Estonian Tourism Board. in Cooperation with the Tourism Center's, Event Organizers and Estonian Institute. Date Location Event D
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Thesis October 11,2012
Demystifying Galina Ustvolskaya: Critical Examination and Performance Interpretation. Elena Nalimova 10 October 2012 Submitted in partial requirement for the Degree of PhD in Performance Practice at the Goldsmiths College, University of London 1 Declaration The work presented in this thesis is my own and has not been presented for any other degree. Where the work of others has been utilised this has been indicated and the sources acknowledged. All the translations from Russian are my own, unless indicated otherwise. Elena Nalimova 10 October 2012 2 Note on transliteration and translation The transliteration used in the thesis and bibliography follow the Library of Congress system with a few exceptions such as: endings й, ий, ый are simplified to y; я and ю transliterated as ya/yu; е is е and ё is e; soft sign is '. All quotations from the interviews and Russian publications were translated by the author of the thesis. 3 Abstract This thesis presents a performer’s view of Galina Ustvolskaya and her music with the aim of demystifying her artistic persona. The author examines the creation of ‘Ustvolskaya Myth’ by critically analysing Soviet, Russian and Western literature sources, oral history on the subject and the composer’s personal recollections, and reveals paradoxes and parochial misunderstandings of Ustvolskaya’s personality and the origins of her music. Having examined all the available sources, the author argues that the ‘Ustvolskaya Myth’ was a self-made phenomenon that persisted due to insufficient knowledge on the subject. In support of the argument, the thesis offers a performer’s interpretation of Ustvolskaya as she is revealed in her music. -
French Underground Raves of the Nineties. Aesthetic Politics of Affect and Autonomy Jean-Christophe Sevin
French underground raves of the nineties. Aesthetic politics of affect and autonomy Jean-Christophe Sevin To cite this version: Jean-Christophe Sevin. French underground raves of the nineties. Aesthetic politics of affect and autonomy. Political Aesthetics: Culture, Critique and the Everyday, Arundhati Virmani, pp.71-86, 2016, 978-0-415-72884-3. halshs-01954321 HAL Id: halshs-01954321 https://halshs.archives-ouvertes.fr/halshs-01954321 Submitted on 13 Dec 2018 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. French underground raves of the 1990s. Aesthetic politics of affect and autonomy Jean-Christophe Sevin FRENCH UNDERGROUND RAVES OF THE 1990S. AESTHETIC POLITICS OF AFFECT AND AUTONOMY In Arundhati Virmani (ed.), Political Aesthetics: Culture, Critique and the Everyday, London, Routledge, 2016, p.71-86. The emergence of techno music – commonly used in France as electronic dance music – in the early 1990s is inseparable from rave parties as a form of spatiotemporal deployment. It signifies that the live diffusion via a sound system powerful enough to diffuse not only its volume but also its sound frequencies spectrum, including infrabass, is an integral part of the techno experience. In other words listening on domestic equipment is not a sufficient condition to experience this music. -
1000 Voices for Peace in a Nutshell
Peace is about much more than ending war Flanders Festival Brussels commemorates the Great War 1 2 1,000 Voices for Peace in a nutshell On 9 November 2014, Flanders Festival Brussels will be joined by over 1000 singers and the Brussels Philharmonic to commemorate the Great War. Singers and choirs from countries involved in the conflict at the time will be making an inspiring statement for peace. Art, and especially music and song, is what binds our world together! The great Polish composer, Krzysztof Penderecki, also subscribes to the urgency of our statement for peace. He has created an oratorio for peace that will be performed for the first time on 9 November. Since his world-famous 1961 Threnody for the Victims of Hiroshima, the fortunes of the world have become an inseparable part of his work. 1000 Voices for Peace also gives choirs from Belgium and the world an opportunity to fraternise with each other. Between November 3 and 9, we and many Belgian choirs will be welcoming fifteen choirs from all around the globe. With 15 fraternising concerts in Flanders, Brussels and Wallonia on November 5, 6 & 7, each choir will give colour and its best to the 1000 Voices for Peace narrative. Herman van Rompuy, president of the European Council, is patron of the project. Herman Van Rompuy has been the head of Europe for two whole mandates. A mission which is just right for him. The 31rst of December 2014 his mandate ends, but not his personal quest. The President is convinced that culture plays an important role for being a bridge between countries and nations. -
Download the Conference Abstracts Here
