Scandinavian Dance Class, Sacramento 6 Nancy Linscott Scholarship 10
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Sòouünd Póetry the Wages of Syntax
SòouÜnd Póetry The Wages of Syntax Monday April 9 - Saturday April 14, 2018 ODC Theater · 3153 17th St. San Francisco, CA WELCOME TO HOTEL BELLEVUE SAN LORENZO Hotel Spa Bellevue San Lorenzo, directly on Lago di Garda in the Northern Italian Alps, is the ideal four-star lodging from which to explore the art of Futurism. The grounds are filled with cypress, laurel and myrtle trees appreciated by Lawrence and Goethe. Visit the Mart Museum in nearby Rovareto, designed by Mario Botta, housing the rich archive of sound poet and painter Fortunato Depero plus innumerable works by other leaders of that influential movement. And don’t miss the nearby palatial home of eccentric writer Gabriele d’Annunzio. The hotel is filled with contemporary art and houses a large library https://www.bellevue-sanlorenzo.it/ of contemporary art publications. Enjoy full spa facilities and elegant meals overlooking picturesque Lake Garda, on private grounds brimming with contemporary sculpture. WElcome to A FESTIVAL OF UNEXPECTED NEW MUSIC The 23rd Other Minds Festival is presented by Other Minds in 2 Message from the Artistic Director association with ODC Theater, 7 What is Sound Poetry? San Francisco. 8 Gala Opening All Festival concerts take place at April 9, Monday ODC Theater, 3153 17th St., San Francisco, CA at Shotwell St. and 12 No Poets Don’t Own Words begin at 7:30 PM, with the exception April 10, Tuesday of the lecture and workshop on 14 The History Channel Tuesday. Other Minds thanks the April 11, Wednesday team at ODC for their help and hard work on our behalf. -
Beethoven and Banjos - an Annual Musical Celebration for the UP
Beethoven and Banjos - An Annual Musical Celebration for the UP Beethoven and Banjos 2018 festival is bringing Nordic folk music and some very unique instruments to the Finnish American Heritage Center in Hancock, Michigan. Along with the musicians from Decoda (Carnegie Hall’s resident chamber group) we are presenting Norwegian Hardanger fiddler Guro Kvifte Nesheim and Swedish Nyckelharpist Anna Gustavsson. Guro Kvifte Nesheim grew up in Oslo, Norway, and started playing the Hardanger fiddle when she was seven years old. She has learned to play the traditional music of Norway from many great Hardanger fiddle players and has received prizes for her playing in national competitions for folk music. In 2013 she began her folk music education in Sweden at the Academy of Music and Drama in Gothenburg. Guro is composing a lot of music, and has a great interest and love for the old music traditions of Norway and Sweden. In 2011 she went to the world music camp Ethno and was bit by the “Ethno-bug”. Since then she has attended many Ethno Camps as a participant and leader, and setup Ethno Norway with a team of fellow musicians. In spring 2015 she worked at the Opera House of Gothenburg with the dance piece “Shadowland”. The Hardanger fiddle is a traditional instrument from Norway. It is called the Hardanger Fiddle because the oldest known Hardanger Fiddle, made in 1651, was found in the area Hardanger. The instrument has beautiful decorations, traditional rose painting, mother-of-pearl inlays and often a lion’s head. The main characteristic of the Hardanger Fiddle is the sympathetic strings that makes the sound very special – it’s like an old version of a speaker that amplifies the sound. -
1 Sotholms Och Svartlösa Härader
1 SOTHOLMS OCH SVARTLÖSA HÄRADER INNEHÅLL 2 SVARTLÖSA HÄRAD 26 ÖSMODRÄKTEN 3 PÅ BANAN 28 POLONESSEBOKEN 4 SPELMÄN 30 VEM ÄR SOM EJ... )0 DANSEN PÅ SÖDERTÖRN 32 SKIVSPALTEN 18 JAG MINNS 34 HARPOLEK 20 SÄGNER OCH MINNEN 36 SORUNDAVISAN 22 HANDLAREVISAN Omdagsbild: Byspelmannen, målad av den tyske 23 DRÄKTEN PÅ SÖDERTÖRN konstmren Hans Thoma, 1839- 1924. 24 SORUNDADRÄKTEN " '. .h %5z"f*:%:?Z? ' ""'= " " """' "É=..,, ~ "') L' . """ " ', ~j1K q' . , ,, ',. U · " "r"^ pgc. " ,\,\ b - h1· a»,' X' " am v""' ! °""'"'""" r, "=: " " - ' "::0 T' "": ±%v"4 '&" m ""' "' SY . ·:%, ·- -' ' " '" ·x"f;" '"3' " "L. .7yj|::c"^X+"m "" " ·P :k -'e ., ==9"2" ;6 ¢. ' "" , "t?:,:k ' ' "' 'l" ,'" " " W r' " QL"+:S\ja, " :" l V ,/i ,b ,, "¶%1 p -J' l" · t, · l. tk. "", ' n rtarNm. .,~ b- " 0 bm mb n g . · · K ' 0m· vf . V h~~m~' .