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2015 Regional Music Scholars Conference Abstracts Friday, March 27 Paper Session 1 1:00-3:05
2015 REGIONAL MUSIC SCHOLARS CONFERENCE A Joint Meeting of the Rocky Mountain Society for Music Theory (RMSMT), Society for Ethnomusicology, Southwest Chapter (SEMSW), and Rocky Mountain Chapter of the American Musicological Society (AMS-RMC) School of Music, Theatre, and Dance, Colorado State University March 27 and 28, 2015 ABSTRACTS FRIDAY, MARCH 27 PAPER SESSION 1 1:00-3:05— NEW APPROACHES TO FORM (RMSMT) Peter M. Mueller (University of Arizona) Connecting the Blocks: Formal Continuity in Stravinsky’s Sérénade en La Phrase structure and cadences did not expire with the suppression of common practice tonality. Joseph Straus points out the increased importance of thematic contrast to delineate sections of the sonata form in the beginning of the nineteenth century. Igor Stravinsky exploited other musical elements (texture, range, counterpoint, dynamics, etc.) to delineate sections in his neoclassical works. While theorists have introduced large-scale formal approaches to Stravinsky’s works (block juxtaposition, stratification, etc.), this paper presents an examination of smaller units to determine how they combine to form coherence within and between blocks. The four movements of the Sérénade present unique variations of phrase construction and continuity between sections. The absence of clear tonic/dominant relationships calls for alternative formal approaches to this piece. Techniques of encirclement, enharmonic ties, and rebarring reveal methods of closure. Staggering of phrases, cadences, and contrapuntal lines aid coherence to formal segments. By reversing the order of phrases in outer sections, Stravinsky provides symmetrical “bookends” to frame an entire movement. Many of these techniques help to identify traditional formal units, such as phrases, periods, and small ternary forms. -
The Challenge of African Art Music Le Défi De La Musique Savante Africaine Kofi Agawu
Document generated on 09/27/2021 1:07 p.m. Circuit Musiques contemporaines The Challenge of African Art Music Le défi de la musique savante africaine Kofi Agawu Musiciens sans frontières Article abstract Volume 21, Number 2, 2011 This essay offers broad reflection on some of the challenges faced by African composers of art music. The specific point of departure is the publication of a URI: https://id.erudit.org/iderudit/1005272ar new anthology, Piano Music of Africa and the African Diaspora, edited by DOI: https://doi.org/10.7202/1005272ar Ghanaian pianist and scholar William Chapman Nyaho and published in 2009 by Oxford University Press. The anthology exemplifies a diverse range of See table of contents creative achievement in a genre that is less often associated with Africa than urban ‘popular’ music or ‘traditional’ music of pre-colonial origins. Noting the virtues of musical knowledge gained through individual composition rather than ethnography, the article first comments on the significance of the Publisher(s) encounters of Steve Reich and György Ligeti with various African repertories. Les Presses de l’Université de Montréal Then, turning directly to selected pieces from the anthology, attention is given to the multiple heritage of the African composer and how this affects his or her choices of pitch, rhythm and phrase structure. Excerpts from works by Nketia, ISSN Uzoigwe, Euba, Labi and Osman serve as illustration. 1183-1693 (print) 1488-9692 (digital) Explore this journal Cite this article Agawu, K. (2011). The Challenge of African Art Music. Circuit, 21(2), 49–64. https://doi.org/10.7202/1005272ar Tous droits réservés © Les Presses de l’Université de Montréal, 2011 This document is protected by copyright law. -
The History of the Clarinet in South Africa
