Sydney Conservatorium of Music Postgraduate Handbook 2009
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Incubation at Saqqâra1 Gil H
Proceedings of the Twenty-Fifth International Congress of Papyrology, Ann Arbor 2007 American Studies in Papyrology (Ann Arbor 2010) 649–662 Incubation at Saqqâra1 Gil H. Renberg Few sites in the Greco-Roman world provide a more richly varied set of documents attesting to the importance of dreams in personal religion than the cluster of religious complexes situated on the Saqqâra bluff west of Memphis.2 The area consists primarily of temples and sacred animal necropoleis linked to several cults, most notably the famous Sarapeum complex,3 and has produced inscriptions, papyri and ostraka that cite or even recount dreams received by various individuals, while literary sources preserved on papyrus likewise contain descriptions of god-sent dreams received there.4 The abundant evidence for dreams and dreamers at Saqqâra, as well as the evidence for at least one conventional oracle at the site,5 has led to the understandable assumption that incubation was commonly practiced there.6 However, 1 Acknowledgements: In addition to those who attended the presentation of this paper at the Congress of Papyrology, I would like to thank Dorothy J. Thompson and Richard Jasnow for sharing their insights on this subject. 2 The subject discussed in this article will be dealt with more fully in a book now in preparation, tentatively entitled Where Dreams May Come: Incubation Sanctuaries in the Greco-Roman World. 3 On Saqqâra and its religious life, see especially UPZ I, pp. 7–95 and Thompson 1988 (with references to earlier studies); cf. LexÄg V.3 (1983) 412–428. For the sacred animal necropoleis, see the various volumes of the Egyptian Exploration Society cited below, as well as Kessler 1989, 56–150 and Davies and Smith 1997. -
Eclectic Antiquity Catalog
Eclectic Antiquity the Classical Collection of the Snite Museum of Art Compiled and edited by Robin F. Rhodes Eclectic Antiquity the Classical Collection of the Snite Museum of Art Compiled and edited by Robin F. Rhodes © University of Notre Dame, 2010. All Rights Reserved ISBN 978-0-9753984-2-5 Table of Contents Introduction..................................................................................................................................... 1 Geometric Horse Figurine ............................................................................................................. 5 Horse Bit with Sphinx Cheek Plates.............................................................................................. 11 Cup-skyphos with Women Harvesting Fruit.................................................................................. 17 Terracotta Lekythos....................................................................................................................... 23 Marble Lekythos Gravemarker Depicting “Leave Taking” ......................................................... 29 South Daunian Funnel Krater....................................................................................................... 35 Female Figurines.......................................................................................................................... 41 Hooded Male Portrait................................................................................................................... 47 Small Female Head...................................................................................................................... -
BRUCE CALE, SERIALISM and the LYDIAN CONCEPT by Eric Myers* ______
