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Julia Wolfe Magnus Lindberg Phill Niblock Frederic
FESTIVALIO KOMPOZITORIAI JULIA WOLFE COMPOSERS IN FOCUS: MAGNUS LINDBERG PHILL NIBLOCK FREDERIC RZEWSKI BERND ALOIS ZIMMERMANN Festivalyje skambės daugiau nei 100 skirtingų žanrų kūrinių, dauguma jų – premjeros Lietuvoje Festivalio programoje – 7 lietuvių kompozitorių kūriniai ir 8 pasaulinės premjeros Festivalio puošmena – pasaulinio garso solistai, ansambliai ir geriausių Lietuvos atlikėjų pajėgos The festival shall present over 100 pieces of different genres, most of them never before performed in Lithuania The programme of the festival includes 7 pieces by Lithuanian composers and 8 world-premieres World-famous soloists, ensembles and best Lithuanian performers will take part in the festival PB 1 PROGRAMA | TURINYS In Focus: Festivalio dėmesys taip pat: 6 JULIA WOLFE 18 FREDERIC RZEWSKI 10 MAGNUS LINDBERG 22 BERND ALOIS ZIMMERMANN 14 PHILL NIBLOCK 24 Spalio 20 d., šeštadienis, 20 val. 50 Spalio 26 d., penktadienis, 19 val. Vilniaus kongresų rūmai Šiuolaikinio meno centras LAURIE ANDERSON (JAV) SYNAESTHESIS THE LANGUAGE OF THE FUTURE IN FAHRENHEIT Florent Ghys. An Open Cage (2012) 28 Spalio 21 d., sekmadienis, 20 val. Frederic Rzewski. Les Moutons MO muziejus de Panurge (1969) SYNAESTHESIS Meredith Monk. Double Fiesta (1986) IN CELSIUS Julia Wolfe. Stronghold (2008) Panayiotis Kokoras. Conscious Sound (2014) Julia Wolfe. Reeling (2012) Alexander Schubert. Sugar, Maths and Whips Julia Wolfe. Big Beautiful Dark and (2011) Scary (2002) Tomas Kutavičius. Ritus rhythmus (2018, premjera)* 56 Spalio 27 d., šeštadienis, 19 val. Louis Andriessen. Workers Union (1975) Lietuvos nacionalinė filharmonija LIETUVOS NACIONALINIS 36 Spalio 24 d., trečiadienis, 19 val. SIMFONINIS ORKESTRAS Šiuolaikinio meno centras RŪTA RIKTERĖ ir ZBIGNEVAS Styginių kvartetas CHORDOS IBELHAUPTAS (fortepijoninis duetas) Dalyvauja DAUMANTAS KIRILAUSKAS COLIN CURRIE (kūno perkusija, (fortepijonas) Didžioji Britanija) Laurie Anderson. -
Ghanaian Highlife Sound Recordings of the 1970S: the Legacy of Francis Kwakye and the Ghana Film Studio
Popular Music (2021). © The Author(s), 2021. Published by Cambridge University Press. This is an Open Access article, distributed under the terms of the Creative Commons Attribution licence (http://creativecommons.org/licenses/by/4.0/), which permits unrestricted re-use, distribution, and reproduction in any medium, provided the original work is properly cited, page 1 of 18 10.1017/S0261143021000143 Ghanaian highlife sound recordings of the 1970s: the legacy of Francis Kwakye and the Ghana Film Studio ERNEST OWUSU-POKU University of Ghana, Music, Legon, Greater Accra, Ghana E-mail: [email protected] Abstract There is a striking variance between the sounds of highlife music recorded in the 1950s and 1960s and that of the 1970s. This difference can be attributed partly to the advancement of recording technology, a shift from shellac to vinyl records as well as the advent of multi-track tape recorders in Ghana. The 1970s had a unique highlife sound that can be situated within and explained by the socio-cultural context of recording approaches embraced by studio engineers. This paper inves- tigates the technological approaches to the production of highlife songs at the Ghana Film Studio (GFS) and how they reshaped the highlife soundscape in the 1970s. It also draws attention to the influence of Francis Kwakye, the then resident recording engineer of GFS as a case study to explore highlife sound on records within this period. Employing document review, audio review, observations and interview for data collection, the paper reveals that the engineering techniques and tools employed on the recordings were socio-culturally influenced and constructed to resonate with the Ghanaian identity of the time. -
The Concert Hall As a Medium of Musical Culture: the Technical Mediation of Listening in the 19Th Century
