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Graduate Student Advocate, December 1993, Vol. 5, No. 6
City University of New York (CUNY) CUNY Academic Works The Advocate Archives and Special Collections 12-1993 Graduate Student Advocate, December 1993, Vol. 5, No. 6 How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_advocate/50 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] THE CITY UNIVERSITY OF NEW GRADUATE STUDENT Volume 5, No. 6 December 1993 Free ~~g~?!~~d Student Support for Yomi Falters and Christina Pretto his GRE score was substandard, and told him to get OF THE ADVOCATE STAFF a second master's degree in economics. After Yomi receiv~d a ma_ster's degree from City College, While several student groups have rallied behind Grossman adrmtted him to the program. Michael Yomi, a second level economics student Grossman h.as denied Yomi' s charges of racism in who has refused to take the department's first exam the department, and said that once Yomi was admit on grounds of_racial bias, their momentum appears ted to the program, he was "treated like any other to have lost steam as Yomi has yet to offer a solution student." to the administration. Many groups at the graduate center have rallied .Over the summer, Yorn) was notified that he was to Yomi's support. As early as September,the Doc bemg terminated from the program because he had toral Studen~ Counc~l, while citing no specific ex not t~ken the fir~t exam. -
Ambassador Auditorium Collection ARS.0043
http://oac.cdlib.org/findaid/ark:/13030/kt3q2nf194 No online items Guide to the Ambassador Auditorium Collection ARS.0043 Finding aid prepared by Frank Ferko and Anna Hunt Graves This collection has been processed under the auspices of the Council on Library and Information Resources with generous financial support from the Andrew W. Mellon Foundation. Archive of Recorded Sound Braun Music Center 541 Lasuen Mall Stanford University Stanford, California, 94305-3076 650-723-9312 [email protected] 2011 Guide to the Ambassador Auditorium ARS.0043 1 Collection ARS.0043 Title: Ambassador Auditorium Collection Identifier/Call Number: ARS.0043 Repository: Archive of Recorded Sound, Stanford University Libraries Stanford, California 94305-3076 Physical Description: 636containers of various sizes with multiple types of print materials, photographic materials, audio and video materials, realia, posters and original art work (682.05 linear feet). Date (inclusive): 1974-1995 Abstract: The Ambassador Auditorium Collection contains the files of the various organizational departments of the Ambassador Auditorium as well as audio and video recordings. The materials cover the entire time period of April 1974 through May 1995 when the Ambassador Auditorium was fully operational as an internationally recognized concert venue. The materials in this collection cover all aspects of concert production and presentation, including documentation of the concert artists and repertoire as well as many business documents, advertising, promotion and marketing files, correspondence, inter-office memos and negotiations with booking agents. The materials are widely varied and include concert program booklets, audio and video recordings, concert season planning materials, artist publicity materials, individual event files, posters, photographs, scrapbooks and original artwork used for publicity. -
Still/HERE BAMBILL BROOKLYN ACADEMY of MUSIC Harvey Lichtenstein, President & Executive Producer
1114 NEXT WAVE FESTIVAL 1994 NEXT WAVE COVER AND POSTER ARTIST ROBERT MOSKOWITZ STill/HERE BAMBILL BROOKLYN ACADEMY OF MUSIC Harvey Lichtenstein, President & Executive Producer in association with THE FOUNDATION FOR DANCE PROMOTION presents in the BAM Opera House November 30, 1994 at 7pm December 1-3 at 8pm BILL T. JONES/ARNIE ZANE DANCE COMPANY in STILL/HERE Conceived, choreographed and directed by: BILL T. JONES Visual concept and media environment by: GRETCHEN BENDER "Still" music composed and lyrics arranged by: KENNETH FRAZELLE cCStill" music sung by: ODETTA cCStill" music performed by: LARK STRING QUARTET with BILL FINIZIO, percussion cCDenial" monologue written by: LAWRENCE GOLDHUBER cCHere" music composed and arranged by: VERNON REID cCHere" recorded and mixed by: