Society for American Music Forty-Third Annual Conference
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City Research Online
City Research Online City, University of London Institutional Repository Citation: Pace, I. (2017). Michael Finnissy - The Piano Music (10 and 11) - Brochure from Conference 'Bright Futures, Dark Pasts'. This is the other version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/17523/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] BRIGHT FUTURES, DARK PASTS Michael Finnissy at 70 Conference at City, University of London January 19th-20th 2017 Bright Futures, Dark Pasts Michael Finnissy at 70 After over twenty-five years sustained engagement with the music of Michael Finnissy, it is my great pleasure finally to be able to convene a conference on his work. This event should help to stimulate active dialogue between composers, performers and musicologists with an interest in Finnissy’s work, all from distinct perspectives. It is almost twenty years since the publication of Uncommon Ground: The Music of Michael Finnissy (Aldershot: Ashgate, 1998). -
Joseph Allard, Le Prince Des Violoneux Jean-Marie Lebel
Document généré le 2 oct. 2021 12:27 Cap-aux-Diamants La revue d'histoire du Québec Joseph Allard, le prince des violoneux Jean-Marie Lebel Magie de la musique traditionnelle Numéro 67, automne 2001 URI : https://id.erudit.org/iderudit/8263ac Aller au sommaire du numéro Éditeur(s) Les Éditions Cap-aux-Diamants inc. ISSN 0829-7983 (imprimé) 1923-0923 (numérique) Découvrir la revue Citer cet article Lebel, J.-M. (2001). Joseph Allard, le prince des violoneux. Cap-aux-Diamants, (67), 16–16. Tous droits réservés © Les Éditions Cap-aux-Diamants inc., 2001 Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l’Université de Montréal, l’Université Laval et l’Université du Québec à Montréal. Il a pour mission la promotion et la valorisation de la recherche. https://www.erudit.org/fr/ JOSEPH ALLARD, LE PRINCE DES VIOLONEUX PAR JEAN-MARIE LEBEL ai découvert Joseph Allard sur le tard. Mon oreille s'était d'aborr d formée aux coups d'archet en écoutant jouer Ti-Blanc Richard et Lévis Boulianne à la télévision sherbrookoise. C'est par le biais du grand Jean Carignan que j'ai entendu parler de Joseph Allard pour la première fois. En effet, en 1976, Carignan enregistra un disque hommage où il ne jouait que des morceaux de Joseph Allard. -
Airwaves (1985-08 And
/ AIRWAVES \ · A Service of Continuing Education & Extension University of Minnesota-Duluth Volume 6, Number 4 ' August-September 1985 Special •· Ray Charles: His Life and Music. kumd 103.3 fm Station Manager • Paul Schmitz Program Director • John Ziegler Public Aflairs Director • Jean Johnson Report to the Listeners Outreach Coordinator • Bob DeArmond Engineer • Kirk Kersten by Paul Schmitz, Station Manager Secretary • Donna Neveau Volunteer Staff • Remember the slighlly perplexed look patience. Projects of this magnitude jus.t couple of different departments at UMD, Lake Lime. Bil l Agnew, Bob Allen, Craig Anderson, Jon on Kirk Kerslen's face in lasl month's started with us on July 17, and will be Anderson, Kath Anderson, Mark Anderson, Bob issue when he was plugging in our new al the front desk from about 9:30 a.m. Lo Andresen, Leo Babcau, Todd Borstad, John"llrazner, antenna? I don't really know what he You may notice a change in our staff list - 2:30 p.m. four days a week. We are look- Dave Brygger, Jan Cohen, Tim Connelly, was thinking about al the moment that this issue; if you visit the station 'in ing forward Lo having her with us, and Christopher Devaney, Bruce Eckland, Dann Edholm, Pat Eller, Phil Enke, Linda Estel, Doug Fifield, photo was taken, but ever since he's been person, you will certainly notice a LO utilizing her previous experience with Kerry Fillmore, Susanna Frenkel, Scott Frisby, Brian thinking about "field Lun·ing .." That's a change becau e we have lost Helen computers as we are about LO enter the Gitar, Stan Goltz, Doug Greenwood, Jim Gruba, term for a specialized kind of work on Prekker. -
