The Composer's Opportunity Guidebook
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EAST-CENTRAL EUROPEAN & BALKAN SYMPHONIES from The
EAST-CENTRAL EUROPEAN & BALKAN SYMPHONIES From the 19th Century To the Present A Discography Of CDs And LPs Prepared by Michael Herman Composers K-P MILOSLAV KABELÁČ (1908-1979, CZECH) Born in Prague. He studied composition at the Prague Conservatory under Karel Boleslav Jirák and conducting under Pavel Dedeček and at its Master School he studied the piano under Vilem Kurz. He then worked for Radio Prague as a conductor and one of its first music directors before becoming a professor of the Prague Conservatoy where he served for many years. He produced an extensive catalogue of orchestral, chamber, instrumental, vocal and choral works. Symphony No. 1 in D for Strings and Percussion, Op. 11 (1941–2) Marko Ivanovič/Prague Radio Symphony Orchestra ( + Symphonies Nos. 2, 3, 4, 5, 6, 7 and 8) SUPRAPHON SU42022 (4 CDs) (2016) Symphony No. 2 in C for Large Orchestra, Op. 15 (1942–6) Marko Ivanovič/Prague Radio Symphony Orchestra ( + Symphonies Nos. 1, 3, 4, 5, 6, 7 and 8) SUPRAPHON SU42022 (4 CDs) (2016) Symphony No. 3 in F major for Organ, Brass and Timpani, Op. 33 (1948-57) Marko Ivanovič//Prague Radio Symphony Orchestra ( + Symphonies Nos. 1, 2, 4, 5, 6, 7 and 8) SUPRAPHON SU42022 (4 CDs) (2016) Libor Pešek/Alena Veselá(organ)/Brass Harmonia ( + Kopelent: Il Canto Deli Augei and Fišer: 2 Piano Concerto) SUPRAPHON 1110 4144 (LP) (1988) Symphony No. 4 in A major, Op. 36 "Chamber" (1954-8) Marko Ivanovic/Czech Chamber Philharmonic Orchestra, Pardubice ( + Martin·: Oboe Concerto and Beethoven: Symphony No. 1) ARCO DIVA UP 0123 - 2 131 (2009) Marko Ivanovič//Prague Radio Symphony Orchestra ( + Symphonies Nos. -
Donn Borcherdt Collection
http://oac.cdlib.org/findaid/ark:/13030/kt0t1nc989 No online items Finding Aid for the Donn Borcherdt Collection 1960-1964 Processed by . Ethnomusicology Archive UCLA 1630 Schoenberg Music Building Box 951657 Los Angeles, CA 90095-1657 Phone: (310) 825-1695 Fax: (310) 206-4738 Email: [email protected] URL: http://www.ethnomusic.ucla.edu/Archive/ ©2007 The Regents of the University of California. All rights reserved. Finding Aid for the Donn 1966.01 1 Borcherdt Collection 1960-1964 Descriptive Summary Title: Donn Borcherdt Collection, Date (inclusive): 1960-1964 Collection number: 1966.01 Creator: Borcherdt, Donn Extent: 7 boxes Repository: University of California, Los Angeles. Library. Ethnomusicology Archive Los Angeles, California 90095-1490 Abstract: This collection consists of sound recordings and field notes. Language of Material: Collection materials in English, Spanish Access Archive materials may be accessed in the Archive. As many of our collections are stored off-site at SRLF, we recommend you contact the Archive in advance to check on the availability of the materials. Publication Rights Archive materials do not circulate and may not be duplicated or published without written permission from the copyright holders, collectors, and/or performers. For more information contact the Archive Librarians: [email protected]. Preferred Citation [Identification of item], Donn Borcherdt Collection, 1966.01, Ethnomusicology Archive, University of California, Los Angeles. Biography Donn Borcherdt was born in Montrose, California. Borcherdt was a composer and pianist. After he received his BA from UCLA in composition and conducting, he began his graduate studies in ethnomusicology in 1956, focusing first on Armenian folk music and, later, on the music of Mexico. -
Edition 1 | 2019-2020
Credit: Harald Hoffmann New Horizons September 21-24, 2017 MESSAGE FROM THE BOARD PRESIDENT & EXECUTIVE DIRECTOR elcome to the his evening marks the opening concerts beginning of Daniel Wof New Century’s THope’s second season 2019-2020 Season! We open as New Century’s Music this season on the heels of New Director. In just one short year Century’s successful European at the helm, Daniel has made an debut tour. Our musicians indelible impact on the scope charmed European audiences of our activities, our artistic during sold-out concerts at some partnerships, and orchestral of Europe’s most celebrated music festivals, including the sound. Just three months ago, Daniel led New Century Leonard