The Uncovered Ruggles a Subtle Chain of Countless
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For Immediate Release
FOR IMMEDIATE RELEASE Recess Presents Rethinking Residencies Reflects on Organizational Practice March 17th, 2015, 6:30-8:00pm Location: International Studio & Curatorial Program (ISCP) 1040 Metropolitan Avenue between Morgan and Vandervoort Avenues, Brooklyn L train to Grand Street On March 17th, Rethinking Residencies, a newly initiated working group of eleven New York-based artist residency programs, will present its first public event at the International Studio & Curatorial Program (ISCP). Moderated by Martha Wilson, this panel discussion Participant Biographies includes Kari Conte, Maia Murphy, Laurel Ptak, and Nicholas Weist. Martha Wilson is a pioneering feminist artist who during the past four decades has created innovative photographic Panelists will pose significant questions on issues of and performance works that explore her female subjectivity cultural production and organizational practice as they through role-playing and “invasions” of other people’s relate to residency programs. How can modes of personae. In 1976 she founded Franklin Furnace, an artist- collaboration in residency programs adapt to the changing run space in New York that champions the exploration, needs of artists, curators and institutions? How do broader promotion and preservation of artists’ books, installation political and economic realities impact artist residency and performance art, video and art online. programs today? What effect has the changing cultural climate of New York City had on the lives and practice of Kari Conte is a New York-based curator and writer. Since artists? How can organizations balance growth with 2010, she has been the Director of Programs and sustainability? Pragmatically and programmatically, what Exhibitions at the International Studio & Curatorial Program are the ramifications or alternatives to expanding? What is (ISCP), where she leads residencies, exhibitions, and the strangest residency program out there? public programs. -
American Mavericks Festival
VISIONARIES PIONEERS ICONOCLASTS A LOOK AT 20TH-CENTURY MUSIC IN THE UNITED STATES, FROM THE SAN FRANCISCO SYMPHONY EDITED BY SUSAN KEY AND LARRY ROTHE PUBLISHED IN COOPERATION WITH THE UNIVERSITY OF CaLIFORNIA PRESS The San Francisco Symphony TO PHYLLIS WAttIs— San Francisco, California FRIEND OF THE SAN FRANCISCO SYMPHONY, CHAMPION OF NEW AND UNUSUAL MUSIC, All inquiries about the sales and distribution of this volume should be directed to the University of California Press. BENEFACTOR OF THE AMERICAN MAVERICKS FESTIVAL, FREE SPIRIT, CATALYST, AND MUSE. University of California Press Berkeley and Los Angeles, California University of California Press, Ltd. London, England ©2001 by The San Francisco Symphony ISBN 0-520-23304-2 (cloth) Cataloging-in-Publication Data is on file with the Library of Congress. The paper used in this publication meets the minimum requirements of ANSI / NISO Z390.48-1992 (R 1997) (Permanence of Paper). Printed in Canada Designed by i4 Design, Sausalito, California Back cover: Detail from score of Earle Brown’s Cross Sections and Color Fields. 10 09 08 07 06 05 04 03 02 01 10 9 8 7 6 5 4 3 2 1 v Contents vii From the Editors When Michael Tilson Thomas announced that he intended to devote three weeks in June 2000 to a survey of some of the 20th century’s most radical American composers, those of us associated with the San Francisco Symphony held our breaths. The Symphony has never apologized for its commitment to new music, but American orchestras have to deal with economic realities. For the San Francisco Symphony, as for its siblings across the country, the guiding principle of programming has always been balance. -
Building Safe, Supportive and Restorative School Communities in New York City Case Study Series Vol
Building Safe, Supportive and Restorative School Communities in New York City Case Study Series Vol. II Summer 2013 A positive school climate and strong school community are critical to teaching and learning. Yet harsh disciplinary practices such as suspensions, police interventions and school-based arrests undermine positive relationships between students and adults, fail to prevent or reduce conflict, and lead to students missing critical class time. Students of color are more frequently targeted by punitive practices, increasing the likelihood that they will fall behind and be pushed out of school. In a number of New York City schools, students, parents and educators are implementing positive approaches to discipline that hold students accountable for their behavior while keeping them in class. Positive discipline strategies such as restorative approaches, peer mediation and positive behavior supports reduce conflict and support student success by affirming the Student leaders at the Bushwick Campus give a dignity and human rights of all members of the school workshop in conflict resolution to fellow students. community. In the 2011-2012 school year, there were over 69,000 suspensions in New York City schools. The latest data for September-December 2012 show a 35% decrease from the previous year, demonstrating that discipline practices are moving away from a strictly punitive approach. However, in order for schools citywide to fully implement positive disciplinary strategies, they need the funding, training and staff support to transform their school climates and improve educational outcomes. Districts like Denver and Los Angeles have revised their discipline polices to mandate approaches like restorative practices and positive behavior supports, and have invested in the training and support necessary to make these programs sustainable. -
Great American Composers Series: Carl Ruggles How to Install a Stereo Test Switch the Art of Bel Canto * How Much Should a Record Cost?
