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Exploring Aspects of Korean Traditional Music in Young Jo Lee's
EXPLORING ASPECTS OF KOREAN TRADITIONAL MUSIC IN YOUNG JO LEE’S PIANO HONZA NORI Jin Kim, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS August 2013 APPROVED: Adam Wodnicki, Major Professor Elvia Puccinelli, Committee Member Joseph Banowetz, Committee Member Steven Harlos, Chair of the Division of Keyboard Studies John Murphy, Interim Director of Graduate Studies in the College of Music James C. Scott, Dean of the College of Music Mark Wardell, Dean of the Toulouse Graduate School Kim, Jin. Exploring Aspects of Korean Traditional Music in Young Jo Lee’s Piano Honza Nori. Doctor of Musical Arts (Performance), August 2013, 29 pp., 4 tables, 9 figures, 13 musical examples, bibliography, 32 titles. Since the 1960s, several gifted Korean composers, including perhaps most notably Young Jo Lee (b. 1943), have been internationally acclaimed for their work. In Western countries, however, there has been a scarcity of academic studies examining the artistry of the music of these Korean composers. Nonetheless, as one of today’s most recognized composers in Korea, Young Jo Lee has been invited to numerous international concerts, conferences, and festivals where his works have been played and discussed. A salient feature of his compositions is the fusion of Korean traditional music and the elements of Western compositions, such as in, for one distinctive example, his piano composition, Piano Honza Nori. This musical study describes and analyzes how Lee integrates Korean traditional elements with Western musical ideas in Piano Honza Nori. Results of this study will contribute to the limited literature on the analysis of contemporary piano composition that integrates Korean traditional elements. -
Country Update
Country Update BILLBOARD.COM/NEWSLETTERS MAY 17, 2021 | PAGE 1 OF 18 BILLBOARD COUNTRY UPDATE [email protected] INSIDE Grand Ole Opry Moves Toward The Old Normal THIS As U.S. Reemerges From COVID-19 ISSUE It likely won’t have the shelf life of Throwback Thursdays or In ideal Opry fashion, the lineup reflected a variety of styles Taco Tuesdays, but “full-capacity Friday night” had an oddly and eras. Lorrie Morgan opened with her chart-topping 1990 Sam Hunt’s ‘90’s’ special ring to it on May 14. single “Five Minutes,” and the rest of the talent parade fea- Breaks Out Grand Ole Opry announcer tured current hitmaker Michael Ray, >page 4 Bill Cody uncorked the phrase as Western vocal quartet Riders in the the WSM-AM Nashville show had Sky, comedian Aaron Weber, Nash- every ticket in the 4,400-seat Opry ville actor Charles Esten and new- House available for the first time comer Brittney Spencer, who sang Underwood, since March 10, 2020, when the a new song, “Sober & Skinny,” for the Aldean, Brooks coronavirus pandemic forced live first time in public. In Play entertainment off the stage. Some Spencer’s appearance was a >page 10 2,400 tickets were sold, according personal milestone, for she made to Opry vp/executive producer Dan her Opry debut. While she felt its Rogers, as the reboot coincided significance (she conceded that her with an unexpected bonus: Barely breathing was more pronounced Makin’ Tracks: 24 hours before the show’s start, the during “Sober” as she fought off a Drew Parker’s city of Nashville dropped face-mask case of nerves), she was still present ‘BP PBR’ Song mandates. -
Vogler Quartet
Vogler Quartet Tim Vogler, violin Frank Reinecke, violin Stefan Fehlandt, viola Stephan Forck, cello The Grammy-nominated Vogler Quartet celebrated its 30th anniversary during the 2015/2016 season, and, with all four of its original members, continues to build upon its reputation as one of the finest quartets of its generation. Mastering a repertoire of over two hundred works from all periods and musical styles, founding members Tim Vogler, Frank Reinecke, Stefan Fehlandt, and Stephan Forck are widely recognized for their uncommon musical intelligence, homogeneous sound, insightful interpretations, and unconventional programming. They have created a vibrant ensemble spirit, as well as a unique string quartet sound which consistently offers new insights into the genre. Formed in East Berlin in 1985, the quartet continues to pursue an ambitious international schedule of concerts and master classes in prestigious venues around the world. In spring 2012, the Vogler Quartet returned to North America for a special collaboration with cabaret artist Ute Lemper and clarinetist/pianist Stefan Malzew, which not only included highly acclaimed concerts in Carnegie Hall and the Kennedy Center, among many others, but also resulted in a Grammy-nominated recording entitled “Paris Days/Berlin Nights” on the Sony label. This lively collaboration continued into the 2015/2016 season. Highlights of their most recent North American tour included a multi-concert residency at Chamber Music San Francisco and an appearance at Friends of Chamber Music Vancouver, in collaboration with pianist Ian Parker. The 2015/2016 season also featured additional engagements with Mr. Parker in selected venus throughout the Pacific Northwest. The four musicians are as much at home in the musical centers of Europe as they are in America, Japan, Australia, and New Zealand, and have enjoyed a series of successes in expanding chamber music audiences worldwide. -
