Announcement
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
MEREDITH MONK and ANN HAMILTON: Aaron Copland Fund for Music, Inc
The House Foundation for the Arts, Inc. | 260 West Broadway, Suite 2, New York, NY 10013 | Tel: 212.904.1330 Fax: 212.904.1305 | Email: [email protected] Web: www.meredithmonk.org Incorporated in 1971, The House Foundation for the Arts provides production and management services for Meredith Monk, Meredith Monk & Vocal Ensemble, and The House Company. Meredith Monk, Artistic Director • Olivia Georgia, Executive Director • Amanda Cooper, Company Manager • Melissa Sandor, Development Consultant • Jahna Balk, Development Associate • Peter Sciscioli, Assistant Manager • Jeremy Thal, Bookkeeper Press representative: Ellen Jacobs Associates | Tel: 212.245.5100 • Fax: 212.397.1102 Exclusive U.S. Tour Representation: Rena Shagan Associates, Inc. | Tel: 212.873.9700 • Fax: 212.873.1708 • www.shaganarts.com International Booking: Thérèse Barbanel, Artsceniques | [email protected] impermanence(recorded on ECM New Series) and other Meredith Monk & Vocal Ensemble albums are available at www.meredithmonk.org MEREDITH MONK/The House Foundation for the Arts Board of Trustees: Linda Golding, Chair and President • Meredith Monk, Artistic Director • Arbie R. Thalacker, Treasurer • Linda R. Safran • Haruno Arai, Secretary • Barbara G. Sahlman • Cathy Appel • Carol Schuster • Robert Grimm • Gail Sinai • Sali Ann Kriegsman • Frederieke Sanders Taylor • Micki Wesson, President Emerita MEREDITH MONK/The House Foundation for the Arts is made possible, in part, with public and private funds from: MEREDITH MONK AND ANN HAMILTON: Aaron Copland Fund for -
A. Mihalyi: Meredith Monkl, WAM Casopis, Recenzije, Glazba, Classical
MAGIJA VOKALA MEREDITH MONK Aleksandar Mihalyi Ako bi smo odabrali kreativno uspješnu i jedinstvenu skladateljicu i vokalisticu temeljem uspješnosti njezinog dosadašnjeg djelovanja te glasovnih mogućnosti koje izmiču uobičajenim klasifikacijama, onda bi se Meredith Jane Monk nametnula kao prvi izbor. Dodatni povod je i obilježavanje njezinog 70. rođendana ove godine – rođena je 1942. godine u New Yorku, SAD. Njezina pozicija vodeće umjetnice u američkoj avangardnoj glazbi traje od Karijeru je započela kasnih šezdesetih kao plesačica i koreograf kada je samih početaka minimalizma, a već i tada je imala izdvojenu poziciju jer je izučila umijeće poniranja do esencijalne ekspresivnosti pokretom, te nedugo vokalnu tehniku temeljila na istočnjačkim tradicijama (tzv. ekstenizirani glas zatim i glasom prije nego riječima. Monk u ovom kontekstu ističe da se – ponajprije upotrebom posebnih tehnika disanja) te u ponavljanju kratkih riječima štitimo od direktnog iskustva – tijelo treba pustiti da se fraza sličnim mantri (što su činili i ostali minimalisti). Na tu njenu izdvojenu izražava/reagira glasom (vokalizama) i pokretom. Potom, u vrijeme poziciju ponajviše je utjecalo njezino rano pohađanje škole euritmije koje tolerantne klime za diletantizam kada otkriva u sebi: „.. snažniji kreativni joj je potom i usmjerilo karijeru, odnosno interese ka povezivanju glazbe sa od interpretativnog impulsa“, ona započinje i svoju glazbenu karijeru kao pokretom s ciljem da glazbi scenom i koreografijom doda mitsko i povijesno pjevačica (inače ima izniman lirski sopran širokog raspona) i skladateljica, tumačenje. No, teško se kod nje ne može govoriti o eklekticizmu budući da kompletirajući tako autorstvo svojim scenskim djelima, koja se, uz neke Monk ponajprije asimilira ono što drži potrebnim za tehnički aspekt njezinih ograde, mogu svrstati u glazbeni teatar. -