BRADSHAW LEIGH & VERNON REID Costumes by: LIZ PRINCE Lighting design by: ROBERT WIERZEL with ARTHUR AVILES JOSIE COYOC TORRIN CUMMINGS GABRI CHRISTA LAWRENCE GOLDHUBER ROSALYNDE LEBLANC ODILE REINE-ADELAIDE DANIEL RUSSELL MAYA SAFFRIN GORDON F. WHITE Still/Here is dedicated to all the participants of The Survival Workshops. Still/Here is performed in two parts with one intermission. Special support provided by The Ford Foundation, Geisler-Roberdeau, and The Harkness Foundations for Dance. Special thanks to Commercial Developments International/East, Inc., for providing BAM with the 55 Wall Street facility for the 1994 NEXT WAVE Gala supper. On the cover: Bill T. Jones, as photographed by Joanne Savio (upper left and right, lower right) and by Michael O'Neill (lower left). _ PROGRAM NOTES _ BILL T.JONES/ARNIE ZANE DANCE COMPANY STAFF Artistic Director Bill T. Jones Managing Director Jodi Pam Krizer Special Projects Director Bjorn Amelan Development Director Shawn Stewart Ruff Company Manager Quynh Mai Administrative Assistant Laurie LaRose Lighting Designer Robert Wierzel Production Manager/Lighting Supervisor Gregory Bain Technical Director Kelly Atallah Stage Manager James Irvine Rehearsal Director Andrea E. -
Leksykon Polskiej I Światowej Muzyki Elektronicznej
Piotr Mulawka Leksykon polskiej i światowej muzyki elektronicznej „Zrealizowano w ramach programu stypendialnego Ministra Kultury i Dziedzictwa Narodowego-Kultura w sieci” Wydawca: Piotr Mulawka [email protected] © 2020 Wszelkie prawa zastrzeżone ISBN 978-83-943331-4-0 2 Przedmowa Muzyka elektroniczna narodziła się w latach 50-tych XX wieku, a do jej powstania przyczyniły się zdobycze techniki z końca XIX wieku m.in. telefon- pierwsze urządzenie służące do przesyłania dźwięków na odległość (Aleksander Graham Bell), fonograf- pierwsze urządzenie zapisujące dźwięk (Thomas Alv Edison 1877), gramofon (Emile Berliner 1887). Jak podają źródła, w 1948 roku francuski badacz, kompozytor, akustyk Pierre Schaeffer (1910-1995) nagrał za pomocą mikrofonu dźwięki naturalne m.in. (śpiew ptaków, hałas uliczny, rozmowy) i próbował je przekształcać. Tak powstała muzyka nazwana konkretną (fr. musigue concrete). W tym samym roku wyemitował w radiu „Koncert szumów”. Jego najważniejszą kompozycją okazał się utwór pt. „Symphonie pour un homme seul” z 1950 roku. W kolejnych latach muzykę konkretną łączono z muzyką tradycyjną. Oto pionierzy tego eksperymentu: John Cage i Yannis Xenakis. Muzyka konkretna pojawiła się w kompozycji Rogera Watersa. Utwór ten trafił na ścieżkę dźwiękową do filmu „The Body” (1970). Grupa Beaver and Krause wprowadziła muzykę konkretną do utworu „Walking Green Algae Blues” z albumu „In A Wild Sanctuary” (1970), a zespół Pink Floyd w „Animals” (1977). Pierwsze próby tworzenia muzyki elektronicznej miały miejsce w Darmstadt (w Niemczech) na Międzynarodowych Kursach Nowej Muzyki w 1950 roku. W 1951 roku powstało pierwsze studio muzyki elektronicznej przy Rozgłośni Radia Zachodnioniemieckiego w Kolonii (NWDR- Nordwestdeutscher Rundfunk). Tu tworzyli: H. Eimert (Glockenspiel 1953), K. Stockhausen (Elektronische Studie I, II-1951-1954), H. -
Concert: Gershwin by Request
Ithaca College Digital Commons IC All Concert & Recital Programs Concert & Recital Programs 2-21-1989 Concert: Gershwin By Request Leon Bates Benjamin Matthews Eddye Pierce Young Follow this and additional works at: https://digitalcommons.ithaca.edu/music_programs Part of the Music Commons Recommended Citation Bates, Leon; Matthews, Benjamin; and Young, Eddye Pierce, "Concert: Gershwin By Request" (1989). All Concert & Recital Programs. 7659. https://digitalcommons.ithaca.edu/music_programs/7659 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. Ithaca College School of Music ITHACA- ITHACA COLLEGE CONCERTS '88-'89 GERSHWIN BY REQUEST LEON BATES, Plano BENJAMIN MATTHEWS, Bass-Baritone EDDYE PIERCE YOUNG, Soprano WAYNE SANDERS, Plano "An Evening of the Music of George Gershwin" Three Preludes I. Allegro ben ritmato e deciso II. Andante con moto e poco rubato Ill. Allegro ben ritmato e deciso Three Songs Fascinatin' Rhythm Somebody Loves Me Liza Leon Bates Selections from Porgy and Bess Summertime A Woman Is a Sometime Thing My Man's Gone Now I Got Plenty o'nuttin' Strawberry Chant Bess, You Is My Woman Now Benjamin Matthews, Eddye Pierce Young, Wayne Sanders INTERMISSION Three Songs The Man I Love I Got Rhythm Strike Up the Band Leon.Bates Selections from Porgy and Bess It Takes a Long Pull to Get There There's Boat Oat's Leavin' Soon for New York I Love You Porgy Oh Lawd, I'm on My Way Benjamin Matthews, Eddye Pierce Young, Wayne Sanders Rhapsody in Blue (solo piano version) Leon Bates * * * * * WALTER FORD HALL AUDITORIUM Tuesday, February 21, 1989 8:15 p.m. -
