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Spirit of Africa
FULL SCORE Spirit of Africa For Soprano Soloist, SATB Choir and Chamber Orchestra Photo: David Fanshawe, East Africa Music: Liz Lane Words: Jennifer Henderson Spirit of Africa Programme note Spirit of Africa is written as a companion piece to David Fanshawe’s African Sanctus and is inspired by the colours and symbolic meanings of the flags of Egypt, Sudan, Uganda and Kenya, the countries visited by David during his travels recording music for African Sanctus in 1969-1973. The words and music of the five movements trace a journey through the day, with the colour white for daybreak mist, green for morning freshness, red for midday heat, gold for sunset and black for night; each with its own mood and character, hopes and fears. Spirit of Africa is dedicated to David and his wife Jane. Liz Lane and Jennifer Henderson, May 2012 www.lizlane.co.uk 1. Promise of daybreak veiled in the early mist, hidden in shadows that cling to the night; Earth turning slowly toward a new journey into the morning, unknown, beyond sight. Birdsong dispelling the silence of waiting, lifting the darkness with wings taking flight; spray from the waterfall showering diamonds, carving the rock face with ribbons of white. Sweet is the air in the breath of the morning, spirit of purity, radiant light! 2. Dance, my friends, dance with the Earth, dance with the spring time of the year’s rebirth; dance with the sunshine, dance with the breeze, dance with the butterflies, dance with the bees. Sing, my friends, sing with the hills, sing with the river the rain cloud fills; sing with the green grass, sing with the trees, sing with the birds and the fish in the seas. -
2588Booklet.Pdf
ENGLISH P. 2 DEUTSCH S. 8 MUSIC FROM THAILAND AND LAOS SOUTHEAST ASIA – RECORDINGS BY DAVID FANSHAWE DAVID FANSHAWE David Fanshawe was a composer, ethnic sound recordist, guest speaker, photographer, TV personality, and a Churchill Fellow. He was born in 1942 in Devon, England and was educated at St. George’s Choir School and Stowe, after which he joined a documentary film company. In 1965 he won a Foundation Scholarship to the Royal College of Music in London. His ambition to record indigenous folk music began in the Middle East in 1966, and was intensified on subsequent journeys through North and East Africa (1969 – 75) resulting in his unique and highly original blend of Music and Travel. His work has been the subject of BBC TV documentaries including: African Sanctus, Arabian Fantasy, Musical Mariner (National Geographic) and Tropical Beat. Compositions include his acclaimed choral work African Sanctus; also Dona nobis pacem – A Hymn for World Peace, Sea Images, Dover Castle, The Awakening, Serenata, Fanfare to Planet Earth / Millennium March. He has also scored many film and TV productions including Rank’s Tarka the Otter, BBC’s When the Boat Comes In and ITV’s Flambards. Since 1978, his ten years of research in the Pacific have resulted in a monumental archive, documenting the music and oral traditions of Polynesia, Micronesia and Melanesia. David has three children, Alexander and Rebecca with his first wife Judith; and Rachel with his second wife Jane. David was awarded an Honorary Degree of Doctor of Music from the University of the West of England (UWE) in 2009. -
Richard Dashwood
University of Huddersfield Repository Dashwood, Richard Composing With Anthropology: The Manifestation of Influence in Interactions between Western and Non-Western Music Original Citation Dashwood, Richard (2011) Composing With Anthropology: The Manifestation of Influence in Interactions between Western and Non-Western Music. Masters thesis, University of Huddersfield. This version is available at http://eprints.hud.ac.uk/id/eprint/12899/ The University Repository is a digital collection of the research output of the University, available on Open Access. Copyright and Moral Rights for the items on this site are retained by the individual author and/or other copyright owners. Users may access full items free of charge; copies of full text items generally