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WSRC3290 ASCP 2018 Conference Program FA.Indd
AUSTRALASIAN SOCIETY FOR CONTINENTAL PHILOSOPHY ANNUAL CONFERENCE 2018 AUSTRALASIAN SOCIETY FOR CONTINENTAL PHILOSOPHY ANNUAL CONFERENCE 2018 ACKNOWLEDGMENT OF COUNTRY THANKS TO Western Sydney University would like to acknowledge the ≥ Professor Peter Hutchings, Dean of the School of Humanities Burramattagal people of the Darug tribe, who are the traditional and Communication Arts custodians of the land on which Western Sydney University at Jacinta Sassine and the student volunteers Parramatta stands. We respectfully acknowledge the Burramattagal ≥ people’s Ancestors and Elders, past and present and acknowledge ≥ Hannah Stark, Timothy Laurie and student volunteers their 60,000 year unceded occupation of these lands. who organized the PG event ≥ Panel organisers: Dr Suzi Adams and Dr Jeremy Smith; Professor WELCOME Thomas M. Besch; Professor Francesco Borghesi; Dr Sean Bowden; Associate Professor Diego Bubbio; Dr Millicent Churcher; Dr Richard The Conference Organising Committee for 2018 extends a warm Colledge; Dr Ingo Farin; Associate Professor Chris Fleming; Dr John welcome to all our international and Australian participants, and all Hadley; Professor Vanessa Lemm; Professor Li Zhi; Associate Professor others associated with the conference. The ASCP conference is this year hosted by Western Sydney University, at our new Parramatta David Macarthur; Associate Professor Sally Macarthur; Dr Jennifer City campus. The event has been planned and developed across Mensch; Professor Nick Mansfield; Dr Talia Morag; Associate Professor this year by members of the Philosophy Research Initiative. Eric S. Nelson; Professor Ping He; Dr Rebecca Hill; Associate Professor Janice Richardson and Dr Jon Rubin; Dr Marilyn Stendera; Dr Omid Tofighian; Professor Miguel Vatter and Dr Nicholas Heron; Dr Allison CONFERENCE ORGANIZING COMMITTEE Weir; Dr Magdalena Zolkos. -
Nature of Elliot Goldenthal's Music
The Nature of Elliot Goldenthal’s Music & A Focus on Alien 3 (& other scores) There is “something different” about Elliot Goldenthal’s music. There is also considerable brain and brawn in Elliot Goldenthal’s film music. His style is difficult to label because his approach is so eclectic depending on the project. Sometimes I feel he is fundamentally an independent art-house composer (perhaps Frida, say, and The Good Thief) although he can demonstrate thrilling orchestral power in scores such as Sphere and the Batman movies that I personally quite enjoyed. Overall he shows a Late Modernist temperament, musically an American Bohemian, but nevertheless grounded somewhat in the mainstream traditions (certainly at least traditional notation). His polystylism (eclectism) is a postmodern characteristic. An excellent example of polystylism is his score for Titus (and Good Thief to a lesser extent, and even an example or two in Alien 3) with the diverse or even odd juxtaposition of genres (symphonic-classical, rock, etc.) that represents in one score the type of projects he collectively undertook over the last fifteen years or so. There is not one clear-cut musical voice, in other words, but a mixture or fusion of different styles. It is, in part, his method of organization. Loosely speaking, his music is avant-garde but certainly not radically so--as in the case of John Cage with his aleatoric (random) music and quite non-traditional notation (although Goldenthal’s music can at select times be aleatoric in effect when he utilizes electronic music, quarter-toning, and other devices). He is experimental and freewheeling but certainly this tendency is not overblown and expanded into the infinite! He definitely takes advantage of what technology has to offer (MIDI applications, timbre sampling, synthesizer usage, etc.) but does not discard what traditions are useful for him to express his vision of musical art. -
Part 2 of Selected Discography
Part 2 of Selected Discography Milt Hinton Solos Compiled by Ed Berger (1949-2017) - Librarian, journalist, music producer, photographer, historian, and former Associate Director, Institute of Jazz Studies, Rutgers University. This is a chronological list of representative solos by Hinton as a sideman in a variety of settings throughout his career. Although not definitive, Milt was such a consistent soloist that one could cite many other equally accomplished performances. In some cases, particularly from the 1930s when bass solos were relatively rare, the recordings listed contain prominent bass accompaniment. November 4, 1930, Chicago Tiny Parham “Squeeze Me” (first Hinton recording, on tuba) 78: Recorded for Victor, unissued CD: Timeless CBC1022 (Tiny Parham, 1928–1930) January–March 1933, Hollywood Eddie South “Throw a Little Salt on the Bluebird’s Tail” (vocal) “Goofus” CD: Jazz Oracle BDW8054 (Eddie South and His International Orchestra: The Cheloni Broadcast Transcriptions) May 3, 1933, Chicago Eddie South “Old Man Harlem” (vocal) 78: Victor 24324 CD: Classics 707 (Eddie South, 1923–1937) June 12, 1933, Chicago Eddie South “My, Oh My” (slap bass) 78: Victor 24343 CD: Classics 707 (Eddie South, 1923-1937) March 3, 1937 Cab Calloway “Congo” 78: Variety 593 CD: Classics 554 (Cab Calloway, 1934–1937) January 26, 1938 Cab Calloway “I Like Music” (brief solo, slap bass) 78: Vocalion 3995 CD: Classics 568 (Cab Calloway, 1937–1938) August 30, 1939 Cab Calloway “Pluckin’ the Bass” (solo feature —slap bass) 78: Vocalion 5406 CD: Classics -