The History of the Clarinet in South Africa by Becky L. Steltzner M.Mus. (University of Southern California) Thesis Presented in partial fulfilment of the Degree of DOCTOR OF PHILOSOPHY in the South African College of Music Faculty of Humanities University of Cape Town February 2016 Supervisor: Prof. Dr. Rebekka Sandmeier University of Cape Town The copyright of this thesis vests in the author. No quotation from it or information derived from it is to be published without full acknowledgement of the source. The thesis is to be used for private study or non- commercial research purposes only. Published by the University of Cape Town (UCT) in terms of the non-exclusive license granted to UCT by the author. University of Cape Town Copyright © 2016 Becky L. Steltzner The copyright of this thesis vests in the author. No quotation from it or information derived from it is to be published without full acknowledgement of the source. The thesis is to be used for private study or non-commercial research purposes only. Abstract This thesis explores and traces the history of the clarinet in South Africa. After discussing the problems of researching western European music history in South Africa from the arrival of the Dutch in 1652, and briefly summarising that music history up to the first clarinet reference, the thesis goes through the existing clarinet references. These have been sourced from travellers’ journals, newspapers, military histories, other theses, etc., with particular emphasis on the 19th century, since the clarinet was introduced to South Africa near the beginning of it, and the most unknown part of the clarinet’s South African history is within it. -
Chapter 1: from Autonomy to Heteronomy: a Change of Paradigm in South African Art Music, 1980-2006
Chapter 1: From autonomy to heteronomy: A change of paradigm in South African art music, 1980-2006 Introduction Composition in South Africa has been an increasingly contested artistic and ideological space since the early 1980s. In this dissertation I argue that the demise of apartheid and the rise of democracy resulted in an institutional and aesthetic crisis for the field of composition, embodied in musical terms by a shift away from a Eurocentric paradigm to a cross-cultural one that embraced various ‘African elements’ within a framework of modernism and discourse of accessibility. In this chapter I consider the factors – both internal to the field of art music and those resulting from larger societal changes – that contributed to this artistic and ideological shift. Partly I am concerned with the politics of the field itself: the struggle for power within a highly contested cultural space. More broadly I am interested in the position of the field relative to changes in society at the macro level, in terms of race, class, and economic imperatives. A central question is, to what extent did the restructuring of the field in response to these changed imperatives affect the aesthetic choices of composers? The autonomy of art music during apartheid was challenged by the politicization of the field during the 1980s. The extent and rapidity of social and institutional change, and the new self-consciousness that it evoked in composers previously only concerned with “production for producers” (Bourdieu 1993:15), resulted in a crisis that foreshadowed an aesthetic revolution, or change of paradigm. In this chapter I present the theoretical basis for this claim and explain some of the historical reasons for its emergence. -
Ernestine White-Mifetu
20 2018 Festival Curators Visual and Performance Art Ernestine White-Mifetu ERNESTINE WHITE-MIFETU is currently the curator of Contemporary Art at Iziko’s South African National Gallery. Her experience within the arts and culture sector spans a period of fifteen years. She holds a Bachelors degree in Fine Art (1999) cum CURATED PROGRAMME laude from the State University of Purchase College in New York, a Master Printer degree in Fine Art Lithography (2001) from the Tamarind Institute in New Mexico, a Masters degree in Fine Art (2004) from the Michaelis School of Fine Art, Cape Town, and a Honours degree in Curatorship (2013) from the University of Cape Town’s Michaelis School of Fine Art. Ms White-Mifetu obtained her initial curatorial experience working as the Exhibitions Coordinator (2004-2006) and thereafter as Senior Projects Coordinator for Parliament’s nation building initiative, the Parliamentary Millennium Programme. Prior to this she worked as the Collections Manager for Iziko’s South African National Gallery. As an independent artist her work can be found in major collections in South Africa as well as in the United States. Ernestine White’s most recent accomplishment was the inclusion of her artwork into permanent collection of the Museum of Modern Art, US. Music Samson Diamond SAMSON DIAMOND is the appointed leader of the Odeion String Quartet at the University of the Free State and concertmaster of the Free State Symphony Orchestra (FSSO). He has appeared as violin soloist with all premier South African orchestras and has played principal second of Europe’s first black and ethnic minority orchestra, Chineke! Orchestra, since its inception. -