can be reproduced, displayed or performed and given to third parties in any format or medium for personal research or study, educational or not-for-profit purposes without prior permission or charge, provided: • The authors, title and full bibliographic details is credited in any copy; • A hyperlink and/or URL is included for the original metadata page; and • The content is not changed in any way. For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. http://eprints.hud.ac.uk/ COMPOSING WITH ANTHROPOLOGY: THE MANIFESTATION OF INFLUENCE IN INTERACTIONS BETWEEN WESTERN AND NON-WESTERN MUSIC RICHARD DASHWOOD A thesis submitted to the University of Huddersfield In partial fulfilment of the requirements for the Degree of Master of Art by Research The University of Huddersfield August 2011 Abstract The two aims of this thesis are the theoretical understanding, and the practical exploration, of the issues faced by Western art music composers when they engage with musical sources from Non-Western cultures. -
Boys Will Be Boys Mt. Kili Madness
Old Stoic Society Committee President: Sir Richard Branson (Cobham/Lyttelton 68) Vice President: THE MAGAZINE FOR OLD STOICS Dr Anthony Wallersteiner (Headmaster) Chairman: Simon Shneerson (Temple 72) Issue 5 Vice Chairman: Jonathon Hall (Bruce 79) Director: Anna Semler (Nugent 05) Members: John Arkwright (Cobham 69) Peter Comber (Grenville 70) Jamie Douglas-Hamilton (Bruce 00) breaks Colin Dudgeon (Hon. Member) two world records. Hannah Durden (Nugent 01) John Fingleton (Chatham 66) Ivo Forde (Walpole 67) Tim Hart (Chandos 92) MT. KILI MADNESS Katie Lamb (Lyttelton 06) Cricket in the crater of Mount Kilimanjaro. Nigel Milne (Chandos 68) Jules Walker (Lyttelton 82) BOYS WILL BE BOYS ’Planes buzzing Stowe. Old Stoic Society Stowe School Stowe Buckingham MK18 5EH United Kingdom Telephone: +44 (0) 1280 818349 Email: [email protected] www.oldstoic.co.uk www.facebook.com/OldStoicSociety ISSN 2052-5494 Design and production: MCC Design, mccdesign.com AR END 2015 EVENTS CAL We have endeavoured to organise a wide range of events in 2015 that will appeal to Old Stoics of all ages. To make enquiries or to book any of the events below please call the Old Stoic Office on01280 818349 or email [email protected] Full details of each event can be found at www.oldstoic.co.uk To see more photos visit the OS Event Gallery at www.oldstoic.co.uk Tuesday, 17 March 2015 Monday, 6 July 2015 Old Stoics in Hong Kong Drinks Reception, Classic Car Track Day, £350 The Hong Kong Club, Hong Kong Goodwood, West Sussex, PO18 0PH Saturday, 21 March 2015 Sunday, 12 -
Afro No-Clash Composing Syncretic African/Western Music
Afro No-Clash Composing syncretic African/Western music: eleven compositions and the frameworks for their systematic analysis by Jim Chapman BA (Dip Psych), B Mus Volume 1 Music Creative Industries Faculty Submitted for the degree of PhD at the Queensland University of Technology 2007 Keywords African musics, analysis, appropriation, aesthetics, blending, composition, cross-cultural, culture, difference, embodiment, ethnomusicology, expectancy, identity, metatheory, multivalence, participation, performance, polyrhythm, postcolonialism, repetition, simultaneity, syncretism, transformation, ubuntu, variation, Western music Abstract Afro No-Clash - Composing syncretic African/Western music: eleven compositions and the frameworks for their systematic analysis. This PhD consists of an artistic work (an album of music) and an exegesis. The album contains eleven works for a variety of ensembles, including an eight-piece pop fusion group, a string quartet, an eleven-piece a cappella ensemble, a five-piece contemporary classical ensemble and a six-piece percussion ensemble. Each of these works embraces a blend of African and Western techniques and aesthetics. These works are the result of a compositional praxis which is closely integrated with a theoretical framework that I develop in the exegesis. The purpose of the exegesis is to provide a framework from which to understand the compositions. Perspectives such as postcolonialism are immediately engaged because of the fact that two distinct world cultures are referenced by these compositions. Similarly, the musical aesthetics of the two source cultures are examined because I need to understand the ways that the value systems are expressed in musical terms, and how they might interact in cross-cultural composition. Examination of the literature reveals that there has been a trend in recent decades towards cultural analysis of cross-cultural music but very little work has been done on the technical analysis of such works (Utz 2003). -
