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The-Piano-Teaching-Legacy-Of-Solomon-Mikowsky.Pdf
! " #$ % $%& $ '()*) & + & ! ! ' ,'* - .& " ' + ! / 0 # 1 2 3 0 ! 1 2 45 3 678 9 , :$, /; !! < <4 $ ! !! 6=>= < # * - / $ ? ?; ! " # $ !% ! & $ ' ' ($ ' # % %) %* % ' $ ' + " % & ' !# $, ( $ - . ! "- ( % . % % % % $ $ $ - - - - // $$$ 0 1"1"#23." 4& )*5/ +) * !6 !& 7!8%779:9& % ) - 2 ; ! * & < "-$=/-%# & # % %:>9? /- @:>9A4& )*5/ +) "3 " & :>9A 1 The Piano Teaching Legacy of Solomon Mikowsky by Kookhee Hong New York City, NY 2013 2 TABLE OF CONTENTS Preface by Koohe Hong .......................................................3 Endorsements .......................................................................3 Comments ............................................................................5 Part I: Biography ................................................................12 Part II: Pedagogy................................................................71 Part III: Appendices .........................................................148 1. Student Tributes ....................................................149 2. Student Statements ................................................176 -
Ferruccio Busoni – the Six Sonatinas: an Artist’S Journey 1909-1920 – His Language and His World
Ferruccio Busoni – The Six Sonatinas: An Artist’s Journey 1909-1920 – his language and his world Jeni Slotchiver This is the concluding second Part of the author’s in-depth appreciation of these greatly significant piano works. Part I was published in our issue No 1504 July- September 2015. t summer’s end, 1914, Busoni asks for artists in exile from Europe. Audiences are A a year’s leave of absence from his in thin supply. He writes to Edith Andreae, position as director of the Liceo Musicale June 1915, “I didn’t dare set to work on in Bologna. He signs a contract for his the opera… for fear that a false start American tour and remains in Berlin over would destroy my last moral foothold.” Christmas, playing a Bach concert to Busoni begins an orchestral comp- benefit charities. This is the first all-Bach osition as a warm-up for Arlecchino, the piano recital for the Berlin public, and Rondò Arlecchinesco. He sets down ideas, Dent writes that it is received with hoping they might be a useful study, if all “discourteous ingratitude.” Busoni outlines else fails, and writes, “If the humour in the his plan for Dr. Faust, recording in his Rondò manifests itself at all, it will have a diary, “Everything came together like a heartrending effect.” With bold harmonic vision.” By Christmastime, the text is language, Busoni clearly defines this complete. With the outbreak of war in composition as his last experimental work. 1914 and an uncertain future, Busoni sails The years give way to compassionate to New York with his family on 5 January, reflection. -
ESALEN America and the Religion of No Religion by Jeffrey J
ESALEN America and the Religion of No Religion By Jeffrey J. Kripal The University of Chicago press, Chicago 60637 Copyright 2007 Jeffrey J. Kripal Transcription by Judy Turnbull 7-18-07 pp. 173-180 from the book for Claudio (bottom of p. 173) Tantric Shamanism of Claudio Naranjo Along with Dick Price, Perls considered Claudio Naranjo to be one of his most gifted successors. Naranjo is a Chilean-born psychiatrist who made his first trip to the States in the early 1960’s for family medical reasons ( his mother needed an eye doctor). While in Boston, he met the psychologist (top of p. 174) FIGURE 14 Claudio Naranjo as Shaman of Thanatos and Transformation. Painting by Antonella Cappucio, 2004 with permission of Claudio Naranjo Frank Barron at Harvard. When Naranjo later won a Guggenheim fellowship, Barron invited him to Berkeley, where he was introduced to the anthropologist Michael Harner. Harner was working on the Jivaro Indians of the Amazon basin and their use of the yage vine as a psychotropic ritual substance. Harner in turn introduced Naranjo to a young graduate student at UCLA named Carlos Castaneda, who was working on similar subjects in Mexico, allegedly with a native shaman named Don Juan. Naranjo and Castaneda would become close friends. Castaneda even claimed that Don Juan had “smoked” Naranjo, that is, seen him in a vision. One of Naranjo’s first visits to Esalen involved a local television station (KRON), which had decided to film Murphy, Perls, Naranjo, Harner, and Castaneda discussing the subject of shamanism just after a seminar with a female Pomo Indian healer. -
The Healing Breath a Journal of Breathwork Practice, Psychology and Spirituality