THURSDAY 8 SEPTEMBER 2016: SESSIONS 1‐4 Maciej Fortuna and Krzysztof Dys (Academy of Music, Poznán) BIOGRAPHIES Maciej Fortuna is a Polish trumpeter, composer and music producer. He has a PhD degree in Musical Arts and an MA degree in Law and actively pursues his artistic career. In his work, he strives to create his own language of musical expression and expand the sound palette of his instrument. He enjoys experimenting with combining different art forms. An important element of his creative work consists in the use of live electronics. He creates and directs multimedia concerts and video productions. Krzysztof Dys is a Polish jazz pianist. He has a PhD degree in Musical Arts. So far he has collaborated with the great Polish vibrafonist Jerzy Milian, with famous saxophonist Mikoaj Trzaska, and as well with clarinettist Wacaw Zimpel. Dys has worked on a regular basis with young, Poznań‐based trumpeter, Maciej Fortuna. Their album Tropy has been well‐received by the audience and critics as well. Dys also plays in Maciej Fortuna Quartet, with Jakub Mielcarek, double bass, and Przemysaw Jarosz, drums. In 2013 the group toured outside Poland with a project ‘Jazz from Poland’, with a goal to present the work of unappreciated or forgotten or Polish jazz composers. The main inspiration for Krzysztof Dys is the work of Russian composers Alexander Nikolayevich Scriabin, Sergei Sergeyevich Prokofiev, American artists like Bill Evans and Miles Davis, and last but not least, a great Polish composer, Grayna Bacewicz. TITLE Classical Inspirations in Jazz Compositions Based on Selected Works by Roman Maciejewski ABSTRACT A few years prior to commencing a PhD programme, I started my own research on the possibilities of implementing electronic sound modifiers into my jazz repertoire. -
Neotrance and the Psychedelic Festival DC
Neotrance and the Psychedelic Festival GRAHAM ST JOHN UNIVERSITY OF REGINA, UNIVERSITY OF QUEENSLAND Abstract !is article explores the religio-spiritual characteristics of psytrance (psychedelic trance), attending speci"cally to the characteristics of what I call neotrance apparent within the contemporary trance event, the countercultural inheritance of the “tribal” psytrance festival, and the dramatizing of participants’ “ultimate concerns” within the festival framework. An exploration of the psychedelic festival offers insights on ecstatic (self- transcendent), performative (self-expressive) and re!exive (conscious alternative) trajectories within psytrance music culture. I address this dynamic with reference to Portugal’s Boom Festival. Keywords psytrance, neotrance, psychedelic festival, trance states, religion, new spirituality, liminality, neotribe Figure 1: Main Floor, Boom Festival 2008, Portugal – Photo by jakob kolar www.jacomedia.net As electronic dance music cultures (EDMCs) flourish in the global present, their relig- ious and/or spiritual character have become common subjects of exploration for scholars of religion, music and culture.1 This article addresses the religio-spiritual Dancecult: Journal of Electronic Dance Music Culture 1(1) 2009, 35-64 + Dancecult ISSN 1947-5403 ©2009 Dancecult http://www.dancecult.net/ DC Journal of Electronic Dance Music Culture – DOI 10.12801/1947-5403.2009.01.01.03 + D DC –C 36 Dancecult: Journal of Electronic Dance Music Culture • vol 1 no 1 characteristics of psytrance (psychedelic trance), attending specifically to the charac- teristics of the contemporary trance event which I call neotrance, the countercultural inheritance of the “tribal” psytrance festival, and the dramatizing of participants’ “ul- timate concerns” within the framework of the “visionary” music festival. -
Salt Lake City August 1—4, 2019 Nfac Discover 18 Ad OL.Pdf 1 6/13/19 8:29 PM
47th Annual National Flute Association Convention Salt Lake City August 1 —4, 2019 NFAc_Discover_18_Ad_OL.pdf 1 6/13/19 8:29 PM C M Y CM MY CY CMY K Custom Handmade Since 1888 Booth 110 wmshaynes.com Dr. Rachel Haug Root Katie Lowry Bianca Najera An expert for every f lutist. Three amazing utists, all passionate about helping you und your best sound. The Schmitt Music Flute Gallery offers expert consultations, easy trials, and free shipping to utists of all abilities, all around the world! Visit us at NFA booth #126! Meet our specialists, get on-site ute repairs, enter to win prizes, and more. schmittmusic.com/f lutegallery Wiseman Flute Cases Compact. Strong. Comfortable. Stylish. And Guaranteed for life. All Wiseman cases are hand- crafted in England from the Visit us at finest materials. booth 214 in All instrument combinations the exhibit hall, supplied – choose from a range of lining colours. Now also NFA 2019, Salt available in Carbon Fibre. Lake City! Dr. Rachel Haug Root Katie Lowry Bianca Najera An expert for every f lutist. Three amazing utists, all passionate about helping you und your best sound. The Schmitt Music Flute Gallery offers expert consultations, easy trials, and free shipping to utists of all abilities, all around the world! Visit us at NFA booth #126! Meet our specialists, get on-site ute repairs, enter to win prizes, and more. 00 44 (0)20 8778 0752 [email protected] schmittmusic.com/f lutegallery www.wisemanlondon.com TABLE OF CONTENTS Letter from the President ................................................................... 11 Officers, Directors, Staff, Convention Volunteers, and Competition Committees ............................................................... -