BRUCE CALE, SERIALISM AND THE LYDIAN CONCEPT by Eric Myers* ____________________________________________________ [This article appeared in the October, 1985 edition of APRA, the magazine of the Australasian Performing Right Association.] hen the Australia** Music Centre's film on Australian composers Notes On A Landscape came out in 1980, it was apparent that most of the ten W composers included, picked themselves: Don Banks, Anne Boyd, Colin Brumby, Barry Conyngham, Keith Humble, Elena Kats, Graeme Koehne, Richard Meale, Peter Sculthorpe. In addition to them, there was one composer who, on the face of it, might not have been regarded as such an automatic choice: Bruce Cale. Bruce Cale on the verandah of his house in the Blue Mountains, with his dog Muffin… PHOTO CREDIT MARGARET SULLIVAN __________________________________________________________________ *When this was written in October, 1985, Eric Myers was editor of the Australian Jazz Magazine, and writing jazz reviews for The Australian. **Australia Music Centre was at the time the correct spelling. Sometime later ‘Australia’ was changed to ‘Australian’. 1 After all, he was principally known as a jazz composer and performer, and when the film was planned, had been back in Australia only two years, following 13 years in Britain and the United States. On the other hand, there were some eyebrows raised in the Australian jazz world that Cale was "the only jazz composer" included in the film. But those who were aware of Cale's work knew that he had been included because of his orchestral writing as well as his jazz composition; his work had certainly emerged from jazz but, in a highly individual way, he was seeking to merge jazz and classical traditions. -
2012 Annual Report
SYDNEY SYMPHONY ANNUAL REPORT 2012 B sydney symphony 2012 annual report annual sydney symphony 2012 1 THE STORY OF THE SYDNEY SYMPHONY ONCE AGAIN DEMONSTRATES THE COMPANY’S ABILITY TO ADAPT, STAY RELEVANT AND CONTINUE TO FLOURISH. Kees Boersma, Principal Double Bass with student at Playerlink Albury. 2 SYDNEY SYMPHONY 2012 ANNUAL REPORT IN ITS 80TH ANNIVERSARY YEAR THE SYDNEY SYMPHONY CELEBRATES SUCCESS, RESILIENCE & GROWTH Sydney Symphony 4 Musicians 2012 6 Year in Review Chairman’s 8 Review Managing 9 Director’s Review Clockwise from top left: Sydney Five Year Symphony schools concert at the 11 Performance ABC, Ultimo; Carolyn Harris, Tutti Flute, digital Playerlink presentation Summary to Albury at the Telstra Experience Centre, Sydney; Vladimir Ashkenazy, Message from Anne-Sophie Mutter and the Sydney 12 Vladimir Ashkenazy Symphony at the Sydney Opera House; Mahler Symphony No. 2 CD cover with Vladimir Ashkenazy; Cellist Jian Wang performs with the Sydney 14 Community Symphony in Shanghai; Sydney Symphony brass section celebrate the 80 year anniversary of the Sydney Harbour Bridge. Supporters – 18 Donors & Sponsors 4 SYDNEY SYMPHONY MUSICIANS 2012 CONDUCTOR Vladimir Ashkenazy Principal Conductor & Artistic Advisor Sponsored by Emirates PATRON ASSISTANT CONDUCTOR CONCERTMASTER Her Excellency Professor Jessica Cottis Dene Olding Marie Bashir AC CVO Supported by Premier Partner Credit Suisse and Symphony Services International FIRST VIOLINS VIOLAS HARP HORNS Sun Yi Roger Benedict Louise Johnson Robert Johnson Associate Concertmaster Principal -
ITER: the Way for Australian Energy Research?
The University of Sydney School of Physics 6 0 0 ITER: the Way for Australian 2 Energy Research? Physics Alumnus talks up the Future of Fusion November “World Energy demand will Amongst the many different energy sources double in the next 50 years on our planet, Dr Green calls nuclear fusion the – which is frightening,” ‘philosopher’s stone of energy’ – an energy source s a i d D r B a r r y G r e e n , that could potentially do everything we want. School of Physics alumnus Appropriate fuel is abundant, with the hydrogen and Research Program isotope deuterium and the element lithium able to Officer, Fusion Association be derived primarily from seawater (as an indication, Agreements, Directorate- the deuterium in 45 litres water and the lithium General for Research at the in one laptop battery would supply the fuel for European Commisison in one person’s personal electricity use for 30 years). Brussels, at a recent School Fusion has ‘little environmental impact or safety research seminar. concerns’: there are no greenhouse gas emissions, “The availability of and unlike nuclear fission there are no runaway cheap energy sources is a nuclear processes. The fusion reactions produce no thing of the past, and we radioactive ash waste, though a fusion energy plant’s Artists’s impression of the ITER fusion reactor have to be concerned about structure would become radioactive – Dr Green the environmental impacts reckoned that the material could be processed and of energy production.” recycled within around 100 years. Dr Green was speaking in Sydney during his nation-wide tour to promote ITER, the massive Despite all these benefits, international research collaboration to build a fusion-energy future is still a long an experimental device to demonstrate the way off. -
