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New Media and Narratology in Cinematic Art James Anthony Ricci University of South Florida, [email protected]
University of South Florida Scholar Commons Graduate Theses and Dissertations Graduate School 11-15-2015 Now, We Hear Through a Voice Darkly: New Media and Narratology in Cinematic Art James Anthony Ricci University of South Florida, [email protected] Follow this and additional works at: http://scholarcommons.usf.edu/etd Part of the Film and Media Studies Commons Scholar Commons Citation Ricci, James Anthony, "Now, We Hear Through a Voice Darkly: New Media and Narratology in Cinematic Art" (2015). Graduate Theses and Dissertations. http://scholarcommons.usf.edu/etd/6021 This Dissertation is brought to you for free and open access by the Graduate School at Scholar Commons. It has been accepted for inclusion in Graduate Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. Now, We Hear Through a Voice Darkly: New Media and Narratology in Cinematic Art by James A. Ricci A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy Department of English College of Arts and Sciences University of South Florida Major Professor: Phillip Sipiora, Ph.D. Margit Grieb, Ph.D. Hunt Hawkins, Ph.D. Victor Peppard, Ph.D. Date of Approval: November 13, 2015 Keywords: New Media, Narratology, Manovich, Bakhtin, Cinema Copyright © 2015, James A. Ricci DEDICATION This dissertation is dedicated to my wife, Ashlea Renée Ricci. Without her unending support, love, and optimism I would have gotten lost during the journey. ACKNOWLEDGMENTS I owe many individuals much gratitude for their support and advice throughout the pursuit of my degree. -
Sessões Recomendadas Para Crianças L São, Além Das INFANTIS: FUTURO ANIMADOR E ANIMATV
PETROBRAS apresenta k'FTUJWBM*OUFSOBDJPOBM EF"OJNB}{PEP#SBTJM 3JPEF+BOFJSP BEF+VMIP Centro Cultural Banco do Brasil Centro Cultural Correios Casa França-Brasil Oi Futuro Cinema Odeon-BR Unibanco Arteplex Botafogo 4P1BVMP EF+VMIPBnEF"HPTUP Memorial da América Latina Centro Cultural Banco do Brasil 1 ATENÇÃO: Anima Mundi informa que as sessões recomendadas para crianças L são, além das INFANTIS: FUTURO ANIMADOR e ANIMATV. 14 As demais sessões não são recomendadas para menores de 14 anos. RIO DE JANEIRO Locais De Exibição Obs: Pagam meia-entrada: maiores de 60 (sessenta) anos e crianças até 12 (doze) anos. Centro Cultural Casa França-Brasil Banco do Brasil (CCBB) Rua Visconde de Itaboraí, 78, Centro Rua Primeiro de Março, 66, Centro Informações: (21) 2332-5121 Informações: (21) 3808-2020 Horário de funcionamento: Horário de funcionamento: 10h às 21h Estúdio Aberto: Ter a Dom 13h às 19h, Ingresso: R$ 6,00 (meia entrada R$ 3,00) Entrada franca Sessões gratuitas: Infantis, AnimaTV e Futuro Animador, retirada de senhas somente no dia da sessão Unibanco Arteplex Botafogo com 1 hora de antecedência na bilheteria Praia de Botafogo, 316 Térreo, Botafogo Informações: (21) 2559-8750 Centro Cultural Correios Horário de funcionamento: 12h às 22h Rua Visconde de Itaboraí, 20, Centro Ingresso: R$ 6,00 (meia entrada: R$ 3,00), Informações: (21) 2253-1580 Vendas por dia, a partir da abertura da bilheteria Horário de funcionamento: 11h30 às 19h30 Oi Futuro Flamengo · Sala de Cinema Rua Dois de Dezembro, 63, Flamengo Entrada Franca, Classificação Livre, Informações: -
Report to the Friends of Music
Summer, 2020 Dear Friends of the Music Department, The 2019-20 academic year has been like no other. After a vibrant fall semester featur- ing two concerts by the Parker Quartet, the opening of the innovative Harvard ArtLab featuring performances by our faculty and students, an exciting array of courses and our inaugural department-wide throwdown–an informal sharing of performance projects by students and faculty–we began the second semester with great optimism. Meredith Monk arrived for her Fromm Professorship, Pedro Memelsdorff came to work with the Univer- sity Choir as the Christoph Wolff Scholar, Esperanza Spalding and Carolyn Abbate began co-teaching an opera development workshop about