Symphonic and Concert Composers
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Concert: Music of Melinda Wagner, the Karel Husa Visiting Professor of Composition Ithaca College Chamber Orchestra
Ithaca College Digital Commons @ IC All Concert & Recital Programs Concert & Recital Programs 10-10-2011 Concert: Music of Melinda Wagner, the Karel Husa Visiting Professor of Composition Ithaca College Chamber Orchestra Jeffery Meyer Nicholas DiEugenio Melinda Wagner Follow this and additional works at: http://digitalcommons.ithaca.edu/music_programs Part of the Music Commons Recommended Citation Ithaca College Chamber Orchestra; Meyer, Jeffery; DiEugenio, Nicholas; and Wagner, Melinda, "Concert: Music of Melinda Wagner, the Karel Husa Visiting Professor of Composition" (2011). All Concert & Recital Programs. 335. http://digitalcommons.ithaca.edu/music_programs/335 This Program is brought to you for free and open access by the Concert & Recital Programs at Digital Commons @ IC. It has been accepted for inclusion in All Concert & Recital Programs by an authorized administrator of Digital Commons @ IC. Music of Melinda Wagner, the Karel Husa Visiting Professor of Composition Ithaca College Chamber Orchestra Jeffery Meyer, conductor Nicholas DiEugenio, violin Ford Hall Monday, October 10, 2011 7:00 p.m. Program Brandenburg Concerto No. 4 (BWV 1049) J. S. Bach Allegro (1685-1750) Andante Presto Nicholas DiEugenio, violin Wendy Herbener Mehne, Sandra O'Hare, flutes Little Moonhead (2009) Melinda Wagner (b. 1957) Nicholas DiEugenio, violin Laura Martellaro, Cori Shirk, flutes Biographies Jeffery Meyer Born in Chicago, Jeffery Meyer began his musical studies as a pianist, and shortly thereafter continued on to study composition and conducting. He is the founder and Artistic Director of the St. Petersburg Chamber Philharmonic in St. Petersburg, Russia, as well as the Director of Orchestras at the Ithaca College School of Music. He has appeared with orchestras in the United States and abroad, including ensembles such as the Milwaukee Symphony Orchestra, Syracuse Symphony Orchestra, Philippine Philharmonic Orchestra, Cayuga Chamber Orchestra and the Orchestra Sinfonico Haydn di Bolzano e Trento. -
From the Podium
R e p o rScott t Hanna, editor Summer 2010 review of proposals for research sessions. (The deadline From the Podium of submissions is November 1.) The conference will include discussions on CBDNA’s evolving relationship I have been thinking about the relationship be- with educational issues. tween our national organization and its members. Elisabeth Charles and Barbara Lambrecht are Albert Einstein’s The World As I See It, begins putting together the Small College Intercollegiate with a quote attributed to Friedrich Nietzsche: “Only band. I am pleased that our colleague Lowell Graham individuals can have a sense of responsibility.” The has agreed to conduct the SCIB. Jim Latten’s summer quote seemed to complement my favorite cartoon, which efforts have produced a flurry of interest and activity shows a CEO at the Christmas party punch bowl with his from CBDNA members (and potential members) who arm around the shoulder of an employee, saying, “Frank, work in small colleges and universities. you are such a valuable employee. I don’t know what this company would do without you…or somebody just As you know from my emails, I was to have like you.” Nietzsche’s sentiment disallows that CBDNA, gone to Florida A & M University in October to present as an organization, could have a sense of or mandate to William Foster with the CBDNA Lifetime Achievement responsibility. CBDNA commitments and actions in Award (he was the fifth person to receive this rare dis- the areas of education, inclusiveness, artistry, expansion tinction). Past-president Foster passed away before that of knowledge, and new initiatives reflect the ideals and could happen. -
Mr Trumble.Pdf