Hifi StereoReview SEPTEMBER 1966 60 CENTS GREAT AMERICAN COMPOSERS SERIES: CARL RUGGLES HOW TO INSTALL A STEREO TEST SWITCH THE ART OF BEL CANTO * HOW MUCH SHOULD A RECORD COST? 4,z, 3 3 4 it's/Wit/OW 01 cE 99L0 because it is the next best speakers, or $299.50 with 10- thing to our grand grands. At inch speakers. a small fraction of the size The 85 includes a powerful and cost. The 95 baby grand transistor amplifier, an auto- is only $369.50 with standard matic turntable and a mag- speakers, or $399.50 with op- netic cartridge to match. The tional larger speaker systems 95 has a sensitive FM -stereo for even finer bass. The 85 is tuner in addition. Everything only $269.50 with 8 -inch you need for fine stereo. The Fisher baby grand. CIRCLE NO. 24 ON READER SERVICE CARD OVERSEAS AND CANADIAN RESIDENTS PLEASE WRITETO TIMER RADIO I IONAL. INC., LONG ISLAND CITY, N.Y. 1 r PLACE 40 STAMP HERE At Fisher we don't equate performance with size. Every Fisher stereo system must be capable of producing °- FISHER RADIO CORPORATION 11-35 45th Road sound as big as the music. Long Island City, N. Y. 11101 Without compromise. And every time you turn it on. IN The Fisher baby grand is J the most recent proof of this. We call it our baby grand How to get big sound out ofasmall Fisher: N theRemarkable-howTurntable soundRemarkable, ofreproduces the most too-how a stereo magnificentthat recordarecord Garrard without capturesperformance. Automatic a hint dynamicallyofIntegralmeaningful distortion.Technically-this cueing; featuresbalanced, adjustable introducedis counterweightdue antito certain -skating by Garrard. -
Angels from on High Program in the Company of Angels……………………………………… Donald St
Mendelssohn Club of Philadelphia Alan Harler, Artistic Director John French, Associate Conductor Angels from on High Program In the Company of Angels …………………………………… Donald St. Pierre Mendelssohn Club commission and premiere Erin Swanson, soprano Cory O’Neill Walker, tenor d Angels, We Have Heard on High …………………traditional French carol d O Come, All Ye Faithful …………………………………John Francis Wade Messe Solennelle, Op. 16 ………………………………………… Louis Vierne 1. Kyrie 2. Gloria 3. Sanctus 4. Benedictus 5. Agnus Dei Ashley Alden, soprano Jennifer Beattie, alto Benjamin Harbold, tenor Ryan Tibbetts, bass d Joy to the World ………………………………………… arr. Lowell Mason Four Carols for Brass ………………………………………… arr. Richard Price The Mendelsson Brass Echo Nowell ……………… Louis-Claude D’aquin, arr. Thomas R. Vozzella d The First Nowell ……………………………………… arr. David Willcocks Angels We Have Heard on High ………………………………… Arnold Freed Lo, How A Rose E’er Blooming …………Michael Praetorius, arr. Shaw-Parker A Wondrous Birth (Strannoye Rozhdsetvo videshe) ……………Georgy Sviridov Bring a Torch, Jeanette, Isabella ……traditional French carol, arr. Shaw-Parker d Hark! The Herald Angels Sing …………………………Felix Mendelssohn Exaltation (While Shepherds Watched) …………………………… Carl Ruggles A Christmas Carol ………………………………………………… Charles Ives d Silent Night ………………………………………… Franz Xaver Gruber Alan Harler, conductor Mendelssohn Club Chorus Michael Stairs, organ The Mendelssohn Brass d The audience is invited to join in the singing of these carols. The use of recording or photographic equipment during this concert is strictly prohibited. Please turn off audible cell phones and alarms. 5 Program Notes This evening’s holiday concert, Angels from on High, features a mix of the new, the unfamiliar and some traditional favorites. The new is the premiere of a commission from Mendelssohn Club composer-in-residence Donald St. -