Wayne Shorter’s Iphigenia, and Vijay Iyer planned a spectacular set of Fromm Players concerts and a symposium called Black Speculative Musicalities. And then the world changed. Harvard announced on March 10, 2020 that due to COVID-19, virtual teaching would begin after spring break and the undergraduates were being sent home. We had to can- cel all subsequent spring events and radically revise our teaching by learning to conduct classes over Zoom. Our faculty, staff, and students pulled together admirably to address the changed landscape. The opera workshop (Music 187r) continued virtually; students in Vijay Iyer’s Advanced Ensemble Workshop (Music 171) created an album of original mu- sic, “Mixtape,” that is available on Bandcamp; Meredith Monk created a video of students in her choral class performing her work in progress, Fields/Clouds, and Andy Clark created an incredible performance of the Harvard Choruses for virtual graduation that involved a complicated process of additive recording over Zoom. -
Juilliard415 Kristian Bezuidenhout, Harpsichord and Director
Juilliard415 Kristian Bezuidenhout, Harpsichord and Director The Juilliard School presents Juilliard415 Kristian Bezuidenhout, Harpsichord and Director Recorded on April 10, 2021 Peter Jay Sharp Theater HENRY PURCELL Music of the Theater (1659-95) Overture to Dioclesian Hornpipe from King Arthur Rondeau Minuet from The Gordion Knot Untied First Act Tune from The Virtuous Wife Second Music from The Virtuous Wife Rondeau from The Indian Queen Chacony in G Minor J.S. BACH Contrapunctus XIV from The Art of Fugue, arr. for flute, oboe, (1685-1750) and four-part strings Harpsichord Concerto in D Minor, BWV 1052 Allegro Adagio Allegro GEORG PHILIPP Sonata à 5 for two violins, two violas, and basso continuo in TELEMANN G Minor, TWV 44:33 (1681-1767) Grave Allegro Adagio Vivace 1 Welcome to the 2020-21 Historical Performance season! The Historical Performance movement began as a revolution: a reimagining of musical conventions, a rediscovery of instruments, techniques, and artworks that inspire and teach us, and a celebration of diversity in repertoire. It is also a conversation with the past, a past whose legacy of racism and colonialism has silenced and excluded too many voices from being heard. We do not seek simply to recreate what might have been but to imagine what should be. We embrace Juilliard's values of equity, diversity, inclusion, and belonging through voices heard anew and historical works presented with empathetic perspectives, and we reject discrimination, exclusion, and marginalization. We recognize that we study and work on the traditional homeland of those who preceded us (see Juilliard's land acknowledgement statement, below). -
LOUISE ALDER | JOSEPH MIDDLETON Serge Rachmaninoff, Ativanovka, Hisfamily’S Country Estate,C
RACHMANINOFF TCHAIKOVSKY BRITTEN GRIEG SIBELIUS MEDTNER LOUISE ALDER | JOSEPH MIDDLETON Serge Rachmaninoff, at Ivanovka, his family’s country estate, c. 1915 estate,c. country hisfamily’s atIvanovka, Serge Rachmaninoff, AKG Images, London / Album / Fine Art Images Lines Written during a Sleepless Night – The Russian Connection Serge Rachmaninoff (1873 – 1943) Six Songs, Op. 38 (1916) 15:28 1 1 At night in my garden (Ночью в саду у меня). Lento 1:52 2 2 To Her (К ней). Andante – Poco più mosso – Tempo I – Tempo precedente – Tempo I (Meno mosso) – Meno mosso 2:47 3 3 Daisies (Маргаритки). Lento – Poco più mosso 2:29 4 4 The Rat Catcher (Крысолов). Non allegro. Scherzando – Poco meno mosso – Tempo come prima – Più mosso – Tempo I 2:42 5 5 Dream (Сон). Lento – Meno mosso 3:23 6 6 A-oo (Ау). Andante – Tempo più vivo. Appassionato – Tempo precedente – Più vivo – Meno mosso 2:15 3 Jean Sibelius (1865 – 1957) 7 Våren flyktar hastigt, Op. 13 No. 4 (1891) 1:35 (Spring flees hastily) from Sju sånger (Seven Songs) Vivace – Vivace – Più lento – Vivace – Più lento – Vivace 8 Säv, säv, susa, Op. 36 No. 4 (1900?) 2:32 (Reed, reed, whistle) from Sex sånger (Six Songs) Andantino – Poco con moto – Poco largamente – Molto tranquillo 9 Flickan kom ifrån sin älsklings möte, Op. 37 No. 5 (1901) 2:59 (The girl came from meeting her lover) from Fem sånger (Five Songs) Moderato 10 Var det en dröm?, Op. 37 No. 4 (1902) 2:04 (Was it a dream?) from Fem sånger (Five Songs) Till Fru Ida Ekman Moderato 4 Edvard Grieg (1843 – 1907) Seks Sange, Op. -