The Healing Breath a Journal of Breathwork Practice, Psychology and Spirituality General Editor: Joy Manné, Ph.D. Email: [email protected] VOLUME 3, NO. 3, SEPTEMBER 2001 THE HOLOTROPIC BREATHWORK NUMBER. CELEBRATING STANISLAV GROF’S SEVENTIETH YEAR CONTENTS I breathe for America, a tribute to those suffering after the events of September 11th, by Joy Manné..................................................................................3 STAN by Kylea Taylor..................................................................................................4 To the Jury of the International Sigmund Freud Award from Stanislav Grof 6 The Practice of Sitting in Holotropic Breathwork by Kylea Taylor................10 Stimulation or support: On the Use of Music in Holotropic Breathwork by Wilfried Ehrmann....................................................................................................23 SoulCollage™: An Art Process to Use with Breathwork by Kylea Taylor....28 Holotropic Breathwork: dispelling the myths: A Dialogue Between Kylea Taylor and Joy Manné with Carrie Callahan and Jim Schofield..........38 Some Critical Issues in Stan & Christina Grof’s Holotropic Breathwork: A discussion between Wilfried Ehrmann, Ph.D. & Stan Grof M.D., Ph.D......52 The Healing Breath, Vol. 3, No. 3, September 2001 The Holotropic Breathwork Number. Celebrating Stanislav Grof’s Seventieth Year 1 Book & Cassette Reviews ........................................................................................61 Shakti Gawain (2000), Developing -
Different Doorway Adventures of a Cesarean Born
Different Doorway Adventures of a Cesarean Born by Jane Butterfield English - 1 - Earth Heart P. 0. Box 1027 Point Reyes Station, CA 94956 All rights reserved. No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage and retrieval system without written permission from the author, except for the inclusion of brief quotations in a review. Copyright © 1985 by Jane Butterfield English Printed in the United States of America Editing: Jo Imlay & Cynthia Frank Typesetting: Cynthia Frank & John Fremont - Comp -Type, Fort Bragg, CA. Design: Chuck Hathaway, Mendocino Graphics, Fort Bragg, CA. Printing: Skillful Means Press- Oakland, CA. Acknowledgments to the following for generously granting permission for quotes and reproductions: To Maxwell-Aley Associates for the quote from The Brain Revolution quoted in the February 13, 1972 journal entry. To Parents Place, of Jewish Family and Children’s Services, San Francisco for material from the May/Jun e 1979 issue of their newsletter, “Offspring,” quoted in the June 2, 1979 journal entry. To The Mansell Collection, London, England for the Hieronymus Bosch paint- ing To Rosemary Hayes for her paintings To Nancy Rosser-Hutchins for her drawing To John Henze for the photograph of the author. (All other paintings, drawings, and photographs are by the author.) Library of Congress Cataloging in Publication Data English, Jane Butterfield Different Doorway Adventures of a Cesarean Born Bibliography: p. 140 1. English, Jane. 2. Cesarean birth- Psychological aspects. 3. Cesarean birth-Social aspects. 4. Cesarean birth-Spiritual aspects 5. -
California State University, Northridge
CALIFORNIA STATE UNIVERSITY, NORTHRIDGE Program Notes for Graduate Recital: December 7, 2016 A graduate project submitted in partial fulfillment of the requirements For the degree of Master of Music in Music, Piano Performance By Hsiao-Hsien Shen December 2016 Copyright by Hsiao-Hsien Shen 2016 ii The graduate project of Hsiao-Hsien Shen is approved: _________________________________________ ______________ Professor John Perry Date _________________________________________ ______________ Dr. John Roscigno Date _________________________________________ ______________ Dr. Dmitry Rachmanov, Chair Date California State University, Northridge iii Table of Contents Copyright Page ii Signature Page iii Abstract v Performer’s note 1 Bibliography 12 Appendix: Recital Program with Performance Link 13 iv Abstract Program Notes for Graduate Recital: December 7, 2016 By Hsiao-Hsien Shen Master of Music in Music, Piano Performance This recital program was selected based on composers who have influenced me over many years. I would like to introduce and perform for the audience works by those composers I have admired since I was very young, and who have influenced me throughout my musical development, and who have made me the pianist I am today. My program includes compositions from the Baroque era to the present day, and includes both original works and arrangements. In the program notes, I use composers’ notes, music history, an analysis of the structure of the pieces, and my point of view as a performer/pianist. I wish to help people have more of an understanding of these works by giving some background on the composers and how the pieces were written. v Performer’s notes Schafe können sicher weiden ("Sheep May Safely Graze"), by Johann Sebastian Bach (1685-1750) is an aria from the cantata Was mir behagt, ist nur die muntre Jagd, BWV 208 ("The Lively Hunt Is All My Heart's Desire"). -
