with Ed Spanjaard conducting. Besides cello, the work incorporates a wide array of Asian instruments – Chinese erhu and sheng, Japanese sho and shakuhachi, Indian sarangi, Turkish kemenche, Armenian duduk, Persian setar and Azerbaijani tar and kamancha – many of which are precursors of Western instruments. “’Nomaden’ is not a traditional concerto but a work for cello and instruments from cultures around the world,” Bons said. “I imagined an unlimited potential of combinations and an unheard spectrum of timbres. My aim was to create a piece in which the musicians and the instruments, in all their cultural differences, could bloom in full glory.” Bons, a music composition professor at the Conservatory of Amsterdam, learned about world music as a child by listening to his parents’ record collection. In 1980, he co-founded the contemporary music group Nieuw Ensemble, which earned the Prince Bernhard Fund Music Prize in 1998 for “markedly lively and adventurous” programming. He founded Atlas Ensemble in 2002 and continues to serve as its artistic director, winning the Amsterdam Prize for the Arts in 2005. In 2009, he started Atlas Academy/Lab, a laboratory for the creation of intercultural music. His pieces have been performed by ensembles and orchestras in Europe, China and Canada. “Art of all kinds is becoming more and more eclectic, juxtaposing materials and influences in increasingly new ways,” said Marc Satterwhite, a University of Louisville music professor who directs the music award. “’Nomaden’ is one of the most successful musical examples of this trend in recent years.” Recipients of the 2019 Grawemeyer Awards are being named this week pending formal approval by university trustees. The annual, $100,000 prizes reward outstanding ideas in music, world order, psychology, education and religion. Winners will visit Louisville in April to accept their awards and give free talks on their winning ideas. .
Recommended publications
  • Intraoral Pressure in Ethnic Wind Instruments
    Intraoral Pressure in Ethnic Wind Instruments Clinton F. Goss Westport, CT, USA. Email: [email protected] ARTICLE INFORMATION ABSTRACT Initially published online: High intraoral pressure generated when playing some wind instruments has been December 20, 2012 linked to a variety of health issues. Prior research has focused on Western Revised: August 21, 2013 classical instruments, but no work has been published on ethnic wind instruments. This study measured intraoral pressure when playing six classes of This work is licensed under the ethnic wind instruments (N = 149): Native American flutes (n = 71) and smaller Creative Commons Attribution- samples of ethnic duct flutes, reed instruments, reedpipes, overtone whistles, and Noncommercial 3.0 license. overtone flutes. Results are presented in the context of a survey of prior studies, This work has not been peer providing a composite view of the intraoral pressure requirements of a broad reviewed. range of wind instruments. Mean intraoral pressure was 8.37 mBar across all ethnic wind instruments and 5.21 ± 2.16 mBar for Native American flutes. The range of pressure in Native American flutes closely matches pressure reported in Keywords: Intraoral pressure; Native other studies for normal speech, and the maximum intraoral pressure, 20.55 American flute; mBar, is below the highest subglottal pressure reported in other studies during Wind instruments; singing. Results show that ethnic wind instruments, with the exception of ethnic Velopharyngeal incompetency reed instruments, have generally lower intraoral pressure requirements than (VPI); Intraocular pressure (IOP) Western classical wind instruments. This implies a lower risk of the health issues related to high intraoral pressure.
    [Show full text]
  • Circus Arts at O.Z.O.R.A
    THE DAILY NEWSPAPER OF THE OZORIAN TRIBE FREE * 4 PAGES SUNDAY AUGUST, 2012 ozorafestival.eu spiced with some dark humor in vaudeville style. The spectacu- lar juggling, acrobatic, trapeze and burlesque dance performers Circus Arts at O.Z.O.R.A. are the s-cream of the international underground circus life.The characters of the performance keep their masks on even after AT THIS YEAR’S FESTIVAL THE their show, mingling with the MODERN CIRCUS ARTS GOT A SPE- audience and further building CIAL SPACE. INTERNATIONALLY the atmosphere, so anything FAMOUS AND PROFESSIONAL CIR- can happen anywhere at any CUS AND JUGGLING GROUPS ARE time! PERFORMING AT THE OPENING CEREMONY AND ON DIFFERENT A new stage at the festival is the STAGES OF THE FESTIVAL. Firespace, this is a project from Germany essentially an open space for fire dancers and fire On the main stage legendary fire jugglers, supports a diversity of artists, like Magma Fire Theather, fire arts. Moreover, we regard Flame Flowers, Firebirds, Freak Fu- Fire Space as a cultural space, sion Cabaret, Anamintas Fire The- allowing for inspiration and in- ather, Mietar, Spark Firedance, Los teraction seeks the best condi- Del Fuego and Firesthetic are pre- tions for audience and artists, senting their new and special proj- as well as for environment and ects. It is also an important mission material. The space is open for us to teach the flow arts. We from dusk till dawn, come by hold and held workshops, where with your fire gear and spin people can try out all kinds of body with us or just sit down around manipulation, circus, juggling and the circle and enjoy the show! acrobatic arts with experienced trainers and safe equipments.