Souvenir Winter 2010 2011
The Maud Powell Society for Music and Education SOUVENIR WINTER 2010-2011 Celebrating an American Tradition he past and the present met in perfect harmony when T Rachel Barton Pine and Karen Shaffer celebrated the legacy of Maud Powell in music, words and images in their program “An American Tradition”. More than 60 people attended the event held at the home of Adelaide Kersh in Brevard, North Carolina on September 20, 2010. The evening opened with “Maud Powell, An American Legend” a PowerPoint presentation developed and nar- rated by Karen with live performances by Rachel accom- panied by pianist Ruth Sieber Johnson, Executive Direc- Ruth Sieber Johnson, Karen Shaffer, tor of Sigma Alpha Iota International Music Fraternity. Rachel Barton Pine “We were really celebrating two great American vio- linists: Maud Powell, a pioneer in music who brought her art to audiences throughout the world as well as great in- tegrity to her art, and Rachel who continues that tradition today as a performer and educator,” Karen explained. Karen recounted Powell’s life from her birth in Illinois to her death in a hotel room in Uniontown, Pennsylvania MP Society Exhibit at the event. on a frigid January night in 1920, just two months after In addition to using Maud’s recordings to illustrate, she had suffered a heart attack that was mistaken for Rachel performed the Romance by Amy Beach, written “indigestion.” for Powell and premiered by Beach and Powell at the 1893 Columbian World’s Exposition in Chicago; Samuel Coleridge Taylor’s Deep River transcribed by Powell; Caprice on Dixie for solo violin in a combined arrange- ment by Rachel and Powell, and Nobody Knows the Trou- ble I See, the last piece of music performed by Powell two months before her death. -
Grade 7-8: the Arts Contemporary First Nations and Inuit Music: Powwow Step and Solo Throat Singing
ELEMENTARY LESSON GRADE 7-8: THE ARTS CONTEMPORARY FIRST NATIONS AND INUIT MUSIC: POWWOW STEP AND SOLO THROAT SINGING Purpose: Students will compare and contrast traditional and in a circle behind the men and sing an octave higher than the contemporary First Nations powwow music and Inuit throat men. singing. They will consider the cultural influences and significance of contemporary music by powwow step musicians: A Tribe Called Watch and listen: http://music.cbc.ca/#!/blogs/2012/7/Top-5- Red and solo throat singer Tanya Tagaq. songs-to-get-you-in-the-mood-for-the-powwow-trail (Note: Any of the five videos will work as an example. Instructional method(s): listening, comparing and contrasting, However, the third example is only audio and less traditional class discussion (students may work in small groups or as a class) in style. The fourth and fifth examples show how a female supports the music.) Estimated time: 60 minutes Ask students: Activity: a. Describe what you saw and heard. 1. Begin the lesson by writing the following quote on the front b. What were the instrument(s) used? board: “My people will sleep for 100 years, but when they c. How did singing compliment the instrument(s)? awake, it will be the artists who give them their spirit back.”— d. What was done in unison? Louis Riel, July 4, 1885 e. What was performed individually? f. Describe the tempo, rhythm, dynamic and pitch. 2. Ask students: a. Who is Louis Riel? 5. Now introduce students to the music of A Tribe Called Red. -
Focus 2020 Pioneering Women Composers of the 20Th Century