12 the Cosmic Womb Stan and Christina Grof and the Counsels Of
12 The Cosmic Womb Stan and Christina Grof and the Counsels of Spiritual Emergence (1973-1987) Finally, as the time of his death approaches he sees a bright light, and being unaccustomed to it at the time of his death he is perplexed and confused. He sees all sorts of things such as are seen in dreams, because his mind is confused. He sees his (future) father and mother making love, and seeing them a thought crosses his mind, a perversity (viparyasa) arises in him. If he is going to be reborn as a man he sees himself making love with his mother and being hindered by his father; or if he is going to be reborn as a woman, he sees himself making love with his father and being hindered by his mother. It is at that moment that the Intermediate Existence is destroyed and life and consciousness arise and causality begins once more to work. It is like the imprint made by a die; the die is then destroyed but the pattern has been imprinted. Saddharma-smrityupasthana Sutra 34 (6th century CE)1 During a session in which he alternately experienced episodes of “good” and “bad” womb, he felt that he developed new insights into the understanding of demons from several cultures—in particular, India and Tibet. He suddenly saw a striking relationship between the state of mind of the Buddha sitting on the lotus in deep meditation and that of an embryo in a good womb. The demons surrounding the peaceful Buddha figure on many Indian and Tibetan religious paintings appeared to him to be representatives of various forms of disturbances 1 Translation by Arthur Waley in Edward Conze et al., Buddhist Texts through the Ages (Oxford: Bruno Cassirer Ltd., 1954) of the intrauterine existence. -
CHACONNE Sofya Gulyak
CHACONNE Sofya Gulyak Bach Casella Handel Busoni Liszt Nielsen Gubaidulina FOREWORD The inspiration to record the chaconnes came to me a few years ago. I already had a couple of chaconnes in my repertoire and wanted to find more – and I’ve really enjoyed pulling together this programme which focuses on one genre, but features music from a diverse range of musical eras. I am particularly excited to include some unique and less familiar pieces that are rarely performed. I would like to express my gratitude to Mary and David Bowerman for the opportunity to record again at Champs Hill, to Patrick Allen for his excellent work, and to everyone at Champs Hill who helped me turn a mere idea into reality. TRACK LISTING PROGRAMME NOTE While some sources suggest that the chaconne was originally a lively dance imported to Europe from South America in the 16th century, as a compositional form it 1 JOHANN SEBASTIAN BACH (1685 –1750) / FERRUCCIO BUSONI (1866 –1924) became most firmly established early in the 18th century, during the so-called Chaconne in D minor BWV1004 14’58 Baroque era. Among the chaconne’s distinguishing features are its use of a ground 2 GEORGE FRIDERIC HANDEL (1685 –1759) bass – that is, a bass line which is constantly repeated with changing or evolving Chaconne in G major HWV435 10’04 harmonies built upon it – and its being, typically, in triple time. Perhaps the most celebrated example is JS Bach’s Chaconne in D minor , originally the final movement 3 GEORGE FRIDERIC HANDEL / FRANZ LISZT (1811 –1886) Sarabande and Chaconne from Handel’s “Almira” S.181 13’14 of his Second Partita for Solo Violin , and today an established pinnacle of the violin repertory. -
Ludwig Van Beethoven (41/47)
Sonntag, 11. Oktober 2020 15.04 – 17.00 Uhr Ludwig van Beethoven Eine Sendereihe von Eleonore Büning 41. Folge: „Frei ist die Tonkunst geboren“ „Frei ist die Tonkunst geboren, und frei zu werden ihre Bestimmung!