The Concert Hall as a Medium of Musical Culture: The Technical Mediation of Listening in the 19th Century by Darryl Mark Cressman M.A. (Communication), University of Windsor, 2004 B.A (Hons.), University of Windsor, 2002 Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the School of Communication Faculty of Communication, Art and Technology © Darryl Mark Cressman 2012 SIMON FRASER UNIVERSITY Fall 2012 All rights reserved. However, in accordance with the Copyright Act of Canada, this work may be reproduced, without authorization, under the conditions for “Fair Dealing.” Therefore, limited reproduction of this work for the purposes of private study, research, criticism, review and news reporting is likely to be in accordance with the law, particularly if cited appropriately. Approval Name: Darryl Mark Cressman Degree: Doctor of Philosophy (Communication) Title of Thesis: The Concert Hall as a Medium of Musical Culture: The Technical Mediation of Listening in the 19th Century Examining Committee: Chair: Martin Laba, Associate Professor Andrew Feenberg Senior Supervisor Professor Gary McCarron Supervisor Associate Professor Shane Gunster Supervisor Associate Professor Barry Truax Internal Examiner Professor School of Communication, Simon Fraser Universty Hans-Joachim Braun External Examiner Professor of Modern Social, Economic and Technical History Helmut-Schmidt University, Hamburg Date Defended: September 19, 2012 ii Partial Copyright License iii Abstract Taking the relationship -
Sonic Necessity-Exarchos
Sonic Necessity and Compositional Invention in #BluesHop: Composing the Blues for Sample-Based Hip Hop Abstract Rap, the musical element of Hip-Hop culture, has depended upon the recorded past to shape its birth, present and, potentially, its future. Founded upon a sample-based methodology, the style’s perceived authenticity and sonic impact are largely attributed to the use of phonographic records, and the unique conditions offered by composition within a sampling context. Yet, while the dependence on pre-existing recordings challenges traditional notions of authorship, it also results in unavoidable legal and financial implications for sampling composers who, increasingly, seek alternative ways to infuse the sample-based method with authentic content. But what are the challenges inherent in attempting to compose new material—inspired by traditional forms—while adhering to Rap’s unique sonic rationale, aesthetics and methodology? How does composing within a stylistic frame rooted in the past (i.e. the Blues) differ under the pursuit of contemporary sonics and methodological preferences (i.e. Hip-Hop’s sample-based process)? And what are the dynamics of this inter-stylistic synthesis? The article argues that in pursuing specific, stylistically determined sonic objectives, sample-based production facilitates an interactive typology of unique conditions for the composition, appropriation, and divergence of traditional musical forms, incubating era-defying genres that leverage the dynamics of this interaction. The musicological inquiry utilizes (auto)ethnography reflecting on professional creative practice, in order to investigate compositional problematics specific to the applied Blues-Hop context, theorize on the nature of inter- stylistic composition, and consider the effects of electronic mediation on genre transformation and stylistic morphing. -
First-Generation Historians Leaving a Mark: Yasmeen Ragab, Carmen Gutierrez, Johnna Jones, Jason Smith PAGE 2 Letter from the Chair
University of Illinois at Urbana-Champaign www.history.illinois.edu Spring 2020 First-Generation Historians Leaving a Mark: Yasmeen Ragab, Carmen Gutierrez, Johnna Jones, Jason Smith PAGE 2 Letter from the Chair fter twenty years in Champaign-Urbana and sixteen years as a faculty member, I became interim chair of the department in August 2019. I feel so lucky to lead Asuch an amazing group of scholars—faculty, graduate students, and undergradu- ate majors—for the next two years. I am grateful to Clare Crowston for her advice and wise counsel throughout the summer as we prepared for the transition. My faculty joins me