Bernstein-founded Schleswig-Holstein Music on its debut tour of Europe, where our musicians Festival, and three concerts at the massive Festspiele played to enthusiastic sold-out crowds across Germany Mecklenburg-Vorpommern. and Poland. It was a moving experience to hear our wonderful orchestra play at some of the most important I was delighted to join the tour with an enthusiastic festival venues in Europe—truly an incredible milestone fan club of Bay Area patrons and members of the New for our Bay Area orchestra. This first European tour Century Board of Directors. It was a proud moment for was just the beginning of a new chapter for us as an all of us to witness our brilliant musicians and Music internationally recognized ensemble. Director Daniel Hope received with wild applause and standing ovations at these storied European festivals. We open the 2019-2020 season with a program that We have all known for years that we have a very special features the sensational young pianist Maxim Lando. -
Bitstream 42365.Pdf
THE TUNES OF DIPLOMATIC NOTES Music and Diplomacy in Southeast Europe (18th–20th century) *This edited collection is a result of the scientific projectIdentities of Serbian Music Within the Local and Global Framework: Traditions, Changes, Challenges (No. 177004, 2011–2019), funded by the Ministry of Education, Science and Technological Development of the Republic of Serbia, and implemented by the Institute of Musicology SASA (Belgrade, Serbia). It is also a result of work on the bilateral project carried out by the Center for International Relations (Faculty of Social Sciences, University of Ljubljana) and the Institute of Musicology SASA (Belgrade, Serbia) entitled Music as a Means of Cultural Diplomacy of Small Transition Countries: The Cases of Slovenia and Serbia(with financial support of ARRS). The process of its publishing was financially supported by the Ministry of Education, Science and Technological Development of the Republic of Serbia. THE TUNES OF DIPLOMATIC NOTES MUSIC AND DIPLOMACY IN SOUTHEAST EUROPE (18th–20th CENTURY) Edited by Ivana Vesić, Vesna Peno, Boštjan Udovič Belgrade and Ljubljana, 2020 CONTENTS Acknowledgements ������������������������������������������������������������������������������������������������������ 7 1. Introduction ����������������������������������������������������������������������������������������������������������������������������9 Ivana Vesić, Vesna Peno, Boštjan Udovič Part I. Diplomacy Behind the Scenes: Musicians’ Contact With the Diplomatic Sphere 2. The European Character of Dubrovnik and the Dalmatian Littoral at the End of the Enlightenment Period: Music and Diplomatic Ties of Luka and Miho Sorkočević, Julije Bajamonti and Ruđer Bošković ��������������������������������������������������������������������������������17 Ivana Tomić Ferić 3. The Birth of the Serbian National Music Project Under the Influence of Diplomacy ���������37 Vesna Peno, Goran Vasin 4. Petar Bingulac, Musicologist and Music Critic in the Diplomatic Service ������������������53 Ratomir Milikić Part II. -
Convention De 2003 Pour La Sauvegarde
2003 Convention for the Safeguarding of the Intangible Cultural Heritage MEDIA KIT 2015 www.unesco.org/culture/ich/ In this kit, you will find... 1. Introduction ................................................................................................................................................................ 3 Intangible cultural heritage ................................................................................................................................................................................ 3 The Convention ................................................................................................................................................................................................. 3 Safeguarding intangible cultural heritage........................................................................................................................................................... 4 Intangible cultural heritage domains .................................................................................................................................................................. 4 Benefits of implementation of the Convention.................................................................................................................................................... 5 Statutory organs of the Convention ................................................................................................................................................................... 5 2. Frequently asked -