Tutor Listing
Thornleigh West Public School Band – Tutor Listing ** indicates that this is a primary instrument for this tutor # indicates that the tutor can also teach this instrument The Band Committee suggests that parents choose a tutor whose primary instrument is the instrument your child is learning where possible. CLARINET Deborah Muir ** (teaches off site – Monday to Saturday) mob: 0412 099 907 email: [email protected] As a trained musician with a degree and a wealth of professional playing experience, Deborah Muir brings a unique blend of musical knowledge with a thorough understanding of the needs of children in the learning environment. The combination of her formal education blends nicely with the experience that Deborah brings from being a mother to 3 young -children. Deborah teaches both children and adults in the clarinet and saxophone as well as the piano, her other childhood instrument. Deborah specializes in beginner musicians, band instruction, education and assessment and prides herself in the strength of the interpersonal relationships she develops with her students. Tim Wall ** (Monday and Thursday) mob: 0435 016 704 email: [email protected] Beginning at a young age, Tim's study of music led him to AMusA level in the clarinet and Bachelor of Music at UNSW. Since 2004 Tim has taught clarinet, saxophone and flute at Beecroft Primary School, Newtown Public School, Ferncourt Public School, Balmain Public School, Thornleigh West Public School and many band camps. He has also taught in the UK across schools in London as part of the Every Child a Musician program. He is passionate about using all his knowledge and experience to inspire and guide young musicians. -
Compositions by Matthew Hindson
Compositions by Matthew Hindson Matthew Hindson, M. Mus. (Melb), B.Mus. (Hons.) (Syd) A folio of original musical compositions and accompanying introductory essay submitted in fulfilment of the requirements of the degree of Doctor of Philosophy Department of Music University of Sydney July 2001 Volume I: Introductory Essay N.B.: This submission comprises a folio of creative work. It is in two volumes and includes two accompanying compact discs, musical scores and an introductory essay. © Matthew Hindson Certification I certify that this work has not been submitted for a degree to any other university or institution and, to the best of my knowledge and belief, contains no material previously published or written by any other person, except where due references has been made in the text. ____________________________ Matthew Hindson 31st July 2001 Possible works to be included on the CD and in the folio of compositions: • Speed (1996) – orchestra – 16 minutes [YES] • RPM (1996) – orchestra – 4 minutes [DO I NEED THIS ONE?] • Techno-Logic (1997) – string quartet – [no recording] • technologic 1-2 (1997) – string orchestra – 8 minutes [YES] • Night Pieces (1998) – soprano saxophone and piano – 8 minutes [YES] • Rush – guitar and string quartet – 9 minutes [YES] • In Memoriam: Concerto for Amplified Cello and Orchestra (2000) – 34 minutes [YES] • Moments of Plastic Jubilation (2000)– solo piano – 5 minutes [???] • Always on Time (2001) – violin and cello – 2 minutes [???] • The Rave and the Nightingale (2001) – string qt and string orch – 18 min. [???] [CONCERNS: IS THIS CONCENTRATED TOO MUCH ON ORCHESTRAL AND STRING WORKS? – THEY ARE THE BEST PIECES THOUGH] Chapter 1: Introduction As an Australian composer living at the end of the twentieth / start of the twenty-first centuries, I believe that there is an obligation embedded in musical art that is created in this era: to impart and explore musical and extra-musical ideas that are directly relevant to, and representative of, the society in which I live. -
Impact Report 2019 Impact Report