in wishing her all the best for a productive and restorative sabbatical this year and in the new position she’ll assume in August 2020 as Associate Dean for the Humanities and Interdisci- plinary Programs in the College of Liberal Arts and Sciences. The dedicated staff in 309 Gregory Hall provide the support we all need to keep the department running smoothly, attending to every detail. I have relied on their expertise, experience, and professionalism as I have learned the job, and I am grateful to each of them. For the past eighteen years, Tom Bedwell, our business manager, has ensured the successful running of all aspects of departmental operations. His total commitment, professionalism, and skill as a financial manager are matched by his unflagging dedication to the welfare of each and every faculty member, student, and staff. Dawn Voyles assists Tom working effi- ciently to reserve flights for faculty, pay honoraria to visiting scholars, and process receipts. -
Jazz at Lincoln Center with Wynton Dave Liebman Explained from His Seat at Jazz at Marsalis Fêted Mccoy Tyner and Charles Mcpherson Kitano’S Bar (Apr
new york @ nigHt To provide healthcare and disaster relief for needy Jazz these days can be found most anywhere, from musicians, Wendy Oxenhorn and the Jazz Foundation hallowed concert hall to basement dive bar screaming o f of America must repeatedly replenish the non-profit’s fire-code violations. But perhaps the best place to hear FrEeDoM Sound coffers. The 17th annual “A Great Night in Harlem” creative musicians is in the company of other creations, benefit, held at the Apollo Theater on the anniversary like an art gallery or bookstore. There is an analogue of Martin Luther King’s 1968 assassination (Apr. 4th), between the notes and lines being generated by the could have been a somber occasion, but the mood was instruments and the colors and textures of a painting celebratory. Harry Belafonte (not present), Tony or sentences and themes of a novel. This synergy is Bennett and the late Hugh Masekela were honored for what drove local jazz journalist and all-around lifelong commitment to humanitarian causes, each an enthusiast Luigi Santosuosso to form a partnership agent for political change through music. Indeed, in with Rizzoli Books, one of the city’s most charming his remembrances of Belafonte and King, erstwhile purveyors of print. His series is in its ninth month and Civil Rights activist/ambassador Andrew Young fills a need for afternoon jazz appropriate for both quoted Paul Robeson: “Artists are the gatekeepers of aficionados and families striving to become so. On the truth.” The music, casual but passionate, scripted yet first gorgeous weekend of 2019, a large crowd came to freeform, reinforced the political spirit. -
Wono Magazine 16.1
WoNo Magazine 16.1 WoNo Magazine 16.1 1 © Foto Jan de Bloois WoNo Magazine 16.1 Geachte lezer, We vallen maar gelijk met de deur in huis: dit is de laatste WoNo Magazine. Het is mooi geweest. De laatste jaren kostte het steeds meer moeite er in een jaar nog een WoNo Magazine uit te persen. WoNo Magazine dreigde het blad te worden dat helemaal niet verschijnt omdat het niet meer uitkomt. Niet dat het niet leuk was, beste lezer, want dat was het wel. We hebben 15 jaar lang met ontzettend veel plezier dit blad gemaakt. We hebben vele illustere gastauteurs en redacteuren gehad. Denk aan Martin Bril zaliger, Layla, Drentix, Hé, HareD, BY, BenY, WoNoVice, Gustaaf Hortense Ledoux, Ko., Jeroen, Lourens, Marcel van der Kwaak enzovoort enzoverder. En wat hebben we gelachen! Het was altijd lachen om een WoNo te maken. Het ging vanzelf. Dat is allemaal verleden tijd. Ja we lachen nog steeds wat af op de redactie, bijvoorbeeld over die storende herrie op het Malieveld die dan later een bejubeld concert van niemand minder dan Bruce Springsteen blijkt te zijn. Brrrr! Of met interviews met beroemdheden, waar dan alleen ja/nee antwoorden komen op toch tamelijk open vragen… Maar toch, beste lezer, WoNo Magazine is geen grap meer. Kijkt u eens hoe professioneel het blog is geworden. Dat is geen grap meer, dat is serious business! Afgezien van die business, dan , want geld verdienen we er niet mee. Maar het WoNoBlog wordt serieus genomen in de muziekscene. Dat was ooit niet de bedoeling. En OPTA bestaat niet meer en de band met ACM is minder hecht. -