Benjamin Bierman, Ph.D. [email protected]
Benjamin Bierman, Ph.D. [email protected] www.benbierman.com Teaching Associate Professor, Department of Art and Music, John Jay College of Criminal Justice, City University of New York (2009-present) Recipient, 2016 Faculty Scholarship Excellence Award Substitute Assistant Professor Conservatory of Music, Brooklyn College, CUNY (2006–2007) Graduate and undergraduate theory, composition, ear training, 20th-century analysis, jazz analysis, Graduate Deputy (administrative responsibilities include advisement of all graduate students, curriculum development, preparation of comprehensive exam, etc.) Substitute Instructor Queensborough Community College, CUNY (2005–2006) Musicianship, Intermediate Piano, Introduction to Music, Introduction to Jazz Adjunct Asst. Prof. and lecturer positions (2007-2009): Brooklyn College: Composition tutorials, Linear Analysis and 20th-Century Analysis Master’s seminars, Theory, Ear Training; The New School of Jazz and Contemporary Music: History of Western Music; Boston University: online course development and instruction: Jazz Arranging, Theory/Analysis, Orchestration, History of the Blues. Baruch College: History of Electronic Music, American Popular Song Publishing “Pharoah Sanders, Straight-Ahead and Avant-Garde.” Jazz Perspectives (January 2016). Peer-review journal. Listening to Jazz (Oxford University Press, 2015). “Duke Ellington’s Legacy and Influence.” Cambridge Companion to Duke Ellington (Cambridge University Press, 2014). “Solidarity Forever: Music and the Labor Movement in the United States.” The Routledge History of Social Protest in Popular Music (Routledge Press, June 2013). “Progressive Jazz.” The Encyclopedia of Popular Music of the World (Continuum, 2012). “Unlocking the Mysteries of the Second Miles Davis Quintet.” Journal of Jazz Studies, Vol. 7, No. 2, pp. 258-265 (Fall 2011). Review; Peer-review journal. “Appreciating the Mix: Teaching Music Listening through Sound-Mixing Techniques.” Pop-Culture Pedagogy in the Music Classroom: Teaching Tools from American Idol to YouTube (Scarecrow Press, 2010). -
National Endowment for the Arts Annual Report 1990
National Endowment For The Arts Annual Report National Endowment For The Arts 1990 Annual Report National Endowment for the Arts Washington, D.C. Dear Mr. President: I have the honor to submit to you the Annual Report of the National Endowment for the Arts for the Fiscal Year ended September 30, 1990. Respectfully, Jc Frohnmayer Chairman The President The White House Washington, D.C. April 1991 CONTENTS Chairman’s Statement ............................................................5 The Agency and its Functions .............................................29 . The National Council on the Arts ........................................30 Programs Dance ........................................................................................ 32 Design Arts .............................................................................. 53 Expansion Arts .....................................................................66 ... Folk Arts .................................................................................. 92 Inter-Arts ..................................................................................103. Literature ..............................................................................121 .... Media Arts: Film/Radio/Television ..................................137 .. Museum ................................................................................155 .... Music ....................................................................................186 .... 236 ~O~eera-Musicalater ................................................................................ -
Download the Full Press Release