Concert & Recital Programs Concert & Recital Programs
Ithaca College Digital Commons @ IC All Concert & Recital Programs Concert & Recital Programs 2-27-2006 Concert: Ithaca College Madrigal Singers & Ithaca College Chorus Ithaca College Madrigal Singers Ithaca College Chorus Elizabeth K. Swanson Janet Galván Follow this and additional works at: http://digitalcommons.ithaca.edu/music_programs Part of the Music Commons Recommended Citation Ithaca College Madrigal Singers; Ithaca College Chorus; Swanson, Elizabeth K.; and Galván, Janet, "Concert: Ithaca College Madrigal Singers & Ithaca College Chorus" (2006). All Concert & Recital Programs. 1614. http://digitalcommons.ithaca.edu/music_programs/1614 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. I T H A C **A C b LcL H G SCH'dObOF-· OSIC I I I· ITHACA COLLEGE MADRIGAL SINGERS Elizabeth K. Swanson, conductor ITHACA COLLEGE CHORUS Janet Galvan, conductor I I I Ford Hall _ I Monday, February 27, 2006 18:15 p.m. ITHACA COl,,LEGE MADRIGAL SINGERS Elizabeth K. Swanson, conductor Ave Maria Igor Stravinsky Ave Maria Tomas Luis de Victoria· Pater Noster Stra':'insky Five Hebrew Love Songs Eric Whitacre I. Temuna II. Kala kalla III. ·Larov IV. Eyze sheleg! V. Rakut Natasha Colkett, violin Allen Perriello, piano ,, ' Buy Baby Ribbon, (Tobagoan Lullaby) Steven Stucky from.Cradle Songs INTERMISSION ( ITHACA COLLEGE CHORUS Janet Galvan, conductor Mich.. ael, Lippert, graduate ·�onductor Reverence in many voices· Sanctus Leonard ,Ber_hstein From Mass A,lan Dust; Kay Seiner, Josef Hadar, percussionists Erev Shel Shoshanim arr. -
Music Practices Across Borders
Glaucia Peres da Silva, Konstantin Hondros (eds.) Music Practices Across Borders Music and Sound Culture | Volume 35 Glaucia Peres da Silva (Dr.) works as assistant professor at the Institute of Sociology at the University of Duisburg-Essen. Her research focuses on global markets and music. Konstantin Hondros works as a research associate at the Institute of Sociology at the University of Duisburg-Essen. His research focuses on evaluation, mu- sic, and copyright. Glaucia Peres da Silva, Konstantin Hondros (eds.) Music Practices Across Borders (E)Valuating Space, Diversity and Exchange The electronic version of this book is freely available due to funding by OGeSo- Mo, a BMBF-project to support and analyse open access book publications in the humanities and social sciences (BMBF: Federal Ministry of Education and Research). The project is led by the University Library of Duisburg-Essen. For more information see https://www.uni-due.de/ogesomo. Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Na- tionalbibliografie; detailed bibliographic data are available in the Internet at http://dnb.d-nb.de This work is licensed under the Creative Commons Attribution 4.0 (BY) license, which means that the text may be remixed, transformed and built upon and be copied and redistributed in any medium or format even commercially, provided credit is given to the author. For details go to http://creativecommons.org/licenses/by/4.0/ Creative Commons license terms for re-use do not apply to any content (such as graphs, figures, photos, excerpts, etc.) not original to the Open Access publication and further permission may be required from the rights holder. -
ETD Template