·· 2?'' b « "brgib, 4 . .~,._+.:' " "" "".. cl Rm"m "' :__ T " " r ' . 0ybW +· M0~ f , 0m. : Q SÖRMLAN%LÅTEN dktribue ra8 till medlemmarna l Södermanland8 SpelmanMörbund och Sörmländska Ungdommngen. Utomstående kan prenumerera på Spelman8förbundet8 cirkulär (Inkl. SÖRMLANDS- LÄTEN) för ett år genom att 8åtta in kr IS: -- på postgiro 12 24 74 - O, adrem Södermanland8 Spelmam- förbund. Skriv "Cfrkulårprenumeration" på Ullongen! Upplaga: I. 750 ex Utkommer 2 gånger per år 2 GIOVANNA BASSI - PREMIÄRDANSÖS OCH SVARTLÖSA HÄRAD SÖRMLÄNDSK GODSÄGARINNA Marianne Strandberg Giovanna var dotter till den italienska hovstdhnästa- ren Stefano Bassi och hans franska hustru Angelique. Svartlösa hdrod har fött sitt namn efter tingsstCMet Hon föddes troligen 13 juni 1762 i Paris. Hon kom till SvartakSt (SvartalC$CSt) eller SvanlCSten (löt, Im troli- Sverige 1783 tilkammans med sin bror och omtalldes gen äng) där ting med Övm Tör (norra Södertöm) Nils som ballerina vid teatern samma år. -
The Dissemination of the Nyckelharpa
The Dissemination of the Nyckelharpa The Ethnic and the non-Ethnic Ways Gunnar Ternhag & Mathias Boström, Dalarnas Forskningsråd, Falun, Sweden The Ethnic and the non-ethnic Many traditional instruments are strongly linked to ethnic concepts. These connotations are often well known to musicians and listeners both inside and outside ethnic communities, although they are valued and interpreted differently. Some instruments are regarded as typical of certain cultures; you could even call them emblematic. This is evident when it comes to national cultures. The Finnish kantele and the Norwegian hardanger fiddle are typical examples of this (cf. Torp 1998). Other instruments have ethnic connotations without being symbols for specific cultures. The djembe drum, for instance, is mostly considered as simply “African” in the Western world. These and many similar instruments are more or less accessible to everyone today. The same goes for music and playing styles. Record stores, festivals, workshops and the Internet can easily provide everyone interested with inspiring products. A musician who wants to pick up a traditional musical instrument from a different culture than his or her own has to choose. He or she may try to learn the original music and playing style associated with the instrument; the so-called “tradition.” We will call this the ethnic way of approaching the instrument. The beginner wants to learn the instrument and its music in the same way as if he or she were living in the original community of the instrument. In this way many musicians in Sweden and other similar countries have learned how to play high- land-pipes or bouzouki—and have become Scots or Greeks in their musicianship. -
TOCN0004DIGIBKLT.Pdf
NORTHERN DANCES: FOLK MUSIC FROM SCANDINAVIA AND ESTONIA Gunnar Idenstam You are now entering our world of epic folk music from around the Baltic Sea, played on a large church organ and the nyckelharpa, the keyed Swedish fiddle, in a recording made in tribute to the new organ in the Domkirke (Cathedral) in Kristiansand in Norway. The organ was constructed in 2013 by the German company Klais, which has created an impressive and colourful instrument with a large palette of different sounds, from the most delicate and poetic to the most majestic and festive – a palette that adds space, character, volume and atmosphere to the original folk tunes. The nyckelharpa, a traditional folk instrument, has its origins in the sixteenth century, and its fragile, Baroque-like sound is happily embraced by the delicate solo stops – for example, the ‘woodwind’, or the bells, of the organ – or it can be carried, like an eagle flying over a majestic landscape, with deep forests and high mountains, by a powerful northern wind. The realm of folk dance is a fascinating soundscape of irregular pulse, ostinato- like melodic figures and improvised sections. The melodic and rhythmic variations they show are equally rich, both in the musical tradition itself and in the traditions of the hundreds of different types of dances that make it up. We have chosen folk tunes that are, in a more profound sense, majestic, epic, sacred, elegant, wild, delightful or meditative. The arrangements are not written down, but are more or less improvised, according to these characters. Gunnar Idenstam/Erik Rydvall 1 Northern Dances This is music created in the moment, introducing the mighty bells of the organ. -