Battles Around New Music in New York in the Seventies
Presenting the New: Battles around New Music in New York in the Seventies A Dissertation SUBMITTED TO THE FACULTY OF UNIVERSITY OF MINNESOTA BY Joshua David Jurkovskis Plocher IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY David Grayson, Adviser December 2012 © Joshua David Jurkovskis Plocher 2012 i Acknowledgements One of the best things about reaching the end of this process is the opportunity to publicly thank the people who have helped to make it happen. More than any other individual, thanks must go to my wife, who has had to put up with more of my rambling than anybody, and has graciously given me half of every weekend for the last several years to keep working. Thank you, too, to my adviser, David Grayson, whose steady support in a shifting institutional environment has been invaluable. To the rest of my committee: Sumanth Gopinath, Kelley Harness, and Richard Leppert, for their advice and willingness to jump back in on this project after every life-inflicted gap. Thanks also to my mother and to my kids, for different reasons. Thanks to the staff at the New York Public Library (the one on 5th Ave. with the lions) for helping me track down the SoHo Weekly News microfilm when it had apparently vanished, and to the professional staff at the New York Public Library for Performing Arts at Lincoln Center, and to the Fales Special Collections staff at Bobst Library at New York University. Special thanks to the much smaller archival operation at the Kitchen, where I was assisted at various times by John Migliore and Samara Davis. -
OOT 2020 Packet 10.Pdf
OOT 2020: [The Search for a Middle Clue] Written and edited by George Charlson, Nick Clanchy, Oli Clarke, Laura Cooper, Daniel Dalland, Alexander Gunasekera, Alexander Hardwick, Claire Jones, Elisabeth Le Maistre, Matthew Lloyd, Lalit Maharjan, Alexander Peplow, Barney Pite, Jacob Robertson, Siân Round, Jeremy Sontchi, and Leonie Woodland. THE ANSWER TO THE LAST TOSS-UP SHOULD HAVE BEEN: Henry Packet 10 Toss-ups: 1. Rana Sweid and Eyal Goldman attend this tournament in the experimental film Strangers. The manager of one team in this tournament said after one match that ‘Jesus Christ may be able to turn the other cheek, but [one player] isn't Jesus Christ’. Another player was called ‘the most hated man in Trinidad and Tobago’ after pulling Brent Sancho’s dreadlocks before scoring a header for England in this tournament. Valentin Ivanov handed out four red cards and sixteen yellows during a match in this tournament between Portugal and the Netherlands called ‘the Battle of Nuremberg’. David Trezeguet missed the only penalty in its final. Zinedine Zidane was sent off for head-butting a player in the final of, for 10 points, what football tournament hosted by Germany? ANSWER: 2006 FIFA World Cup [prompt on World Cup with ‘which year?’] <GDC> 2. A hypothesis named for a thinker from this country claims that scientific advancement is mainly the result of the work of mediocre researchers. One thinker from this country tried to resolve the conflict between experience and reason by developing the concept of ‘ratio-vitalism’. That thinker from this country argued for a life lived nobly as opposed to as a ‘mass-man’ in their work The Revolt of the Masses. -
Théâtre De La Bastille 76, Rue De La Roquette 75011 Paris-Tél : 43 57 42 14