Marvel in the Midwest
But Madison was hardly an early- music.” Bowles is amazed by how the serve as artists who also lead workshops music mecca, and, indeed, most residents event has been able to build a stand- for everyone from beginners to pre- probably didn’t know anything about out profile in a city flush with festivals professionals. It’s a formula the Rowes the specialized field. Put simply, it was of all kinds. “The community has instituted at the beginning and have a big risk. The couple moved ahead really, really embraced this festival,” continued all along. “If that were to anyway, recruiting Chelcy Bowles, who she said. change very much,” Bowles said, taught in the University of Wisconsin’s The summer event established “it wouldn’t be the same festival.” Division of Continuing Education, as itself as one of this country’s most It also doesn’t hurt that the festival a co-founder and the festival’s program important early-music festivals by takes place at the University of director (essentially executive director). differentiating itself right from the start. Wisconsin-Madison in partnership And the threesome’s initiative has clearly Not only is it situated away from the with its Mead Witter School of paid off. From July 6-13, the Madison two coasts, where similar offerings Music. The university provides both Early Music Festival will mark its are mostly found, but it also focuses 20th-anniversary season. mainly on medieval and Renaissance “It went fast,” Bensman-Rowe said, music and not the more prominent “and it’s a happy surprise that it’s been Baroque era. -
Boom Festival | Rehearsing the Future
Boom festival | Rehearsing the Future Music and the Prefiguration of Change by Saul Roosendaal 5930057 Master’s thesis Musicology August 2016 supervised by dr. Barbara Titus University of Amsterdam Boom festival | Rehearsing the future Contents Foreword .................................................................................................................................... 3 Introduction ................................................................................................................................ 4 1. A Transformational Festival ................................................................................................. 9 1.1 Psytrance and Celebration ........................................................................................... 9 1.2 Music and Culture ..................................................................................................... 12 1.3 Dance and Musical Embodiment .............................................................................. 15 1.4 Art, Aesthetics and Spirituality ................................................................................. 18 1.5 Summary ................................................................................................................... 21 2. Music and Power: Prefigurating Change ........................................................................... 23 2.1 Education: The Liminal Village as Forum ................................................................ 25 2.1.1 Drugs and Policies ......................................................................................... -
Ivo Sillamaa 60
hooaja peatoetajad Kontserdisari “Suur muusikaakadeemia” Ivo Sillamaa 60 Andres Mustonen (viiul) Ivo Sillamaa (klavessiin, haamerklaver) Taavo Remmel (kontrabass) L 14. november kell 16 Väravatorn Eesti Kontserdi suurtoetaja 2015 Johann Sebastian Bach (1685–1750) Sonaat klavessiinile ja viiulile c-moll BWV 1017 Siciliana Allegro Adagio Allegro Ludwig van Beethoven (1770–1827) Klaverisonaat nr. 14 cis-moll op. 27 nr. 2 “Kuupaistesonaat” Adagio sostenuto Allegretto Presto agitato Antonio Vivaldi (1678–1741) Sonaat h-moll Preludio Corrente Giga Antonio Vivaldi Sonaat a-moll Preludio Capriccio Grave Allemanda Ivo Sillamaa (*1955) on lõpetanud Tallinna muusikakeskkooli klaveri erialal 1974. aastal õpetaja Ruta Tarase klassis ja Tallinna riikliku konservatooriumi 1979. aastal professor Bruno Lukki klassis. Aastatel 1979–1981 täiendas ta end Moskva riik- likus konservatooriumis professor Vera Gornostajeva assistentuuris-stažuuris. Ivo Sillamaa on pälvinud II koha vabariiklikul pianistide konkursil (1973) ja vabariikide- vahelisel konkursil (1976). Ta on töötanud kontsertmeistrina Estonia teatris (1981– 1990), õpetajana Tallinna muusikakeskkoolis (1981–1993) ja klaveriõppejõuna Eesti muusika akadeemias (1990–1993). Aastast 1993 on ta ansambli Hortus Musicus klavessinist-organist. Ivo Sillamaa on ansambliga esinenud Soomes, Rootsis, Inglis- maal, Prantsusmaal, Saksamaal, Venemaal, Poolas, Austrias, Gruusias, Hollandis, Mehhikos, Iisraelis ja Balti riikides; sealhulgas suurtel festivalidel: “Tage alter Musik” Regensburg, WDRi vanamuusikafestival -