REVIEW OF EXHIBITIONS AND PUBLIC PROGRAMS AT THE NATIONAL MUSEUM OF AUSTRALIA SUBMISSION BY ANGUS TRUMBLE I wish to make the following submission in connection with DCITA’s 2003 Review of Exhibitions and Public Programs at the National Museum of Australia, Canberra. My thoughts about the NMA are largely the product of having for many years visited dozens museums all over the world, either out of interest or through my work as Curator of European Art at the Art Gallery of South Australia in Adelaide (1996 to 2001). However, I should also make it clear that I have had no professional contact with the NMA staff other than as an ordinary visitor, and it is in that capacity, not so much as an art museum curator, that I wish to comment on the building and aspects of the display, which I have studied carefully in the course of five visits in February and March this year. Despite the robust nature of many of my criticisms, I should say that I welcome the long-awaited arrival of the NMA. I believe it has a vital role to play in the cultural life of the nation, and the many problems that it must now solve are no more than temporary setbacks. None, apart from the terrible building, is insoluble, and even the building can be improved, I think, beyond measure. The architecture The design of the new NMA building is very poor and will not, I think, serve the long-term exhibition needs of the NMA. Nor will it open up new possibilities for public programming in the long term. -
Not Even Past NOT EVEN PAST
The past is never dead. It's not even past NOT EVEN PAST Search the site ... Of How a Hopi Ancient Word Became a Famous Experimental Film Like 65 Tweet by Montserrat Madariaga The theater is at its full capacity. The musicians are in place as the orchestra conductor starts to wave his arms in time with the image on the screen. There, little red dots emerge from a black background. They slowly widen and turn into capital letters: The word KOYAANISQATSI takes over. Keyboard notes evoking a church organ underline the mystery of the term and suit the dramatic hard-edged-typography. It is a Friday afternoon, February 23, 2018, in the Bass Concert Hall of the Texas Performing Art Center of The University of Texas, at Austin. The occasion is the screening of Godfrey Reggio’s 1982 lm, accompanied by the live performance of The Philip Glass Ensemble playing its original score music. Featured for the rst time to an ample public in the 1982 New York Film Festival, Koyaanisqatsi is an audiovisual art piece without dialogue or voiceover, deprived of any explicit narrative, that is nowadays a cult classic. It opens with a shot of the Holy Ghost Panel in Horseshoe Canyon, Utah, a human trace dated between 400 AD and 1100 AD. Then, footage of imposing natural landscapes and wildlife of the United States’ Southwest is followed by images of urban spaces: construction, crowded streets, demolitions, technology of the time, and so on. The collage escalates in its pace along with the music: utes, clarinet, trombone, viola, tuba, keyboards and vocals from time to time repeat the word “koyaanisqatsi” in a low pitched ceremonial tone that creates an apocalyptic atmosphere. -
Sydney Film Festival Announces Essential Scorsese
MEDIA RELEASE THURSDAY 31 MARCH 2016 DAVID STRATTON CURATES SCORSESE RETROSPECTIVE Sydney Film Festival, Australian Centre for the Moving Image (ACMI) and the National Film and Sound Archive of Australia (NFSA) announce that David Stratton will present a program of 10 essential films directed by Martin Scorsese. The curated films will screen as the retrospective program during the 63rd Sydney Film Festival (8-19 June) and in Melbourne at ACMI (27 May-12 June) to coincide with ACMI’s exhibition SCORSESE (26 May-18 September). All 10 films will screen at the NFSA in Canberra (1-23 July) after Sydney Film Festival’s screenings. The retrospective program of ten titles, including specially imported 35mm prints, curated by David Stratton, entitled Essential Scorsese: Selected by David Stratton, features works by one of the most influential directors of our time, including Taxi Driver, Goodfellas, Raging Bull and The Age of Innocence. The renowned critic and broadcaster, was appointed director of the Sydney Film Festival 50 years ago, and held the position from 1966 to 1983. Stratton will introduce selected screenings in the retrospective program. David Stratton says: “Scorsese talks in a rapid-fire style as though he doesn’t have enough time to describe everything he knows. He’s like a character in a 1930s movie. His films are passionate too. His best are explosive in their impact, crammed with information and detail. On the one hand, his Catholic upbringing leads him to tackle religious subjects (The Last Temptation of Christ, Kundun) while the Saturday matinee kid in him revels in the trashy gore of his gangster films.” Essential Scorsese: Selected by David Stratton will screen over two weekends during the Festival (8 – 19 June) at the Art Gallery of NSW. -