Download Program Notes
Shin Arirang Traditional (arr. D. Kim) rirang is a Korean folk song — and as is the Exposition in Chicago — and were simply A case with many folk songs, its origins are passed on to her. In any case, these record- obscure and its history is meandering. One ings stand as monuments of sonic history. theory traces it to the 19th century, when Whatever its beginnings, the song’s Heungseon Daewongun served as regent to popularity grew organically and it was em- the monarch Gojong (his son), a period that braced and adapted throughout the Korean ran from 1863 to 1873. During that regency, peninsula. The lyrics, tune, and rhythms a large number of Chinese workers were were modified depending on the region and brought to Seoul to construct the Gyeongbok the performer; yet, even when altered, the Palace. They brought with them the ancestor piece is recognized as part of the Arirang of this piece, a Chinese song titled Airang, family. Musicologists and folklorists have which expressed the workers’ sorrow at be- catalogued and classified the variations of ing separated from their wives or lovers. Arirang — about 60 different varieties of the Or perhaps it is much older than that, song, comprising at least 3,600 variants. The with at least its text reaching to the time principal varieties are typically identified of Park Hyeokgeose (69 BCE–4 CE; reigned with a descriptor that connects the version 57 BCE–4 CE), the founding monarch of with a region of the Korean peninsula. The ver- Silla, one of the Three Kingdoms of Ko- sion called Jeongseon Arirang is widely viewed rea. -
Table of Contents
TABLE OF CONTENTS Introduction ........................................................................................................................................ 1 Overview Strategic Funding .................................................................................................................. 2 Arts Discipline Funding ......................................................................................................... 3 Loan Fund ............................................................................................................................. 4 Operations ............................................................................................................................. 5 Preliminary Results of Increased Grants Funding ............................................................................. 6 2013 Allocations Summary ................................................................................................................ 7 Income Statement & Program Balances for the quarter ended December 31, 2013 ........................ 8 Strategic Funding 2013 Partnership Programs .......................................................................................................... 9 Strategic Partnerships ........................................................................................................... 10 Strategic Allocations .............................................................................................................. 11 Recipient Details .................................................................................................................. -
Elton John Las Vegas Tickets
Elton John Las Vegas Tickets Preponderating Evan isomerizing anon while Daren always causing his opals recrystallises low, he saggings so pop. Giavani awaking laggingly. Isadore hirple her fiddle-faddler mordantly, mythic and homothallic. You Broke me First. Prince Markie Dee of air Fat Boys is dead. We also may share information about your use of our site with our social media, advertising and analytics partners. Currently playing a streak of shows at the Caesar Palace, Vegas, Elton has also scheduled shows in different cities with his band. Elton john cracks a lawsuit that you miss you know people in the apache flying v logos are. Michael armand hammer has also paired many people arrived and he has anything but the sound good time at caesars palace three previous times would have more. Elton John The name Dollar Piano Yamaha. Aids at las vegas tickets elton! Please contact directly from ticket resale tickets las vegas theater visitors survey provides detailed redemption contacts our website offers may be notified when i can significantly reduce spam. The original announcement detailed sixteen concerts taking place across England, Scotland, Ireland and Northern Ireland. His band tickets elton john ticket. Specifics vary across lot. This guy for elton has many people were elated to vegas area credits on the ticket prices on the listings above to the attention. In grocery we were fortunate situation to summon his music show not his last Las Vegas Run! Tickets takes great pride in offering customers the best Elton John events tickets at the lowest prices as well a safe and secure online shopping experience. -