Focus 2020 Trailblazers Pioneering Women Composers of the 20th Century The Juilliard School presents 36th Annual Focus Festival Focus 2020 Trailblazers: Pioneering Women Composers of the 20th Century Joel Sachs, Director Odaline de la Martinez and Joel Sachs, Co-curators TABLE OF CONTENTS 1 Introduction to Focus 2020 3 For the Benefit of Women Composers 4 The 19th-Century Precursors 6 Acknowledgments 7 Program I Friday, January 24, 7:30pm 18 Program II Monday, January 27, 7:30pm 25 Program III Tuesday, January 28 Preconcert Roundtable, 6:30pm; Concert, 7:30pm 34 Program IV Wednesday, January 29, 7:30pm 44 Program V Thursday, January 30, 7:30pm 56 Program VI Friday, January 31, 7:30pm 67 Focus 2020 Staff These performances are supported in part by the Muriel Gluck Production Fund. Please make certain that all electronic devices are turned off during the performance. The taking of photographs and use of recording equipment are not permitted in the auditorium. Introduction to Focus 2020 by Joel Sachs The seed for this year’s Focus Festival was planted in December 2018 at a Juilliard doctoral recital by the Chilean violist Sergio Muñoz Leiva. I was especially struck by the sonata of Rebecca Clarke, an Anglo-American composer of the early 20th century who has been known largely by that one piece, now a staple of the viola repertory. Thinking about the challenges she faced in establishing her credibility as a professional composer, my mind went to a group of women in that period, roughly 1885 to 1930, who struggled to be accepted as professional composers rather than as professional performers writing as a secondary activity or as amateur composers. -
Craig Anderton
$2.50 February 1983 TW O NEW SYNTHESIZES . MODULES: SHEPARD ■ FUNCTION DYNAMIC TOUCH CONTROLLER NEW AGE MUSIC SYNTHESIZED CHOIRS PRO-ONE DYNAMICS MODIFICATION THE VOICE 400 The Fastest, Most Versatile and Musical Synthesizer Voice Available Oscillator A Oscillator B continuous waveshaping, continuous waveshaping variable pulse width, mod from saw to sine, AR enve ulation by S/H or LFO, low lope generator or LFO er octave, linear F.M. modulation, hard sync to VCO A. Keypad and Bank S w itch F ilte r Selects one of thirty-two High pass, Low pass, Band presets. pass all modes are 24db/ oct. Controls include Reso Operating Mode nance, Response (continu S w itch es ously variable) i: ADSR control Live, Memory and modulation, S/H or LFO Edit functions. mod, Noise source, Key board tracking. Output Section mixes your external signal Voltage Controlled into the delay, mixes Dry/ A m p lif ie r Delay, and output volume has its own ADSR and fea control. tures low noise and wide dynamic range. Analog Delay M o d u la tio n wide range low noise delay line operates from flanging to multiple wide range Low Frequency Oscillator with continuous waveshap repeats. Regeneration and LFO depth control will create a wide ing of three waveforms. LFO may be modulated by the Attack range of effects. Release envelope generator. The Voice 400 answers the need for a programmable syn * A voice for a sequencer or computer. thesizer that’s versatile enough to be all these things: * A complete synthesizer for wind or string controllers. -
Trent 91; First Steps Towards a Stylistic Classification (Revised 2019 Version of My 2003 Paper, Originally Circulated to Just a Dozen Specialists)
Trent 91; first steps towards a stylistic classification (revised 2019 version of my 2003 paper, originally circulated to just a dozen specialists). Probably unreadable in a single sitting but useful as a reference guide, the original has been modified in some wording, by mention of three new-ish concordances and by correction of quite a few errors. There is also now a Trent 91 edition index on pp. 69-72. [Type the company name] Musical examples have been imported from the older version. These have been left as they are apart from the Appendix I and II examples, which have been corrected. [Type the document Additional information (and also errata) found since publication date: 1. The Pange lingua setting no. 1330 (cited on p. 29) has a concordance in Wr2016 f. 108r, whereti it is tle]textless. (This manuscript is sometimes referred to by its new shelf number Warsaw 5892). The concordance - I believe – was first noted by Tom Ward (see The Polyphonic Office Hymn[T 1y4p0e0 t-h15e2 d0o, cpu. m21e6n,t se suttbtinigt lneo] . 