    [Show full text]
  • Analisis Keterampilan Bermain Alat Musik Angklung Pada Siswa Sekolah Dasar
    REFLEKSI EDUKATIKA : Jurnal Ilmiah Kependidikan Volume 11 Nomor 1 Desember 2020 ISSN: 2087-9385 (print) dan 2528-696X (online) http://jurnal.umk.ac.id/index.php/RE ANALISIS KETERAMPILAN BERMAIN ALAT MUSIK ANGKLUNG PADA SISWA SEKOLAH DASAR Siska Kusumawardani 1, Nanda Nur Aulia 2 Universitas Muhammadiyah Jakarta, Indonesia Email: [email protected] Info Artikel Abstract The purpose of this study was to analyze and describe the skills of playing angklung Sejarah Artikel: musical instruments in elementary school children. Diserahkan 4 Juli 2020 The research method in this research is descriptive research with observation, Direvisi 20 November 2020 documentation and interview data. The research was conducted at SD Private Syafana Disetujui 21 November 2020 Islamic School with the subjects studied were 10 children who were a combination of low classes, namely class 1,2,3. Data analysis using descriptive-qualitative analysis. The results showed that the skills to play angklung consisted of 1) preparation consisting of Keywords: recruiting children to enter extra angklung musical instruments. 2) Preparation, formulate skill, musik instrument, learning objectives to play angklung, determine methods in playing angklung skills 3) angklung. implementation. a) the teacher conveys the learning objectives and provides material about the angklung musical instrument b) the teacher demonstrates the angklung, how to hold, how to play the resulting tone. c). given training using angklung and 4) evaluation by holding an art performance playing angklung which is held in schools through audience appreciation. Abstrak Tujuan penelitian ini adalah untuk menganalisis dan mendeskripsikan keterampilan bermain alat musik angklung pada anak SD. Metode penelitian pada penelitian ini adalah penelitian deskriptif dengan pengumpulan data yaitu observasi, dokumentasi dan wawancara.
    [Show full text]
  • List of the 90 Masterpieces of the Oral and Intangible Heritage
    Albania • Albanian Folk Iso-Polyphony (2005) Algeria • The Ahellil of Gourara (2005) Armenia • The Duduk and its Music (2005) Azerbaijan • Azerbaijani Mugham (2003) List of the 90 Masterpieces Bangladesh • Baul Songs (2005) of the Oral and Belgium • The Carnival of Binche (2003) Intangible Belgium, France Heritage of • Processional Giants and Dragons in Belgium and Humanity France (2005) proclaimed Belize, Guatemala, by UNESCO Honduras, Nicaragua • Language, Dance and Music of the Garifuna (2001) Benin, Nigeria and Tog o • The Oral Heritage of Gelede (2001) Bhutan • The Mask Dance of the Drums from Drametse (2005) Bolivia • The Carnival Oruro (2001) • The Andean Cosmovision of the Kallawaya (2003) Brazil • Oral and Graphic Expressions of the Wajapi (2003) • The Samba de Roda of Recôncavo of Bahia (2005) Bulgaria • The Bistritsa Babi – Archaic Polyphony, Dances and Rituals from the Shoplouk Region (2003) Cambodia • The Royal Ballet of Cambodia (2003) • Sbek Thom, Khmer Shadow Theatre (2005) Central African Republic • The Polyphonic Singing of the Aka Pygmies of Central Africa (2003) China • Kun Qu Opera (2001) • The Guqin and its Music (2003) • The Uyghur Muqam of Xinjiang (2005) Colombia • The Carnival of Barranquilla (2003) • The Cultural Space of Palenque de San Basilio (2005) Costa Rica • Oxherding and Oxcart Traditions in Costa Rica (2005) Côte d’Ivoire • The Gbofe of Afounkaha - the Music of the Transverse Trumps of the Tagbana Community (2001) Cuba • La Tumba Francesa (2003) Czech Republic • Slovácko Verbunk, Recruit Dances (2005)