2019 Impact Report 2019 Impact Report 1 Sydney Symphony Orchestra 2019 Impact Report “ Simone Young and the Sydney Symphony Orchestra’s outstanding interpretation captured its distinctive structure and imaginative folkloric atmosphere. The sumptuous string sonorities, evocative woodwind calls and polished brass chords highlighted the young Mahler’s distinctive orchestral sound-world.” The Australian, December 2019 Mahler’s Das klagende Lied with (L–R) Brett Weymark, Simone Young, Andrew Collis, Steve Davislim, Eleanor Lyons and Michaela Schuster. (Sydney Opera House, December 2019) Photo: Jay Patel Sydney Symphony Orchestra 2019 Impact Report Table of Contents 2019 at a Glance 06 Critical Acclaim 08 Chair’s Report 10 CEO’s Report 12 2019 Artistic Highlights 14 The Orchestra 18 Farewelling David Robertson 20 Welcome, Simone Young 22 50 Fanfares 24 Sydney Symphony Orchestra Fellowship 28 Building Audiences for Orchestral Music 30 Serving Our State 34 Acknowledging Your Support 38 Business Performance 40 2019 Annual Fund Donors 42 Sponsor Salute 46 Sydney Symphony Under the Stars. (Parramatta Park, January 2019) Photo: Victor Frankowski 4 5 Sydney Symphony Orchestra 2019 Impact Report 2019 at a Glance 146 Schools participated in Sydney Symphony Orchestra education programs 33,000 Students and Teachers 19,700 engaged in Sydney Symphony Students 234 Orchestra education programs attended Sydney Symphony $19.5 performances Orchestra concerts 64% in Australia of revenue Million self-generated in box office revenue 3,100 Hours of livestream concerts -
Full Music Credits
Music by Peter Sculthorpe (cast) The People and Musicians at Gapuwiyak Community Music Teacher Colleen Lenord Wire Music Alan Lamb Composed & Recorded on the Faraway Wind Organ Fitzgerald, Western Australia Chamber Music David Matthews Conductor William Motzing Music Recording Supervisor Ron Purvis Music Recording Engineer Mike Stavrou Music Recorded at Studios 301 Sydney Performed by Sydney Studio Musicians Together with the Australian Chamber Orchestra and the Phoenix String Quartet 'I dreamt that I dwelt in marble halls' The Bohemian Girl Act 11 Music by Michael Balfe Sung by Vanessa Fallon Piano played by Leon Gibbons 'O Mistress Mine' Music by Peter Sculthorpe Lyrics by William Shakespeare Sung by Nicholas Rontley Margo Adelson Clare Maclean Kathy Marsh 'John Peel' 'Cheer Boys Cheer' 'The British Grenadiers' Played by the Burwood Brass Band (NSW) Under the direction of Bryan Seddon 'King of the Fairies" Arranged and Played by Doug Kelly Bill O'Toole Andrew de Teliga Winsome Evans 'Dark Island' 'No Awa to Bide Awa' 'Green hills of Tyrol' Bagpipes Played by Graham Hardy Thanks to Australian Music Centre Peter Sculthorpe was one of Australia's foremost composers of classical music until his death in August 2014. Tasmanian born, his first score for a feature film was the low-budget 1962 children's feature They Found A Cave, which was filmed in that state. He next did the score for Michael Powell's Age of Consent, but there were disagreements about the score he devised, with it being dropped and replaced by a conventional outing from British composer Stanley Myers. (It is now available on the restored region 1 DVD 'director's cut' edition. -
The University Archives – Record 2007–8
TThehe UnUniversityiversity o off S Sydneyydney TheThe UniversityUniversity ArchivesArchives 20072006 - 08 Cover image: Undergraduates at Manly Beach, 1919 University of Sydney Archives, G3/224/1292. The University of Sydney 2007-08 The University Archives Archives and Records Management Services Ninth Floor, Fisher Library Telephone: + 61 2 9351 2684 Fax: + 61 2 9351 7304 www.usyd.edu.au/arms/archives ISSN 0301-4729 General Information Established in 1954, the Archives is a part of Contact details Archives and Records Management Services, reporting to the Director, Corporate Services within the Registrar’s Division. The Archives retains It is necessary to make an appointment to use the the records of the Senate, the Academic Board and University Archives. The Archives is available for those of the many administrative offices which use by appointment from 9-1 and 2-5 Monday to control the functions of