20Th-Century Repertory
Mikrokosmos List 635. - 2 - July 2018 ....20TH-CENTURY REPERTORY 1 Andricu, Mihail: Sym a IV-a; Simfonietta 12 - cond.Bacs, Sbarcea S ELECTRECOR ST-ECE 1922 A 12 2 Andriessen, Hendrik: Sym 2 & 3 - cond.Otterloo, Fournet (live with scores) S DONEMUS 70713 A 20 3 Andriessen, Henrik: Sym 1/ Paap: Garlands of Music/ Horst: Reflexions Sonores - DONEMUS DAVS 6804 A 8 cond.Hupperts, Otterloo, Haitink all live with scores S 4 Berio: Epifanie, Folk Songs, Sequenza VI, Chemins II, III - C.Berberian, Trampler, 2 x RCA RK 11530 A 15 Juilliard Ens, London SO, cond.Berio S 5 Blacher: Concertante Music, Pno Con 2 - G.Herzog, cond.Rosbaud (gatefold) DGG LP 16402 A 12 GY2 (p.1956) 10" 6 Blockx, Jan: Vlaamse Kermis/Poot, Marcel: Sinfonietta in G - cond.L.Gras 10" DECCA 143361 A 40 7 Carter, Elliott: Vars for Orch, Double Con - Rosen pno, Jacobs hrpschrd, CBS S 3461093 A 8 cond.Prausnitz S 8 Djabadary: Rhapsodie Geoprgienne (pf, orch); Tiflisiana (orch); Pno Con - H.Goraieb VOXIGRAVE V30ST 7240 A 10 pno, RTL SO, cond.Froment S 9 Draeseke, Felix: Mass in a (Leichlinger Kantorei, cond.Follert), 6 Fugues for Pno POLYPHONIA POL 63018 A 8 (Haas arr and plays organ) 1983 S 10 Egk, Werner: La Tentation de St Antoine/Arriaga: SQ 3 - M.Hendriks ms, Markl AARTON 8335 A 12 Quartet 1983 S 11 Eimert, Herbert: Einfuhrung; Etude; 5 Pieces; Glockenspiel (electronic music) DGG LP 16132 A 50 (p.1957) 10" 12 Enescu: Sonata for Vln & Pno No.2 (Cozighian vln, V.Gheorghiu pno); Sonata for Vcl & ELECTRECOR ST-ECE 1804 A 12 Pno Op.26\2 (Gutu vcl, E.Cosma pno) S 13 Enescu: Vox Maris -
MUSIC Grade 7 Teacher’S Guide (Units 1 and 2)
MUSIC Grade 7 Teacher’s Guide (Units 1 and 2) MUSIC TEACHING GUIDE 1: Music of Cordillera I TARGET GRADE LEVEL: Grade 7 II MODULE 1: Music of the Cordillera III TIME ALLOTMENT: 2 Hours IV OVERVIEW OF THE MODULE The lesson is an overview on the music of the Cordillera or the Highlands of Luzon where several ethnolinguistic groups in the mountains of Cordillera live.. Through the lesson, one will discover how the Cordillerans express their feelings towards each other and the environment, their history, and their supernatural beliefs through the medium of voice and/or musical instruments. A group performance inspired by examples of Cordillera music examples will culminate the educational experience. V PERFORMANCE STANDARD Analyzes musical elements and processes of Philippine music. Correlates Philippine music to Philippine culture. Performs examples of Philippine music, alone and with others, in appropriate tone, pitch, rhythm, expression and style. VI COMPETENCIES/OBJECTIVES Analyzes an example of Philippine folk music from the Highlands and Lowlands of Luzon, and describe how the musical elements are used. Explains the distinguishing characteristics of representative Philippine folk music from the Highlands and Lowlands of Luzon, in relation to history and culture of the area. Analyzes the relationship of functions of Philippine music from the Highlands and Lowlands of Luzon, to the lives of the people. Sings accurately representative folk songs from the Highlands and Lowlands of Luzon, alone and / or with others. Performs on available instruments music from the Highlands and Lowlands of Luzon, alone and / or with others. Improvises simple rhythmic / harmonic accompaniments to selected Philippine folk music from the Highlands and Lowlands of Luzon. -
{PDF EPUB} the Violin Music of Beethoven by John Matthews