College Orchestra Director Programming Decisions Regarding Classical Twentieth-Century Music Mark D
James Madison University JMU Scholarly Commons Dissertations The Graduate School Summer 2017 College orchestra director programming decisions regarding classical twentieth-century music Mark D. Taylor James Madison University Follow this and additional works at: https://commons.lib.jmu.edu/diss201019 Part of the Arts and Humanities Commons Recommended Citation Taylor, Mark D., "College orchestra director programming decisions regarding classical twentieth-century music" (2017). Dissertations. 132. https://commons.lib.jmu.edu/diss201019/132 This Dissertation is brought to you for free and open access by the The Graduate School at JMU Scholarly Commons. It has been accepted for inclusion in Dissertations by an authorized administrator of JMU Scholarly Commons. For more information, please contact [email protected]. College Orchestra Director Programming Decisions Regarding Classical Twentieth-Century Music Mark David Taylor A Doctor of Musical Arts Document submitted to the Graduate Faculty of JAMES MADISON UNIVERSITY In Partial Fulfillment of the Requirements For the degree of Doctor of Musical Arts School of Music August 2017 FACULTY COMMITTEE Committee Chair: Dr. Eric Guinivan Committee Members/ Readers: Dr. Mary Jean Speare Mr. Foster Beyers Acknowledgments Dr. Robert McCashin, former Director of Orchestras and Professor of Orchestral Conducting at James Madison University (JMU) as well as a co-founder of College Orchestra Directors Association (CODA), served as an important sounding-board as the study emerged. Dr. McCashin was particularly helpful in pointing out the challenges of undertaking such a study. I would have been delighted to have Dr. McCashin serve as the chair of my doctoral committee, but he retired from JMU before my study was completed. -
Richard Wernick
RICHARD WERNICK HAIKU OF BASHŌ Neva Pilgrim, soprano; Contemporary Chamber Players of The University of Chicago; Richard Wernick, conductor MOONSONGS FROM THE JAPANESE Neva Pilgrim, soprano RICHARD WERNICK (b. Boston, 1934) attended Brandeis University where he studied composition with Irving Fine and Harold Shapero, and received his M.A. degree from Mills College where he studied with Leon Kirchner. Since 1957, when he served as musical director and composer-in-residence of the Royal Winnipeg Ballet, he has received many awards and grants — including the 1977 Pulitzer Prize in Music and the award of the American Academy-Institute of Arts and Letters that made this recording possible. Wernick has been a faculty member of the University of Buffalo and the University of Chicago, and became Professor of Music at the University of Pennsylvania in 1968. He writes: “The HAIKU OF BASHŌ is a setting of five haiku by and (in one instance) about Matzuo Bashō (1643-94), generally acknowledged to be the foremost writer of this form of Japanese verse. The first four poems of the cycle are fine examples of how Bashō was able to capture the essence of seemingly inconsequential moments or vignettes and, with the most frugal means of literary expression, communicate to the reader a sense of the timeless and eternal. The fifth poem, written a century later, is more in the nature of a 17-syllable one- line-joke, a play on the word 'bashō' which means 'banana leaf,' “There are no programmatic connections between the haiku and the music, nor is there any attempt at word painting. -
Paul Jacobs, Elliott Carter, and an Overview of Selected Stylistic Aspects of Night Fantasies
