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Plusinside Senti18 Cmufilmfest15
Pittsburgh Opera stages one of the great war horses 12 PLUSINSIDE SENTI 18 CMU FILM FEST 15 ‘BLOODLINE’ 23 WE-2 +=??B/<C(@ +,B?*(2.)??) & THURSDAY, MARCH 19, 2015 & WWW.POST-GAZETTE.COM Weekend Editor: Scott Mervis How to get listed in the Weekend Guide: Information should be sent to us two weeks prior to publication. [email protected] Send a press release, letter or flier that includes the type of event, date, address, time and phone num- Associate Editor: Karen Carlin ber of venue to: Weekend Guide, Pittsburgh Post-Gazette, 34 Blvd. of the Allies, Pittsburgh 15222. Or fax THE HOT LIST [email protected] to: 412-263-1313. Sorry, we can’t take listings by phone. Email: [email protected] If you cannot send your event two weeks before publication or have late material to submit, you can post Cover design by Dan Marsula your information directly to the Post-Gazette website at http://events.post-gazette.com. » 10 Music » 14 On the Stage » 15 On Film » 18 On the Table » 23 On the Tube Jeff Mattson of Dark Star City Theatre presents the Review of “Master Review of Senti; Munch Rob Owen reviews the new Orchestra gets on board for comedy “Oblivion” by Carly Builder,”opening CMU’s film goes to Circolo. Netflix drama “Bloodline.” the annual D-Jam show. Mensch. festival; festival schedule. ALL WEEKEND SUNDAY Baroque Coffee House Big Trace Johann Sebastian Bach used to spend his Friday evenings Trace Adkins, who has done many a gig opening for Toby at Zimmermann’s Coffee House in Leipzig, Germany, where he Keith, headlines the Palace Theatre in Greensburg Sunday. -
Music 80C History and Literature of Electronic Music Tuesday/Thursday, 1-4PM Music Center 131
Music 80C History and Literature of Electronic Music Tuesday/Thursday, 1-4PM Music Center 131 Instructor: Madison Heying Email: [email protected] Office Hours: By Appointment Course Description: This course is a survey of the history and literature of electronic music. In each class we will learn about a music-making technique, composer, aesthetic movement, and the associated repertoire. Tests and Quizzes: There will be one test for this course. Students will be tested on the required listening and materials covered in lectures. To be prepared students must spend time outside class listening to required listening, and should keep track of the content of the lectures to study. Assignments and Participation: A portion of each class will be spent learning the techniques of electronic and computer music-making. Your attendance and participation in this portion of the class is imperative, since you will not necessarily be tested on the material that you learn. However, participation in the assignments and workshops will help you on the test and will provide you with some of the skills and context for your final projects. Assignment 1: Listening Assignment (Due June 30th) Assignment 2: Field Recording (Due July 12th) Final Project: The final project is the most important aspect of this course. The following descriptions are intentionally open-ended so that you can pursue a project that is of interest to you; however, it is imperative that your project must be connected to the materials discussed in class. You must do a 10-20 minute in class presentation of your project. You must meet with me at least once to discuss your paper and submit a ½ page proposal for your project. -
The Evolution of the Performer Composer
CONTEMPORARY APPROACHES TO LIVE COMPUTER MUSIC: THE EVOLUTION OF THE PERFORMER COMPOSER BY OWEN SKIPPER VALLIS A thesis submitted to the Victoria University of Wellington in fulfillment of the requirements for the degree of Doctor of Philosophy Victoria University of Wellington 2013 Supervisory Committee Dr. Ajay Kapur (New Zealand School of Music) Supervisor Dr. Dugal McKinnon (New Zealand School of Music) Co-Supervisor © OWEN VALLIS, 2013 NEW ZEALAND SCHOOL OF MUSIC ii ABSTRACT This thesis examines contemporary approaches to live computer music, and the impact they have on the evolution of the composer performer. How do online resources and communities impact the design and creation of new