Dance in Copenhagen, C. 1750-1840
Dance in Copenhagen Dance in Copenhagen, c. 1750-1840 By Henning Urup The subject of this article is dance forms in Denmark, and especially in Copenhagen, in the period c. 1750-1840. The account is based on the preseryed source material, and this involves an important methodological problem. Dance is a transitory phenomenon in the form of motion in the present. The written sources are descriptions of something seen and experienced, or instructions on how the dance/music is to be executed. It has always been diffiCldt to write dan ces down, and for that reason many dan ces have never been recorded on paper. In the European musical tradition, the notation of mus ic plays a central role, and the concept ofthe work is ofte n tied to the notation. By analog)' with this, incomplete or inadequate dance notation poses a problem. Musical notation gives us information about pitch and durations as well as dynamics and phrasing. The notation of dance requires similar infor mation, but also indications of body movemen ts, orien tations of arms and legs and progressions of movement through space. Dance notation therefore becomes complicated, and the various systems of notation are usually associated with specific dance forms and styles where. because of certain shared assumptions, one does not need to write down too much. Elements that are self-evident in the tra dition in question are usually omitted. Many important details have thus never been written down, and this poses an important problem for later researchers. The relationship of the author to dance and music is of great importance in interpreting the source material. -
Sven-David Sandstrã¶M╎s Five Pictures from the Bible
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2010 Sven-David Sandström's Five Pictures from the Bible: Historical Precedents, Development, and Analysis Joshua Bronfman Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC SVEN-DAVID SANDSTRÖM’S FIVE PICTURES FROM THE BIBLE: HISTORICAL PRECEDENTS, DEVELOPMENT, AND ANALYSIS By JOSHUA BRONFMAN A Dissertation submitted to the College Of Music in partial fulfillment of the requirements for the degree of Doctor Of Philosophy Degree Awarded: Summer Semester, 2010 The members of the committee approve the dissertation of Joshua Bronfman, defended on June 14, 2010. _________________________________________ André J. Thomas Professor Directing Dissertation _________________________________________ Evan Jones University Representative _________________________________________ Judy Bowers Committee Member _________________________________________ Kevin Fenton Committee Member The Graduate School has verified and approved the above-named committee members. ii To Niki, Lucia, and Leah. iii ACKNOWLEDGEMENTS I am very grateful to my supportive and helpful committee, including Dr. Andre Thomas, chair, and Drs. Judy Bowers, Kevin Fenton, and Evan Jones. I owe debt of gratitude to the administration, faculty, and staff at the University of North Dakota. Without their support and assistance, this document would never have happened. Specifically, Chris Gable, Mike Wittgraf, James Popejoy, Janice Hoffarth for transcription and cheerleading, and Dean Martha Potvin for encouraging me to continue. Thank you to Philip and Carolyn Brunelle, who opened up their home to me while I was researching this document. Additionally, Philip and the staff at VocalEssence were especially welcoming and accommodating, and made my visit to Minneapolis both fruitful and enjoyable. -
THE JVEDIS. ART SONG Presented to the Graduate Council of the North