A Conductor's Guide to Twentieth-Century Choral-Orchestral Works in English
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. University Microfilms International A Bell & Howell Information Company 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA 313/761-4700 800/521-0600 Order Number 9314580 A conductor's guide to twentieth-century choral-orchestral works in English Green, Jonathan David, D.M.A. The University of North Carolina at Greensboro, 1992 UMI 300 N. -
Carl Ruggles's Cadential Complex*
Carl Ruggles's Cadential Complex* Stephen Slottow Carl Ruggles placed maximum emphasis on the melodic line. In a 1927 letter to Henry Cowell about Sun-Treader, he wrote: "More and more I'm gaining that complete command of line which, to me, is the basis of all music."1 Charles Seeger wrote about their working sessions: "One could keep at it for the better part of a whole night, as we did once with Angels. The criteria were very seldom vertical but almost invariably horizontal - the momentum, the goal, of the melodic line."2 Ruggles stressed the point in a 1967 interview conducted by John Carton: Carton: What is the most important element in your music? Ruggles: Melody. Carton: What do you feel about rhythm, harmony... Ruggles: (interrupting) Melody, line is everything! Carton: What should a composer do who has trouble dealing with melody? Ruggles: Drive a truck. Besides his general emphasis on the line, Ruggles held certain opinions about melodic contour. In 1966, five years before his death, he told a Newsweek interviewer: "There shouldn't be any straight lines. It's against nature. Did you ever see straight lines in a bunch of flowers, in the sea, on a mountain?"4 In that same year he said something similar about music and painting to his biographer Marilyn Ziffrin. "He always started with 'the line,1 adding that there were not straight lines in nature, so he didn't use This paper is based on a talk given at the 1997 annual meeting of the Society for Music Theory in Phoenix, Arizona. -
A New American Development in Music: Some Characteristic Features Extending from the Legacy of Charles Ives
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1976 A New American Development in Music: Some Characteristic Features Extending From the Legacy of Charles Ives. Joan Kunselman Cordes Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Cordes, Joan Kunselman, "A New American Development in Music: Some Characteristic Features Extending From the Legacy of Charles Ives." (1976). LSU Historical Dissertations and Theses. 2955. https://digitalcommons.lsu.edu/gradschool_disstheses/2955 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This material was produced from a microfilm copy of the original document. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the original submitted. The following explanation of techniques is provided to help you understand markings or patterns which may appear on this reproduction. 1. The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and thus cause a blurred image. -
Reproductions Supplied by EDRS Are the Best That Can Be Made from the Original Document
