Free Thinking Is Hosted by Presenters from Change Sweeping the Globe
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BBC Four Programme Information
SOUND OF CINEMA: THE MUSIC THAT MADE THE MOVIES BBC Four Programme Information Neil Brand presenter and composer said, “It's so fantastic that the BBC, the biggest producer of music content, is showing how music works for films this autumn with Sound of Cinema. Film scores demand an extraordinary degree of both musicianship and dramatic understanding on the part of their composers. Whilst creating potent, original music to synchronise exactly with the images, composers are also making that music as discreet, accessible and communicative as possible, so that it can speak to each and every one of us. Film music demands the highest standards of its composers, the insight to 'see' what is needed and come up with something new and original. With my series and the other content across the BBC’s Sound of Cinema season I hope that people will hear more in their movies than they ever thought possible.” Part 1: The Big Score In the first episode of a new series celebrating film music for BBC Four as part of a wider Sound of Cinema Season on the BBC, Neil Brand explores how the classic orchestral film score emerged and why it’s still going strong today. Neil begins by analysing John Barry's title music for the 1965 thriller The Ipcress File. Demonstrating how Barry incorporated the sounds of east European instruments and even a coffee grinder to capture a down at heel Cold War feel, Neil highlights how a great composer can add a whole new dimension to film. Music has been inextricably linked with cinema even since the days of the "silent era", when movie houses employed accompanists ranging from pianists to small orchestras. -
Music You Know & Schubert
CONCERT PROGRAM Friday, April 29, 2016, 8:00pm MUSIC YOU KNOW: STORYTELLING David Robertson, conductor Celeste Golden Boyer, violin BERNSTEIN Candide Overture (1956) (1918-1990) PONCHIELLI Dance of the Hours from La Gioconda (1876) (1834-1886) VITALI/ Chaconne in G minor for Violin and Orchestra (ca. 1705/1911) orch. Charlier (1663-1745) Celeste Golden Boyer, violin INTERMISSION HUMPERDINCK Prelude to Hänsel und Gretel (1893) (1854-1921) DUKAS The Sorcerer’s Apprentice (1897) (1865-1935) STEFAN FREUND Cyrillic Dreams (2009) (b. 1974) David Halen, violin Alison Harney, violin Jonathan Chu, viola Daniel Lee, cello WAGNER/ Ride of the Valkyries from Die Walküre (1856) arr. Hutschenruyter (1813-1883) 23 ACKNOWLEDGMENTS This concert is part of the Wells Fargo Advisors Orchestral Series. This concert is part of the Whitaker Foundation Music You Know Series. This concert is supported by University College at Washington University. David Robertson is the Beofor Music Director and Conductor. The concert of Friday, April 29, is underwritten in part by a generous gift from Mr. and Mrs. Andrew C. Taylor. The concert of Friday, April 29, is the Joanne and Joel Iskiwitch Concert. Pre-Concert Conversations are sponsored by Washington University Physicians. Large print program notes are available through the generosity of the Delmar Gardens Family and are located at the Customer Service table in the foyer. 24 A FEW THINGS YOU MIGHT NOT KNOW ABOUT MUSIC YOU KNOW BY EDDIE SILVA For those of you who stayed up late to watch The Dick Cavett Show on TV, you may recognize Leonard Bernstein’s Candide Overture as the theme song played by the band led by Bobby Rosengarden. -
Bbc Radio 3 - Sounds of Shakespeare April – May 2016