    [Show full text]
  • Music of Central Asia and of the Volga-Ural Peoples. Teaching Aids for the Study of Inner Asia No
    DOCUMENT RESUME ED 295 874 SO 019 077 AUTHOR Slobin, Mark TITLE Music of Central Asia and of the Volga-Ural Peoples. Teaching Aids for the Study of Inner Asia No. 5. INSTITUTION Indiana Univ., Bloomington. Asian Studies Research Inst. SPONS AGENCY Association for Asian Studies, .an Arbor, Mich. PUB DATE 77 NOTE 68p. AVAILABLE FROMAsian Studies Research Institute, Indiana University, Bloomington, IN 47405 ($3.00). PUB TYPE Guides - Classroom Use - Guides (For Teachers) (052) -- Historical Materials (060) EDRS PRICE MF01/PC03 Plus Postage. DESCRIPTORS Area Studies; *Asian History; *Asian Studies; Cultural Education; Culture; Foreign Countries; Foreign Culture; Higher Education; Instructional Materials; *Music; Musical Instruments; Music Education; *Non Western Civilization; Resource Materials; Resource Units; Secondary Education; Social Studies IDENTIFIERS *Asia (Central).; *Asia (Volga Ural Region); Folk Music; USSR ABSTRACT The music of the peoples who inhabit either Central Asia or the Volga-Ural region of Asia is explored in this document, which provides information that can be incorporated into secondary or higher education courses. The Central Asian music cultures of the Kirghiz, Kazakhs, Turkmens, Karakalpaks, Uighurs, Tajiks, and Uzbeks are described and compared through examinations of: (1) physical environmental factors; (2) cultural patterns; (3) history; (4) music development; and (5) musical instruments. The music of the Volga-Ural peoples, who comprise the USSR nationalities of the Mari (Cheremis), Chuvash, Udmurts (Votyaks), Mordvins, Bashkirs, Tatars, and Kalmucks, is examined, with an emphasis on differences in musical instruments. A 13-item bibliography of Central Asian music and a 17-item Volga-Ural music bibliography are included. An appendix contains examples of musical scores from these regions.
    [Show full text]
  • Bell Type Instruments • Bamboo Vibraphone • Belltree • Bhutan Bells
    Bell Type Instruments Bamboo Vibraphone Iran Fingercymbals Tibetan Cymbals Belltree Metallophon Tibetan Singing Bells Bhutan Bells Mini Bells Vietnam Bells China Finger Cymbals Saron Gamelan Windbells Dream Catcher Shanghai Baby Piano Windchimes Ethno Gamelan Crash Bells Small Burma Bells World Glockenspiel Small Tubular Bells Bowed Instruments Gaohu Dilruba Ih Khuur Bass Morin Khuur Violin Egyptian Fiddle Jinghu Operaviolin Small Morin Khuur Erhu Morin Khuur Strings Western Fiddle Licks Esraj Ensemble CONSTRUCTION SETS China Set 100 Mid East Set 100 China Set 120 Mid East Set 120 Mid East Set 80 China Set 140 Mid East Set 140 GONGS & BOWLS Big FengGong Big Rako Bowls Java Gong Tam Tam Besar “ Big Tibetan Singing Mongolian Gong Thai Gong 14 Bowls Rin Singing Bowls Wuhan Tam Tam “ Gong Besar 18 KEYED INSTRUMENTS Scale Changer Dallape Accordion Melodica Harmonium India METAL TYPE INSTRUMENTS Kalimba Kibirizi 15 Bass Kalimba tuning Plates Metal Squares Cymbals Kalimba Kibirizi 5 Military Cymbals Hand Cymbals tuning Plates Mongolian Jews Harp Jews Harp Kalimba Hugh Tracey STRINGED INSTRUMENTS Acoustic Bass Vester Domra Sitar Balalaika Dra-Ngen Small Erhu Plectrum Bandura Grand Monochord Violin Banjo Framus Joochin Dulcimer Small Kantele Banjolin Kantele Steel String Guitar Big Erhu Plectrum Mandolin Truxa Falcon Violin Oud Tampura Bouzouki Sakis Oud Licks Tanbur Ceylon Guitar Resonator Guitar Timple Contra Guitar F - Bass Santoor Saberi Turke Saz Cora
    [Show full text]
  • Traditional Armenian Instrumental Music That Was Lacking Has Finally Arrived!