“ Willkommen zu einer neuen Folge der Beethovenreihe, ich grüße Sie! Dieses zukunftstrunkene Zitat von der Freiheit der Musik ist heute das Motto mei- ner Sendung, in der es, vor allem, um die hohe Kunst der Transkription gehen soll. Geprägt hat diesen Satz Ferruccio Busoni, der große Pianist, Komponist und Arran- geur. Er veröffentlichte im Jahr 1907 seinen „Entwurf einer neuen Ästhetik der Tonkunst“, ein Buch, das die Musikwelt erschütterte. Busoni stellt darin das Dur- Moll-Tonsystem in Frage, er nennt es: „einen Fall von Zurückgebliebenheit“. Er träumt von der Erweiterung des Tonmaterials durch Drittel- und Sechzehnteltöne, er entwirft neue Skalen – lange vor Arnold Schönberg, mit dem er übrigens befreun- det war. Und doch greift Busonis neue Ästhetik der Tonkunst auch zurück in die Vergangenheit, sie beruft sich auf Beethoven, den „romantischen Revolutionsmen- schen“ mit seiner unbändigen „Befreiungslust“. Ludwig van Beethoven (schreibt Busoni) habe, „in einzelnen Augenblicken“ die Zukunft der Musik vorausgesehen. Hier ist so ein utopischer „Augenblick“: Amadeo/Decc Musik 1): Ludwig van Beethoven: Sonate B-Dur op. ca. a 4768768 106 („Hammerklavier“). Daraus: 4.Satz, Ein- 2:30 leitung „Largo“ LC 00107 Friedrich Gulda (Klavier) CD 8 (1968/2005) Track <7> AUSSCHNITT. Von 0:00 bis 2:26, dann langsam raus und evtl. unter dem folgenden Text wegblenden Wie eine aus dem Augenblick entstandene Improvisation wirkt dieser Anfang des letzten Satzes von Beethovens Sonate B-Dur, op. -
Halekulani Okinawa Canyon Ranch Okinawa , Japan Lenox, Massachusetts
WHERE TO GO FOR ✺ CULTURED WELLNESS WHERE TO GO FOR ✺ HELP TO DEAL WITH GRIEF HALEKULANI OKINAWA CANYON RANCH OKINAWA , JAPAN LENOX, MASSACHUSETTS HISTORY: Although just opened in 2019, the resort’s emphasis on rejuvenation, Karate, a centuries-old practice that Living condominiums and six private Halekulani Okinawa’s home in Japan’s well-being, and cultural connection. focuses on strength and peace through residences, all designed with New Okinawa Prefecture—an archipelago fea- Located in the pristine Okinawa Kaigan physical movement and mindfulness, as England charm. turing 150+ islands in the East China Sea Quasi-National Park, the resort’s quiet, opposed to self-defense. Perhaps the most between Taiwan and Japan—imbues the clean-lined design showcases unbounded important aspect of the program is spend- EXTRAS: The focus here is on all aspects property with the region’s rich history, nature, teeming with uplifting sights and ing time in the great outdoors, especially of well-being, from an expansive, dating back to the 8th century. These sounds of wildlife and calm, cyan waters. via naturalist-guided explorations like 100,000-square-foot spa to an in-room islands were once called the “land of kayaking through Yambaru National Park pillow menu. Add-ons to the Pathway immortals,” in reference to the vitality FOR CULTURED WELLNESS: Halekulani on the Firefly Nature Discovery tour. programming are available, such as and longevity of their inhabitants. In Okinawa’s Secrets of Longevity program Travelers float under the lush canopy and, events, additional treatments, and sea- keeping with that now-scientifically is a series of immersive experiences tai- at sunset, experience thousands of fire- sonal outdoor activities—high ropes chal- proven reputation, today Okinawa is one lored to each guest, encouraging them to flies lighting up the evening sky. -
Case 17-12445 Doc 1 Filed 11/15/17 Page 1 Of
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Producing Evidence for the Beatification of a Composer: Sorabji’S Deijication of Busoni’
Producing Evidence for the Beatification of a Composer: Sorabji’s DeiJication of Busoni’ BY MARC-ANDRÉ ROBERGE There has been in recent years an upsurge of interest in the music of a number of nineteenth and twentieth-century composer-pianists who have long been considered outsiders in European music history, such as Charles-Valentin Alkan (1813-88), Ferruccio Busoni (1866-1924), Leopold Godowsky (1870-1938) and Kaikhosru Shapurji Sorabji (1892-1988). Their status as outsiders resulted mainly from the length and complexity of several of their works and from the lack of clear boundaries between original composition and transcription, in which they had a marked interest. Their works, even though they still appear but rarely on concert programmes, are now performed with increasing frequency. First editions or reprints of their music are issued with some regularity, as are books and articles; furthermore, several enterprising pianists are now recording interesting works and masterpieces long kept in the shadow for lack of suitable performers. As I have shown elsewhere,* all these composers are part of an extensive “Busoni network”, i.e. a group of composers and performers who can be linked in one or more ways to Busoni and, to a lesser extent, to Sorabji: they had studied with Busoni or with one of his pupils; they had performed works by Busoni or Sorabji; they had written about either composer; they had transcribed or edited one or more of their works; finally, they incorporated quotations from their works into their own compositions or used them as models. To this core group of (mostly English- speaking) composers could be added numerous editors, musicologists and writers (also mostly English-speaking) as well as friends and disciples of the composers of the network.