110,2 THE JVEDIS. ART SONG THESIS Presented to the Graduate Council of the North Texas State College in Partial ifillment of the requirements For the Degree of MAST ER OF MUSIC by 223569 Alfred R. Skoog, B. Mus. Borger, Texas August, 1953 223569 PREFACE The aim of this thesis is to present a survey of Swedish vocal music, a subject upon which nothing in English exists and very little in Swedish. Because of this lack of material the writer, who has spent a year (195152) of research in music in Sweden, through the generosity of Mrs. Alice M. Roberts, the Texas Wesleyan Academy, and the Texas Swedish Cultural Foundation, has been forced to rely for much of his information on oral communication from numerous critics, composers, and per- formers in and around Stockholm. This accounts for the paucity of bibliographical citations. Chief among the authorities consulted was Gsta Percy, Redaktionssekreterare (secretary to the editor), of Sohlmans Jusiklexikon, who gave unstintedly, not only of his vast knowledge, but of his patience and enthusiasm. Without his kindly interest this work would have been impossible, iii TABLE OF CONTENTS Page . 1.F. .:.A . !. !. ! .! . .! ! PREFACE.! . ! .0 01 ! OF LIST ITLISTRATITONS. - - - . a- . a . V FORH4ORD . .* . .- . * .* . * * * * * * * . vii Chapter I. EARLYSEDIS0H SONG. I The Uppsala School II. NINETEENTH CENTURY NATIONALISTS . 23 The Influence of Mid-Nineteenth Century German Romanticism (Mendelssohn, Schumann, Liszt and Wagner) The French Influence III. LATE NINETEENTH CENTURY ND EARLY TWENTIETH CENTURY COMPOSERS . 52 Minor Vocal Composers of the Late Nine- teenth Century and Early Twentieth Century IV. THE MODERN SCHOOL OF S7E)ISl COMPOSERS. -
Trollfågeln the Magic Bird
EMILIA AMPER Trollfågeln The Magic Bird BIS-2013 2013_f-b.indd 1 2012-10-02 11.28 Trollfågeln 1. Till Maria 5'00 2. G-mollpolska efter Anders Gustaf Jernberg 3'25 3. Ut i mörka natten 4'55 4. Isadoras land 3'50 5. Trollfuglen 2'25 6. Polska fra Hoffsmyran 4'02 7. Herr Lager och skön fager 3'08 8. Brännvinslåt från Torsås 2'40 9. Pigopolskan / Den glömda polskan 5'08 10. När som flickorna de gifta sig 4'05 11. Kapad 4'44 12. Bredals Näckapolska 3'01 13. Galatea Creek 3'19 14. Vals från Valsebo 8'56 TT: 59'42 Emilia Amper nyckelharpa, sång Johan Hedin nyckelharpa Anders Löfberg cello Dan Svensson slagverk, gitarr, sång Olle Linder slagverk, gitarr Helge Andreas Norbakken slagverk Stråkar ur TrondheimSolistene: Johannes Rusten och Daniel Turcina violin Frøydis Tøsse viola, Marit Aspaas cello Rolf Hoff Baltzersen kontrabas 2 Trollfågeln innehåller 14 spår som på många sätt illustrerar mig som person och mitt liv som musiker och kompositör. Här är musiken som jag brinner för, en brokig skara låtar där traditionella svenska polskor möter nykomponerad musik inspirerad av andra länders folk- musik, och av pop, rock och kammarmusik. Jag spelar och sjunger solo eller tillsammans med goda vänner från både folkmusik och klassiskt. Som 10-åring förälskade jag mig i nyckelharpan vid första ögonkastet! Barndomens direkta glädje av instrument och melodier övergick efterhand i ett växande intresse för folkmusiken som genre. Jag mötte musik och människor från hela världen, och för mig var det liksom samma språk vi alla talade, ett språk där kopplingen mellan musik och dans är direkt och självklar. -
Patriotism, Nationalism, and Heritage in the Orchestral Music of Howard Hanson Matthew Robert Bishop
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2013 Patriotism, Nationalism, and Heritage in the Orchestral Music of Howard Hanson Matthew Robert Bishop Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC PATRIOTISM, NATIONALISM, AND HERITAGE IN THE ORCHESTRAL MUSIC OF HOWARD HANSON By MATTHEW ROBERT BISHOP A Thesis submitted to the College of Music in partial fulfillment of the requirements for the degree of Master of Music Degree Awarded: Spring Semester, 2013 Matthew Bishop defended this thesis on March 29, 2013. The members of the supervisory committee were: Michael Broyles Professor Directing Thesis Michael Buchler Committee Member Douglass Seaton Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the thesis has been approved in accordance with university accordance. ii ACKNOWLEDGEMENTS I am deeply grateful to the superbly