the University of Sydney. Thursday. It also holds the archival records of institutions which have amalgamated with the University, Appointments may be made by: such as Sydney CAE (and some of its predecessors Phone: (02) 9351 2684 including the Sydney Teachers College), Sydney Fax: (02) 9351 7304 College of the Arts and the Conservatorium of E-mail: [email protected] Music. The Archives also houses a collection of photographs of University interest, and University Postal Address: publications of all kinds. In addition, the Archives Archives A14, holds significant collections of the archives of University of Sydney, persons and bodies closely associated with the NSW, AUSTRALIA, 2006 University. Web site: The reading room and repository are on the 9th www.usyd.edu.au/arms/archives floor of the Fisher Library, and the records are available by appointment for research use by all members of the University and by the general Archives Staff public. -
MUSE Issue 17, June 2017
Art. Culture. Issue 17 Antiquities. June 2017 Natural history. New home, new curator, new works A word from the Director, David Ellis In this issue we reveal the first Occupying about 8000 square Fraser, fresh from the British glimpses of the Chau Chak Wing metres, the new building will Museum and digs in the foothills Museum provided by architects triple the previous capacity of of the Jordan Valley. Johnson Pilton Walker. our museums. We reveal two new acquisitions: Situated at the ‘front door’ of the Subject to development approval, photographic works by renowned University, opposite Fisher Library, construction is planned to start artist Hiroshi Sugimoto, purchased the new museum will bring together around November this year. The at auction in New York with funds the collections of the Macleay building is due for completion at from the Morrissey Bequest for the Museum, Nicholson Museum and the end of 2018 with the museum purchase of East Asian material in University Art Gallery under one opening to the public in 2019. memory of Professor Sadler. roof. The Chau Chak Wing Museum will feature state-of-the-art Staff are busy researching and Our Schools Education Program exhibition galleries, object-based developing concepts for new continues to challenge and inspire study rooms, collection care exhibitions, digitising collections through object-based learning facilities and of course a café and conserving works. One of the linked to the schools’ curricula. and museum shop. challenges we are facing is our For many students, it is their first ability, for the first time, to show experience of a university. -
Don Banks, Australian Composer
Don Banks, Australian Composer: Eleven Sketches Graham Hair Southern Voices ISBN 1–876463–09–0 First published in 2007 by Southern Voices 38 Diamond Street Amaroo, ACT 2914 AUSTRALIA Southern Voices Editorial Board: Professor Graham Hair, University of Glasgow, United Kingdom Ms Robyn Holmes, Curator of Music, National Library of Australia Professor Margaret Kartomi, Monash University Dr Jonathan Powles, Australian National University Dr Martin Wesley-Smith, formerly Senior Lecturer, Sydney Conservatorium of Music Distributed by The Australian Music Centre, trading asSounds Australian PO Box N690 The Rocks Sydney, NSW 2000 AUSTRALIA tel +(612) 9247 - 4677 fax +(612) 9241 - 2873 email [email protected] website www.amcoz.com.au/amc Copyright © Graham Hair, 2007 This book is copyright. Apart from fair dealing for the purposes of private study, research, criticism or review as permitted under the Copyright Act 1968, no part may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior permission. Enquiries to be made to the publisher. Copying for educational purposes Where copies of part or the whole of the book are made under section 53B or 53D of the Act, the law requires that records of such copying be kept. In such cases the copyright owner is entitled to claim payment. ISBN 1–876463–09–0 Printed in Australia by QPrint Pty Ltd, Canberra City, ACT 2600 and in the UK by Garthland Design and Print, Glasgow, G51 2RL Acknowledgements Extracts from the scores by Don Banks are reproduced by permission of Mrs Val Banks and Mrs Karen Sutcliffe.