BBC RADIO 3 - SOUNDS OF SHAKESPEARE APRIL – MAY 2016 MONDAY 18TH – FRIDAY 22ND APRIL Essential Classics Monday 18th - Friday 22nd April 0900 - 1200 In the week leading up to the Shakespeare 400 anniversary, the guest on Radio 3’s morning programme is Adrian Lester OBE, acclaimed for his performances as Henry V and Othello at the National Theatre – winning the Evening Standard Best Actor award. He’ll talk about Shakespeare, his life as an actor and choose some fascinating music. Producer: Sarah Devonald, Somethin’Else Composer of the Week Monday 18th - Friday 22nd April 1200 – 1300 William Byrd There is frustratingly little evidence that William Byrd was personally acquainted with his fellow Elizabethan, William Shakespeare. Although, a tantalising reference to “the bird of loudest lay” in Shakespeare’s sonnet, The Phoenix and the Turtle hints that they may have been more than mere contemporaries. As a Roman Catholic in Elizabethan England, William Byrd was persecuted by the state and often forced to tread a dangerous path between his personal convictions and his duty to the Queen. His musical talent and his strength of character enabled him not just to survive, but thrive. Despite his trials, he was, and continues to be, celebrated as the greatest British musician of his age. SOUNDS OF SHAKESPEARE LIVE 22nd – 24th April, Stratford-upon-Avon Radio 3 broadcasts live all weekend from its pop-up studio at the Royal Shakespeare Company’s The Other Place theatre in Stratford-upon-Avon and at venues across the town. Actors, musicians, poets, singers and orchestras perform a huge range of songs, film scores, jazz, chamber music, choral works and world music - all inspired by Shakespeare's works. -
The Heraclitian Form of Thomas Adès's Tevot As a Critical Lens
The Art of Transformation: The Heraclitian Form of Thomas Adès’sTevot as a Critical Lens for the Symphonic Tradition and an original composition, Glimmer, Glisten, Glow for sinfonietta A Dissertation Presented to The Faculty of the Graduate School of Arts and Sciences Brandeis University Music Composition and Theory David Rakowski and Yu-Hui Chang, Advisors In Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy by Joseph Sowa May 2019 The signed version of this form is on file in the Graduate School of Arts and Sciences. This dissertation, directed and approved by Joseph Sowa’s Committee, has been accepted and approved by the Faculty of Brandeis University in partial fulfillment of the requirements for the degree of: DOCTOR OF PHILOSOPHY Eric Chasalow, Dean Graduate School of Arts and Sciences Dissertation Committee: David Rakowski, Brandeis University Department of Music Yu-Hui Chang, Brandeis University Department of Music Erin Gee, Brandeis University Department of Music Martin Brody, Wellesley College, Department of Music iii Copyright by Joseph Sowa 2019 Acknowledgements The story of my time at Brandeis begins in 2012, a few months after being rejected from every doctoral program to which I applied. Still living in Provo, Utah, I picked up David Ra- kowski from the airport for a visit to BYU. We had met a few years earlier through the Barlow Endowment for Music Composition, when Davy was on the board of advisors and I was an intern. On that drive several years later, I asked him if he had any suggestions for my doc- toral application portfolio, to which he immediately responded, “You were actually a finalist.” Because of his encouragement, I applied to Brandeis a second time, and the rest is history. -
Calder Quartet
CAL PERFORMANCES PRESENTS PROGRAM Sunday, October 2, 2011, 3pm Franz Liszt (1811–1886) Petrarch Sonnet No. 123 (I’ vidi in terra angelici Hertz Hall costumi) from Années de Pèlerinage, Deuxième Année: Italie for Piano (1845) Calder Quartet Adès The Four Quarters for String Quartet (2010) Nightfalls Benjamin Jacobson violin Serenade: Morning Dew Andrew Bulbrook violin Days Jonathan Moerschel viola The Twenty-fifth Hour Eric Byers cello with Adès Quintet for Piano and String Quartet, Thomas Adès, piano Op. 20 (2000) PROGRAM Cal Performances’ 2011–2012 season is sponsored by Wells Fargo. Igor Stravinsky (1882–1971) Three Pieces for String Quartet (1914) Dance: Quarter note = 126 Eccentric: Quarter note = 76 Canticle: Half note = 40 Thomas Adès (b. 1971) Mazurkas for Piano, Op. 27 (2009) Moderato, molto rubato Prestissimo molto espressivo Grave, maestoso Adès Arcadiana for String Quartet (1994) Venezia notturna Das klinget so herrlich, das klinget so schön Auf dem Wasser zu singen Et... (tango mortale) L’Embarquement O Albion Lethe INTERMISSION 6 CAL PERFORMANCES CAL PERFORMANCES 7 PROGRAM NOTES PROGRAM NOTES Igor Stravinsky (1882–1971) music at the time. He later explained the move- prominence—the piano solos Still Sorrowing American premiere at Santa Fe Opera in July Three Pieces for String Quartet ment’s inspiration in an interview with Robert and Darknesse Visible, the song cycles Five Eliot 2006 and has been announced for the 2012– Craft: “I had been fascinated by the movements Landscapes and Life Story, Catch and Living Toys 2013 Metropolitan Opera season. Composed in 1914. Premiered on November 8, of Little Tich, whom I had seen in London in for chamber orchestra—and in 1993 he was ap- The distinguished critic Andrew Porter 1915, in Chicago by the Flonzaley Quartet. -
