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Voice Phenomenon Electronic
Praised by Morton Feldman, courted by John Cage, bombarded with sound waves by Alvin Lucier: the unique voice of singer and composer Joan La Barbara has brought her adventures on American contemporary music’s wildest frontiers, while her own compositions and shamanistic ‘sound paintings’ place the soprano voice at the outer limits of human experience. By Julian Cowley. Photography by Mark Mahaney Electronic Joan La Barbara has been widely recognised as a so particularly identifiable with me, although they still peerless interpreter of music by major contemporary want to utilise my expertise. That’s OK. I’m willing to composers including Morton Feldman, John Cage, share my vocabulary, but I’m also willing to approach a Earle Brown, Alvin Lucier, Robert Ashley and her new idea and try to bring my knowledge and curiosity husband, Morton Subotnick. And she has developed to that situation, to help the composer realise herself into a genuinely distinctive composer, what she or he wants to do. In return, I’ve learnt translating rigorous explorations in the outer reaches compositional tools by apprenticing, essentially, with of the human voice into dramatic and evocative each of the composers I’ve worked with.” music. In conversation she is strikingly self-assured, Curiosity has played a consistently important role communicating something of the commitment and in La Barbara’s musical life. She was formally trained intensity of vision that have enabled her not only as a classical singer with conventional operatic roles to give definitive voice to the music of others, in view, but at the end of the 1960s her imagination but equally to establish a strong compositional was captured by unorthodox sounds emanating from identity owing no obvious debt to anyone. -
YALE-NUS SYLLABUS for AMERICAN AVANT-GARDE THEATER of the 1960’S and 1970’S
YALE-NUS SYLLABUS FOR AMERICAN AVANT-GARDE THEATER OF THE 1960’s AND 1970’s YHU 3304, Spring semester, 2019 Mondays and Thursdays, 9am-10:30am Room Y-CR9 Professor Joan MacIntosh [email protected] Office hours by appointment only, Mondays, after class. Additionally, there will be a mid-semester conference with each student and an end-of-the-year conference with each student, to give and receive feedback. These will be scheduled within the semester time, and will not infringe on either the Spring Break or the end of the year Reading Period. COURSE OVERVIEW This seminar course will explore the American Avant-Garde Theatre of the 1960’s and 1970’s, and its enduring significance. It will include an examination of the political, social, economic, and aesthetic events that led to its beginnings, and will follow the journey of its passionate creativity and diversity of expression, as well as the political upheavals and the cultural revolution that were inextricably a part of it. Readings will include the work of Gertrude Stein, Allen Ginsberg, The Living Theatre, The Open Theater, The Performance Group, Richard Foreman’s Ontological-Hysteric Company, Charles Ludlam’s Ridiculous Theatrical Company, Mabou Mines, and others. We will also read 1968, Environmental Theatre, Be Here Now, Towards a Poor Theatre, and selected historical overviews. We will explore each group’s vision, body of work, dynamics, and relation and significance to their world. In line with this, students will write about these theatre companies, and create their own live performances and work, based on the readings, possible films, and discussions. -
'Judas Priest-On Tour' Violators Attacked