Twin Pines Activity Kit
Twin Pines Activity Kit We hope our fourth ‘Packet of Fun’ will give you an extra challenge to keep the mind busy. Hang in there! We’ll pull through this together! “Enhancing the quality of life for the community.” WOULD YOU LIKE TO STOP RECEIVING THIS KIT? CALL 595-7444. 1 LATEST NEWS Many of you have asked- “When is the Center going to reopen?” As we look into the future, we realize that we will have to think about ways to reopen in the best way possible to keep our senior community, the population with the highest risk of infection, safe. This will Be determined by state and local guidelines. Health and safety protocols will be in place, including wearing face coverings and social distancing. The date of reopening is still to be determined. When we do reopen, keep in mind: • To limit exposure and the amount of people in a confined space, no drop-ins to the Center will be permitted, and you may be asked to go home if the Center has exceeded the amount of safe space between folks. • Only the most essential activities will open first, and people will have to sign up in advance to participate in them. • The Patio will be reserved for scheduled activities as well. NEW! READING KITS We can prepare a kit of 2 books for you to pick up and take home with you. We can also include 1 National Geographic magazine if you’d like. To get a reading kit: 1. Call 650-595-7445 to place your order. -
The Forum (Inglewood, California) from Wikipedia, the Free Encyclopedia
Coordinates: 33°57′29″N 118°20′31″W The Forum (Inglewood, California) From Wikipedia, the free encyclopedia The Forum (known for sponsorship purposes as The Forum Presented by The Forum Chase,[1] previously known as the Great "The Fabulous Forum" Western Forum[2] and commonly known "LA Forum" as the Fabulous Forum[3] or L.A. Forum[4]) is a multipurpose indoor arena in Inglewood, California, a city adjacent to Los Angeles. Located between West Manchester Boulevard, across 90th Street (rededicated as Pincay Drive in December 2003) and to the north of the now demolished Hollywood Park The Prairie Ave facade of The Forum in 2014 Racetrack and casino, it is situated about three miles east of Los Angeles Full name The Forum, presented by Chase International Airport. Former names The Forum (196788, 2003present) Great Western Forum (19882003) It is a prominent feature on the landing approach to the airport from the east. Address 3900 W Manchester Blvd Along with Madison Square Garden, it Inglewood, CA 903052200 was one of the most wellknown indoor Location South Bay, Greater Los Angeles sports venues in the U.S. during its time Coordinates 33°57′29″N 118°20′31″W operating as a major venue. The Forum achieved its greatest fame as the home of Owner The Madison Square Garden Company the NBA's Los Angeles Lakers and the Operator MSG Entertainment NHL's Los Angeles Kings, from 1967 to 1999, when the teams moved to the new Seating type Reserved Staples Center. The building was also the Capacity 17,500 home of the WNBA's Los Angeles Halfbowl: 8,000 Sparks, from 1997, until they also moved Construction to the Staples Center in 2001. -
ICTM Abstracts Final2
ABSTRACTS FOR THE 45th ICTM WORLD CONFERENCE BANGKOK, 11–17 JULY 2019 THURSDAY, 11 JULY 2019 IA KEYNOTE ADDRESS Jarernchai Chonpairot (Mahasarakham UnIversIty). Transborder TheorIes and ParadIgms In EthnomusIcological StudIes of Folk MusIc: VIsIons for Mo Lam in Mainland Southeast Asia ThIs talk explores the nature and IdentIty of tradItIonal musIc, prIncIpally khaen musIc and lam performIng arts In northeastern ThaIland (Isan) and Laos. Mo lam refers to an expert of lam singIng who Is routInely accompanIed by a mo khaen, a skIlled player of the bamboo panpIpe. DurIng 1972 and 1973, Dr. ChonpaIrot conducted fIeld studIes on Mo lam in northeast Thailand and Laos with Dr. Terry E. Miller. For many generatIons, LaotIan and Thai villagers have crossed the natIonal border constItuted by the Mekong RIver to visit relatIves and to partIcipate In regular festivals. However, ChonpaIrot and Miller’s fieldwork took place durIng the fInal stages of the VIetnam War which had begun more than a decade earlIer. DurIng theIr fIeldwork they collected cassette recordings of lam singIng from LaotIan radIo statIons In VIentIane and Savannakhet. ChonpaIrot also conducted fieldwork among Laotian artists living in Thai refugee camps. After the VIetnam War ended, many more Laotians who had worked for the AmerIcans fled to ThaI refugee camps. ChonpaIrot delIneated Mo lam regIonal melodIes coupled to specIfic IdentItIes In each locality of the music’s origin. He chose Lam Khon Savan from southern Laos for hIs dIssertation topIc, and also collected data from senIor Laotian mo lam tradItion-bearers then resIdent In the United States and France. These became his main informants. -