théâtre de la bastille 76, rue de la Roquette 75011 Paris-Tél : 43 57 42 14 F--E7%/.,A1 dans le cadre du Festival d'Automne à Paris À rAK du 4 au 10 novembre 1996 à partir de 20 h 15, dimanche à partir de 16 h 15, relâche le 7 novembre Shrine installation vidéo conçue par Meredith Monk à 21 h, dimanche à 17 h, relâche le 7 novembre Volcano Songs solo créé et interprété parMeredith Monk prix des places : 100 F, tarif réduit 70 F service de presse service de presse Théâtre de la Bastille Festival d'Automne à Paris Irène Gordon Corinne Moreau, Sarah Meneghello tél: 01 43 57 78 36 tél: 01 42 96 12 27 fax : 01 47 00 97 87 fax : 01 40 15 92 88 Document de communication du Festival d'Automne à Paris - tous droits réservés Shrine installation vidéo conçue par Meredith Monk et réalisée en collaboration avec Debby Lee Cohen et Pcrul Krajniak opérateur prise de vues Nick Blair Volcano Songs solo créé et interprété par Meredith Monk musique, mise en scène Meredith Monk lumière Tony Giovanetti décor Meredith Monk Paul Krajniak Debby Lee Cohen Volcans° Songs est une commande conjointe du Walker Art Center/Minneapolis, Hancher Auditorium/Iowa City, PS 122 et de la Fondation pour les Arts de New York avec le soutien de MEET THE COMPOSER/Programme de commande du Reader's Digest en partenariat avec le National Endowment pour les Arts et le Tilla Wallace-Fondation du Reader's Digest coréaliscrtion Théâtre de la Bastille administration en Europe Art Service International Document de communication du Festival d'Automne à Paris - tous droits réservés Meredith Monk Meredith Monk est compositeur, d'incorporer depuis des films courts chanteuse, cinéaste, chorégraphe dans ces pièces : une version de 7 et metteur en scène. -
Sound, Language, and Consciousness in the Work of Four Artists Associated with Experimental Music And/Or Conceptual Art Communities After 1960
EXQUISITE MIND, EUPHORIC KNOWING: SOUND, LANGUAGE, AND CONSCIOUSNESS IN EXPERIMENTAL MUSIC AND CONCEPTUAL ART AFTER 1960 by KATE CAVANAUGH DOYLE Dissertation Advisor: Dr. Susan McClary Submitted in partial fulfillment of the requirements For the degree of Doctor of Philosophy Department of Music CASE WESTERN RESERVE UNIVERSITY May, 2018 CASE WESTERN RESERVE UNIVERSITY SCHOOL OF GRADUATE STUDIES We hereby approve the dissertation of Kate Cavanaugh Doyle candidate for the degree of Doctor of Philosophy* Committee Chair Susan McClary Committee Member Francesca Brittan Committee Member Georgia Cowart Committee Member Vera Tobin Committee Member Robert Walser Date of Defense February 26, 2018 *We also certify that written approval has been obtained for any proprietary material contained therein. TABLE OF CONTENTS LIST OF TABLES 2 LIST OF FIGURES 3 LIST OF MUSICAL EXAMPLES 4 ACKNOWLEDGMENTS 5 ABSTRACT 7 INTRODUCTION 9 Radical Intelligence CHAPTER 1 35 Sonorous Mind: Meredith Monk’s Voice-from-Within CHAPTER 2 63 Consciousness and Communication in Pauline Oliveros’s Sonic Transmissions CHAPTER 3 90 Yoko Ono and the Art of Conceptual Sound CHAPTER 4 116 Music as Translation: The Sound of Hanne Darboven’s Endless Writing BIBLIOGRAPHY 145 1 LIST OF TABLES Table 1 Diagram of the Dissertation 30 2 LIST OF FIGURES Figure 1 George Brecht, Drip Music (Drip Event) (1959) 15 Figure 2 Trajectory of the Event Score 16 Figure 3 Sol LeWitt, Objectivity (1962) 18 Figure 4 Joseph Kosuth, One and Three Chairs (1965) 19 Figure 5 Barbara Kruger, Untitled (Your gaze hits the side of my face) (1981) 21 Figure 6 Carolee Schneemann, Eye Body #20 (1963) 25 Figure 7 Linda Montano, Lying: Dead Chicken, Live Angel (1972) 25 Figure 8 Joan Jonas, Nova Scotia Beach Dance (1971) 26 Figure 9 Meredith Monk, Education of the Girlchild (1973) 26 Figure 10 Radical Intelligence Model 32 Figure 11 Yoko Ono, Painting to Be Stepped On (1960) 98 Figure 12 Yoko Ono, To George: Poem No. -
