CISAC @ WIPO Complete Event Report
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An Annotated Guide to African Romances, Op
University of Kentucky UKnowledge Theses and Dissertations--Music Music 2021 SONGS FOR HIGH VOICE: AN ANNOTATED GUIDE TO AFRICAN ROMANCES, OP. 17 BY SAMUEL COLERIDGE-TAYLOR Makeda Danielle Hampton University of Kentucky, [email protected] Author ORCID Identifier: https://orcid.org/0000-0002-5364-9968 Digital Object Identifier: https://doi.org/10.13023/etd.2021.244 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Hampton, Makeda Danielle, "SONGS FOR HIGH VOICE: AN ANNOTATED GUIDE TO AFRICAN ROMANCES, OP. 17 BY SAMUEL COLERIDGE-TAYLOR" (2021). Theses and Dissertations--Music. 189. https://uknowledge.uky.edu/music_etds/189 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. -
Édith Piaf: a Cultural History
ÉDITH PIAF: A CULTURAL HISTORY ÉDITH PIAF A Cultural History David Looseley LIVERPOOL UNIVERSITY PRESS Édith Piaf: A Cultural History First published 2015 by Liverpool University Press 4 Cambridge Street Liverpool L69 7ZU Copyright © 2015 David Looseley The right of David Looseley to be identified as the author of this book has been asserted by him in accordance with the Copyright, Design and Patents Act 1988. All rights reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. British Library Cataloguing-in-Publication data A British Library CIP record is available print ISBN 978-1-78138-257-8 epdf ISBN 978-1-78138-425-1 Typeset by Carnegie Book Production, Lancaster Printed in the UK by CPI Group (UK) Ltd, Croydon CR0 4YY. Contents CONTENTS Acknowledgements vii Chronology 1 Introduction 15 part i: narrating piaf 1 Inventing la Môme 27 2 Piaf and her public 45 3 A singer at war 65 part ii: piaf and chanson 4 A new Piaf 83 5 High art, low culture: Piaf and la chanson française 97 6 Ideology, tragedy, celebrity: a new middlebrow 113 part iii: afterlives 7 Losing Piaf 135 8 Remembering Piaf 153 9 Performing Piaf 171 Conclusion 185 Notes 193 References 233 Index 243 v For my granddaughter Elizabeth (Lizzie) Looseley-Burnet, with love Acknowledgements Acknowledgements would like to express my gratitude to the following, who in I various ways have helped me with the research for this book: Jacques d’Amboise, Ewan Burnet, Erica Burnham of the University of London in Paris, Di Holmes, Jim House, John and Josette Hughes, the late Tony Judt, Rhiannon Looseley, Bernard Marchois of the Musée Édith Piaf, Sue Miller, Cécile Obligi of the Bibliothèque nationale’s Département des arts du spectacle, Cécile Prévost-Thomas, Keith Reader, Philip Tagg, Florence Tamagne and Vera Zolberg. -
OJAI at BERKELEY PETER SELLARS, Music DIRECTOR
OJAI MUSIC FESTIVAL OJAI AT BERKELEY PETER SELLARS, MuSIC DIRECTOR To mark the milestone 70th Ojai Music Festival, renowned director Peter Sellars returns as the 2016 music director. Sellars’ partnership with Ojai dates back to 1992, when he di- rected a daring staged version of Stravinsky’s L’Histoire du soldat with music director Pierre Boulez. The three Ojai programs presented in Berkeley this month mark the sixth year of artistic partnership between the festival and Cal Performances and represent the combined efforts of two great arts organizations committed to innovative and adventur- ous programming. Paris, Salzburg Festival, and San Francisco Opera, among others, and has established a rep- utation for bringing 20th-century and contem- porary operas to the stage, including works by Hindemith, Ligeti, Messiaen, and Stravinsky. Sellars has been a driving force in the cre- ation of many new works with longtime collab- orator John Adams, including Nixon in China, The Death of Klinghoffer, El Niño, Doctor Atomic, A Flowering Tree, and The Gospel According to the Other Mary. Inspired by the compositions of Kaija Saariaho, Sellars has guided the creation of productions of her work that have expanded the repertoire of modern opera. Desdemona, a collaboration with Nobel Prize-winning novelist Toni Morrison and Malian composer and singer Rokia Traoré, was co-commissioned by Cal Performances and re- ceived its uS premiere here in Berkeley. Other projects with Cal Performances in- clude John Adams’ I Was Looking at the Ceiling and Then I Saw the Sky, George Crumb’s The Wings of Destiny (with soprano Dawn upshaw at the 2011 Ojai Festival), and The Peter Sellars (music director, Ojai Music Festival Peony Pavilion. -
Early Twentieth Century Vocal Performance Practice and the French School: an Exploration of the Lectures and Selected Songs by Reynaldo Hahn
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 5-2019 Early Twentieth Century Vocal Performance Practice and the French School: An Exploration of the Lectures and Selected Songs by Reynaldo Hahn Mary P. Hubbell The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/3236 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] EARLY TWENTIETH CENTURY VOCAL PERFORMANCE PRACTICE AND THE FRENCH SCHOOL: AN EXPLORATION OF THE LECTURES AND SELECTED SONGS BY REYNALDO HAHN by MARY HUBBELL A dissertation submitted to the Graduate Faculty in Music in partial fulfillment of the requirements for the degree of Doctor of Musical Arts, The City University of New York 2019 ©2019 Mary Hubbell All rights reserved ii Early Twentieth Century Vocal Performance Practice and the French School: An Exploration of the Lectures and Selected Songs by Reynaldo Hahn by Mary Hubbell This manuscript has been read and accepted for the Graduate Faculty in Music in satisfaction of the dissertation requirement for the degree of Doctor of Musical Arts. Date Janette Tilley Chair of Examining Committee Date Norman Carey Executive Officer Supervisory Committee: Sylvia Kahan Paul Sperry Karen Henson THE CITY UNIVERSITY OF NEW YORK iii Abstract Early Twentieth Century Vocal Performance Practice and the French School: An Exploration of the Lectures and Selected Songs by Reynaldo Hahn by Mary Hubbell Advisor: Sylvia Kahan Composer, conductor, singer, and critic Reynaldo Hahn (1874–1947) was a highly influential figure in Paris’s artistic circles during the first half of the twentieth century. -