MIISÌCJ' Oar: `Ic S
MIISÌCJ' oar: `ic s and the duo has subsequently nicked for their own. Lemon Jelly master- ALBUMS E S S E N T I A L R E V I E W S minds Nick Franglen and Fred Deakin make springboards out of fragments Edited by Michael Paoletta LADYSMITH BLACK MAMBAZO from every genre and beef up the tid- No Boundaries bits into a nine -course meal, from the POP PRODUCER: Isak Roux meditative to the manic. "'64-'95" is Heads Up 3092 more of a response to the twosome's RELEASE DATE: Jan. 25 previous effort, "LemonJelly.KY"; its DONNY OSMOND South Africa's quintessential singing diversity and range make it a much What I Meant to Say group returns with a project where, as more serious album, though it still PRODUCERS: Donny Osmond, Gary Barlow, the title "No Boundaries" suggests, maintains a fair amount of humor and Eliot Kennedy the legendary all -male vocal ensemble camp. The pair is patient with its beats, Decca B0003737 led by Joseph Shabalala steps outside gradually embracing a style and blend- RELEASE DATE: Jan. 11 its usual repertoire and style. Joined ing it into its next cosmic vision. Being Never say never. Donny Osmond's new by the string section of the English sampled by Lemon Jelly on this aston- album, "What I Meant to Say" -his Chamber Orchestra, other instrumen- ishing new album is nothing less than 54th - debuted in the top 30 in the talists and arranger /conductor /pianist an honor. " '64 -'95" is also available as United Kingdom and spawned a No. -
Curating South African Flute Compositions: Landscape As Theme of Exhibition
Curating South African flute compositions: Landscape as theme of exhibition Esther Marié Pauw Dissertation presented for the Degree of Doctor of Philosophy in Department of Music, Faculty of Arts and Social Sciences, Stellenbosch University Supervisor: Professor Stephanus Muller Co-supervisor: Professor Corvin Matei December 2015 Stellenbosch University https://scholar.sun.ac.za Stellenbosch University https://scholar.sun.ac.za Declaration By submitting this thesis electronically, I declare that the entirety of the work contained therein is my own original work, that I am the authorship owner thereof (unless to the extent explicitly otherwise stated) and that I have not previously in its entirety or in part submitted the work for obtaining any qualification. Signature: Date: This research was partially funded by a Stellenbosch University Postgraduate Merit Scholarship as well as with research funds allocated through my supervisor. The views in the dissertation, however, are my own, and not those of the funders. This research has generated several concert curations, a paper at an international conference, and an article that is currently under review for publication. Details of these outputs are listed in the Bibliography of this dissertation. Resulting conference proceedings (a concert curation in 2013 and a paper in 2015) were funded jointly and partially by the University of Stellenbosch PGIO OCG network and the Hearing landscape critically network. Copyright © 2015 Stellenbosch University All rights reserved v Stellenbosch University https://scholar.sun.ac.za Stellenbosch University https://scholar.sun.ac.za Abstract This study explores intersections between curatorship, South African In a first phase of the research I investigate how South African flute music flute compositions in concert practice and ‘landscape’ as theme of compositions have been curated by flautists who have engaged with this exhibition for concert events. -
A Prima Vista