466). 2. Page 43 footnote 77: the fragmentary concordance for the Urbs beata setting no. 1343 in the Weitra fragment has now been described and illustrated fully in Zapke, S. & Wright, P. ‘The Weitra Fragment: A Central Source of Late Medieval Polyphony’ in Music & Letters 96 no. 3 (2015), pp. 232-343. 3. The Introit group subgroup ‘I’ discussed on p. 34 and the Sequences discussed on pp. 7-12 were originally published in the Ex Codicis pilot booklet of 2003, and this has now been replaced with nos 148-159 of the Trent 91 edition. -
MPI 0011 New York Times March 26, 1898
MPI 0011 New York Times March 26, 1898 FIDDLE AND THE FIDDLER A Story of Maud Powell’s Transition from the Baby Instrument Up to the “Strad” Period. NOT A PRODIGY, JOACHIM SAID But She Had Talent, Which Was Better, and Worked Hard – Difficulty of American Players and Audiences in Overcoming Puritanism. This is a story of Miss Maud Powell and her “fiddle.” The word fiddle is in quotation marks because it is Miss Powell’s word. It does not behoove a stranger who is not on intimate terms with the instrument of instruments to say anything less dignified than violin. “But I should feel that it was almost an insult to call my dear old fiddle of violin,” Miss Powell says. To say ‘fiddle’ is like using the familiar pronoun of the Germans, ‘du,’ ‘thou .’” And the strangers do not say “du” upon first acquaintance, and Miss Powell’s violin is an instrument which should be treated with great respect, not only on general principles, but because of its age and good qualities. It is an Amati, Andreas Amati, and is 300 years old. Miss Powell has been using it for the past eight years. It is an instrument belonging to the collection of E. J. Delehanty, who loaned it to Miss. Powell. It is a “healthy instrument, has good whole word in it, and stands the changes of this climate.” That is a professional criticism and means a great deal. Professional violinists may almost be seen to grow by their violins. Miss Powell, for instance, has about reached the “Strad” period. -
CALIFORNIA STATE UNIVERSITY, NORTHRIDGE CANADIAN MUSIC SINCE 1940: a QUESTION of NATIONALISM a Thesis Submitted in Partial Satis
CALIFORNIA STATE UNIVERSITY, NORTHRIDGE CANADIAN MUSIC SINCE 1940: A QUESTION OF NATIONALISM A Thesis submitted in partial satisfaction of the requirements for the degree of Master of Arts in Music by Ronald Frederick Erin August, 1983 J:lhe Thesis of Ronald Frederick Erin is approved: California StD. te Universi tJr, Northridge ii PREFACE This thesis represents a survey of Canadian music since 1940 within the conceptual framework of 'nationalism'. By this selec- tive approach, it does not represent a conclusive view of Canadian music nor does this paper wish to ascribe national priorities more importance than is due. However, Canada has a unique relationship to the question of nationalism. All the arts, including music, have shared in the convolutions of national identity. The rela- tionship between music and nationalism takes on great significance in a country that has claimed cultural independence only in the last 40 years. Therefore, witnessed by Canadian critical res- ponse, the question of national identity in music has become an important factor. \ In utilizing a national focus, I have attempted to give a progressive, accumulative direction to the six chapters covered in this discussion. At the same time, I have attempted to make each chapter self-contained, in order to increase the paper's effective- ness as a reference tool. If the reader wishes to refer back to information on the CBC's CRI-SM record label or the Canadian League of Composers, this informati6n will be found in Chapter IV. Simi- larly, work employing Indian texts will be found in Chapter V. Therefore, a certain amount of redundancy is unavoidable when interconnecting various components. -