Song, State, Sawa Music and Political Radio Between the US and Syria
Song, State, Sawa Music and Political Radio between the US and Syria Beau Bothwell Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2013 © 2013 Beau Bothwell All rights reserved ABSTRACT Song, State, Sawa: Music and Political Radio between the US and Syria Beau Bothwell This dissertation is a study of popular music and state-controlled radio broadcasting in the Arabic-speaking world, focusing on Syria and the Syrian radioscape, and a set of American stations named Radio Sawa. I examine American and Syrian politically directed broadcasts as multi-faceted objects around which broadcasters and listeners often differ not only in goals, operating assumptions, and political beliefs, but also in how they fundamentally conceptualize the practice of listening to the radio. Beginning with the history of international broadcasting in the Middle East, I analyze the institutional theories under which music is employed as a tool of American and Syrian policy, the imagined youths to whom the musical messages are addressed, and the actual sonic content tasked with political persuasion. At the reception side of the broadcaster-listener interaction, this dissertation addresses the auditory practices, histories of radio, and theories of music through which listeners in the sonic environment of Damascus, Syria create locally relevant meaning out of music and radio. Drawing on theories of listening and communication developed in historical musicology and ethnomusicology, science and technology studies, and recent transnational ethnographic and media studies, as well as on theories of listening developed in the Arabic public discourse about popular music, my dissertation outlines the intersection of the hypothetical listeners defined by the US and Syrian governments in their efforts to use music for political ends, and the actual people who turn on the radio to hear the music. -
Keeping the Tradition Y B 2 7- in MEMO4 BILL19 Cooper-Moore • Orrin Evans • Edition Records • Event Calendar
June 2011 | No. 110 Your FREE Guide to the NYC Jazz Scene nycjazzrecord.com Dee Dee Bridgewater RIAM ANG1 01 Keeping The Tradition Y B 2 7- IN MEMO4 BILL19 Cooper-Moore • Orrin Evans • Edition Records • Event Calendar It’s always a fascinating process choosing coverage each month. We’d like to think that in a highly partisan modern world, we actually live up to the credo: “We New York@Night Report, You Decide”. No segment of jazz or improvised music or avant garde or 4 whatever you call it is overlooked, since only as a full quilt can we keep out the cold of commercialism. Interview: Cooper-Moore Sometimes it is more difficult, especially during the bleak winter months, to 6 by Kurt Gottschalk put together a good mixture of feature subjects but we quickly forget about that when June rolls around. It’s an embarrassment of riches, really, this first month of Artist Feature: Orrin Evans summer. Just like everyone pulls out shorts and skirts and sandals and flipflops, 7 by Terrell Holmes the city unleashes concert after concert, festival after festival. This month we have the Vision Fest; a mini-iteration of the Festival of New Trumpet Music (FONT); the On The Cover: Dee Dee Bridgewater inaugural Blue Note Jazz Festival taking place at the titular club as well as other 9 by Marcia Hillman city venues; the always-overwhelming Undead Jazz Festival, this year expanded to four days, two boroughs and ten venues and the 4th annual Red Hook Jazz Encore: Lest We Forget: Festival in sight of the Statue of Liberty. -
'Race' and Diaspora: Romani Music Making in Ostrava, Czech Republic