University of South Carolina Scholar Commons Theses and Dissertations 2016 Paul Jacobs, Elliott aC rter, And An Overview Of Selected Stylistic Aspects Of Night Fantasies Alan Michael Rudell University of South Carolina Follow this and additional works at: https://scholarcommons.sc.edu/etd Part of the Music Performance Commons Recommended Citation Rudell, A. M.(2016). Paul Jacobs, Elliott aC rter, And An Overview Of Selected Stylistic Aspects Of Night Fantasies. (Doctoral dissertation). Retrieved from https://scholarcommons.sc.edu/etd/3977 This Open Access Dissertation is brought to you by Scholar Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. PAUL JACOBS, ELLIOTT CARTER, AND AN OVERVIEW OF SELECTED STYLISTIC ASPECTS OF NIGHT FANTASIES by Alan Michael Rudell Bachelor of Music University of North Carolina, Chapel Hill, 2004 Master of Music University of South Carolina, 2009 _____________________________________________________ Submitted in Partial Fulfillment of the Requirements For the Degree of Doctor of Musical Arts in Music Performance School of Music University of South Carolina 2016 Accepted by: Joseph Rackers, Major Professor Charles L. Fugo, Committee Member J. Daniel Jenkins, Committee Member Marina Lomazov, Committee Member Cheryl L. Addy, Vice Provost and Dean of the Graduate School © Copyright by Alan Michael Rudell, 2016 All Rights Reserved. ii ACKNOWLEDGEMENTS I wish to extend my thanks to the members of my committee, especially Joseph Rackers, who served as director, Charles L. Fugo, for his meticulous editing, J. Daniel Jenkins, who clarified certain issues pertaining to Carter’s style, and Marina Lomazov, for her unwavering support. -
UC Santa Barbara UC Santa Barbara Electronic Theses and Dissertations
UC Santa Barbara UC Santa Barbara Electronic Theses and Dissertations Title Unstill Life: The Emergence and Evolution of Time-Lapse Photography Permalink https://escholarship.org/uc/item/2q89f608 Author Boman, James Stephan Publication Date 2019 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Santa Barbara Unstill Life: The Emergence and Evolution of Time-Lapse Photography A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Film and Media Studies by James Stephan Boman Committee in charge: Professor Janet Walker, Chair Professor Charles Wolfe Professor Peter Bloom Professor Colin Gardner September 2019 The dissertation of James Stephan Boman is approved. ___________________________________________________ Peter Bloom ___________________________________________________ Charles Wolfe ___________________________________________________ Colin Gardner ___________________________________________________ Janet Walker, Committee Chair March 2019 Unstill Life: The Emergence and Evolution of Time-Lapse Photography Copyright © 2019 By James Stephan Boman iii ACKNOWLEDGMENTS I would like to thank my friends and colleagues at UC Santa Barbara, including the fellow members of my cohort—Alex Champlin, Wesley Jacks, Jennifer Hessler, and Thong Winh—as well as Rachel Fabian, with whom I shared work during our prospectus seminar. I would also like to acknowledge the diverse and outstanding faculty members with whom I had the pleasure to work as a student at UCSB, including Lisa Parks, Michael Curtin, Greg Siegel, and the rest of the faculty. Anna Brusutti was also very important to my development as a teacher. Ross Melnick has been a source of unflagging encouragement and a fount of advice in my evolution within and beyond graduate school. -
Savage Winter #Bamnextwave No Intermission LOCATION: RUN TIME: DATES: Pittsburgh Opera Approx 1Hr15mins BAM Fisher (Fishman Space) NOV 7—10At7:30Pm
Brooklyn Academy of Music Adam E. Max, Chairman of the Board William I. Campbell, Vice Chairman of the Board Katy Clark, President Joseph V. Melillo, Savage Winter Executive Producer American Opera Projects and Pittsburgh Opera Music by Douglas J. Cuomo Directed by Jonathan Moore DATES: NOV 7—10 at 7:30pm Season Sponsor: LOCATION: BAM Fisher (Fishman Space) Leadership support for music programs at BAM RUN TIME: Approx 1hr 15mins provided by the Baisley Powell Elebash Fund. no intermission #BAMNextWave BAM Fisher Savage Winter Written and Composed by Music Director This project is supported in part by an Douglas J. Cuomo Alan Johnson award from the National Endowment for the Arts, and funding from The Andrew Text based on the poem Winterreise by Production Manager W. Mellon Foundation. Significant project Wilhelm Müller Robert Signom III support was provided by the following: Ms. Michele Fabrizi, Dr. Freddie and Directed by Production Coordinator Hilda Fu, The James E. and Sharon C. Jonathan Moore Scott H. Schneider Rohr Foundation, Steve & Gail Mosites, David & Gabriela Porges, Fund for New Performers Technical Director and Innovative Programming and The Protagonist: Tony Boutté (tenor) Sean E. West Productions, Dr. Lisa Cibik and Bernie Guitar/Electronics: Douglas J. Cuomo Kobosky, Michele & Pat Atkins, James Conductor/Piano: Alan Johnson Stage Manager & Judith Matheny, Diana Reid & Marc Trumpet: Sir Frank London Melissa Robilotta Chazaud, Francois Bitz, Mr. & Mrs. John E. Traina, Mr. & Mrs. Demetrios Patrinos, Scenery and properties design Assistant Director Heinz Endowments, R.K. Mellon Brandon McNeel Liz Power Foundation, Mr. & Mrs. William F. Benter, Amy & David Michaliszyn, The Estate of Video design Assistant Stage Manager Jane E. -