musical interfaces used for live computer music? Can we use machine learning to augment and extend the expressive potential of a single live musician? How can these tools be integrated into ensembles of computer musicians? Given these tools, can we understand the computer musician within the traditional context of acoustic instrumentalists, or do we require new concepts and taxonomies? Lastly, how do audiences perceive and understand these new technologies, and what does this mean for the connection between musician and audience? The focus of the research presented in this dissertation examines the application of current computing technology towards furthering the field of live computer music. This field is diverse and rich, with individual live computer musicians developing custom instruments and unique modes of performance. This diversity leads to the development of new models of performance, and the evolution of established approaches to live instrumental music. This research was conducted in several parts. The first section examines how online communities are iteratively developing interfaces for computer music. -
Zola.’ (AP) Song of the Summer
ARAB TIMES, THURSDAY, JULY 1, 2021 NEWS/FEATURES 13 People & Places Music Dacus sings young love Cat album falters at fi rst but ends strong By Mark Kennedy ot to be totally catty, but Doja Cat’s third album Nstarts poorly. The first four songs — “Woman,” “Naked,” “Payday” with Young Thug and “Get Into It (Yuh)” — are half-baked tunes mimicking beats and vocals from Nicki Minaj or Rihanna. None are note- worthy. It’s depressing. What happened to the artist behind 2019s “Hot Pink,” a sonic breath of fresh air? What happened to the Doja Cat whose electric performance of “Say So” at the Grammys was reminiscent of Missy Elliott’s futurism? Just wait. The fi fth song, “Need to Know,” is a superb, steamy sex tape of a song (with Dr. Luke co-writing and producing) and the sixth, “I Don’t Do Drugs” featuring Ariana Grande, is airy and confi dent with heav- enly harmonies. “Love to Dream” follows, a slice of dreamy pop, and then The Weeknd stops by on a terrifi c, slow-burning “You Right.” Cat The Cat is back. From then on, the 14-track “Planet Her” rights itself with whispery pop songs and the envelope-pushing “Options” with JID, climaxing with the awesome “Kiss Me More,” the previously released single with SZA that has a Gwen Stefani-ish refrain and must be considered a strong contender for This image released by A24 shows Riley Keough, (left), and Taylour Paige in a scene from ‘Zola.’ (AP) song of the summer. Despite the weak start, Doja Cat fulfi lls her promise on “Planet Her,” with an exciting, unpredictable style and a vocal ability that can switch from buttery sweet- Film ness to cutting raps. -
Aria Hip Hop/R&B Albums Chart Week Commencing 5 July, 2021
CHART KEY <G> GOLD 35000 UNITS <P> PLATINUM 70000 UNITS <D> DIAMOND 500000 UNITS TW THIS WEEK LW LAST WEEK TI TIMES IN HP HIGH POSITION ARIA HIP HOP/R&B ALBUMS CHART WEEK COMMENCING 5 JULY, 2021 TW LW TI HP TITLE Artist CERTIFIED COMPANY CAT NO. 1 NEW 1 1 CALL ME IF YOU GET LOST Tyler, The Creator COL/SME G010004611785N 2 NEW 1 2 PLANET HER Doja Cat RCA/SME G010004559757S 3 2 49 1 F*CK LOVE (SAVAGE) The Kid Laroi <G> COL/SME G0100044183579 4 3 52 1 SHOOT FOR THE STARS AIM FOR THE MOON Pop Smoke <G> UNI/UMA 0745661 5 1 3 1 HALL OF FAME Polo G COL/SME G010004601874K 6 4 649 1 CURTAIN CALL: THE HITS Eminem <P>12 INR/UMA 9887893 7 7 51 1 LEGENDS NEVER DIE Juice WRLD <G> INR/UMA 731673 8 5 7 1 THE OFF-SEASON J. Cole INR/UMA 6116514 9 9 257 1 DOO-WOPS & HOOLIGANS Bruno Mars <P>4 ATL/WAR 7567891215 10 11 95 1 HOLLYWOOD'S BLEEDING Post Malone <P>2 UNI/UMA B003100102 11 10 172 1 ? XXXTentacion <P> CAR/UMA 1210673 12 13 102 12 GREATEST HITS Pitbull <G> RCA/SME 88985498712 13 14 84 4 HOT PINK Doja Cat <G> RCA/SME G0100041609116 14 12 152 1 ASTROWORLD Travis Scott <P> SME G0100039717811 15 6 3 2 CULTURE III Migos CAP/UMA 3847647 16 16 166 1 BEERBONGS & BENTLEYS Post Malone <P>2 UNI/UMA B002821802 17 15 118 4 GOODBYE & GOOD RIDDANCE Juice WRLD <G> INR/UMA 6773156 18 18 157 1 SCORPION Drake <P>2 REP/UMA 6787918 19 NEW 1 19 SIN CITY THE MIXTAPE Ski Mask the Slump God REP/UMA 3557193 20 20 59 3 THE GOAT Polo G COL/SME G010004389275N 21 22 347 1 GOOD GIRL GONE BAD Rihanna <P>4 DEF/UMA 1771728 22 19 218 1 STONEY Post Malone <P>2 UNI/UMA 5726167 23 8 2 -