MARCH 18, 1978 VOL. 1, NO. 1 Benefiting FREE San Antonio For Your Austin• Houston Entertainment ~ 'Judas Priest-On Tour' JC 35296 The high priest of heavy rock 'n' roll with their inimitable style grace our shores once again. To change or not to change. That is what a rock and roll band must deal with. A group may develop a success ful formula for its music, which leads to personal and/ or commercial contentment. Musicians, upon reach ing this point, find their music evolving in a new direction or continuing their successful format. Judas Priest has choosen the security of proven success. Their first two ViolatorsAttacked domestic albums were well See story on page 10 received in this area. With the release of a new album "Stained Class" and • Elvis Costello an upcoming concert March INSIDETHIS • Radio Survey 24 their claim to fame is • Trivia Quiz sound. ISSUE! .-HELLO IT'SUS- / Welcome to It's Onlu Rock and , Muhammad Ali, chicken fried steak, Roll. What are you being welcomed cars with dead batteries, Rocky Hor to anyway? ror Picture Show and working over It's Only Rock and Roll is a time to afford concert tickets and newspaper/magazine of sorts put out vinyl habits. by a few people who know and love Sound comp'iicated, si1ly, insane, music and believe it's time for a unclear? It is all that and more. semi-intelligent, semi-informed rag Best of all it's fun and we' 11 attanpt about music on the local scene. to write about it: show pictures of Because no one is adequately it and make a meager living from it filling the music news and informa as long as it stays complicated, tion void in San Antonio, we decided silly, insane, unclear and fun. -
Directory P&E 2021X Copy with ADS.Indd
Annual Directory of Producers & Engineers Looking for the right producer or engineer? Here is Music Connection’s 2020 exclusive, national list of professionals to help connect you to record producers, sound engineers, mixers and vocal production specialists. All information supplied by the listees. AGENCIES Notable Projects: Alejandro Sanz, Greg Fidelman Notable Projects: HBO seriesTrue Amaury Guitierrez (producer, engineer, mixer) Dectective, Plays Well With Others, A440 STUDIOS Notable Projects: Metallica, Johnny (duets with John Paul White, Shovels Minneapolis, MN JOE D’AMBROSIO Cash, Kid Rock, Reamonn, Gossip, and Rope, Dylan LeBlanc) 855-851-2440 MANAGEMENT, INC. Slayer, Marilyn Manson Contact: Steve Kahn Studio Manager 875 Mamaroneck Ave., Ste. 403 Tucker Martine Email: [email protected] Mamaroneck, NY 10543 Web: a440studios.com Ryan Freeland (producer, engineer, mixer) facebook.com/A440Studios 914-777-7677 (mixer, engineer) Notable Projects: Neko Case, First Aid Studio: Full Audio Recording with Email: [email protected] Notable Projects: Bonnie Raitt, Ray Kit, She & Him, The Decemberists, ProTools, API Neve. Full Equipment list Web: jdmanagement.com LaMontagne, Hugh Laurie, Aimee Modest Mouse, Sufjan Stevens, on website. Mann, Joe Henry, Grant-Lee Phillips, Edward Sharpe & The Magnetic Zeros, Promotional Videos (EPK) and concept Isaiah Aboln Ingrid Michaelson, Loudon Wainwright Mavis Staples for bands with up to 8 cameras and a Jay Dufour III, Rodney Crowell, Alana Davis, switcher. Live Webcasts for YouTube, Darryl Estrine Morrissey, Jonathan Brooke Thom Monahan Facebook, Vimeo, etc. Frank Filipetti (producer, engineer, mixer) Larry Gold Noah Georgeson Notable Projects: Vetiver, Devendra AAM Nic Hard (composer, producer, mixer) Banhart, Mary Epworth, EDJ Advanced Alternative Media Phiil Joly Notable Projects: the Strokes, the 270 Lafayette St., Ste. -
Object/Poems: Alison Knowles's Feminist Archite(X)
JAMES FUENTES 55 Delancey Street New York, NY 10002 (212) 577-1201 [email protected] Nicole L. Woods Some visits later I arrived at his door with eleven color swatches…[Duchamp] chose one and set it aside on the buffet. After lunch, his wife Teeny picked up Object/Poems: the swatch and said, “Oh Marcel, when did you do this?” He smiled, took a pen- Alison Knowles’s cil and signed the swatch. The following year Marcel died. Arturo Schwarz wrote Feminist me suggesting I had the last readymade. Teeny and Richard Hamilton assured me Archite(x)ture that I did not, but that I had a piece of interesting memorabilia.4 You see you have to get right into it, as This brief experience with one of the most you do with any good book, and you must prolific and influential artists of the twen- become involved and experience it your- tieth century was but one of many chance self. Then you will know something and encounters that would characterize Knowles’s feel something. Let us say that it provides artistic practice for more than four decades. a milieu for your experience but what you The experience of seeing the readymade pro- bring to it is the biggest ingredient, far cess up close served to reaffirm her sense of more important