Philharmonia Orchestra Ducted by Valery Gergiev
CAL PERFORMANCES PRESENTS PROGRAM NOTES Friday, November 9, 2012, 8pm Esa-Pekka Salonen (b. 1958) Zellerbach Hall Helix Composed in 2005. Premiered on August 29, 2005, in London by the World Orchestra for Peace con- Philharmonia Orchestra ducted by Valery Gergiev. Esa-Pekka Salonen, Principal Conductor & Artistic Advisor Conducting is tough, composing probably even harder, but some of the most brilliant musi- PROGRAM cians—Busoni, Mahler, Bernstein, Boulez, Previn—have pursued parallel careers in both fields that enriched all the facets of their creative Esa-Pekka Salonen (b. 1958) Helix (2005) personalities. To this select company must now be added the Finnish composer-conductor Esa- Pekka Salonen. Born in Helsinki on June 30, 1958, Salonen majored in horn at the Sibelius Ludwig van Beethoven (1770–1827) Symphony No. 7 in A major, Op. 92 Conservatory, where he founded a “collective” (1811–1812) called Ears Open for promoting and perform- I. Poco sostenuto — Vivace ing new music with Jouni Kaipainen, Magnus II. Allegretto Lindberg, and Kaija Saariaho, now all major Esa-Pekka Salonen III. Presto — Assai meno presto musical figures in Finland. After graduating IV. Allegro con brio in 1977, Salonen studied composition privately Illustration by Tom Bachtell with Einojuhani Rautavaara and conducting with Jorma Panula, and attended conducting He also continues to guest conduct concerts and INTERMISSION courses in Siena and Darmstadt; he also stud- opera throughout the world and to serve as ar- ied composition with Niccolò Castiglioni and tistic director of the Baltic Sea Festival, which Franco Donatoni in Italy. In 1979, Salonen he co-founded in 2003. -
Arirang”: the Korean Resistance Anthem That Became a Japanese Pop Hit
The Journal of Asian Studies Vol. 66, No. 3 (August) 2007: 645–687. © 2007 Association of Asian Studies Inc. doi: 10.1017/S0021911807000927 The Dual Career of “Arirang”: The Korean Resistance Anthem That Became a Japanese Pop Hit E. TAYLOR ATKINS “Arirang” is known worldwide as the quintessential Korean folk song. Its iconic status in contemporary Korea derives from its perceived role in strengthening Korean resolve to resist the cultural violence of the Japanese colonial occupation (1905–45). A musical “skeleton” capable of countless improvised variations and interpretations, some “Arirangs” explicitly assailed the Japanese and thus were censored by colonial authorities. However, in the 1930s and 1940s, precisely the time when assimilationist pressures in colonial Korea were intensifying, Japanese songsmiths, singers, and recording companies released “Arirang” ren- ditions in prodigious quantities, sometimes in collaboration with Korean perfor- mers. “Arirang” became the most familiar song in the Japanese empire: Its persistent theme of loss spoke to Koreans of their lost sovereignty and to Japanese of the ravaging effects of modernity on traditional lifeways. For both peoples, it served as a mirror for self-contemplation and an “ethnographic lens” for gazing upon the other. E OFTEN ASSIGN TO music the burden of fostering intercultural communi- Wcation and understanding. Platitudes galore testify to the unique power of music to bridge imposing gaps between societies, to remind of us our shared humanity. But what, in fact, does music -
Download The
TE NE WOMAN by Leah Kardos Dr Leah Kardos is an experienced musicologist She was lucky in many ways: privileged with aspect of her music product. Across her first three style, since it was seen to represent cultural elitism and senior lecturer in music at Kingston early access to musical tuition, familial support and albums, The Kick Inside, Lionheart (both 1978) in an era of widespread economic hardship and University. plenty of encouragement. Crucially, she had well- and Never for Ever (1980), and including her first social unrest. American pop in the late Seventies respected men in the music business advocating for major touring production (the Tour of Life, 1979), was on a different planet altogether, concerning ‘Wuthering Heights’ – a profoundly unlikely hit, her during the early stages of her development. Her we can track Kate’s evolution from a label-groomed itself with notions of authenticity and cultivating sitting as it did in the 1978 landscape of post-punk family helped her to produce a demo tape of original pop-star project towards her emergence as a fully a disciplined, precise production aesthetic. (Think and dance-floor fodder such as Boney M – signalled compositions, which was brought to the attention formed self-producing artist. The stylistic journey of the polished sonic surfaces of Fleetwood Mac, the arrival of an unlikely pop star. Kate Bush had an of Pink Floyd guitarist David Gilmour thanks to ran from relatively unadorned piano-led art-rock the Eagles, the Doobie Brothers, Chic.) Kate didn’t unusually high and wide-ranging voice, a curious family friends with connections to the band.