Library Archives
B4NDDR4SBCX Vol. XXXIII No. 4 Jamaica, Queens York College of the City University of New York December 1989/January 1990 Archive Preserves Queens History And Promotes York College By John Crow tional goals as the college," said Paisner. Photo Editor "The archive is a mecca. A thing of both York College and The Black American local and national significance." Heritage Foundation, Inc. (BAHF) have "Clarence doesn't take no for an collaborated to create The York College- answer," said Milton Bassin, President Black American Heritage Foundation of York College. "He is a dynamic Music History Archive. The archive is individual. I am very pleased that Mr. for the works of African-American Irving came to us and offered us the musicians and composers who have lived opportunity to house the archive." in Queens. President Bassin organized a task force The archive material will be housed and an advisory search committee. It is in the York College library. It will include specifically responsible for making the musical manuscripts, memorabilia, video archive a reality. The members come tapes, and any other materials pertaining from several disciplines in the college and to the musical careers of African- also from BAHF. The co-chairs are Dr. American musicians and composers. Parmet and Clarence Irving. They will "It could be York College's greatest look at the historical significance and attraction," said Clarence Irving Sr., validity of the materials submitted. founder and Chairman of The Black Other members of the advisory com- American Heritage Foundation, Inc. mittee, from York College, include J. Irving is also the originator of the idea Kevin Barry, chief librarian of York of the Archive at York. -
Fast, Susan and Craig Jennex. 2019. Popular Music and the Politics of Hope: Queer and Feminist Interventions
Fast, Susan and Craig Jennex. 2019. Popular Music and the Politics of Hope: Queer and Feminist Interventions. New York: Routledge. Reviewed by Runchao Liu Popular Music and the Politics of Hope (2019) weaves together diverse scholarship rooted in the political promise of popular music to envision and construct alternative realities for queer and feminist individuals and allies. “Critical hope” is the emergent theoretical framework that inspires and informs the chapters in this collection. The epistemology of critical hope is to see “making and consuming popular music as activities that encourage individuals to imagine and work toward a better, more just world”; in doing so, it is possible to unveil “the diverse ways popular music can contribute to the collective political projects of queerness and feminism” (i). This framework offers a wide range of approaches, includ- ing Afrofuturism, Afro-Asian collaboration, queer diasporas, gender and racial politics, genre conventions, decolonization, and age. This collection will appeal to scholars and students in popular music studies, gender/femi- nist studies, queer studies, critical media studies, ethnic studies, cultural studies, and interdisciplinary studies. None of the methodologies in this book incorporate traditional musical analysis as a main approach and only a few authors adopt it as a supportive methodology. The collection illustrates various ways that minoritarian musicians chal- lenge dominant understandings of subjectivity and foster solidarity beyond cultural and political boundaries. -
Classical Pianist Leon Bates Performs and Educates