Computing While Composing
Computing While Composing Miller Puckette ∗ size and process musical sound. It can be argued that The field of computer music can be thought of the computer has been the one addition to the clas- as having two fundamental branches, one concerned sical orchestra since the advent of percussion early with the manipulation of musical sounds, and the in the twentieth century. This is a great achieve- other concerned with symbolic representations of mu- ment. CGM is now generally accepted, and the sta- sic. The two are iconized by Max Mathews’s MU- tus of a musician in the Mathews tradition essen- SIC program and Lejaren Hiller’s ILIAC Suite, both tially depends on how good his or her output sounds, of 1957, although both have important antecedents. in the same way as that of an orchestral string or The two branches might provisionally be given the wind player. CGM has become a normal, respectable, names “Computer Generated Music” (Denis Baggi’s middle-class occupation. term for it) and “Computer Aided Composition”— The development of CAC, on the other hand, has or CGM and CAC for short. (In France the latter seen a deepening realization that the problems of the is called “Composition Aid´eepar Ordinateur”. The field are much more difficult than they may have ap- corresponding English acronym, “CAC”, is less than peared at first. In hindsight, this should have been mellifluous and someday we should settle on a better obvious to everyone all along: CGM is in effect build- one.) ing instruments (which were previously made of wood As a field, CAC has flown a very different tra- and the like), but CAC is in effect making the com- jectory from CGM. -
Winkler 2021 CV
Curriculum Vitae I. Todd Winkler, Professor Updated January 1, 2021 Co-Director, MEME@Brown (Multimedia and Electronic Music Experiments) email: [email protected] II. Home Address 22 Halsey St. Unit 6 Providence, RI 02906 III. Education .................................................................. 2 IV. Professional Appointments......................................... 2 V. A. Completed Research and Scholarship Books.............................................................. 3 Published Papers ........................................... 3 Music Criticism, Reviews ............................... 4 Invited Lectures and Papers Read..................... 4 B. Creative Work Recordings ...................................................... 7 List of Concert Works and Installations ......... 7 Film and Video Scores ................ 8 Dance Performances......................................... 9 Installation Exhibitions..................................... 10 Music Concerts.................................................... 10 Other Performance and Production Work ......... 12 VI. Research and Creative Work in Progress ......................... 12 VII. Service ............................................................................. 13 XIII. Honors, Awards, Commissions, Grants ............................... 14 IX. Brown University Teaching A. Courses Taught ............................................ 15 B. Graduate Thesis Committees .... 18 C. Undergraduate Advising and Directed Research ...18 D. Curriculum and Program Development -
So You've Been Musically Shamed
WILLIAM CHENG Dartmouth College Email: [email protected] So You’ve Been Musically Shamed ABSTRACT In July 2014, an anonymous source leaked the raw audio of Britney Spears’s confessional ballad “Alien.” Haters pounced on this star’s denuded voice, gleefully seizing on the viral artifact as a smoking gun for Spears’s deficits and for the pop industry’s artistic fakeries more broadly. My paper situates this flashpoint of Spears-shaming within late-capitalist archives of public humiliation, cyberleaks, and the paternalistic scrutiny of women’s bodies and voices. KEYWORDS: critical theory, media studies, popular music A marketplace has emerged where public humiliation is a commodity and