Three Songs for Soprano and Orchestra (2002) by Osvaldo Golijov
THE CONFLUENCE OF INNOVATION AND REFERENCE: THREE SONGS FOR SOPRANO AND ORCHESTRA (2002) BY OSVALDO GOLIJOV BY MEGHAN DEWALD Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music, Indiana University May, 2014 Accepted by the faculty of the Jacobs School of Music, Indiana University, in partial fulfillment of the requirements for the degree Doctor of Music. ___________________________________ Carmen Helena Téllez, Research Director __________________________________ Costanza Cuccaro, Chairperson __________________________________ Brian Horne __________________________________ Patricia Stiles ii ACKNOWLEDGEMENTS I would like to thank Dr. Carmen Helena Téllez for first introducing me to the vibrant music of Osvaldo Golijov in 2007 when I was honored to portray Margarita Xirgu in the collegiate premiere of Ainadamar at the Indiana University Jacobs School of Music. Her spirit and passion for not only Golijov’s music but for all music continues to inspire me, and I am grateful for her guidance on this project. To Costanza Cuccaro, I am grateful for the “freedom to fly” vocally and also for her wisdom and support. I am grateful to Dr. Brian Horne for his guidance throughout the degree and writing processes. I would especially like to thank my committee in its entirety (Professors Téllez, Cuccaro, Horne and Patricia Stiles) for their support and encouragement. Because this project culminated in a recital presentation, I would be remiss without thanking my collaborators. To my pianist J. Davis Hart, I thank him for his wonderful coaching and friendship. To my conductor P. Brian Eads, who displays that sometimes the most talented people are also the most kind, I thank him for his ability to recruit a group of wonderful musicians and helping me bring Golijov’s music to an audience. -
ESC Insight Unofficial Guide to the 2013 Eurovision Song Contest
ESC Insight Unofficial Guide to the 2013 Eurovision Song Contest Table of Contents Foreword .................................................................................................................................. 3 Editors Introduction ................................................................................................................. 4 Albania...................................................................................................................................... 5 Armenia .................................................................................................................................... 7 Austria ...................................................................................................................................... 9 Azerbaijan ............................................................................................................................... 11 Belarus ................................................................................................................................... 13 Belgium ................................................................................................................................... 15 Bulgaria .................................................................................................................................. 17 Croatia .................................................................................................................................... 19 Cyprus ................................................................................................................................... -
Guida All'eurovision Song Contest 2013
presenta Guida all’Eurovision Song Contest 2013 a cura di Emanuele Lombardini e Alessandro Pigliavento eurofestival.ws e eurovisionitalia.com L’Eurovision Song Contest: la musica che ci gira intorno Una grande festa, dove ognuno porta la propria musica per condividerla con gli altri. Oppure, per fare un paragone calcistico, immaginatevi la squadra campione nazionale (in questo caso l’artista) che viene invitata a prendere parte alla Champions League. L’Eurovision Song Contest (questa la sua denominazione ufficiale: noi italiani l’abbiamo a lungo chiamato Eurofestival, i francesi sciovinisti lo chiamano Concours Eurovision de la Chanson) in fondo è un po’ questo: il campionato d’Europa della musica. Oggi più che mai una rassegna globale, che vede protagonisti nel 2013 39 paesi aderenti all’ente organizzatore, la Ebu (European Broadcasting Union), cioè il consorzio che riunisce le televisioni pubbliche d’Europa, ma anche alcune del bacino del Mediterraneo fuori dal nostro Continente. L’idea venne nel 1956 a Marcel Bezençon, il franco-svizzero allora direttore generale del neonato consorzio: un concorso di musica con lo scopo nobile di promuovere la collaborazione e l'amicizia tra i popoli europei, la ricostituzione di un continente dilaniato dalla guerra attraverso lo spettacolo e la tv. E oltre a questo, molto più prosaicamente, anche sperimentare una diretta in simultanea in più paesi e promuovere il mezzo televisivo nel vecchio continente. Da allora, nel corso degli anni, la manifestazione è cresciuta in maniera costante, passando da evento da teatri e auditorium per un ristretto numero di spettatori a festa popolare. Dall’inizio degli anni 2000, quando la manifestazione comincia ad approdare nei palasport, negli stadi e nelle arene, l’Eurovision Song Contest è diventato un vero e proprio kolossal paneuropeo.