Read Ebook {PDF EPUB} The violin music of Beethoven by John Matthews Jan 01, 2010 · The Violin Music of Beethoven Paperback – January 1, 2010 by John Matthews (Author) See all formats and editions Hide other formats and editions. Price New from Used from Hardcover "Please retry" $22.95 . $22.95 — Paperback "Please retry" $7.97 . $7.97 — Hardcover $22.95 2 New from $22.95Author: John MatthewsImages of The Violin Music of Beethoven by John Matthews bing.com/imagesSee allSee all imagesThe violin music of Beethoven : Matthews, John, 1856 ...https://archive.org/details/violinmusicbeet00mattgoogMay 24, 2009 · The violin music of Beethoven by Matthews, John, 1856- [from old catalog] Publication date 1902 Topics Beethoven, Ludwig van, 1770-1827. [from old catalog] Publisher London, The Strad office [etc.] New York, C. Scribner's sons Collection americana Digitizing …Pages: 124The Violin Music Of Beethoven : J. Matthews : Free ...https://archive.org/details/violinmusicofbee002694mbpOct 26, 2006 · The Violin Music Of Beethoven by J. Matthews. Publication date 1902 Publisher Charles Scribners Sons Collection universallibrary Contributor Universal Digital Library Language English. Addeddate 2006-10-26 08:09:55 Barcode 115213 Call number 2694 Digitalpublicationdate 2004-01-29 00:00:00 Identifier The Violin Music of Beethoven by J Matthews starting at $9.20. The Violin Music of Beethoven has 8 available editions to buy at Half Price Books Marketplace Same Low Prices, Bigger Selection, More Fun The Violin Music of Beethoven (Classic Reprint) by J Matthews starting at $17.36. The Violin Music of Beethoven (Classic Reprint) has 1 available editions to buy at Half Price Books Marketplace Same Low Prices, Bigger Selection, More Fun The first movement starts with four beats on the timpani and has a duration of about 25 minutes. -
ECFG-Philippines-2020R.Pdf
About this Guide This guide is designed to prepare you to deploy to culturally complex environments and achieve mission objectives. The fundamental information contained within will help you understand the cultural Philippines The dimension of your assigned location and gain skills necessary for success.The guide consists of 2 parts: Part 1 introduces “Culture General,” the foundational knowledge you need to operate effectively in any global environment – Southeast Asia in particular. Part 2 presents “Culture Specific” information on the Philippines, focusing on unique cultural features of Filipino society. This section is designed to complement other pre- deployment training. It applies culture-general Guide Culture concepts to help increase your knowledge of your assigned deployment location. For further information, visit the Air Force Culture and Language Center (AFCLC) website at www.airuniversity.af.edu/AFCLC/ or contact the AFCLC Region Team at [email protected]. Disclaimer: All text is the property of the AFCLC and may not be modified by a change in title, content, or labeling. It may be reproduced in its current format with the expressed permission of AFCLC. All photography is provided as a courtesy of the US government, Wikimedia, and other sources as indicated. GENERAL CULTURE CULTURE PART 1 – CULTURE GENERAL What is Culture? Fundamental to all aspects of human existence, culture shapes the way humans view life and functions as a tool we use to adapt to our social and physical environments. A culture is the sum of all of the beliefs, values, behaviors, and symbols that have meaning for a society. All human beings have culture, and individuals within a culture share a general set of beliefs and values. -
K to 12 Curriculum Guide
Republic of the Philippines Department of Education DepEd Complex, Meralco Avenue Pasig City K to 12 Curriculum Guide MUSIC (Grade 1 to Grade 10) December 2013 K to 12 BASIC EDUCATION CURRICULUM CONCEPTUAL FRAMEWORK Both the Music and the Arts curricula focus on the learner as recipient of the knowledge, skills, and values necessary for artistic expression and cultural literacy. The design of the curricula is student-centered, based on spiral progression of processes, concepts and skills and grounded in performance- based learning. Thus, the learner is empowered, through active involvement and participation, to effectively correlate music and art to the development of his/her own cultural identity and the expansion of his/her vision of the world. As Music and Arts are performance-based disciplines, effective learning occurs through active experience, participation, and performance, creative expression, aesthetic valuation, critical response, and interpretation. The skills that are developed include reading/analyzing, listening/observing, performing, (singing, using musical instruments, movement, acting, and