A PRIMA VISTA a survey of reprints and of recent publications 2008/3 BROEKMANS & VAN POPPEL Van Baerlestraat 92-94 Postbus 75228 1070 AE AMSTERDAM sheet music: + 31 (0)20 679 65 75 CDs: + 31 (0)20 675 16 53 / fax: + 31 (0)20 664 67 59 also on INTERNET: www.broekmans.com e-mail: [email protected] 2 CONTENTS A PRIMA VISTA 2008/3 PAGE HEADING 03 PIANO 2-HANDS 14 PIANO 4-HANDS 15 2 AND MORE PIANOS, HARPSICHORD, ORGAN 17 KEYBOARD 18 ACCORDION 1 STRING INSTRUMENT WITHOUT ACCOMPANIMENT: 19 VIOLIN SOLO 20 VIOLA SOLO .21 CELLO SOLO, DOUBLE BASS SOLO, VIOLA DA GAMBA SOLO 1 STRING INSTRUMENT WITH ACCOMPANIMENT, piano unless stated otherwise: 21 VIOLIN with accompaniment 24 VIOLIN PLAY ALONG 25 VIOLA with accompaniment, VIOLA PLAY ALONG 26 CELLO with accompaniment 27 CELLO PLAY ALONG, DOUBLE BASS with accompanimen 28 DOUBLE BASS PLAY ALONG 28 2 AND MORE STRING INSTRUMENTS WITH AND WITHOUT ACCOMPANIMENT: 1 WIND INSTRUMENT WITHOUT ACCOMPANIMENT: 32 FLUTE SOLO 33 CLARINET SOLO 34 SAXOPHONE SOLO, BASSOON SOLO, TRUMPET SOLO 35 HORN SOLO, TUBA SOLO 1 WIND INSTRUMENT WITH ACCOMPANIMENT, piano unless stated otherwise: 35 PICCOLO with accompaniment, FLUTE with accompaniment 38 FLUTE PLAY ALONG 39 OBOE with accompaniment, OBOE PLAY ALONG 40 CLARINET with accompaniment 41 CLARINET PLAY ALONG, 42 SAXOPHONE with accompaniment, SAXOPHONE PLAY ALONG 44 BASSOON with accompaniment, TRUMPET with accompaniment 45 TRUMPET PLAY ALONG, HORN with accompaniment 46 HORN PLAY ALONG, TROMBONE with accompaniment, EUPHONIUM PLAY ALONG 47 EUPHONIUM with accompaniment, TUBA -
Pdfdownload Convention Guide and Schedule
122nd Annual Convention June 13–16, 2021 Minnesota Music Teachers Association This is an interactive document. Dynamic links are underlined and blue. From the schedule, follow presenter name links to see bio and session info. Once there, follow session title links to return to the schedule. All times are Central Daylight (CDT). Zoom links to join meetings are emailed to registered participants. Special thanks to our sponsors: Schmitt Music Groth Music University of Minnesota Morris Junior Composers Institute Music at 10,000 Lakes MusicLink Foundation Table of Contents SPONSOR: GROTH MUSIC 20% DISCOUNT ON MMTA CONTEST MUSIC! 4 FOR ONLINE PURCHASES, PLEASE FOLLOW THIS LINK: 4 MMTA CONVENTION 2021: SCHEDULE 5 SUNDAY, JUNE 13 (ALL TIMES CENTRAL DAYLIGHT, CDT) 5 MONDAY, JUNE 14 (ALL TIMES CENTRAL DAYLIGHT, CDT) 6 TUESDAY, JUNE 15 (ALL TIMES CENTRAL DAYLIGHT, CDT) 7 WEDNESDAY, JUNE 16 (ALL TIMES CENTRAL DAYLIGHT, CDT) 8 SESSION DETAIL BY PRESENTER 10 MEGAN DURHAM 10 Meeting the Mood: Resources for Emotional and Vocal Wellbeing 10 DR. KURT ELLENBERGER 11 Ghosts in the Machine: Jazz Musicians in Popular Music 11 MITCH GRUSSING 12 MMTA Student Composition Contest Winners Recital 12 SONJA L. GUSTAFSON, M.M. & JLEIGH WOHLGEMUTH, M.A. 13 Using Technology 13 DAVID KNOTT 14 Your Most Kid-Focused Music Studio Ever: A Tactical Approach To Social and Emotional Learning (SEL) in the Music Studio 14 SARA LANGMEAD, D.M.A. 15 Teaching Musical Gesture: Finding Color in a Black and White Score 15 FANYA LIN 16 Guest Artist: Piano 16 NANCY LITTEN 17 How to Sight -
Summit in China Photo Workshop Market Photo Photo Workshop at Brics Workshop Summit in China
21 - 27 AUGUST BUZZA weekly supplement of the Market Theatre Foundation MARKET PHOTO WORKSHOP AT SUMMIT IN CHINA PHOTO WORKSHOP MARKET PHOTO PHOTO WORKSHOP AT BRICS WORKSHOP SUMMIT IN CHINA The Market Photo Workshop, a “As part of revisiting and The BRICS Cultural Festival will be leader in photography education, excavating our digital attended by all five presidents of will participate in the BRICS photography repository with the BRICS countries: Brazil, Russia, Cultural festival in Xiamen, China a vision of establishing the India, China and South Africa. The from 15 to 22 September 2017. future Pan African photography Festival includes several arts and This news follows the Market resource center, the Market Photo culture activities like, Ballet night Photo Workshop’s most recent Workshop is responding to a of BRICS, The Folk-Dance Gala announcement that four of its request from DIRCO, through the show, Singer concert of BRICS and alumni have also been chosen to Department of Arts and Culture many other exciting activities. exhibit at the biggest photography to curate an exhibition from our exhibition on the continent, repository of work produced by Bamako Encounters later this year our participating photographers in Mali. in the past 10 to 15 years.” Makola explained. “This opportunity will afford a significant opportunity for works of photography that represent the evolution of our cultural values and heritage as seen through the eyes of young South Africans photographers in Post-Apartheid South Africa to be seen beyond our borders”, said Lekgetho Makola, Head of the Market Photo Workshop. 