MM2 Thema Flow
BETWEENBETWEEN THOUGHTTHOUGHT THOUGHTANDAND SOUND SOUNDGRAPHIC NOTATION IN CONTEMPORARY MUSIC Curated by Alex Waterman, Debra Singer, and Matthew Lyons THE KITCHEN September 10 – October 20, 2007 BETWEEN THOUGHT AND SOUND FOREWORD debra singer Between Thought and Sound: Graphic Notation in Contemporary Music is a group exhibition that explores the intersection of drawing, thinking, and sound through experimental music scores by thirty-one composers who relinquish traditional notation in favor of their own invented graphic systems. Their compositions take myriad forms, ranging from abstract drawings, numerical series, and annotated photographs to videos and digital renderings-all of which are filled with complex pictograms, evocative mark-making, gestural symbols, and intricate codes of let- ters, numbers, and color. Co-organized by composer, cellist, and guest curator Alex Waterman, The Kitchen’s associate curator Matthew Lyons, and myself, the exhibition features work by Laura Andel, Robert Ashley, James Beckett, David Behrman, Cathy Berberian, Earle Brown, Cornelius Cardew, Tony Conrad, John Driscoll, Morton Feldman, Jon Gibson, Tom Johnson, Alison Knowles, Joan LaBarbara, Annea Lockwood, Alvin Lucier, Miya Masaoka, Kaffe Matthews, Meredith Monk, Gordon Mumma, Anthony Jay Ptak, Steve Roden, Marina Rosenfeld, James Saunders, Michael J. Schumacher, Elliott Sharp, Wadada Leo Smith, Yasunao Tone, David Tudor, Stephen Vitiello, and Christian Wolff. These artists represent two generations influenced by John Cage’s pioneering indeterminate compositions and chance operations begun in the late 1930s. Their highly personal notational vocabularies likewise originate in processes of experi- mentation, as they break with convention, finding alternative visual means to describe sounds and provoke a reciprocal relationship between performer and composer, empowering the former to participate in the improvisatory creation of works that are distinctly different each time they are performed. -
Kenneth Goldsmith
6799 Kenneth Goldsmith zingmagazine 2000 for Clark Coolidge 45 John Cage 42 Frank Zappa / Mothers 30 Charles Ives 28 Miles Davis 26 James Brown 25 Erik Satie 24 Igor Stravinsky 23 Olivier Messiaen 23 Neil Young 23 Kurt Weill 21 Darius Milhaud 21 Bob Dylan 20 Rolling Stones 19 John Coltrane 18 Terry Riley 18 Morton Feldman 16 Rod McKuen 15 Thelonious Monk 15 Ray Charles 15 Mauricio Kagel 13 Duke Ellington 3 A Kombi Music to Drive By, A Tribe Called Quest M i d n i g h t Madness, A Tribe Called Quest People’s Instinctive Travels and the Paths of Rhythm, A Tribe Called Quest The Low End Theory, Abba G reatest Hits, Peter Abelard Monastic Song, Absinthe Radio Trio Absinthe Radio Tr i o, AC DC Back in Black, AC DC Dirty Deeds Done Dirt Cheap, AC DC Flick of the Switch, AC DC For Those About to Rock, AC DC Highway to Hell, AC DC Let There Be R o c k, Johnny Ace Again... Johnny Sings, Daniel Adams C a g e d Heat 3000, John Adams Harmonium, John Adams Shaker Loops / Phrygian Gates, John Luther Adams Luther Clouds of Forgetting, Clouds of Unknowing, King Ade Sunny Juju Music, Admiral Bailey Ram Up You Party, Adventures in Negro History, Aerosmith Toys in the Attic, After Dinner E d i t i o n s, Spiro T. Agnew S p e a k s O u t, Spiro T. Agnew The Great Comedy Album, Faiza Ahmed B e s a r a h a, Mahmoud Ahmed E re Mela Mela, Akita Azuma Haswell & Sakaibara Ich Schnitt Mich In Den Finger, Masami Akita & Zbigniew Karkowski Sound Pressure Level, Isaac Albéniz I b e r i a, Isaac Albéniz Piano Music Volume II, Willy Alberti Marina, Dennis Alcapone Forever Version, Alive Alive!, Lee Allen Walkin’ with Mr. -