playing, using different art materials, techniques and processes, responding, composing, and creating. (See Figure 1 and Figure 2) The philosophical foundations upon which standards and competencies are based include: A Process of Education by Jerome Bruner, Performance-Based Learning by Cleve Miller, Aesthetic Education by Bennett Reimer, Multiple Intelligences by Howard Gardner, A Structure for Music Education by Ronald Thomas, Gongs and Bamboo by Jose Maceda, Compendium on the Humanities: Musical Arts produced by the National Research Council of the Philippines, Cultural Dictionary for Filipinos by Thelma Kintanar and Associates, Creative and Mental Growth by Viktor Lowenfeld and W. -
Pieces for Solo Violin by Bulgarian Composers: a World Premiere Recording of Works by Souroujon, Goleminov, Zaimov and Goshev
Pieces for Solo Violin by Bulgarian Composers: A World Premiere Recording of Works by Souroujon, Goleminov, Zaimov and Goshev by Olga Draguieva A written project submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts (Violin Performance) at the UNIVERSITY OF WISCONSIN-MADISON 2015 Date of final oral examination: 08/17/2015 The dissertation is approved by the following members of the Final Oral Committee: Perry, David, Professor, Violin Buenger, Barbara, Professor, Art History Chisholm, Sally, Professor, Viola Earp, Lawrence, Professor, Musicology Moye, Felicia, Professor, Violin i PIECES FOR SOLO VIOLIN BY BULGARIAN COMPOSERS: A World Premiere Recording of Works by Souroujon, Goleminov, Zaimov and Goshev Olga Draguieva Doctor of Musical Arts: Violin Performance ABSTRACT The Doctoral Performance and Research submitted by Olga Draguieva, under the direction of Professor David Perry at the University of Wisconsin-Madison, in the fulfillment of the requirements for the degree Doctor of Musical Arts consists of the following: I. Written Project: "Pieces for Solo Violin by Bulgarian Composers: A World Premiere Recording of Works by Souroujon, Goleminov, Zaimov and Goshev" This written project contains a compact disc with World Premiere Recordings of works by Souroujon, Goleminov, Zaimov and Goshev, with program notes exploring the composers' life and works. It includes Soultana Souroujon's biography and the painting she made of her brother Leon Souroujon. There is an annotated bibliography using several sources available only in Bulgarian with their corresponding translation. II. Chamber Music Recital, 11/21/2010, Morphy Hall String Quartet op.74–Ludwig van Beethoven String Quartet no.1–Karl Amadeus Hartmann III. -
Yildiz Whole Thesis.Pdf
An Investigation of the Application and Performance Execution of the Aksak in the Solo Piano Music of Béla Bartók, György Ligeti, Lubomir Pipkov, Vassil Kazandjiev, Ahmed Adnan Saygun and Ilhan Baran by Gergana Nikolaeva Yildiz (BMus, MMus) School of Creative Arts and Media, Conservatorium of Music Submitted in partial fulfilment of the requirements for the Degree of Doctor of Philosophy University of Tasmania, August 2019 Declaration of originality I declare that this exegesis contains no material that has been accepted for a degree or diploma by the University or any other institution, except by way of background information and duly acknowledged in the exegesis. I have read the University statement on academic misconduct (plagiarism) on the University website at www.utas.edu.au/plagiarism and to the best of my knowledge and belief the exegesis contains no material previously published or written by another person except where due acknowledgement is made in the text of the exegesis, nor does the exegesis contain any material that infringes copyright. Statement of authority of access This exegesis may be made available for loan and limited copying in accordance with the Copyright Act 1968. Name: Gergana Nikolaeva Yildiz Signed: Date: 9th August 2019 ii Abstract The term aksak refers to a specific type of asymmetrical metre that is widespread in the folk music traditions of the Balkan countries and Turkey. The present study examines the translation of the aksak from folklore into classical piano repertoire, focusing on solo piano works by the following six composers from Hungary, Bulgaria and Turkey: Béla Bartók, György Ligeti, Lubomir Pipkov, Vassil Kazandjiev, Ahmed Adnan Saygun and Ilhan Baran.