THE RECONTEXTUALIZATION OF AFRICAN MUSIC IN THE UNITED STATES: A CASE STUDY OF UMOJA AFRICAN ARTS COMPANY by Anicet Mudimbenga Mundundu BA, Université Nationale du Zaire, 1981 MA, University of Pittsburgh, 1995 Submitted to the Graduate Faculty of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2005 UNIVERSITY OF PITTSBURGH FACULTY OF ARTS AND SCIENCES This dissertation was presented by Anicet Mudimbenga Mundundu It was defended on 18 April, 2005 and approved by Dr. Nathan T. Davis, Ph.D., Professor of Music Dissertation Co-Chair Dr. Akin O. Euba, Ph.D., Professor of Music Dr. Matthew Rosenblum, Ph.D., Professor of Music Professor (Emeritus) J. H. Kwabena Nketia, Professor of Music Dissertation Co-Chair ii © Anicet M. Mundundu 2005 iii THE RECONTEXTUALIZATION OF AFRICAN MUSIC IN THE UNITED STATES: A CASE STUDY OF UMOJA AFRICAN ARTS COMPANY Anicet M. Mundundu, PhD University of Pittsburgh, 2005 This dissertation is about the opportunities and challenges posed by the presentation and interpretation of African music performances by African immigrants in Western contexts in general and the United States in particular. The study focuses on the experience of the Umoja African Arts Company, a Pittsburgh based repertory dance ensemble that performs music and dance from various parts of Africa. Although much has been observed on the contribution of Africa to the development of the American music and dance experience, there is a growing interest among African scholars to question the relevance, impact and the analysis of the emerging efforts of new African immigrants in the promotion of African music in changing contexts overseas where creative individuals have to reconfigure new ways of interpreting and presenting cultural resources to diverse audiences. -
2016 NATIONAL TOUR the 2013 Wartburg Choir Performs at Saint John’S Cathedral in Denver, Colorado
Dr. Lee Nelson, Conductor EverlastingLOVE 2016 NATIONAL TOUR The 2013 Wartburg Choir performs at Saint John’s Cathedral in Denver, Colorado. Wartburg College and Saint John’s entered into a partnership in that year to permanently move the Wartburg College Urban Studies Program at Wartburg West-Denver to Cathedral Square North. About The Wartburg Choir The internationally acclaimed Wartburg Choir performs sacred music from all historical periods and styles and often features premiere works of contemporary composers, including Morten Lauridsen, Ēriks Ešenvalds, Ola Gjeilo, René Clausen, Stacey V. Gibbs, Stanford Scriven, and Connor Koppin ’13. Choir members are chosen by audition and represent most academic disciplines on campus. The choir makes annual concert tours throughout the United States and travels abroad every three years during the college’s one-month May Term. For more than 75 years the choir has toured domestically and internationally visiting 38 U.S. states, the District of Columbia, 21 European countries, Scandinavia, South Africa, and three Canadian provinces. The Wartburg Choir is the college’s select a cappella choir, one of five choirs offered through the music department. In January 2014, the Wartburg Choir worked with composer Morten Lauridsen, who lauded their performance of his O Magnum Mysterium as being “in the top echelon of any performance of that piece by any choir that I have ever heard.” The Wartburg Choir performed at the 2012 and 2014 North Central division of the American Choral Directors Association (NCACDA) conferences. The choir has performed two other times at the NCACDA and twice at National American Choral Directors Association conventions. -
C Minor Mass
Emmanuel Church, Loughborough Saturday 22nd October 2016 Logo designed by Marc Stackhouse Welcome to our first concert as Charnwood Voices! The three works represented in tonight's concert are separated by 130 years - a mature work of Mozart composed in the 1780s, and two early pieces by Vaughan Williams written in the first decade of the 20th century. What they hold in common is a deep spirituality - in the case of the Mozart, a liturgical text, and, in the Vaughan Williams, poetry, which is overtly Christian in the Mystical Songs, and broadly "theist" in the Unknown Region. Vaughan Williams was in fact an atheist at this stage of his life, though later described himself as a "cheerful agnostic". Mozart was evidently a believer, though it seems that his relationship