    GERARD MADILIAN TRADITIONAL ARMENIAN INSTRUMENTAL MUSIC Jan. 2020 GERARD MADILIAN TRADITIONAL ARMENIAN INSTRUMENTAL MUSIC 1 2 FOREWORD Transmitted from generation to generation, and moving away from its rural origins to perpetuate itself in an urban context, Armenian traditional music has not lost its original strength. History has buried many secrets along the way, but we will try to gather together this heritage through the work of passionate musicologists. This work is neither a manual nor an encyclopedia, but instead presents a synthesis of knowledge acquired over time. It is dedicated to all those who wish to discover or better understand this unusual musical universe. Armenian words transcribed into English (phonetic of Eastern Armenian) will be indicated with a capital first letter and will remain in the singular. The author 3 4 PREFACE The long-awaited book on traditional Armenian instrumental music that was lacking has finally arrived! As my long-time friend Gerard Madilian wrote in his foreword: "History has buried many secrets along the way." It was thus urgent to share the fruits of this research with the general public, and that is why this work was deliberately written in French and translated into English, to make it widely available to as many people as possible. This book is a digest including the essential elements needed to form an opinion in this area. The specialized website www.armentrad.org was in fact selected by the author for this purpose of dissemination. I have shared the same passion with Gerard for many years, having myself practiced the Tar within the Sayat Nova ensemble, which was a traditional Armenian ensemble founded in Paris in 1965.
    [Show full text]
  • Representative List of the Intangible Cultural Heritage of Humanity As Heritage Fund
    ElemeNts iNsCriBed iN 2012 oN the UrGeNt saFeguarding List, the represeNtatiVe List iNTANGiBLe CULtURAL HERITAGe aNd the reGister oF Best saFeguarding praCtiCes What is it? UNESCo’s ROLe iNTANGiBLe CULtURAL SECRETARIAT Intangible cultural heritage includes practices, representations, Since its adoption by the 32nd session of the General Conference in HERITAGe FUNd oF THE CoNVeNTION expressions, knowledge and know-how that communities recognize 2003, the Convention for the Safeguarding of the Intangible Cultural The Fund for the Safeguarding of the The List of elements of intangible cultural as part of their cultural heritage. Passed down from generation to Heritage has experienced an extremely rapid ratification, with over Intangible Cultural Heritage can contribute heritage is updated every year by the generation, it is constantly recreated by communities in response to 150 States Parties in the less than 10 years of its existence. In line with financially and technically to State Intangible Cultural Heritage Section. their environment, their interaction with nature and their history, the Convention’s primary objective – to safeguard intangible cultural safeguarding measures. If you would like If you would like to receive more information to participate, please send a contribution. about the 2003 Convention for the providing them with a sense of identity and continuity. heritage – the UNESCO Secretariat has devised a global capacity- Safeguarding of the Intangible Cultural building strategy that helps states worldwide, first, to create
    [Show full text]
  • KAMMERKONZERT Maqam Jetzt Und Einst