2 3 OVER TWO DECADES PHOTO OF PHOTOGRAPHIC WORKSHOP EXCELLENCE For over twenty-six years, These public programmes seek practice, but it has distilled a new the Market Photo Workshop to inform the trends, practices, type of photographic practice has played a pivotal role in methods and contemporary ways amongst the greater artistic the training of South Africa’s of working and thinking in South community. -
South African Music in Transition: a Flutist's Perspective
South African Music in Transition: A Flutist‘s Perspective by Liesel Margrit Deppe A thesis submitted in conformity with the requirements for the degree of Doctor of Musical Arts Faculty of Music University of Toronto © Copyright by Liesel Margrit Deppe (2012) South African Music in Transition: A Flutist‘s Perspective Liesel Margrit Deppe Doctor of Musical Arts Faculty of Music University of Toronto 2012 ABSTRACT In April 1994 the citizens of South Africa found themselves in the unique position of contemplating a new national culture; one that would for the first time embrace all South Africans, regardless of race, colour or religion. Official segregation, which began in 1948, ended with the first democratic election held in1994. Cross-cultural awareness in South Africa emerged in the 1980s. Within this temporal context, this investigation will trace parallel developments in the South African classical music genre and will relate these developments to the concurrent socio-political environment. Looking specifically at music written for the flute, the selected works were composed for the flute as a solo instrument, or in combination with up to four other instruments by a cross-section of South African composers who either live in South Africa or who have South African roots. The works included in this study were composed roughly ten years before and after 1994; the purpose being to document the changes that were taking place in South African Art Music leading up to the first democratic election and during the exciting times that followed. -
Taking Stock: a History of Collecting Collections at the University of Pretoria (1908-2014)
Taking stock: A history of collecting collections at the University of Pretoria (1908-2014) by GERARD DE KAMPER A dissertation submitted in fulfilment of the requirements for the degree MAGISTER HEREDITATIS CULTURAEQUE SCIENTIAE (HISTORY) in the Department of Historical and Heritage Studies in the Faculty of Humanities UNIVERSITY OF PRETORIA SUPERVISOR: Prof K. L. Harris 2018 1 CONTENT Page Abstract iii Acknowledgements iv Abbreviations v Introduction 1 Chapter One: Background 3 Chapter Two: Writing on collecting collections 10 Chapter Three: Large mixed collections 41 Chapter Four: Object collections 85 Chapter Five: Art collections 119 Chapter Six: Book and document collections 155 Conclusion 190 Bibliography 195 ii Abstract Until relatively recently the histories of collections across the world was a subject sadly neglected. Generally most research on museums was specifically collections- based, meaning research that focused on the actual or individual objects with no real effort being made to preserve or research the actual collecting or acquiring history in detail. The question then arises, what is the importance of preserving collection history? Besides the pragmatic necessity to keep record of the details of the acquisition from a legal perspective, the actual provenance and historical context is also of relevance. On the one hand it is telling of what a particular society or institution deemed worthy of preservation within a particular time and therefore reflects on that past – while on the other hand, it also speaks to the nature and context of the collections themselves. It is from this perspective that this proposed study considers the range of collections that the University of Pretoria gathered over a period of just over a century.