DOCUMENT RESUME ED 382 138 HE 028 339 TITLE Immigration/Migration and the CUNY Student of the Future. INSTITUTION City Univ. of New York, N.Y. Office of the Chancellor. PUB DATE 95 NOTE 185p. PUB TYPE Reports Research/Technical (143) EDRS PRICE MFOI/PC08 Plus Postage. DESCRIPTORS College Freshmen; Demography; *Enrollment Trends; Futures (of Society); Higher Education; Hispanic Americans; *Immigration; *Migrants; Migration Patterns; Population Trends; Puerto Ricans; *Student Characteristics; Urban Education; Urban Universities IDENTIFIERS *City University of New York; Diversity (Student) ABSTRACT This monograph analyzes the effects of recent trends in immigration from foreign countries and migration from Puerto Rico on the makeup of the City University of New York (CUNY) student body and provides preliminary assessments of related educational needs. An introduction describes the research for the study which included census data, other federal and city government statistics, surveys of CUNY administrators, and roundtable discussions with faculty, students, and community leaders. Part 1, which includes three sub-sections, examines the recent changes in the profile of CUNY students, discusses the likely changes that will take place during the current decade, and assesses the ways in which current foreign-born and Puerto Rican-born first-time freshmen students differ from current native-born freshmen. Part 2 considers how increases in the number of immigrant and migrant students will affect academic programs and support-service needs. Part 3 profiles the main country of origin of 10 groups at CUNY and describes how these groups are distributed across the city. Part 3 also includes information on the historical background of immigrant trends. -
Music of the Twentieth Century Table of Contents
The Music of the Twentieth Century Table of Contents Part 1: The Twentieth Century: We need No Longer be Afraid! (41:14) Opening/closing credit music: Greenberg: Child’s Play for string quartet (String Quartet No. 2) (1988) Part 2: Setting the Table and Parsing Out Blame: France, Germany and Claude Debussy (37:05) Opening/closing credit music: Greenberg: Funny Like a Monkey for piano quartet (2001) Part 3: Claude Debussy and the French Language in Musical ACTION (42:17) Featured works, performances, URLs, and timings: Claude Debussy, Prelude X, Book 1, The Sunken Cathedral: Pavel Kolesnikov, piano; https://www.youtube.com/watch?v=7-jmCNtgJ_g Part 1: 00:00-01:24 Part 2: 01:25-02:11 Part 3: 02:12-03:15 Part 4: 03:16-04:24 Part 5: 04:25-05:38 Parallel Organum https://www.youtube.com/watch?v=o3sTpHVfcf0 Javanese Gamelan: Sari Raras Gamelan Orchestra, Midiyanto, director https://www.youtube.com/watch?v=2937xfI_kKI Opening/closing credit music: Greenberg: New Time for clarinet, violin, and piano (1986) Part 4: Russia and Igor Stravinsky (39:58) Featured works, performances, URLs, and timings: Igor Stravinsky, The Firebird: Valery Gergiev, Vienna Philharmonic, https:// www.youtube.com/watch?v=RZkIAVGlfWk Khorovode: 20:17-24:32 Finale: 42:56-46:30 Infernal Dance of the Ogre Kashchey: 32.12-37.18 Igor Stravinsky, Petrushka; Valery Gergiev, London Philharmonic https://www.youtube.com/watch?v=hX7aSsic7eM Chez Petrushka: 11:14-15:59 Opening/closing credit music: j1 Greenberg: Fantasy Variations for chamber orchestra (1979) Part 5: The Rite of Spring -
Conrad Tao, Piano