Boston Symphony Orchestra Concert Programs, Season
Mffi — - ,„ :{ ^. ;/j ' "'^/FWS5Sj_£gj. QUADRUM The Mali. At Chkstnut Hill 617-965-5555 Seiji Ozawa, Music Director Carl St. Clair and Pascal Verrot, Assistant Conductors One Hundred and Eighth Season, 1988-89 Trustees of the Boston Symphony Orchestra, Inc. Nelson J. Darling, Jr., Chairman George H. Kidder, President J. P. Barger, Vice-Chairman Mrs. Lewis S. Dabney, Vice-Chairman Archie C. Epps, Vice-Chairman William J. Poorvu, Vice-Chairman and Treasurer Vernon R. Alden Mrs. Eugene B. Doggett Mrs. Robert B. Newman David B. Arnold, Jr. Mrs. John H. Fitzpatrick Peter C. Read Mrs. Norman L. Cahners Avram J. Goldberg Richard A. Smith James F. Cleary Mrs. John L. Grandin Ray Stata Julian Cohen Francis W. Hatch, Jr. William F. Thompson William M. Crozier, Jr. Harvey Chet Krentzman Nicholas T. Zervas Mrs. Michael H. Davis Mrs. August R. Meyer Trustees Emeriti Philip K. Allen E. Morton Jennings, Jr. Mrs. George R. Rowland Allen G. Barry Edward M. Kennedy Mrs. George Lee Sargent Leo L. Beranek Albert L. Nickerson Sidney Stoneman Mrs. John M. Bradley Thomas D. Perry, Jr. John Hoyt Stookey Abram T. Collier Irving W. Rabb John L. Thorndike Mrs. Harris Fahnestock Other Officers of the Corporation John Ex Rodgers, Assistant Treasurer Jay B. W&iles, Assistant Treasurer Daniel R. Gustin, Clerk Administration Kenneth Haas, Managing Director Daniel R. Gustin, Assistant Managing Director and Manager of Tanglewood Michael G. McDonough, Director of Finance and Business Affairs Anne H. Parsons, Orchestra Manager Costa Pilavachi, Artistic Administrator Caroline Smedvig, Director of Promotion Josiah Stevenson, Director of Development Robert Bell, Data Processing Manager Marc Mandel, Publications Coordinator Helen P. -
Verbal Features of Film Reviews in the Modern American Media Discourse
Online Journal of Communication and Media Technologies, 2020, 10(3), e202020 e-ISSN: 1986-3497 Verbal Features of Film Reviews in the Modern American Media Discourse Marina R. Zheltukhina 1* 0000-0001-7680-4003 56669701900 A-7301-2015 Gennady G. Slyshkin 2 0000-0001-8121-0250 57191286505 G-1470-2014 Galina N. Gumovskaya 3 0000-0002-5823-792X Ekaterina A. Baranova 4 0000-0003-1794-9936 57211620013 AAF-3744-2019 Natalia G. Sklyarova 5 0000-0002-2875-3317 57193058610 K-3848-2017 Ksenya S. Vorkina 6 0000-0002-3804-3925 Lyudmila A. Donskova 7 0000-0002-7432-3908 1 Institute of Foreign Languages, Volgograd State Socio-Pedagogical University, Volgograd, RUSSIA 2 Institute of Linguistics and Intercultural Communication, I.M. Sechenov First Moscow State Medical University (Sechenov University), Institute of Law and National Security, Russian Presidential Academy of National Economy and Public Administration, Moscow, RUSSIA 3 Foreign Languages Department, National Research University Higher School of Economics, Moscow, RUSSIA 4 Communicative Management Department, Journalism Chair, Russian State Social University, Moscow, RUSSIA 5 Institute of philology, journalism and cross-cultural communication, Southern Federal University, Rostov-on-Don, RUSSIA 6 Faculty of Philology, Peoples’ Friendship University of Russia (RUDN University), Moscow, RUSSIA 7 Department of Foreign Languages, Kuban State Agrarian University, Krasnodar, RUSSIA * Corresponding author: [email protected] Citation: Zheltukhina, M. R., Slyshkin, G. G., Gumovskaya, G. N., Baranova, E. A., Sklyarova, N. G., Vorkina, K. S., & Donskova, L. A. (2020). Verbal Features of Film Reviews in the Modern American Media Discourse. Online Journal of Communication and Media Technologies, 10(3), e202020. https://doi.org/10.30935/ojcmt/8386 ARTICLE INFO ABSTRACT Received: 18 Feb 2020 The article discusses the verbal specifics of film reviews.