than what is there. the exquisite possibilities of unintentional —Alison Knowles 1 choices, artistic and otherwise. Indeed, Knowles’s chance-derived practice throughout the 1960s and 1970s consistently sought to The world of objects is a kind of book, in frame a collection of sensorial data in vari- which each thing speaks metaphorically ous manifestations: from language-based of all others…and is read with the whole notational scores and performances to objet body, in and through the movements and trouvé experiments within her lived spaces, displacements which define the space of computer-generated poems, and large-scale objects as much as they are defined by it. -
Garrett List
Garrett List Information Discographie Agenda des concerts Trombone, Compositeur, Instrument(s) Arrangeur, Chant Date de 1943 naissance Lieu de Phoenix, U.S.A naissance Contacts Email Envoyer un email Site web Site web dédié © Christian Deblanc Text also available in English Né à Phoenix (Arizona) Garrett LIST joue du trombone et chante depuis l'âge de sept ans. A dix-huit ans, lorsqu'il entre à l'Université;, il a déjà une vie professionnelle et pédagogique remplie, il joue autant de la musique classique que d'autres styles (jazz, pop, blues), tout en donnant des cours aux enfants. Il s'adonne aussi à la composition. En 1965, il part pour New York pour y suivre des études strictement classiques à la célèbre Juilliard School of Music. Il y rencontre le compositeur italien Luciano BERIO et le chef d'orchestre Dennis RUSSELL DAVIES avec qui il forme le Juillard Ensemble. Grâce à cet ensemble, il rencontre aussi les compositeurs Henri POUSSEUR et Pierre BOULEZ et se met à jouer leurs musiques. Il entreprend plusieurs tournées en Europe et enregistre. Après cette immersion totale dans la musique contemporaine et ces études intenses au conservatoire Juilliard, il ressent le besoin d'une autre vision de la création musicale. C'est l'époque du free jazz et New York est sous le choc de mai '68. Il découvre l'improvisation, pas seulement dans le cadre du jazz ou du blues, mais la considère comme une manière de vivre la création musicale de l'intérieur. Il rencontre alors John CAGE, Frederic RZEWSKI, LaMonte YOUNG, Rhys CHATHAM, Anthony BRAXTON, Steve LACY et devient membre du Musica Eletronica Viva, un des groupes les plus influents de la musique improvisée de l'époque. -
An Interview with Laurie Anderson by Jody Dalton
October. 1989 -- - - • -' • -=== ® BROOKLYN ACADEMY OF MUSIC NEXT WAVE FESTIVAL SPONSORED BY PHILIP MORRIS COMPANIES INC ~-- - §;~~~~~;~~§~--~ · ~~-· -·~ Brooklyn Academy of Music NEXT WAVE Festival Sponsored by Philip Morris Companies. Inc. October. 1989 Volume 7. No. I CONTENTS Singing a New Song: An Interview with Laurie Anderson by Jody Dalton .................................................. 3 Rete/lings: The Nursery and Household Tales of the Brothers Crimm by Peter M. Rojcewicz ..... ....................................... 8 Can we plan a BAMscape? by Bonnie Sue Stein ..... ... .... ....... ...... ........ ..... ....... 13 Nusrat Fateh Ali Khan & Party: The Oawwali Music of the Sufis by Amy Mereson ... .. .. .. ..... ...... .... ....... ... ...... ... 19 Shakespeare Plays a Solo by )ames Leverett .... .. .. ... ............... ..... ... .. ....... 2 2 Andy Warhol and the Velvet Underground by Andy Warhol and Pat Hackett ............... ................. .. 2 5 Finding New Markers: The Choreography of Bebe Miller by Robert Sandia ........................................... .. .. 28 Cover: Bebe Miller In a photograph The NEXT WAVE Festival is produced by the that will form part of Robert Flynt's Brooklyn Academy of Music. 30 Lafayette setting for her new work, Allies, photo by Robert Flynt Avenue. Brooklyn. New York 11217 ON THE NEXT WAVE is published by the Humanities Program of the BAM NEXT WAVE Festival. Editor: Roger W. Oliver Associate Editor: Rory MacPherson Design: Jon Crow/Advance Graphic NEXT WAVE logo design: Valerie Pettis + DOUBLESPACE © 1989 by the Brooklyn Academy of Music • Laurie Anderson, photo by Beatrlz Schiller Singing a New Song: L aurie Anderson is a born sto· mixed printed words. photographic ryteller who keeps reinventing the images and recorded music to set campfire. She has replaced the off chains of associations in the lis backdrop of trees and stars with tener/viewer's mind. -