PROMS LISTENING SERVICE Radio 3’S Tom Service Proposes Onward Sonic Explorations Inspired by the Music of Tonight’S Prom
THE PROMS LISTENING SERVICE Radio 3’s Tom Service proposes onward sonic explorations inspired by the music of tonight’s Prom REBEL PASCAL DUSAPIN edges of artistic and musical possibility, it’s a Le cahos Outscape common idea that music can take us to other worlds, that it can transport us out of our That crunching dissonance at the start of This piece, Pascal Dusapin’s second cello everyday consciousness into another realm Rebel’s invocation of chaos is an abrasive concerto, melts and melds the solo line of transcendence. The shamans of Siberia or masterstroke. And it rhymes throughout into the textures of the orchestra so that South-East Asia use music in their rituals as musical history with other composers’ the cellist’s line is amplified, echoed and a bridge between worlds; the American depictions of a primordial soup of musical transfigured by the musicians behind her. composer La Monte Young makes every atoms upon which harmonic and rhythmic That’s a common conceit for today’s note he writes a realisation of musical magic order is at last imposed through the force composers, who often reject the apparently – listen to the five hours of The Well-Tuned of compositional will. That’s what happens divisive rhetoric of concertos that instead pit Piano to discover how a solo piano can in the opening movement of Haydn’s The their soloists against the massed musicians become a sonic magic carpet to a place of Creation, another journey from harmonic behind them in a musical face-off in which meditative yet physical bliss. -
Michael Lewanski, Conductor
Saturday, April 28, 2018 • 8:00 P.M. DEPAUL CONCERT ORCHESTRA & DEPAUL SYMPHONIC CHOIR Michael Lewanski, conductor Concert Hall 800 West Belden Avenue • Chicago Saturday, April 28, 2018 • 8:00 P.M. Concert Hall DEPAUL CONCERT ORCHESTRA DEPAUL SYMPHONIC CHOIR Michael Lewanski, conductor PROGRAM Adolphus Hailstork (b. 1941) Epitaph for a Man Who Dreamed (In memoriam: Martin Luther King, Jr.) (1979) Johann Sebastian Bach (1685-1750) Cantata, BWV 28: Ich Habe Genug (1727) Christopher Magiera, baritone BRIEF PAUSE Igor Stravinsky (1882-1971) Symphony of Psalms (1930) Psalm 38, Tempo quarter note = 92 Psalm 49, Tempo eighth note = 60 Psalm 150, Tempo quarter note = 48; Tempo half note = 84 DEPAUL CONCERT ORCHESTRA & SYMPHONIC CHOIR • APRIL 28, 2018 PROGRAM NOTES We intend this concert to examine religion in music in various—and possibly unusual—contexts. As befits a university like DePaul—one in which its Catholic, Vincentian heritage defines and informs its identity and choices as an institution—tonight we look at the ways in which religious values, texts, and ideas find their way into pieces of music in sometimes unexpected ways. Adolphus Hailstork (b. 1941) Epitaph for a Man Who Dreamed (In memoriam: Martin Luther King, Jr.) (1979) Duration: 8 minutes On April 4, 1968—50 years and 24 days before this concert—Dr. Martin Luther King, Jr. was assassinated in Memphis by James Earl Ray. It would be hard to overestimate the influence that Dr. King had on US and world culture during his short life, much of which ramifies in unpredictable ways today. While the ways in which political struggles polarize and continue seem especially obvious and vital in 2018’s complex social environment, no less important is the diffuse but omnipresent influence his legacy has had on arts of all kinds. -
Jago & Litefoot