Festival 2021
FESTIVAL 2021 leedslieder1 @LeedsLieder @leedsliederfestival #LLF21 LEEDS LIEDER has ‘ fully realised its potential and become an event of INTERNATIONAL STATURE. It attracts a large, loyal and knowledgeable audience, and not just from the locality’ Opera Now Ten Festivals and a Pandemic! In 2004 a group Our Young Artists will perform across the weekend of passionate, visionary song enthusiasts began and work with Dame Felicity Lott, James Gilchrist, programming recitals in Leeds and this venture has Anna Tilbrook, Sir Thomas Allen and Iain steadily grown to become the jam-packed season Burnside. Iain has also programmed a fascinating we now enjoy. With multiple artistic partners and music theatre piece for the opening lunchtime thousands of individuals attending our events recital. New talent is on evidence at every turn in every year, Leeds Lieder is a true cultural success this Festival. Ema Nikolovska and William Thomas story. 2020 was certainly a year of reacting nimbly return, and young instrumentalists join Mark and working in new paradigms. We turned Leeds Padmore for an evening presenting the complete Lieder into its own broadcaster and went digital. Canticles by Britten. I’m also thrilled to welcome It has been extremely rewarding to connect with Alice Coote in her Leeds Lieder début. A recital not audiences all over the world throughout the past 12 to miss. The peerless Graham Johnson appears with months, and to support artists both internationally one of his Songmakers’ Almanac programmes and known and just starting out. The support of our we welcome back Leeds Lieder favourites Roderick Friends and the generosity shown by our audiences Williams, Carolyn Sampson and James Gilchrist. -
Monteverdi: Vespers of 1610
MONTEVERDI: VESPERS OF 1610 Monday 7 March 2016, 7.30pm London Concert Choir with Soloists and QuintEssential Conductor: Mark Forkgen Programme: £2 Welcome to St John’s Smith Square • In accordance with the requirements of Westminster City Council, persons shall not be permitted to sit or stand in any gangway. • The taking of photographs and use of recording equipment is strictly forbidden without formal consent from St John’s Smith Square. • Smoking is not permitted anywhere in St John’s Smith Square. • Refreshments are permitted only in The Footstool Restaurant (our café & restaurant in the crypt). • Please ensure that all digital watch alarms, pagers and mobile phones are switched off. • The Footstool Restaurant will serve interval and post-concert refreshments. · Programme note © Sabine Köllmann Programme designed by Stephen Rickett and edited by Eleanor Cowie London Concert Choir - A company limited by guarantee, incorporated in England with registered number 3220578 and registered charity number 1057242 Registered Office7 Ildersly Grove, Dulwich, London SE21 8EU St John’s Smith Square, London SW1P 3HA Box Office 020 7222 1061 www.sjss.org.uk St John’s Smith Square Charitable Trust, registered charity no: 1045390. Registered in England. Company no: 3028678. Monday 7 March 2016 St John’s Smith Square MONTEVERDI: VESPERS OF 1610 Mark Forkgen Conductor Rachel Elliott and Rebecca Outram Soprano Nicholas Pritchard and Bradley Smith Tenor Giles Underwood and Colin Campbell Bass London Concert Choir QuintEssential ensemble There will be an INTERVAL of 20 minutes Claudio Monteverdi (1567–1643) VESPERS OF 1610 (Vespro della Beata Vergine, 1610) THE COMPOSER In the history of Western music Claudio Monteverdi occupies an important position at the threshold between Renaissance and Baroque, and his Vespers of 1610, as the compilation of music for the evening service on Marian feast days is often referred to, represents a milestone in the development of modern music. -
THROUGH LIFE and LOVE Richard Strauss