with the church was principally a professional one, founded on employment opportunities, seeming to be more of a practical than a spiritual necessity for him. But what music derives from each source! It has often seemed throughout music history that the personal beliefs of composers (or lack of them) have little bearing on the authenticity of the musical settings they create - we know that J S Bach was a devout Christian; but Fauré, for example, really wasn't! In the case of our Mozart and Vaughan Williams pieces performed tonight, these have proved to be amongst the most inspiring musical settings of sacred or quasi- sacred texts in the choral repertoire... Dr Nicholas Scott-Burt Mass in C Minor W A Mozart Judit Felszeghy - soprano I Maureen Brathwaite - soprano II David -
NEA-Annual-Report-1978.Pdf
National Endowment for the Arts Washington, D.C. 20506 Dear Mr. President: I have the honor to submit to you the Annual Report of the National Endowment íor the Arts and the National Council on the Arts for the Fiscal Year ended September 30, 1978. Respectfully, Livingston L. Biddle, Jr. Chairman The President The White House Washington, D.C. September 1979 Contents Chairman’s Statement 2 The Agency and Its Functions 5 The Year in Review 7 Members, National Council on the Arts 16 Advisory Panel Members and Consultants 17 Grants by Programs 40 Architecture, Planning, and Design 40 Challenge Grants 56 Dance 69 Education 81 Expansion Arts 85 Federal-State Partnership 115 Folk Arts 125 Literature 134 Media Arts : Film/Radio/Television 151 ~useums 166 Music 193 Special Projects 216 Theater 228 Visual Arts 239 Financial Summary 268 History of Authorizations and Appropriations 269 2 Chairman’s Statement Unity... ~ t my nomination hearing, I spoke discussion was frank and, as it usually is Quality... in the arts world, passionate. At times it Aecess A nership" of a "lastingon behalf and ofdeveloping the arts part- be- might have appeared that the simultane tween the federal government and ously occurring negotiations at Camp the state and local governments. David were easier. But agreement finally I have watched very closely over many emerged on a steering committee or task years and with great delight the steady force to put together over the next six growth and maturation of the state agen months a program that would bring us all cies since I first had the opportunity to into better harmony and would assign draít the language that established the responsible roles for all concerned. -
Premiere Recording Keith Pattison
PREMIERE RECORDING keith pattison 3 3 jonathan dove hugo glendinning a young vic production jonathan dove (b. 1959) PREMIERE RECORDING church opera in one act libretto by david lan in memory of nicholas john libretto dedicated to gergely stewart and balint stewart IN NINEVE tobit omar ebrahim baritone anna his wife hyacinth nicholls mezzo-soprano tobias his son darren abrahams tenor raphael an angel james laing counter-tenor IN ECBATANE raguel kevin west tenor edna his wife maureen brathwaite soprano sara his daughter karina lucas mezzo-soprano ashmodeus a demon rodney clarke baritone raguel’s men mensah bediako simon greenhill george ikediashi peter snipp 5 sparrows children’s chorus the fish people in market dancing adult chorus unison the mountain men only the river women only wedding guests people in market singing adult chorus satb the trees angels choruses and instrumental ensemble conducted by david charles abell 6 instrumental ensemble flute/piccolo katie bicknell clarinet andrew mason percussion matthew west accordion ian watson organ henry ward harp ruth potter violin ciaran mccabe cello miriam lowbury double-bass elena hull additional musicians for recording percussion harp violin james turner skaila kanga, hugh webb laura dixon 7 chorus members sparrows and fish oriel agranoff joyce ellis nimroy hendricks jasmine prado patricia asante rudeen evans d’mitri hunte gabriel sassi-mayoral emmanuel audu abigail fagbolagun kane lincoln misha susulu milo bernard taysha ferguson alice mcleod-bishop shaquille taylor scarlett bishai pearl