FOR IMMEDIATE RELEASE Media Contact: December 3, 2019 Josephine DiCesare Ensemble Español Spanish Dance Theater Digital Photos Available 773.442.5916 [email protected] ENSEMBLE ESPAÑOL CONTINUES YEAR-LONG SALUTE TO FOUNDER DAME LIBBY KOMAIKO IN HOLIDAY CONCERT/CONCIERTO NAVIDEÑO AT NEIU FINE ARTS AUDITORIUM DEC. 14-15 Program Includes Three World Premieres by Carlos Rodriguez, Ensemble Español Celebrates the Opening of the Dame Libby Komaiko Legacy Fund with Pre-Show Juerga Flamenca Fundraiser Dec. 14 CHICAGO — Ensemble Español Spanish Dance Theater presents Holiday Concert/Concierto Navideño at the Northeastern Illinois University Fine Arts Auditorium, 3701 W. Bryn Mawr 7:30 p.m. and Saturday, Dec. 14 and 3 p.m. Sunday, Dec. 15. The performances, featuring the full adult company and youth companies; José Barrios, guest Flamenco artist from Cordoba, Spain; U.S. guest soprano, Erica Rose Sauder and tenor Edgar Ricaud Saldivar, are part of the company’s year-long salute to founder Dame Libby Komaiko who passed away earlier this year. The program will include three world premieres choreographed by Carlos Rodriguez (“La Noche Sagrada,” “Solares,” Duende del Viento), whose two more recent works for Ensemble Español include "DeFalla, Out of the Box" (2017) and "Mar de Fuego" (2018); a U.S. Premiere, by Barrios (“Praecisus Umbilicus: Alegrias-Vidalita”); and popular selections from the company’s repertoire including Komaiko’s “Romance de Triana” and “La Era Romántica;” “El Baile de Luis Alonso,” choreographed by Ensemble Español Artistic Director Irma Suárez Ruiz; “Madrileño” choreographed by Ruiz (section 1 & 2) and Barcelona’s Paco Alonso, (section 3); “Danza del Molinero” choreographed by Antonio De Lucena and staged by Ensemble Español First Dancer José Torres; “Nuevamente Vivir (Live Again)” by former former principal of the National Ballet of Spain,Paloma Gómez; and “Horizonte (Horizon)” choreographed and performed by Principal Dancer Monica Saucedo in dedication to Ensemble’s late founder, Komaiko. -
CELEBRATING FORTY YEARS of FILMS WORTH TALKING ABOUT I Love the August Festivals, Though Not As Much As I Love Cinema
3 AUG 18 6 SEP 18 1 | 3 AUG 18 - 6 SEP 18 88 LOTHIAN ROAD | FILMHOUSECinema.COM CELEBRATING FORTY YEARS OF FILMS WORTH TALKING ABOUT I love the August festivals, though not as much as I love cinema. You? I usually take the opportunity when writing this column every August to grumble about how distracted potential cinema-goers appear to be by the world’s largest arts festival that takes place in our glorious (a word which currently also describes the weather!) city every year, but this year I’m seeing it as nothing more than a challenge. A challenge, dear reader, which I feel we have risen to in impressive style with a stunning array of great cinema, much of which is, as it happens, of a ‘one-off’ nature and will likely not come around again any time soon… That sounds like I’m trying to dragoon you into coming to the cinema in August (instead of going to the Tattoo, perhaps?), and conceivably I am, but try not to see it that way… Rather, I simply wouldn’t want you to miss out on any of the must-see cinema experiences contained within these pages. In any case, cinema is surely the best of all the art forms wouldn’t you say, as well as being one of the cheaper days/nights out? Beyond the form itself, with cinema, you rarely have to worry about not liking a film and it being apparent to the people who made it, because they’re generally not there in the room. -
Moses and Frances Asch Collection, 1926-1986
Moses and Frances Asch Collection, 1926-1986 Cecilia Peterson, Greg Adams, Jeff Place, Stephanie Smith, Meghan Mullins, Clara Hines, Bianca Couture 2014 Ralph Rinzler Folklife Archives and Collections Smithsonian Center for Folklife and Cultural Heritage 600 Maryland Ave SW Washington, D.C. [email protected] https://www.folklife.si.edu/archive/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Arrangement note............................................................................................................ 3 Biographical/Historical note.............................................................................................. 2 Scope and Contents........................................................................................................ 2 Names and Subjects ...................................................................................................... 3 Container Listing ............................................................................................................. 5 Series 1: Correspondence, 1942-1987 (bulk 1947-1987)........................................ 5 Series 2: Folkways Production, 1946-1987 (bulk 1950-1983).............................. 152 Series 3: Business Records, 1940-1987.............................................................. 477 Series 4: Woody Guthrie -
University of California Santa Cruz