THROUGH LIFE AND LOVE Richard Strauss Louise Alder soprano Joseph Middleton piano Richard Strauss (1864-1949) THROUGH LIFE AND LOVE Youth: Das Mädchen 1 Nichts 1.40 Motherhood: Mutterschaft 2 Leises Lied 3.13 16 Muttertänderlei 2.27 3 Ständchen 2.42 17 Meinem Kinde 2.52 4 Schlagende Herzen 2.29 5 Heimliche Aufforderung 3.16 Loss: Verlust 18 Die Nacht 3.02 Longing: Sehnsucht 19 Befreit 4.54 6 Sehnsucht 4.27 20 Ruhe, meine Seele! 3.54 7 Waldseligkeit 2.54 8 Ach was Kummer, Qual und Schmerzen 2.04 Release: Befreiung 9 Breit’ über mein Haupt 1.47 21 Zueignung 1.49 Passions: Leidenschaft 22 Weihnachtsgefühl 2.26 10 Wie sollten wir geheim sie halten 1.54 23 Allerseelen 3.22 11 Das Rosenband 3.15 12 Ich schwebe 2.03 Total time 64.48 Partnership: Liebe Louise Alder soprano 13 Nachtgang 3.01 Joseph Middleton piano 14 Einerlei 2.53 15 Rote Rosen 2.19 2 Singing Strauss Coming from a household filled with lush baroque music as a child, I found Strauss a little later in my musical journey and vividly remember how hard I fell in love with a recording of Elisabeth Schwarzkopf singing Vier Letze Lieder, aged about 16. I couldn’t believe from the beginning of the first song it could possibly get any more ecstatic and full of emotion, and yet it did. It was a short step from there to Strauss opera for me, and with the birth of YouTube I sat until the early hours of many a morning in my tiny room at Edinburgh University, listening to, watching and obsessing over Der Rosenkavalier’s final trio and presentation of the rose. -
The English Concert – Biography
The English Concert – Biography The English Concert is one of Europe’s leading chamber orchestras specialising in historically informed performance. Created by Trevor Pinnock in 1973, the orchestra appointed Harry Bicket as its Artistic Director in 2007. Bicket is renowned for his work with singers and vocal collaborators, including in recent seasons Lucy Crowe, Elizabeth Watts, Sarah Connolly, Joyce DiDonato, Alice Coote and Iestyn Davies. The English Concert has a wide touring brief and the 2014-15 season will see them appear both across the UK and abroad. Recent highlights include European and US tours with Alice Coote, Joyce DiDonato, David Daniels and Andreas Scholl as well as the orchestra’s first tour to mainland China. Harry Bicket directed The English Concert and Choir in Bach’s Mass in B Minor at the 2012 Leipzig Bachfest and later that year at the BBC proms, a performance that was televised for BBC4. Following the success of Handel’s Radamisto in New York 2013, Carnegie Hall has commissioned one Handel opera each season from The English Concert. Theodora followed in early 2014, which toured West Coast of the USA as well as the Théâtre des Champs Elysées Paris and the Barbican London followed by a critically acclaimed tour of Alcina in October 2014. Future seasons will see performances of Handel’s Hercules and Orlando. The English Concert’s discography includes more than 100 recordings with Trevor Pinnock for Deutsche Grammophon Archiv, and a series of critically acclaimed CDs for Harmonia Mundi with violinist Andrew Manze. Recordings with Harry Bicket have been widely praised, including Lucy Crowe’s debut solo recital, Il caro Sassone. -
April 2021 Vol.22, No. 4 the Elgar Society Journal 37 Mapledene, Kemnal Road, Chislehurst, Kent, BR7 6LX Email: [email protected]
Journal April 2021 Vol.22, No. 4 The Elgar Society Journal 37 Mapledene, Kemnal Road, Chislehurst, Kent, BR7 6LX Email: [email protected] April 2021 Vol. 22, No. 4 Editorial 3 President Sir Mark Elder, CH, CBE Ballads and Demons: a context for The Black Knight 5 Julian Rushton Vice-President & Past President Julian Lloyd Webber Elgar and Longfellow 13 Arthur Reynolds Vice-Presidents Diana McVeagh Four Days in April 1920 23 Dame Janet Baker, CH, DBE Some notes regarding the death and burial of Alice Elgar Leonard Slatkin Relf Clark Sir Andrew Davis, CBE Christopher Robinson, CVO, CBE Book reviews 36 Andrew Neill Arthur Reynolds, Relf Clark Martyn Brabbins Tasmin Little, OBE CD Reviews 44 Christopher Morley, Neil