    Konzerthaus Dortmund in Zusammenarbeit mit Aga Khan Music Initiative präsentieren KAMMERKONZERT Maqam Jetzt und Einst with Master Musicians of the Aga Khan Music Initiative Sirojiddin Juraev dutar and tanbur Basel Rajoub saxophone and duclar Feras Charestan qanun Program Ufar: Improvisation on the tanbur Sirojiddin Juraev Sirojiddin Juraev, tanbur Ohangi Sharqi Developed by Sirojiddin Juraev Sirojiddin Juraev, dutar from a melody by Basel Rajoub, dutar Muhammadjon Muminov Feras Charestan, qanun Gypsy Home Basel Rajoub Basel Rajoub, soprano saxophone Feras Charestan, qanun Bagulshan Muhammad Muminov Sirojiddin Juraev, dutar arranged by the performers Feras Charestan, qanun Improvisation on the duclar in maqam Sikah Basel Rajoub Basel Rajoub, duclar Asia Basel Rajoub Basel Rajoub, soprano saxophone Feras Charestan, qanun Sirojiddin Juraev, dutar Samai Feras Charestan Feras Charestan, qanun Mashq-i dutar Sirojiddin Juraev Sirojiddin Juraev, dutar Wafaa Basel Rajoub Basel Rajoub, duclar Feras Charestan, qanun Jul Dance Feras Charestan Basel Rajoub, soprano saxophone Feras Charestan, qanun Sirojiddin Juraev, dutar Tashkent Basel Rajoub Basel Rajoub, soprano saxophone Feras Charestan, qanun Sirojiddin Juraev, tanbur, dutar KAMMERKONZERT Maqam Jetzt und Einst This evening’s concert features a trio of master musicians from Syria and Tajikistan who perform their own compositions and arrangements rooted in and inspired by maqam. Maqam is a vast domain of sophisticated art song and instrumental music that has evolved in different regional “dialects” over at least a millennium in the Eastern Mediterranean, Iraq, Iran, Azerbaijan, North Africa, and Central Asia. These geographically diverse but musically kindred traditions are organized in canonical repertories often referred to as “classical” music. The roots of maqam are in an old cultivated tradition of music theory, mathematics, and philosophy that developed under the patronage of Muslim rulers in great centers of culture and commerce such as Baghdad, Damascus, Samarkand, Herat, and Bukhara.
    [Show full text]
  • Medium of Performance Thesaurus for Music
    A clarinet (soprano) albogue tubes in a frame. USE clarinet BT double reed instrument UF kechruk a-jaeng alghōzā BT xylophone USE ajaeng USE algōjā anklung (rattle) accordeon alg̲hozah USE angklung (rattle) USE accordion USE algōjā antara accordion algōjā USE panpipes UF accordeon A pair of end-blown flutes played simultaneously, anzad garmon widespread in the Indian subcontinent. USE imzad piano accordion UF alghōzā anzhad BT free reed instrument alg̲hozah USE imzad NT button-key accordion algōzā Appalachian dulcimer lõõtspill bīnõn UF American dulcimer accordion band do nally Appalachian mountain dulcimer An ensemble consisting of two or more accordions, jorhi dulcimer, American with or without percussion and other instruments. jorī dulcimer, Appalachian UF accordion orchestra ngoze dulcimer, Kentucky BT instrumental ensemble pāvā dulcimer, lap accordion orchestra pāwā dulcimer, mountain USE accordion band satāra dulcimer, plucked acoustic bass guitar BT duct flute Kentucky dulcimer UF bass guitar, acoustic algōzā mountain dulcimer folk bass guitar USE algōjā lap dulcimer BT guitar Almglocke plucked dulcimer acoustic guitar USE cowbell BT plucked string instrument USE guitar alpenhorn zither acoustic guitar, electric USE alphorn Appalachian mountain dulcimer USE electric guitar alphorn USE Appalachian dulcimer actor UF alpenhorn arame, viola da An actor in a non-singing role who is explicitly alpine horn USE viola d'arame required for the performance of a musical BT natural horn composition that is not in a traditionally dramatic arará form. alpine horn A drum constructed by the Arará people of Cuba. BT performer USE alphorn BT drum adufo alto (singer) arched-top guitar USE tambourine USE alto voice USE guitar aenas alto clarinet archicembalo An alto member of the clarinet family that is USE arcicembalo USE launeddas associated with Western art music and is normally aeolian harp pitched in E♭.