A Performance Guide to Wallace Stevens' Thirteen Ways of Looking at a Blackbird As Set by Louise Talma
The University of Southern Mississippi The Aquila Digital Community Dissertations Spring 2020 A Performance Guide to Wallace Stevens' Thirteen Ways of Looking at a Blackbird as Set by Louise Talma Meredith Melvin Johnson The University of Soutthern Mississippi Follow this and additional works at: https://aquila.usm.edu/dissertations Part of the Music Performance Commons Recommended Citation Johnson, Meredith Melvin, "A Performance Guide to Wallace Stevens' Thirteen Ways of Looking at a Blackbird as Set by Louise Talma" (2020). Dissertations. 1787. https://aquila.usm.edu/dissertations/1787 This Dissertation is brought to you for free and open access by The Aquila Digital Community. It has been accepted for inclusion in Dissertations by an authorized administrator of The Aquila Digital Community. For more information, please contact [email protected]. A PERFORMANCE GUIDE TO WALLACE STEVENS’ THIRTEEN WAYS OF LOOKING AT A BLACKBIRD AS SET BY LOUISE TALMA by Meredith Melvin Johnson A Dissertation Submitted to the Graduate School, the College of Arts and Sciences and the School of Music at The University of Southern Mississippi in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts Approved by: Dr. Christopher Goertzen, Committee Chair Dr. Jonathan Yarrington Dr. Kimberley Davis Dr. Maryann Kyle Dr. Douglas Rust ____________________ ____________________ ____________________ Dr. Christopher Goertzen Dr. Jay Dean Dr. Karen S. Coats Committee Chair Director of School Dean of the Graduate School May 2020 COPYRIGHT BY Meredith Melvin Johnson 2020 Published by the Graduate School ABSTRACT This dissertation presents a two-fold discourse, first to provide a contextual source for singers interested in 20th century composer Louise Talma, and second to provide an analytical guide to Talma’s adaption of Wallace Stevens’ poem Thirteen Ways of Looking at a Blackbird for voice, oboe, and piano. -
LA MUSICA D'avanguardia (Provenienza Sconosciuta
LA MUSICA D’AVANGUARDIA (provenienza sconosciuta!!) Presentazione Questo volume si propone di fornire una panoramica, la piu' aggiornata possibile, sui fenomeni musicali che esulano dalle correnti tradizionali del rock, del jazz e della classica, e che rappresentano in senso lato l'attuale "avanguardia". In tal senso l'avanguardia, piu' che un movimento monolitico e omogeneo, appare come una federazione piu' o meno aperta di tante scuole diverse e separate. Alcune costituiscono la cosiddetta "contemporanea" (capitoli 1-7), figlia dell'avanguardia classica; altre sono scaturite della sperimentazione dei complessi rock (capitoli 8-10); altre ancora appartengono al nuovo jazz, e non fanno altro che legittimare una volta per tutte il jazz nel novero della musica "intellettuale" (capitoli 11-13); la new age, infine, sfrutta le suggestioni delle scuole precedenti (capitoli 14-17). Piuttosto che un'introduzione generale ci sembra allora piu' opportuno fornire una presentazione capitolo per capitolo: 1. L'avanguardia popolare. Per avanguardia si intendeva un tempo soltanto l'avanguardia classica. A dimostrazione di come i tempi siano cambiati, questo libro e' in gran parte dedicato a musicisti che hanno le loro origini nel rock, nel jazz o nella new age. In questo primo capitolo ci proponiamo di fornire una panoramica storica sulla nascita dei movimenti musicali che hanno introdotto le novita' armoniche, acustiche, ideologiche su cui speculano tuttora gli sperimentatori moderni. Ci premeva anche trasmettere la sensazione che esista una qualche continuita' fra i lavori di Varese e Stockhausen (per citarne due particolarmente famosi) e i protagonisti di questo libro. 2. Minimalismo. La scuola minimalista degli anni Settanta era chiaramente delimitata.