shame is an industry. How is the money made? Clicks. The more shame, the more clicks. – monica lewinsky1 “Poor Britney Spears” is not the beginning of a sentence you hear often uttered in my household. – tony hoagland, “poor britney spears,” beginning of the poem2 In the summer of 2014, the internet sprang a musical leak. Suddenly circulating on YouTube was a video featuring the allegedly raw, non-Auto-Tuned sounds of Brit- 3 ney Spears singing her new album track “Alien.” Spears’s voice in this recording was noticeably off-key and off-kilter, like some abject artifact meant to be overwritten, for- gotten, abandoned on the cutting room floor. In the video’s comment threads, view- ers’ strident pronouncements of aching ears and melting brains swirled in a chorus of mockery. Haters pounced on the star’s denuded voice and offered it as airtight 1. Monica Lewinsky, “The Price of Shame,” TED Talks (2015), transcript available at http://www.ted.com/ talks/monica_lewinsky_the_price_of_shame/transcript?language=en. -
Member Directory - Presenting Organization '62 Center for Theatre and Dance at Williams 92Nd St Y Harkness Dance Center College 1395 Lexington Ave
Member Directory - Presenting Organization '62 Center for Theatre and Dance at Williams 92nd St Y Harkness Dance Center College 1395 Lexington Ave. New York, NY 10128 Williams College, 1000 Main Street Tel: (212) 415-5555 Williamstown, MA 01267 http://www.92y.org Tel: (413) 597-4808 Sevilla, John-Mario, Director Fax: (413) 597-4815 [email protected] http://62center.williams.edu/62center/ Fippinger, Randal, Visiting Artist Producer and Outreach Manager [email protected] Academy Center of the Arts ACANSA Arts Festival 600 Main Street 621 East Capitol Avenue Lynchburg, VA 24504 Little Rock, AR 72202 US US Tel: (434) 528-3256 Tel: (501) 663-2287 http://www.academycenter.org http://acansa.org Wilson, Corey, Programming Manager Helms, Donna, Office Manager [email protected] [email protected] Adelphi University Performing Arts Center Admiral Theatre Foundation One South Avenue, PAC 237 515 Pacific Ave Garden City, NY 11530 Bremerton, WA 98337-1916 Tel: (576) 877-4927 Tel: (360) 373-6810 Fax: (576) 877-4134 Fax: (360) 405-0673 http://pac.adelphi.edu http://https://www.admiraltheatre.org/ Daylong, Blyth, Executive Director Johnson, Brian, Executive Director [email protected] [email protected] Admission Nation LLC Adrienne Arsht Center for the Performing Arts of 41 Watchung Plaza, Suite #82 Miami-Dade County Montclair, NJ 07042 1300 Biscayne Blvd US Miami, FL 33132-1430 Tel: (973) 567-0712 Tel: (786) 468-2000 http://admission-nation.com/ Fax: (786) 468-2003 Minars, Ami, Producer & Founder http://arshtcenter.org [email protected] Zietsman, Johann, President and CEO [email protected] Al Larson Prairie Center for the Arts Alabama Center for the Arts 201 Schaumburg Ct. -
Communication the Director, National Legislative Division
114th Congress, 2d Session – – – – – – – – – – – – – House Document 114–116 PROCEEDINGS OF THE 97TH NATIONAL CONVENTION OF THE AMERICAN LEGION COMMUNICATION FROM THE DIRECTOR, NATIONAL LEGISLATIVE DIVISION, THE AMERICAN LEGION TRANSMITTING A FINANCIAL STATEMENT AND INDEPENDENT AUDIT OF THE AMERICAN LEGION, AND PROCEEDINGS OF THE 97TH ANNUAL NATIONAL CONVENTION OF THE AMERICAN LEGION, HELD IN BALTIMORE, MARYLAND FROM SEPTEMBER 1–3, 2015, AND A RE- PORT ON THE ORGANIZATION’S ACTIVITIES FOR THE YEAR PRE- CEDING THE CONVENTION, PURSUANT TO 36 U.S.C. 10101(b)(1); PUBLIC LAW 105–225, 10101(b)(1); (112 STAT. 1283) MARCH 15, 2016.—Referred to the Committee on Veterans’ Affairs and ordered to be printed U.S. GOVERNMENT PUBLISHING OFFICE 99–451 WASHINGTON : 2016 02:09 Mar 24 2016 Jkt 099451 PO 00000 Frm 00003 Fmt 4012 Sfmt 4012 E:\HR\OC\HD116P1 XXX HD116P1 LETTER OF TRANSMITTAL THE AMERICAN LEGION, Washington, DC, March 10, 2016. Hon. PAUL RYAN, Speaker of the House of Representatives, Washington, DC. DEAR MR. SPEAKER: In compliance with current public law we herewith transmit for printing as a House document a financial statement and independent audit of The American Legion, pro- ceedings of our 97th annual National Convention held in Balti- more, Maryland from September 1, 2, and 3, 2015 and a report on our organization’s activities for the year preceding the convention. For God and Country, IAN DE PLANQUE, Director, National Legislative Division. (II) Table of Contents Foreword.......................................................................................................................... vii National Convention and Officers of The American Legion 1919-2015.......................... ix Proceedings of the 97th Annual National Convention Tuesday, September 1, 2015 Call to Order: National Commander Helm ....................................................................... -