    [Show full text]
  • Mey, Balaban Ve Duduk Sazlarının Genel Olarak İncelenmesi Ve Kültürel Perspektifte Karşılaştırılması 1
    Haliç Üniversitesi Sosyal Bilimler Dergisi, Mart 2020 • Cilt: 3/1: 131-165 DOI: ArAştırmA mAkAlesi / RESEARCH ARTICLE mey, Balaban ve Duduk sazlarının Genel Olarak incelenmesi ve kültürel Perspektifte karşılaştırılması 1 Zafer EREN1*, Leyla TANSEVER2 1Amasya Güzel Sanatlar Lisesi/Amasya, Türkiye. Orcid Numarası: 0000-0002-7226-9792 2Haliç Üniversitesi, Konservatuvar/Opera ve Konser Şarkıcılığı Bölümü, İstanbul, Türkiye. Orcid Numarası: 0000-0002-7345-2193 Geliş tarihi: 16.12.2019 *Sorumlu Yazar e mail: [email protected] kabul tarihi: 27.03.2020 Atıf/Citation: Eren, Z. ve Tansever, L., “Mey, Balaban ve Duduk Sazlarının Genel Olarak İncelenmesi ve Kültürel Perspektifte Karşılaştırılması”, Haliç Üniversitesi Sosyal Bilimler Dergisi 2020, 3-/1: 131-165. Öz Bu çalışmada, geçmişten günümüze kadar olan süreçte belirli aralıklarla ele alınan mey, balaban, duduk çalgılarının kelime anlamları ve tarihsel süreçleri detaylı bir şekilde incelenmiştir. Mey, balaban, duduk çalgılarının biçimleri, bölümleri, ses karakterleri ve kullanım alanlarıyla birlikte, ortak yönleri incelenmiş olup çok az da olsa farklılıkları detaylı bir şekilde belirtilmiştir. Ayrıca Anadolu’da mey, Azerbaycan’da balaban, Ermenistan’da duduk çalgıları bire bir gözlemlerle incelenmiş, bu çalgıları icra eden kişiler ile görüşmeler gerçekleştirilmiştir. Bu görüşmeler doğrultusunda bu çalgıların yapım aşamasında kullanılan ağaçların isimleri, perde yapıları, üfleme teknikleri ve genel karakteristik özelliklerine değinilmiştir. Bulundukları coğrafi yapılar, kültürler ve folklorik çizgiler, kullanılan farklı diller ve yaşam şekilleri bu sazları ayrı bir kimliğe bürüdüğü görülmüştür. Yapılan gözlemlerden çıkarılan sonuç, bu üç üflemeli çalgının artık müzik dünyasında daha fazla yer bulması gerektiğidir. Bu çalışmada ayrıca bu sazların gövdesinde yapılan bazı değişikliklerle yıllardan beri süregelen gövde üzerindeki görünüm biraz değiştirilmiştir. Sonuçta, bu sazların daha güçlü bir ses dizisine sahip olarak ezgileri daha kolay icra etme potansiyeli kazandırılmıştır.
    [Show full text]
  • Mongolian Folklore Expressed Through Music Technology Original Multimedia Soundtrack on Horseback Xinlei Chu
    Duquesne University Duquesne Scholarship Collection Electronic Theses and Dissertations Spring 2014 Mongolian Folklore Expressed through Music Technology Original Multimedia Soundtrack on Horseback Xinlei Chu Follow this and additional works at: https://dsc.duq.edu/etd Recommended Citation Chu, X. (2014). Mongolian Folklore Expressed through Music Technology Original Multimedia Soundtrack on Horseback (Master's thesis, Duquesne University). Retrieved from https://dsc.duq.edu/etd/406 This Immediate Access is brought to you for free and open access by Duquesne Scholarship Collection. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Duquesne Scholarship Collection. For more information, please contact [email protected]. MONGOLIAN FOLKLORE EXPRESSED THROUGH MUSIC TECHNOLOGY ORIGINAL MULTIMEDIA SOUNDTRACK ON HORSEBACK A Thesis Submitted to the Graduate Division of the Mary Pappert School of Music Duquesne University In partial fulfillment of the requirements for the degree of Master of Music in Music Technology By Xinlei Chu May 2014 Copyright by Xinlei Chu 2014 MONGOLIAN FOLKLORE EXPRESSED THROUGH MUSIC TECHNOLOGY ORIGINAL MULTIMEDIA SOUNDTRACK ON HORSEBACK By Xinlei Chu Approved April 11, 2014 ________________________________ ________________________________ Lynn Emberg Purse Judith Bowman, Ph.D Associate Professor of Music Technology Professor of Music Education & Music Area Chair of Electronic Composition Technology (Committee Chair) (Committee Member) ________________________________
    [Show full text]