The-Vandal.Pdf
THE FLEA THEATER JIM SIMPSON artistic director CAROL OSTROW producing director BETH DEMBROW managing director presents the world premiere of THE VANDAL written by HAMISH LINKLATER directed by JIM SIMPSON DAVID M. BARBER set design BRIAN ALDOUS lighting design CLAUDIA BROWN costume design BRANDON WOLCOTT sound design and original music MICHELLE KELLEHER stage manager EDWARD HERMAN assistant stage manager CAST (IN ALPHABETICAL ORDER) Man...........................................................................................................................Zach Grenier Woman...............................................................................................................Deirdre O’Connell Boy...........................................................................................................................Noah Robbins CREATIVE TEAM Playwright...........................................................................................................Hamish Linklater Director.......................................................................................................................Jim Simpson Set Design..............................................................................................................David M. Barber Lighting Design.........................................................................................................Brian Aldous Costume Design......................................................................................................Claudia Brown Sound Design and Original -
Theatre & Performance
CONTEMPORARY Theatre & Performance MULTICULTURALISM/ DIVERSITY • African-American Theatre • Global Theatre • LGBTQ • Performance • Asian-American • Performance Art Theatre • Experimental Theatre • Latino Theatre (LATC) AFRICAN-AMERICAN THEATRE • August Wilson (1945-2005) - Fences (1987) • Joe Turner’s Come and Gone (1988) • The Piano Lesson (1990) ASIAN-AMERICAN THEATRE • East/West Players (downtown LA) • David Henry Huang - M. Butterfly, Bondage, Yellow Face LGBTQ • Charles Ludlam (19431987) died of AIDS— founded The Ridiculous Theatre Company- The Mystery of Irma Vep (1984) with Everett Quinton • Tony Kushner- Angels in America (1993) • Larry Kramer -The Normal Heart (1985) • Terence McNally - Mothers and Sons (2014) • Split Britches (WOW Cafe)- Beauty and The Beast (1982), Belle Reprieve (1990), Lesbians Who Kill (1992) • The Tectonic Theatre Company (The Laramie Project) • Rent, Hedwig and The Angry Inch, Kinky Boots, Fun Home LATINO THEATRE • LATC (Latino Theatre Company- LA Theatre Center)- founded 1985 by Artistic Director, Jose Luis Valenzuela • Zoot Suit (1979) by Luis Valdez- made into a film (1981) • based on the Sleepy Lagoon Murder Trial (1942) and the Zoot Suit Riots in Los Angeles https://www.youtube.com/watch?v=M51xwySGNYc https://www.youtube.com/watch?v=dwINn5DEL1c GLOBAL THEATRE • Takarazuka Revue (Drag performance in Japan) https://www.youtube.com/watch?v=JLy2iOnBnsA https://www.youtube.com/watch?v=3Wccu0JjcLw • Handspring Puppet Company (South Africa) https://www.youtube.com/watch?v=SqAkQCbuvqg • Chinese Performance (spectacle) -
The Philip Glass Ensemble in Downtown New York, 1966-1976 David Allen Chapman Washington University in St
Washington University in St. Louis Washington University Open Scholarship All Theses and Dissertations (ETDs) Spring 4-27-2013 Collaboration, Presence, and Community: The Philip Glass Ensemble in Downtown New York, 1966-1976 David Allen Chapman Washington University in St. Louis Follow this and additional works at: https://openscholarship.wustl.edu/etd Part of the Music Commons Recommended Citation Chapman, David Allen, "Collaboration, Presence, and Community: The hiP lip Glass Ensemble in Downtown New York, 1966-1976" (2013). All Theses and Dissertations (ETDs). 