Performance and the Spiritual Life
PERFORMANCE AND THE SPIRITUAL LIFE Meredith Monk in conversation with Bonnie Marranca or more than four decades Meredith Meredith’s work as composer, performer, director, choreographer, and filmmaker has been influential in creating the new vocabularies of contemporary performance and media. She is a pioneer Fin what is known as “extended vocal technique,” introduced to a worldwide audi- ence through her many concerts and CDs. In 1978 she formed Meredith Monk & Vocal Ensemble, featured on numerous recordings, most recently, the music theatre work impermanence. Monk’s music has been performed by the New World Symphony, Musica Sacra, Björk, Kronos Quartet, and Bang On A Can All-Stars, and by many other musicians. Her operas and music theatre works include mercy (with the artist Ann Hamilton), Atlas, The Politics of Quiet, Quarry, Education of the Girlchild, and Vessel, an early site-specific creation. Monks films and videos count among them Book of Days, Ellis Island, and Our Lady of Late. Her visual art works and installations have been exhibited at the Walker Art Center, the New York Public Library for the Performing Arts at Lincoln Center, the Whitney Biennial, and the Frederieke Taylor Gallery in New York City. Monk has received numerous honors, including the MacArthur Award, several Obies and Bessies, and induction into the American Academy of Arts and Sciences. She performed a Vocal Offering for the Dalai Lama at the World Festival of Sacred Music in Los Angeles in 1999. Her newest work, Songs of Ascension, was first performed in a concert version in March 2008 at Dartington College of Arts (England) and later in a theatre version, with video by Hamilton, at the Walker Art Center (Minneapolis). -
September 2000
21ST CENTURY MUSIC SEPTEMBER 2000 INFORMATION FOR SUBSCRIBERS 21ST-CENTURY MUSIC is published monthly by 21ST-CENTURY MUSIC, P.O. Box 2842, San Anselmo, CA 94960. Subscription rates in the U.S. are $84.00 (print) and $42.00 (e-mail) per year; subscribers to the print version elsewhere should add $36.00 for postage. Single copies of the current volume and back issues are $8.00 (print) and $4.00 (e-mail) Large back orders must be ordered by volume and be pre-paid. Please allow one month for receipt of first issue. Domestic claims for non-receipt of issues should be made within 90 days of the month of publication, overseas claims within 180 days. Thereafter, the regular back issue rate will be charged for replacement. Overseas delivery is not guaranteed. Send orders to 21ST-CENTURY MUSIC, P.O. Box 2842, San Anselmo, CA 94960. e-mail: [email protected]. Typeset in Times New Roman. Copyright 2000 by 21ST-CENTURY MUSIC. This journal is printed on recycled paper. Copyright notice: Authorization to photocopy items for internal or personal use is granted by 21ST-CENTURY MUSIC. INFORMATION FOR CONTRIBUTORS 21ST-CENTURY MUSIC invites pertinent contributions in analysis, composition, criticism, interdisciplinary studies, musicology, and performance practice; and welcomes reviews of books, concerts, music, recordings, and videos. The journal also seeks items of interest for its calendar, chronicle, comment, communications, opportunities, publications, recordings, and videos sections. Typescripts should be double-spaced on 8 1/2 x 11 -inch paper, with ample margins. Authors with access to IBM compatible word-processing systems are encouraged to submit a floppy disk, or e-mail, in addition to hard copy. -