Mantle, John Knowles, Adrian Brown, Chairman Tully Potter, Andrew Neill, Steven Halls, Kevin Mitchell, David Morris Neil Mantle, MBE DVD Review 58 Vice-Chairman Andrew Keener Stuart Freed 100 Years Ago... 60 Treasurer Kevin Mitchell Peter Smith Secretary George Smart The Editors do not necessarily agree with the views expressed by contributors, nor does the Elgar Society accept responsibility for such views. Front Cover: Portrait photograph of Longfellow taken at ‘Freshfields’, Isle of Wight in 1868 by Julia Margaret Cameron. Courtesy National Park Service, Longfellow Historical Site. Notes for Contributors. Please adhere to these as far as possible if you deliver writing (as is much Editorial preferred) in Microsoft Word or Rich Text Format. Copyright: it is the contributor’s responsibility to be reasonably sure that copyright permissions, if required, are obtained. Professor Russell Stinson, the musicologist, in his chapter on Elgar in his recently issued Bach’s Legacy (reviewed in this issue) states that Elgar had ‘one of the greatest minds in English music’.1 Illustrations (pictures, short music examples) are welcome, but please ensure they are pertinent, This is a bold claim when considering the array of intellectual ability in English music ranging cued into the text, and have captions. -
Mario Ferraro 00
City Research Online City, University of London Institutional Repository Citation: Ferraro Jr., Mario (2011). Contemporary opera in Britain, 1970-2010. (Unpublished Doctoral thesis, City University London) This is the unspecified version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/1279/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] CONTEMPORARY OPERA IN BRITAIN, 1970-2010 MARIO JACINTO FERRARO JR PHD in Music – Composition City University, London School of Arts Department of Creative Practice and Enterprise Centre for Music Studies October 2011 CONTEMPORARY OPERA IN BRITAIN, 1970-2010 Contents Page Acknowledgements Declaration Abstract Preface i Introduction ii Chapter 1. Creating an Opera 1 1. Theatre/Opera: Historical Background 1 2. New Approaches to Narrative 5 2. The Libretto 13 3. The Music 29 4. Stage Direction 39 Chapter 2. Operas written after 1970, their composers and premieres by 45 opera companies in Britain 1. -
NEWSLETTER of the American Handel Society
NEWSLETTER of The American Handel Society Volume XVIII, Number 1 April 2003 A PILGRIMAGE TO IOWA As I sat in the United Airways terminal of O’Hare International Airport, waiting for the recently bankrupt carrier to locate and then install an electric starter for the no. 2 engine, my mind kept returning to David Lodge’s description of the modern academic conference. In Small World (required airport reading for any twenty-first century academic), Lodge writes: “The modern conference resembles the pilgrimage of medieval Christendom in that it allows the participants to indulge themselves in all the pleasures and diversions of travel while appearing to be austerely bent on self-improvement.” He continues by listing the “penitential exercises” which normally accompany the enterprise, though, oddly enough, he omits airport delays. To be sure, the companionship in the terminal (which included nearly a dozen conferees) was anything but penitential, still, I could not help wondering if the delay was prophecy or merely a glitch. The Maryland Handel Festival was a tough act to follow and I, and perhaps others, were apprehensive about whether Handel in Iowa would live up to the high standards set by its august predecessor. In one way the comparison is inappropriate. By the time I started attending the Maryland conference (in the early ‘90’s), it was a first-rate operation, a Cadillac among festivals. Comparing a one-year event with a two-decade institution is unfair, though I am sure in the minds of many it was inevitable. Fortunately, I feel that the experience in Iowa compared very favorably with what many of us had grown accustomed Frontispiece from William Coxe, Anecdotes fo George Frederick Handel and John Christopher Smith to in Maryland.