talented, knowledgeable, and supportive members of my committee. I am indebted to my thesis advisor, Dr. Michael Broyles, for his expertise in American music and his patient guidance. I also greatly appreciate the encouragement and wisdom of Dr. Douglass Seaton and Dr. Michael Buchler. The research behind this project was made possible by a Curtis Mayes Research Fellowship through the musicology program at The Florida State University. I am truly honored to work and learn among such impressive colleagues, in musicology and beyond. I am continually challenged by them to meet an impossibly high standard, and I am in awe of their impressive intellect, abundant support, and unending devotion to the cause of researching, performing, teaching, and celebrating the art of music. -
T of À1 Radio
ism JOEL L.R.PHELPS EVERCLEAR ,•• ,."., !, •• P1 NEW MUSIC REPORT M Q AND NOT U CIRCLE December 25, 2000 I www.cmj.com 138.0 ******* **** ** * *ALL FOR ADC 90198 24498 Frederick Gier KUOR -REDLANDS 5319 HONDA AVE APT G ATASCADERO, CA 93422-3428 ON BEING NO. 1, TOURING WITH U2 & WHY WILL OLDHAM AND RAYMOND CARVER KICK ASS tof à1 Radio HOW PERFORMANCE ROYALTIES WILL AFFECT COLLEGE RADIO WHAT IT'S DOING TO INDIE RETAIL INCLUDING THE BLAZING HIT SINGLE "OH NO" ALBUM IN STORES NOW EF •TARIM INEWELII KUM. G RAP at MOP«, DEAD PREZ PHARCIAHE MUNCH •GHOST FACE NOTORIOUS J11" MONEY PASTOR TROY Et MASTER HUM BIG NUMB e PRODIGY•COCOA BROVAZ HATE DOME t.Q-TIIP Et WORDS e!' le.‘111,-ZéRVIAIMPUIMTPIeliElrÓ Issue 696 • Vol 65 • No 2 Campus VVebcasting: thriving. But passion alone isn't enough 11 The Beginning Of The End? when facing the likes of Best Buy and Earlier this month, the U.S. Copyright Office other monster chains, whose predatory ruled that FCC-licensed radio stations tactics are pricing many mom-and-pops offering their programming online are not out of business. exempt from license fees, which could open the door for record companies looking to 12 PJ Harvey: Tales From collect millions of dollars from broadcasters. The Gypsy Heart Colleges may be among the hardest hit. As she prepares to hit the road in support of her sixth and perhaps best album to date, 10 Sticker Shock Polly Jean Harvey chats with CMJ about A passion for music has kept indie music being No. -
Competitiveness in the Music Industry a Study of the Swedish Music Companies
J ÖNKÖPING I NTERNATIONAL B USINESS S C H O O L JÖNKÖPING UNIVERSITY Competitiveness in the Music Industry A study of the Swedish Music Companies Paper within Business Administration Author: Anders Berg Jörgen Fransson Fredrik Sörendal Tutor: Elena Raviola & Annette Johansson Jönköping January 2007 Bachelor thesis in Business Administration Title: Competitiveness in the Music Industry: A study of the Swedish Music Companies Authors: Berg, Anders; Fransson, Jörgen; Sörendal, Fredrik Tutors: Raviola, Elena and Johansson, Anette Date: 2007-01-15 Subject terms: Technological Change, Sustainable Competitive Advantage, the Music Companies. Abstract Problem: The music industry has experienced a significant technological change, leav- ing the music companies with a new way of distributing music. The sale of physical products (i.e. the CD) has decreased, and the industry has seen a steady increase in digital music. In this period of technological change, how are the four major music companies, EMI, SonyBMG, Warner Music Group and Universal Music to create a competitive advantage? Purpose: The purpose of this thesis is to study and analyze how the traditional music companies are creating a sustainable competitive advantage in a technologi- cally changing environment. Method: A qualitative approach, following the logic of a case study, has been used to answer the purpose. Interviews with new media managers at the four major music companies have been conducted. Furthermore, an interview with the mobile phone operator 3 was conducted since the company is one of the biggest customers to the music companies using the new technology. In or- der to avoid a biased study, we also interviewed Robert Picard at JIBS and Kris Serian at Warner Home Video who both have extensive experience in the media industry.