1098. https://openscholarship.wustl.edu/etd/1098 This Dissertation is brought to you for free and open access by Washington University Open Scholarship. It has been accepted for inclusion in All Theses and Dissertations (ETDs) by an authorized administrator of Washington University Open Scholarship. For more information, please contact [email protected]. WASHINGTON UNIVERSITY IN ST. LOUIS Department of Music Dissertation Examination Committee: Peter Schmelz, Chair Patrick Burke Pannill Camp Mary-Jean Cowell Craig Monson Paul Steinbeck Collaboration, Presence, and Community: The Philip Glass Ensemble in Downtown New York, 1966–1976 by David Allen Chapman, Jr. A dissertation presented to the Graduate School of Arts and Sciences of Washington University in partial fulfillment of the requirements for the degree of Doctor of Philosophy May 2013 St. Louis, Missouri © Copyright 2013 by David Allen Chapman, Jr. All rights reserved. CONTENTS LIST OF FIGURES .................................................................................................................... -
University of California Santa Cruz
UNIVERSITY OF CALIFORNIA SANTA CRUZ EXTENDED FROM WHAT?: TRACING THE CONSTRUCTION, FLEXIBLE MEANING, AND CULTURAL DISCOURSES OF “EXTENDED VOCAL TECHNIQUES” A dissertation submitted in partial satisfaction of the requirements for the degree of DOCTOR OF PHILOSOPHY in MUSIC by Charissa Noble March 2019 The Dissertation of Charissa Noble is approved: Professor Leta Miller, chair Professor Amy C. Beal Professor Larry Polansky Lori Kletzer Vice Provost and Dean of Graduate Studies Copyright © by Charissa Noble 2019 TABLE OF CONTENTS List of Figures v Abstract vi Acknowledgements and Dedications viii Introduction to Extended Vocal Techniques: Concepts and Practices 1 Chapter One: Reading the Trace-History of “Extended Vocal Techniques” Introduction 13 The State of EVT 16 Before EVT: A Brief Note 18 History of a Construct: In Search of EVT 20 Ted Szántó (1977): EVT in the Experimental Tradition 21 István Anhalt’s Alternative Voices (1984): Collecting and Codifying EVT 28evt in Vocal Taxonomies: EVT Diversification 32 EVT in Journalism: From the Musical Fringe to the Mainstream 42 EVT and the Classical Music Framework 51 Chapter Two: Vocal Virtuosity and Score-Based EVT Composition: Cathy Berberian, Bethany Beardslee, and EVT in the Conservatory-Oriented Prestige Economy Introduction: EVT and the “Voice-as-Instrument” Concept 53 Formalism, Voice-as-Instrument, and Prestige: Understanding EVT in Avant- Garde Music 58 Cathy Berberian and Luciano Berio 62 Bethany Beardslee and Milton Babbitt 81 Conclusion: The Plight of EVT Singers in the Avant-Garde -
La Constellation Tzadik : 20 Ans/20 Disques the Tzadik Constellation: 20 Years/20 Albums Pierre-Yves Macé, Giuseppe Frigeni Et David Konopnicki
Document généré le 28 sept. 2021 08:11 Circuit Musiques contemporaines La constellation Tzadik : 20 ans/20 disques The Tzadik Constellation: 20 Years/20 Albums Pierre-Yves Macé, Giuseppe Frigeni et David Konopnicki Tzadik : l’esthétique discographique selon John Zorn Résumé de l'article Volume 25, numéro 3, 2015 Sous la forme d’une série de courtes chroniques, cette enquête propose un parcours subjectif à six mains à travers le catalogue de la maison de disques URI : https://id.erudit.org/iderudit/1034501ar Tzadik. Les trois auteurs, fervents « tzadikologues », ont sélectionné un disque DOI : https://doi.org/10.7202/1034501ar par année, depuis 1995 jusqu’à 2014, en veillant à ce que leur choix rende compte de la totalité des collections qui font la richesse unique de Tzadik Aller au sommaire du numéro (Composer Series, New Japan, Radical Jewish Culture, etc.). À travers les travaux de différents artistes de multiples horizons (Annie Gosfield, Pamelia Kurstin, Many Arms…), cette « constellation » guidera le lecteur à travers un dédale de genres et de sous-genres de l’underground musical (de la noise au Éditeur(s) postminimalisme, en passant par le klezmer, le dub et la fusion), tout en faisant Les Presses de l’Université de Montréal apparaître en creux la personnalité de John Zorn comme défricheur de talents sans frontières. ISSN 1183-1693 (imprimé) 1488-9692 (numérique) Découvrir la revue Citer cet article Macé, P.-Y., Frigeni, G. & Konopnicki, D. (2015). La constellation Tzadik : 20 ans/20 disques. Circuit, 25(3), 95–109. https://doi.org/10.7202/1034501ar Tous droits réservés © Les Presses de l’Université de Montréal, 2015 Ce document est protégé par la loi sur le droit d’auteur.