ARTEMANDOLINE Early Music
ARTEMANDOLINE Early Music With their ensemble Artemandoline, formed in 2001, Juan Carlos Muñoz and Mari Fe Pavón chose to go back to the original documents to establish the true pedigree of this incomparable family of plucked string instruments. They have made a major contribution to launching a movement to encourage musical freshness and rigour. A better understanding of the compositions, closer study of the early treatises, the playing styles, the musical environment of the glorious era of the mandolin, leads to better appreciation of Baroque music, which itself became over time a mode of thought and action. Searching for early mandolins, working on the manuscripts, hunting down early treatises, exploring the iconography: these are the means by which, for more than ten years now, the musicians of Artemandoline have sought to do fuller justice to the works of Scarlatti, Vivaldi, Weiss, and their contemporaries. The success of this approach based on a return to the sources, which constitutes the most important development in the history of the interpretation of ‘serious’ music in the course of the twentieth century, has been made possible by the cooperation of many protagonists – musicians, but also concert organisers, recording producers, publishers, musicologists, and instrument makers. To ensure that music composed in the past does not sound like mere ‘early music’ in the present, the performers must manage to be sufficiently free, spontaneous, anticipative and astonished in their intimate act of creation and the newness it engenders. Juan Carlos Muñoz and Mari Fe Pavón spend their lives searching out and reviving forgotten masterpieces of the mandolin repertory. -
Classical Folk & Blues Jazz Stage & Screen World Music
Fall, 2020 All Prices Good through 11/30/20 Music Classical see pages 3 - 24 Not Our First Goat Rodeo Yo-Yo Ma & Friends A classical-crossover selection SNYC 19439738552 $16.98 Folk & Blues see pages 42 - 49 Sierra Hull: 25 Trips Sierra jumps from her bluegrass roots to entirely new terrain 1CD# RDR 1166100579 $16.98 Jazz see pages 38 - 41 Diana Krall This Dream of You A wonderful collection of gems from the American Songbook 1CD# IMPU B003251902 $19.98 Stage & Screen see pages 25 - 29 Ennio Morricone Partnered with: Once Upon A Time Arrangements for Guitar 1CD# BLC 95855 $12.98 World Music see pages 34 - 37 Afwoyo – Afro Jazz Milégé derive inspiration from the diverse musical traditions of Uganda VT / KY / TN CD# NXS 76108 $16.98 see page 2 HBDirect Mixed-Genre Catalog HBDirect is pleased to present our newest Mixed-Genre catalog – bringing you the widest selection of classical, jazz, world music, folk, blues, band music, oldies and so much more! Call your Fall 2020 order in to our toll-free 800 line, mail it to us, or you can search for your selections on our website where you’ll also find thousands more recordings to choose from. Not Our First Goat Rodeo: Yo-Yo Ma & Friends Classical highlights in this issue include a tribute to Orfeo Records in honor of the label’s 40th Nine years ago, classical legends Yo Yo Ma, Stuart Duncan, Chris Thile, and anniversary, music of African American composers on page 8, plus new releases, videos, boxed sets Edgar Meyer released Goat Rodeo, and now they return with their masterful, and opera. -
Historical Performance Practice at the Beginning of the New Millennium
Historical Performance Practice at the beginning of the new millennium Dorottya Fabian An interest in early music and performing practices of the past has a long history by now. Its characteristics in the nineteenth century have been mapped by several authors, especially in relation to the revival of Johann Sebastian Bach’s music, the Cecilian Movement and various musical developments in England. Even more pub- lications are available on its twentieth-century history.1 The initiatives during the early decades (e.g. the organ and recorder movements of the 1920s, the establish- ing of the Schola Cantorum in Basel in 1933) and the contribution of pioneers like Wanda Landowska and Arnold Dolmetsch have been extensively studied togeth- er with lesser-known figures, places and institutions.2 But as is well-known, it was during the second half of the twentieth century that the Early Music or Historically Informed Performance Movement has truly taken off, becoming a major force in the world of classical music. Many books and papers have been dedicated to the history of this development, its various phases, musical characteristics, key figures, aesthetic outlook and philosophical assumptions, and its achievements. There was a burgeon- ing of such literature and heated debates during the 1980s and 1990s followed by more comprehensive and ‘corrective’ analyses published during the early years of the 2000s, most focussing on the second half of the twentieth century.3 Much less has 1 Harry Haskell, The Early Music Revival – A History, London 1988; George B. Stauffer, Changing Issues of Performance Practice, in: John Butt (Hg.), Cambridge Companion to Bach, Cambridge 1997, S.