ISSUE #28 may 2011 FREE! NOT FOR RESaLE NOW 24 PaGES! Jago & Litefoot MATTHEW SWEET and JOHN DORNEY on writing for the third series ALSO Sarah Sutton Andrew Cartmel Tom Allen Back in the The Lost Stories Companion to TARDIS interview continues the First Doctor PLUS! Geoffrey Beevers' Drama Showcase editorial Busy days! Nick is currently swept off his feet this mini-series and it’s a bold, exciting new directing (with help from Ken Bentley) and starring direction for the Sixth Doctor – who is now in series two of Sherlock Holmes, so I’ve paired with somebody who will bring out new stepped in to do a bit of editorial. It’s 6.30am, I’m aspects of his personality. tapping away between my cup of tea and toast Those stories are being recorded in June with marmite, and about to head over to the Moat (either side of Big Finish Day), and while for the final day of Holmes, and then we’ll be we’re having fun in the studio the Big Finish prepping for a load of other things... Sale will be well underway. A bit of a change So what can I reveal? Well, the Sixth Doctor to proceedings this year – the month-long is going to get a new companion in 2012. sale goes ahead as normal, but we also And, for those lucky people attending Big have Big Finish Week which comprises five Finish Day on June 11, there’ll be a chance days of brilliant bargains. From Monday 6 to meet and chat to the actor who plays June to Friday 10 June you’ll get the chance this character, who’ll be there with Colin to buy bargain priced CDs every day. -
Physiology News
Issue 86 / April 2012 1 PNPhysiology News When does more give less in the olfactory system? Q&A: PN speaks to Dr Kevin Fong Making the first leap into public engagement The Biomedical Basis of Elite Performance News from the event announcing the winners of our schools competition, The Science of Sport: How to Win Gold. PUBLISH PERISH Accelerate your research and publish sooner Make progress quickly with ADInstruments PowerLab data acquisition systems. PowerLab systems are easy-to-use, intuitive and powerful, and have already been cited in more than 50 000 published papers*. Need to start experiments with a complete solution? ADInstruments also provides PowerLab-compatible instruments for numerous life science applications. Our software-controlled amplifiers range from Bio Amps (biopotentials) to Neuro Amps (microneurography), and we also supply instruments from DMT, Millar Instruments, Panlab, Radnoti, Telemetry Research and Transonics Systems. Our expert network across Europe can help design and install a system that works seamlessly from Day 1 – and our dedicated training & support team will ensure you’re happy with your equipment solution throughout your research. To find out more, visit adinstruments.com/publish *According to Google Scholar, ADInstruments systems are cited in over 50 000 published papers. Visit adinstruments.com/citations for more details. UK • GERMANY • USA • BRAZIL • CHILE • INDIA • JAPAN • CHINA • MALAYSIA • NEW ZEALAND • AUSTRALIA Contents Welcome to the Spring edition of Physiology News. 05 14 Introduction Forthcoming -
BBC Annual Report 2020/11 Part
PART 2 THE BBC EXECUTIVE’S REVIEW AND ASSESSMENT Overview Delivering our strategy Managing the business Governance Managing our finances Part 2 BBC Executive Overview Managing the business 2-1 Director-General’s introduction 2-38 Chief Operating Officer’s review 2-2 Understanding the BBC’s finances 2-39 Increasing value 2-4 Performance by service 2-50 Looking forward 2-8 Television Governance 2-9 Radio 2-52 Executive Board 2-10 News 2-54 Risks and opportunities 2-11 Future Media 2-56 Governance report 2-12 Nations and Regions Managing our finances Delivering our strategy 2-68 Chief Financial Officer’s review 2-14 Meeting the BBC’s Purposes 2-69 Summary financial performance 2-16 The best journalism in the world 2-70 Financial overview 2-20 Inspiring knowledge, culture and music 2-79 Looking forward 2-24 Ambitious UK drama and comedy 2-80 Beyond broadcasting 2-28 Outstanding children’s content 2-82 Glossary 2-32 Bringing the nation together 2-83 Contact us/More information 2-36 Delivering Quality First objectives Subject index Part 1 Part 2 Appreciation index by service 2-4 to 2-7 Audience approval – KPI 1-6 2-23 Board remuneration from 2011/12 2-61 Board remuneration 2010/11 1-20 2-60 Commercial companies 1-19 2-46/2-69 Content spend by service 1-19 2-4 to 2-7 Delivering Quality First 1-7 2-36 Digital switchover 1-9 2-40 Distinctiveness – KPI 1-6/1-25 2-31 Efficiencies 1-7 2-69/2-71 Innovation 2-45 Licence fee 1-24 2-3 Licence fee spend 1-17 2-69/2-73 News audiences 1-8/1-13 2-19 Public purposes 1-8 2-14 Quality – KPI 1-6 2-27 Radio from -