CONCERTS FROM THE LIBRARY OF CONGRESS 2020-2021 The McKim Fund in the Library of Congress JACK QUARTET & CONRAD TAO, PIANO Thursday, December 3, 2020 ~ 8:00 pm The Library of Congress Virtual Event The MCKIM FUND in the Library of Congress was created in 1970 through a bequest of Mrs. W. Duncan McKim, concert violinist, who won international prominence under her maiden name, Leonora Jackson; the fund supports the commissioning and performance of chamber music for violin and piano. Conversation with the Artists Join us online at https://loc.gov/concerts/jack-quartet.html for a conversation with the artists, videos about Elliott Carter and Ruth Crawford Seeger, and additional resources related to the concert, available starting at 10am on Thursday, December 3. Facebook Chat Want more? Join other concert goers and Music Division curators after the concert for a chat that may include the artists, depending on availability. You can access this during the premiere and for a few minutes after by going to facebook.com/pg/libraryofcongressperformingarts/videos How to Watch Concerts from the Library of Congress Virtual Events 1) See each individual event page at loc.gov/concerts 2) Watch on the Library's YouTube channel: youtube.com/loc 3) Watch the premiere of the concert on Facebook: facebook.com/libraryofcongressperformingarts/videos Videos may not be available on all three platforms, and some videos will only be accessible for a limited period of time. The Library of Congress Virtual Event Thursday, December 3, 2020 — 8:00 pm The McKim Fund in the Library of Congress JACK QUARTET & CONRAD TAO, PIANO Christopher Otto & Austin Wulliman, VIOLIN John Pickford Richards, VIOLA Jay Campbell, CELLO Videography: Stuart Breczinski (Rodericus & Crawford Seeger) Videography: David Bird (Carter & Sorey) Audio Engineering: Ryan Streber 1 Program Rodericus (fl. -
Wallingford Riegger
bA"'f""' 1'3 J 5'"1"1 C r:> 13>[ ~/3 -13-~/lf PROGRAM CJ;;J 13, r;, 3 IJJ THREE SONGS for Contralto, Oboe, Percussion and Plano; version with orchestral ostinato (1930-32) .....(.,0.Hn.).. Ruth Crawford Seeger (1901-1953) I. Rat Riddles 11. Prayers ofSteel Ill. In Tall Grass Voice: Katheryn Weld Oboe: Sarah Bahauddin Percussion: Miho Takekawa Piano: Ming Tsu Clarinet (and Bass clarinet): Mark Oesterle Bassoon: Jake Kauffmann Contrabassoon: Chang Ho Lee Horn: Hsing-Hua Ho Trumpet: Eric Barling Trombone: Steve Nickels Violins: Eric Rynes, Jennifer Han, Mary Theodore, Jeremiah Hong Violas: Jeanne Drum, Kerrick Sasaki Cellos: Jacob Humphrey, Kyle Campbell Contrabasses: Chris Brunhaver, Josh Hollingsworth Conductor: Tim Salzman Ck1 THREE CANONS for Woodwinds, Op. 9 (l930) ... .c.(q.;.~.~)Wallingford Riegger Three-part Canon with Bassoon Obligato (1885-1960) Canon in the Unison for Flute and Clarinet Double Canon: Oboe and Clarinet (augmented fourth), Piccolo and Bassoon (third octave) Members of the Soni Ventorum Quintet Felix Skowronek,flute, Rebecca Henderson, oboe, William McColl, clarinet, Arthur Grosman. bassoon 0S0NATA for Violoncello and Piano (1948) ...0.?:!.!.?:?.Elliott Carter (b. 1908) . Moderato Vivace, molto leggiero Adagio Allegro Cello: Rajan Krishnaswami Piano: David Kopp INTER MIS S ION CP 13,511 ill AEOLIAN HARP (1923) ...... ,.(?.'~.~) .................Henry Cowell (1897" 1965) @ FABRIC (1917)........... (.I.~.?-:q} ................................................... Cowell Piano: James Myers [ilDIAPHONIC SUITE NO. J (1930) ..CS::..l~).. Ruth Crawford Seeger (1901-1953) Flute: Lucas Robatto EB f~RST C~JNSTRUCT/oN (in metal1 ,for p~cussion sextet wIth assIstant (1939) .............(~.• s:S'.;....................John Cage (1912-1992) Percussion: Greg Campbell, Matt Drumm, Christian Krehbiel, Conney Lin, Anne Richards.