Muzika I Performans Umetnost-Interdisciplinarni Pristup
UNIVERZITET UMETNOSTI U BEOGRADU Interdisciplinarne studije Teorija umetnosti i medija Doktorska disertacija: Muzika i performans umetnost-interdisciplinarni pristup autor: Anica Arsić mentor: dr Tijana Popović Mlađenović, vanredni profesor Beograd, novembar, 2014. Iskreno se zahvaljujem mom mentoru, prof. dr Tijani Popović Mlađenović na nesebičnoj pomoći koju mi je pružila tokom rada. Dragocenu pomoć savetima i sugestijama pružio mi je prof. dr Miško Šuvaković na čemu mu se zahvaljujem. APSTRAKT …………………………………………………………………………… 1 ABSTRACT …………………………………………………………………………… 4 UVOD ............................................................................................................................. 7 Osnovne polazne (hipo)teze i uvidi od kojih se u radu polazi ................................... 12 Metode i pristup fenomenu muzike i performans umetnosti u istraživanju ............. 16 Očekivani rezultati istraživanja ................................................................................. 17 OD STUDIJA IZVOĐENJA DO DEFINICIJE UMETNIČKOG PERFORMANSA ... 18 UMETNIČKI PERFORMANS PRIKAZAN TEORIJOM TEKSTA ............................ 26 Rolan Bart (Roland Barthes, 1915−1980) ................................................................. 29 Julija Kristeva (1941) ................................................................................................ 32 Poruke umetničkog performansa „pročitane“ teorijama teksta .................................. 39 PSIHOANALITIČKA TEORIJA I TUMAČENJE PERFORMANS UMETNOSTI I 51 MUZIKE ........................................................................................................................ -
The Politics of Quiet
t:1AIVlb111 Brooklyn Academy of Music 1996 Next Wave Festival Jim Dine, The Heart of BAM, 1996, Woodcut, 26-1/4" x 19-3/8" The Politics of Quiet BAM 1996 Next Wave Festival and 135th Anniversary Season are sponsored by Philip Morris Companies Inc. The Brooklyn Academy of Music Bruce C. Ratner Chairman of the Board Harvey Lichtenstein President & Executive Producer presents The Politics of Quiet BAM Carey Playhouse Thursday, October 10, 1996 at 7 pm Friday and Saturday, October 11 and 12 at 8 pm Sunday, October 13 at 3 pm Running time: Conceived, directed and composed by Meredith Monk approximately ninety Choreography Meredith Monk in collaboration with the Ensemble minutes; there will be Associate Director Pablo Vela no intermission. Lighting Design Tony Giovannetti Sound Design David Meschter/Applied Audio Technologies Costume Design Carol Ann Pelletier Visual Design Paul Krajniak Object Design Debby Lee Cohen Performers (in order of appearance) Thomas Bogdan Stephen Kalm Janis Brenner Katie Geissinger Carlos Arevalo All ison Easter Ching Gonzalez Randall Wong Dina Emerson Theo Bleckmann Musicians Harry Huff: keyboards, voice Allison Sniffin: keyboards, french horn, violin, bowed psaltry, voice Children Clifford Lasky Emma Skove-Epes American companies participating in the Next Wave are sponsored by AT&T. The Politics of Quiet was co-commissioned by The House Foundation for the Arts, Inc., Lied Center for the Performing Arts, Pittsburgh Dance Council, Three Rivers Arts Festival and Walker Art Center. It is a privilege to work with these exceptional performers and associates, many of whom have distinguished careers of their own. I am deeply grateful for their generosity, patience and dedica tion in the process of creating The Politics of Quiet.