CLASSICAL PIANIST LEON BATES PERFORMS AND EDUCATES Friday, February 24, 2006 marks the third performance in Scranton Community Concerts’ 2005-2006 concert season, featuring the incomparable pianist, Leon Bates. Mr. Bates, the 2001 Pennsylvania Artist of the Year, is known equally throughout the United States and abroad for his exceptional talent as a performer as well as for his dedication to arts education. He will perform a program featuring the works of Rachmaninoff and Chopin at 8:00 PM at the Mellow Theater at Lackawanna College. A native of Philadelphia, Leon Bates began his formal study of music at the age of six on both piano and violin. Since winning the Philadelphia Orchestra Senior Auditions as a student, Leon Bates has emerged as one of America’s leading pianists. He is invited to the most prestigious concert halls and his performances have warranted critical and audience accolades in such halls and the Kennedy Center, Carnegie Hall, Philadelphia’s Academy of Music and Kimmel Center, and in San Francisco where he has been presented numerous times by Four Seasons Concerts. His sheer mastery of the instrument has led to many invitations to perform with major symphonies in the U.S. such as the New York Philharmonic, the Philadelphia Orchestra, the Cleveland Orchestra, the Los Angeles Philharmonic and the American Symphony. One of his career highlights includes being chosen to play at Carnegie Hall in the Steinway Foundation’s Gala celebration commemorating the building of their 500,000th piano. Mr. Bates’ performance is sponsored in part by Penn Security Bank. “Penn Security Bank & Trust Company welcomes our role in bringing the talent of Leon Bates to our community,” says Nick Gianuzzi, Scranton Community Concerts Board Member and Penn Security Bank Trust Officer. -
Black Music Research Newsletter, Fall 1977
Columbia College Chicago Digital Commons @ Columbia College Chicago Center for Black Music Research: Black Music Research Newsletter Publications Fall 9-1-1977 Black Music Research Newsletter, Fall 1977 Samuel Floyd Columbia College Chicago Follow this and additional works at: https://digitalcommons.colum.edu/cbmrnews Part of the Arts and Humanities Commons, and the Education Commons Recommended Citation Floyd, Samuel, "Black Music Research Newsletter, Fall 1977" (1977). Center for Black Music Research: Black Music Research Newsletter. 2. https://digitalcommons.colum.edu/cbmrnews/2 This Book is brought to you for free and open access by the Publications at Digital Commons @ Columbia College Chicago. It has been accepted for inclusion in Center for Black Music Research: Black Music Research Newsletter by an authorized administrator of Digital Commons @ Columbia College Chicago. For more information, please contact [email protected]. Black Music Research Newsletter Southern Illinois University at Carbondale Volume l Number 2 Fall, 1977 FROM THE EDITOR •During the week of August 29-September 2, 1977, the New York Philharmonic sponsored and held a CELEBRATION OF BLACK CmIPOSERS at the Lincoln Center for the Performing Arts. The five-day Celebration served as a vehicle for the performance of works by Harriette Davison, Howard Swanson, Undine Smith Moore, Dorothy Rudd Moore, Hale Smith, Olly Wilson, Coleridge-Taylor Perkinson , Talib Hakim, T. J. Anderson, Arthur Cunningham, George Walker, / William Grant Still, Adolphus Hailstork, Roque Cordero, Joseph Boulogne, Jose White, Josf Nuffes- Garc!a, Ulysses Kay, and David Baker. Most of the living composers were on hand to hear their works performed and enjoyed warm receptions from the enthusiastic audiences. -
September 12, 2011 Remembering THEN
Along the Way - A salute to NOW and THEN September 12, 2011 Remembering THEN by Scott "Scotto" Savitt with Dana Cordero The only way to set the scene for what happened THEN is to start with background about what led to the Monkees recording "That Was Then, This Is Now," the title song from the Mosquitos 1985 EP. The Mosquitos were one of the most sought after bands in the coolest retro "back to the 60s" New York club scene at the time. They shared bills with bands like the Fuzztones, the Vipers, The Cheepskates and The Secret Service, did tours upstate and even opened for the Ramones. The band was on fire in 1985. Thanks to Jeff Tamarkin, former editor of Goldmine magazine and executive producer of the compilation tape "Garage Sale," the Mosquitos gained media attention when the tape, released in connection with Goldmine magazine, included Vance's song, "Darn Well." Interest continued with the release of