World Service Listings for 2 – 8 January 2021 Page 1 of 15 SATURDAY 02 JANUARY 2021 Arabic’S Ahmed Rouaba, Who’S from Algeria, Explains Why This with Their Heritage
World Service Listings for 2 – 8 January 2021 Page 1 of 15 SATURDAY 02 JANUARY 2021 Arabic’s Ahmed Rouaba, who’s from Algeria, explains why this with their heritage. cannon still means so much today. SAT 00:00 BBC News (w172x5p7cqg64l4) To comment on these stories and others we are joined on the The latest five minute news bulletin from BBC World Service. Remedies for the morning after programme by Emma Bullimore, a British journalist and Before coronavirus concerns in many countries, this was the broadcaster specialising in the arts, television and entertainment time of year for parties. But what’s the advice for the morning and Justin Quirk, a British writer, journalist and culture critic. SAT 00:06 BBC Correspondents' Look Ahead (w3ct1cyx) after, if you partied a little too hard? We consult Oleg Boldyrev BBC correspondents' look ahead of BBC Russian, Suping of BBC Chinese, Brazilian Fernando (Photo : Indian health workers prepare for mass vaccination Duarte and Sharon Machira of BBC Nairobi for their local drive; Credit: EPA/RAJAT GUPTA) There were times in 2020 when the world felt like an out of hangover cures. control carousel and we could all have been forgiven for just wanting to get off and to wait for normality to return. Image: Congolese house at the shoreline of Congo river SAT 07:00 BBC News (w172x5p7cqg6zt1) Credit: guenterguni/Getty Images The latest five minute news bulletin from BBC World Service. But will 2021 be any less dramatic? Joe Biden will be inaugurated in January but will Donald Trump have left the White House -
Robert Hartford-Davis and British Exploitation Cinema of the 1960S
Corrupted, Tormented and Damned: Reframing British Exploitation Cinema and The films of Robert Hartford-Davis This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with the author and that use of any information derived there from must be in accordance with current UK Copyright Law. In addition, any quotation or extract must include full attribution. Michael Ahmed, M.A., B.A. PhD University of East Anglia Faculty of Film and Television Studies January 2013 Abstract The American exploitation film functioned as an alternative to mainstream Hollywood cinema, and served as a way of introducing to audiences shocking, controversial themes, as well as narratives that major American studios were reluctant to explore. Whereas American exploitation cinema developed in parallel to mainstream Hollywood, exploitation cinema in Britain has no such historical equivalent. Furthermore, the definition of exploitation, in terms of the British industry, is currently used to describe (according to the Encyclopedia of British Film) either poor quality sex comedies from the 1970s, a handful of horror films, or as a loosely fixed generic description dependent upon prevailing critical or academic orthodoxies. However, exploitation was a term used by the British industry in the 1960s to describe a wide-ranging and eclectic variety of films – these films included, ―kitchen-sink dramas‖, comedies, musicals, westerns, as well as many films from Continental Europe and Scandinavia. Therefore, the current description of an exploitation film in Britain has changed a great deal from its original meaning. Moreover, the films currently described as exploitation films include not only low budget independent films but also films made by large filmmaking companies like the Rank Organisation.