Muc 4313/5315
MUC 4313/5315 Reading Notes: Chadabe - Electric Sound Sample Exams Moog Patch Sheet Project Critique Form Listening List Truax - Letter To A 25-Year Old Electroacoustic Composer Fall 2003 Table of Contents Chadabe - Electric Sound Chapter Page 1 1 2 3 3 7 4 9 5 10 6 14 7 18 8 21 9 24 10 27 11 29 12 33 Appendex 1 – Terms and Abbreviations 35 Appendex 2 – Backus: Fundamental Physical Quantities 36 Sample Exams Exam Page Quiz 1 37 Quiz 2 40 Mid-Term 43 Quiz 3 47 Quiz 4 50 Final 53 Moog Patch Sheet 59 Project Critique Form 60 Listening List 61 Truax - Letter to a 25-Year Old Electroacoustic Composer 62 i Chapter 1, The Early Instruments What we want is an instrument that will give us a continuous sound at any pitch. The composer and the electrician will have to labor together to get it. (Edgard Varèse, 1922) History of Music Technology 27th cent. B.C. - Chinese scales 6th cent. B.C. - Pythagoras, relationship of pitch intervals to numerical frequency ratios (2:1 = 8ve) 2nd cent. C.E. - Ptolemy, scale-like Ptolemaic sequence 16 cent. C.E. - de Salinas, mean tone temperament 17th cent. C.E. - Schnitger, equal temperament Instruments Archicembalo (Vicentino, 17th cent. C.E.) 31 tones/8ve Clavecin electrique (La Borde, 18th cent. C.E.) keyboard control of static charged carillon clappers Futurist Movement L’Arte dei Rumori (Russolo, 1913), description of futurist mechanical orchestra Intonarumori, boxes with hand cranked “noises” Gran concerto futuristica, orchestra of 18 members, performance group of futurist “noises” Musical Telegraph (Gray, 1874) Singing Arc (Duddell, 1899) Thaddeus Cahill Art of and Apparatus for Generating and Distributing Music Electronically (1897) Telharmonium (1898) New York Cahill Telharmonic Company declared bankruptcy (1914) Electrical Means for Producing Musical Notes (De Forest, 1915), using an audion as oscillator, more cost effective Leon Theremin Aetherphone (1920) a.k.a. -
Other Minds in Association with the Berkeley Art
OTHER MINDS IN ASSOCIATION WITH THE BERKELEY ART MUSEUM/ PACIFIC FILM ARCHIVE & THE MISSION DOLORES BASILICA PRESENTS OTHER MINDS FESTIVAL 22 FEBRUARY 18, 19 & MAY 20, 2017 MISSION DOLORES BASILICA, SAN FRANCISCO & BERKELEY ART MUSEUM/PACIFIC FILM ARCHIVE, BERKELEY 2 O WELCOME FESTIVAL TO OTHER MINDS 22 OF NEW MUSIC The 22nd Other Minds Festival is present- 4 Message from the Artistic Director ed by Other Minds in association with the 8 Lou Harrison Berkeley Art Museum/Pacific Film Archive & the Mission Dolores Basilica 9 In the Composer’s Words 10 Isang Yun 11 Isang Yun on Composition 12 Concert 1 15 Featured Artists 23 Film Presentation 24 Concert 2 29 Featured Artists 35 Timeline of the Life of Lou Harrison 38 Other Minds Staff Bios 41 About the Festival 42 Festival Supporters: A Gathering of Other Minds 46 About Other Minds This booklet © 2017 Other Minds, All rights reserved 3 MESSAGE FROM THE EXECUTIVE DIRECTOR WELCOME TO A SPECIAL EDITION OF THE OTHER MINDS FESTIVAL— A TRIBUTE TO ONE OF THE MOST GIFTED AND INSPIRING FIGURES IN THE HISTORY OF AMERICAN CLASSICAL MUSIC, LOU HARRISON. This is Harrison’s centennial year—he was born May 14, 1917—and in addition to our own concerts of his music, we have launched a website detailing all the other Harrison fêtes scheduled in his hon- or. We’re pleased to say that there will be many opportunities to hear his music live this year, and you can find them all at otherminds.org/lou100/. Visit there also to find our curated compendium of Internet links to his work online, photographs, videos, films and recordings.