the Mosquitos EP. A Newsday article noted that the track “I Know A Secret” sounded like "it was inadvertently left off “Beatles ‘65” and singled out the title song as Vance's "finest song, with fresh images, and architectural sense of structure, and the kind of hook that was made to blast from car radios. " Several events were key factors in exposure for the Mosquitos and, ultimately for Vance's song. The list of 1985 Nominess for the New York Music Awards debut event in 1986 included the Mosquitos. The event, founded by Robbie Woliver, New York Times journalist and owner of the legendary Folk City venue in Greenwich Village, honors established and unsigned music artists from New York. -
Download Booklet
HEART ON THE WALL African American Art Songs for Orchestra LOUISE TOPPIN Dvorák Symphony Orchestra Julius P. Williams,illiams, Conductor A n die Ferne Geliebte composed in 1816 by Ludwig van Beethoven is recognized as the first song cycle for voice and piano created with an organized structure. In this work the songs are connected both poetically and musically (presented attaca). Song cycles, as codified by Franz Schubert (1797-1828), Robert Schumann (1810-1856), and Johannes Brahms (1833-1897), were extended works comprised of distinct songs connected by related poetry. Hugo Wolf (1860-1903) who composed collections of songs (short songs on one poet) rather than song cycles, challenged the conventions (musically, structurally and poetically) of Schubert, Schumann and Brahms in his compositions. Gustav Mahler (1860-1911) and Richard Strauss (1864-1949) who were master orchestrators brought the power of the orchestra into art song repertoire in such works as Lied von der Erde (Mahler), Brentano Lieder (Strauss) and Vier letzte Lieder (Struass). The use of the orchestra in art song repertoire drew upon the symphonic poem tradition of Franz Liszt (1811-1886), which resulted in works that were replete with drama and operatic in approach. The art song tradition in both forms (voice/ piano and voice/orchestra) continued into the 20th and 21st centuries throughout the musical community. Drawing upon the conventions of lieder composition, song cycles and collections, American composers have contributed many examples of masterpieces for voice and orchestra such as Ned Rorem’s Six Songs for Coloratura, Mark Taggart’s Symphony of Spirituals, David Baker’s Witness and Leslie Adams’ Nightsongs. -
November 2, 1991 Newspaper $3.50 5
MAGAZINE TRADE MUSIC THE November 2, 1991 Newspaper $3.50 5 VOL. LV, NO. 12, NOVEMBER 2, 1991 STAFF BOX GEORGE ALBERT President and PMisher KEITH ALBERT Vice President/General Manager JIM SHARP Vice President FRED L. GOODMAN Editor In Chief CAMILLE COMPASIO Director, Coin Machine Operations LEE JESKE THE MUSIC TRADE MAGAZINE New York Editor KIMMY WIX Nashville Editor Editorial RANDY CLARK, Assoc. Ed. (LA) BRYAN DeVANEY, Assoc. Ed. (LA) BERNETTA GREEN (N.Y.) INSIDE THE BOX WILMA MELTON (Nash.) STEVE GIUFFRIDA (Nash.) COVER STORY CORY CHESHIRE (Nash) GREGORYS. COOPER (Nash.) Heir Condition: Prince Stays Cool Chart Research JEFF KARP Once again, the Purple One is making headlines with Coordinator (L.A.) CLIFF GERKEN (Nash.) his new smash Paisley Park/Warner Bros. Ip Diamonds TERESA CHANCE (Nash.) And Pearls and his controversial behavior. But, as CHERRY URESTI (L.A.) JIMMY PASCHAL (LA) usual, through it all, he remains silent. However, Cash TONE HECTOR (L.A.) TODD MURPHY (LA.) Box associate editor Randy Clark got as close as one can get to Prince himself, speaking with Paisley park Production JIM GONZALEZ exec Jill Willis and members of the New Power Art Director Generation. Circulation —see page 7 NINATREGUB, Manager CYNTHIA BANTA NEWS Publication Offices NEW YORK “Brownouts” At CD Plants 1 57 W. 57th Street (Suite 1402) New York, NY 10019 Shortages Phone: (21 586-2640 Cause 2) Fax: (212) 582-2571 HOLLYWOOD The runaway success of compact discs is causing major 6464 Sunset Blvd. (Suite 605) problems at the plants that manufacture them. The Hollywood, CA 90028 Phone: (21 3) 464-8241 demand is far exceeding the supply, which might Fax: (213)464-3235 if is not a hit (like the Guns N' NASHVILLE mean an album two 50 Music Square West, (Suite #502) Roses lps, pictured), it may not get pressed.