Music, ‘Race’ and Diaspora: Romani Music Making in Ostrava, Czech Republic Melissa Wynne Elliott 2005 School of Oriental and African Studies University of London PhD ProQuest Number: 10731268 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 10731268 Published by ProQuest LLC(2017). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 Abstract This thesis is a contribution towards an historically informed understanding of contemporary music making amongst Roma in Ostrava, Czech Republic. It also challenges, from a theoretical perspective, conceptions of relationships between music and discourses of ‘race’. My research is based on fieldwork conducted in Ostrava, between August 2003 and July 2004 and East Slovakia in July 2004, as well as archival research in Ostrava and Vienna. These fieldwork experiences compelled me to explore music and ideas of ‘race’ through discourses of diaspora in order to assist in conceptualising and interpreting Romani music making in Ostrava. The vast majority of Roma in Ostrava are post-World War II emigres or descendants of emigres from East Slovakia. In contemporary Ostrava, most Roma live on the socio economic margins and are most often regarded as a separate ‘race’ with a separate culture from the dominant population. -
Downbeat.Com September 2010 U.K. £3.50
downbeat.com downbeat.com september 2010 2010 september £3.50 U.K. DownBeat esperanza spalDing // Danilo pérez // al Di Meola // Billy ChilDs // artie shaw septeMBer 2010 SEPTEMBER 2010 � Volume 77 – Number 9 President Kevin Maher Publisher Frank Alkyer Editor Ed Enright Associate Editor Aaron Cohen Art Director Ara Tirado Production Associate Andy Williams Bookkeeper Margaret Stevens Circulation Manager Kelly Grosser AdVertisiNg sAles Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] Classified Advertising Sales Sue Mahal 630-941-2030 [email protected] offices 102 N. Haven Road Elmhurst, IL 60126–2970 630-941-2030 Fax: 630-941-3210 http://downbeat.com [email protected] customer serVice 877-904-5299 [email protected] coNtributors Senior Contributors: Michael Bourne, John McDonough, Howard Mandel Atlanta: Jon Ross; Austin: Michael Point; Boston: Fred Bouchard, Frank-John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, How- ard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Robert Doerschuk; New Orleans: Erika Goldring, David Kunian; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D. Jackson, Jimmy Katz, Jim Macnie, Ken Micallef, Jennifer -
September 2007 Published by the American Recorder Society, Vol
september 2007 Published by the American Recorder Society, Vol. XLVIII, No. 4 XLVIII, Vol. American Recorder Society, by the Published Edition Moeck 2825 Celle · Germany Tel. +49-5141-8853-0 www.moeck.com NEW FROM MAGNAMUSIC American Songs Full of Songs Spirit & Delight Fifteen pieces For TTB/SST freely arranged for The twenty lovely recorder trio, SAT, pieces in this by Andrew aptly named set Charlton. Classics demonstrate why like America, Michael East in Battle Hymn of the his time was Republic, America arguably one of the Beautiful, The the most popular Caisson Song, of the Elizabethan Columbia, the Gem composers. of the Ocean, The Marines Hymn, Chester, Complete edition from the original score, with Battle Cry of Freedom, All Quiet along the intermediate difficulty. 3 volumes. $8.95 each Potomac, I'm a Yankee Doodle Dandy, Vol. 1 ~ TTB Vol. 2 ~ TTB Vol. 3 ~ SST Marching through Georgia, and more! TR00059 TR00069 TR00061 Item No. JR00025 ~ $13.95 IN STOCK NOW! An inspiring and instructive guide for everyone who plays the recorder (beginner, intermediate, experienced) and wants to play more beautifully. The Recorder Book is written with warmth and humor while leading you in a natural, methodical way through all the finer points of recorder playing. From selecting a recorder to making it sing, from practicing effectively to playing ensemble, here is everything you need. This is a most enjoyable read, whether you are an amateur or an expert. The repertoire lists have been updated, out-of-print editions have been removed, and edition numbers have been changed to reflect the most recent edition numbering.