UNIVERSITY OF CALIFORNIA SANTA CRUZ EXTENDED FROM WHAT?: TRACING THE CONSTRUCTION, FLEXIBLE MEANING, AND CULTURAL DISCOURSES OF “EXTENDED VOCAL TECHNIQUES” A dissertation submitted in partial satisfaction of the requirements for the degree of DOCTOR OF PHILOSOPHY in MUSIC by Charissa Noble March 2019 The Dissertation of Charissa Noble is approved: Professor Leta Miller, chair Professor Amy C. Beal Professor Larry Polansky Lori Kletzer Vice Provost and Dean of Graduate Studies Copyright © by Charissa Noble 2019 TABLE OF CONTENTS List of Figures v Abstract vi Acknowledgements and Dedications viii Introduction to Extended Vocal Techniques: Concepts and Practices 1 Chapter One: Reading the Trace-History of “Extended Vocal Techniques” Introduction 13 The State of EVT 16 Before EVT: A Brief Note 18 History of a Construct: In Search of EVT 20 Ted Szántó (1977): EVT in the Experimental Tradition 21 István Anhalt’s Alternative Voices (1984): Collecting and Codifying EVT 28evt in Vocal Taxonomies: EVT Diversification 32 EVT in Journalism: From the Musical Fringe to the Mainstream 42 EVT and the Classical Music Framework 51 Chapter Two: Vocal Virtuosity and Score-Based EVT Composition: Cathy Berberian, Bethany Beardslee, and EVT in the Conservatory-Oriented Prestige Economy Introduction: EVT and the “Voice-as-Instrument” Concept 53 Formalism, Voice-as-Instrument, and Prestige: Understanding EVT in Avant- Garde Music 58 Cathy Berberian and Luciano Berio 62 Bethany Beardslee and Milton Babbitt 81 Conclusion: The Plight of EVT Singers in the Avant-Garde -
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. -
Dear Environmental Protection Agency Employees
December 14, 2017 (Updated May 7, 2018) Dear Environmental Protection Agency Employees, This letter is written to express support and thanks for the work you do every day to protect public health and the environment. We want you to know your dedication is valued by millions of Americans despite indication that the current Administration feels otherwise. Equally important, we also write to better inform members of the public who may not understand what a frontline role you play in preventing premature death, other avoidable health consequences, irreversible ecosystem damage, and yes, even climate change. States, Tribes, and EPA play vital roles in protecting Americans and the environment from the impacts of pollution. In the late 60s and early 70s, our Congressional leaders created a system of environmental protection based on the principle of cooperative federalism. For this reason, and today more than ever, the safeguarding of our health and natural resources depends on robust state and Tribal programs as well as a fully functioning EPA. In every part of this country, you provide vital expertise and guidance, in partnership with the states and Tribes, by setting pollution limits to protect public health and the environment, facilitating development of multi-state solutions to pollution, using sound science to inform and address complex environmental challenges, responding to extreme weather events and catastrophes, and assisting states and Tribes with monitoring, enforcement and compliance. All of these functions (and there are many more) creates a level playing field among states and industry, which in turn guarantees a level of protection against harmful pollution for all Americans, regardless of where you live. -
Tributaries on the Name of the Journal: “Alabama’S Waterways Intersect Its Folk- Ways at Every Level
Tributaries On the name of the journal: “Alabama’s waterways intersect its folk- ways at every level. Early settlement and cultural diffusion conformed to drainage patterns. The Coastal Plain, the Black Belt, the Foothills, and the Tennessee Valley re- main distinct traditional as well as economic regions today. The state’s cultural landscape, like its physical one, features a network of “tributaries” rather than a single dominant mainstream.” —Jim Carnes, from the Premiere Issue JournalTributaries of the Alabama Folklife Association Joey Brackner Editor 2002 Copyright 2002 by the Alabama Folklife Association. All Rights Reserved. Issue No. 5 in this Series. ISBN 0-9672672-4-2 Published for the Alabama Folklife Association by NewSouth Books, Montgomery, Alabama, with support from the Folklife Program of the Alabama State Council on the Arts. The Alabama Folklife Association c/o The Alabama Center for Traditional Culture 410 N. Hull Street Montgomery, AL 36104 Kern Jackson Al Thomas President Treasurer Joyce Cauthen Executive Director Contents Editor’s Note ................................................................................... 7 The Life and Death of Pioneer Bluesman Butler “String Beans” May: “Been Here, Made His Quick Duck, And Got Away” .......... Doug Seroff and Lynn Abbott 9 Butler County Blues ................................................... Kevin Nutt 49 Tracking Down a Legend: The “Jaybird” Coleman Story ................James Patrick Cather 62 A Life of the Blues .............................................. Willie Earl King 69 Livingston, Alabama, Blues:The Significance of Vera Ward Hall ................................. Jerrilyn McGregory 72 A Blues Photo Essay ................................................. Axel Küstner Insert A Vera Hall Discography ...... Steve Grauberger and Kevin Nutt 82 Chasing John Henry in Alabama and Mississippi: A Personal Memoir of Work in Progress .................John Garst 92 Recording Review ........................................................