Council Talk the Choral World in Exchange
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Westernisation, Ideology and National Identity in 20Th-Century Chinese Music
Westernisation, Ideology and National Identity in 20th-Century Chinese Music Yiwen Ouyang PhD Thesis Royal Holloway, University of London DECLARATION OF AUTHORSHIP I, Yiwen Ouyang, hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: Date: 19 May 2012 I To my newly born baby II ABSTRACT The twentieth century saw the spread of Western art music across the world as Western ideology and values acquired increasing dominance in the global order. How did this process occur in China, what complexities does it display and what are its distinctive features? This thesis aims to provide a detailed and coherent understanding of the Westernisation of Chinese music in the 20th century, focusing on the ever-changing relationship between music and social ideology and the rise and evolution of national identity as expressed in music. This thesis views these issues through three crucial stages: the early period of the 20th century which witnessed the transition of Chinese society from an empire to a republic and included China’s early modernisation; the era from the 1930s to 1940s comprising the Japanese intrusion and the rising of the Communist power; and the decades of economic and social reform from 1978 onwards. The thesis intertwines the concrete analysis of particular pieces of music with social context and demonstrates previously overlooked relationships between these stages. It also seeks to illustrate in the context of the appropriation of Western art music how certain concepts acquired new meanings in their translation from the European to the Chinese context, for example modernity, Marxism, colonialism, nationalism, tradition, liberalism, and so on. -
Eurovision Choir 2019: Press Handbook
PRESS HANDBOOK Eurovision Choir 2019 Press, Delegation & Production Handbook DISTRIBUTION: Press, Delegations, Production Dear friends, It is with great pride and excitement that I welcome you to the second edition of Eurovision Choir, here in Gothenburg. Those of us who were fortunate enough to be involved in the production during Latvian Television’s first edition in Riga hold many fond memories of launching Eurovision’s newest competition format. The show was spectacular, the choirs stunning and the music sublime. But what remains most strongly in my memory is the unique atmosphere of the backstage area around the show. I recall a festive atmosphere, almost a party, as nine choirs traded songs across the dressing room walls. And indeed, this is a festival – a festival of the beauty and diversity of choral singing in Europe, and of what can be achieved by joining our voices. So it seems true – singing is good for the soul. Thanks to those of you who have made the journey to attend Eurovision Choir 2019 in Gothenburg. Good luck to all the choirs taking part and enjoy the show! Jon Ola Sand Executive Supervisor, Eurovision Song Contest & Eurovision Live Events. Eurovision Choir 2019 Press, Delegation & Production Handbook DISTRIBUTION: Press, Delegations, Production Contents Press Handbook.................................................................................................................... 4 Eurovision Choir ..................................................................................................................................................... -
World Choir Council Online Regional Meetings July 21-23, 2020 Reports Table of Contents
WORLD CHOIR COUNCIL ONLINE REGIONAL MEETINGS JULY 21-23, 2020 REPORTS TABLE OF CONTENTS Preamble Qin Wang, First Vice-President INTERKULTUR 3 ASIA, PACIFIC & MIDDLE EAST List of participants 4 Insights into the choral music of Korea 5 Panel Discussions 8 NORTH & SOUTH AMERICA List of participants 12 The current challenges and opportunities in the United States 13 Panel Discussions 16 AFRICA & EUROPE List of participants 18 The Legacy of the World Choir Games South Africa 2018 and the effect on South African choirs 19 Panel Discussions 22 Closing Words 26 INTERKULTUR Executive Committee 28 INTERKULTUR World Choir Council Team 29 2 3 Dear colleagues, dear friends, In difficult times like these, I was all the more delighted to see the many cherished and happy faces of our Council members. Even though we are currently limited to digital meetings, it has been our intention to make the most of the current situation. Especially the recent challenges that affect choirs worldwide require a shared exchange and discussion of experiences as well as tips on how to deal with the situation. Of course, not every country, not every region is affected in the same way – every nation has its very own choral scene with specific needs. This is why we were very happy, that the offer of Online Regional Meetings has met with such great interest from you. The World Choir Council is not only the highly esteemed advisory committee for INTERKULTUR, it is a worldwide network of people with the same goals, driven by the same passion. It is our common concern to connect the choral world with each other, to strengthen the individual choral scenes and to promote the cooperation of nations and the further development of choral music. -
FOR IMMEDIATE RELEASE UPDATED January 17, 2017 November 1, 2016 ARTIST and PROGRAM CHANGE Contact: Katherine E. Johnson (212) 875-5718; [email protected]
FOR IMMEDIATE RELEASE UPDATED January 17, 2017 November 1, 2016 ARTIST AND PROGRAM CHANGE Contact: Katherine E. Johnson (212) 875-5718; [email protected] LONG YU TO CONDUCT CHINA PHILHARMONIC ORCHESTRA, PRESENTED BY THE NEW YORK PHILHARMONIC PROKOFIEV’s Violin Concerto No. 2 with JULIAN RACHLIN SHOSTAKOVICH’s Symphony No. 5 December 11, 2016 NEW YORK PHILHARMONIC IN SIXTH ANNUAL CHINESE NEW YEAR CONCERT and GALA U.S. PREMIERE of CHEN Qigang’s Joie Éternelle with Trumpet Player ALISON BALSOM PUCCINI’s Selection from Turandot and Traditional Chinese Folk Songs with Soprano SUMI JO SAINT-SAËNS’s Introduction and Rondo Capriccioso with Concertmaster FRANK HUANG January 31, 2017 The New York Philharmonic will present two programs honoring its strong ties to China, both led by Long Yu: the China Philharmonic Orchestra will perform at David Geffen Hall on December 11, 2016, and the New York Philharmonic will perform its sixth annual Chinese New Year Concert and Gala, January 31, 2017. Both programs celebrate the cultural exchange between China and the U.S., particularly the Philharmonic’s connections to China. China Philharmonic Orchestra The New York Philharmonic will present the China Philharmonic Orchestra, led by Long Yu, its Music Director, at David Geffen Hall on December 11, 2016, at 3:00 p.m. The program will feature Prokofiev’s Violin Concerto No. 2, with Julian Rachlin as soloist, and Shostakovich’s Symphony No. 5. Long Yu co-founded the China Philharmonic Orchestra in 2000, and has since served as its artistic director and chief conductor. The orchestra’s appearance at David Geffen Hall, presented by the New York Philharmonic, is part of its 2016 Tour of the Americas. -
Chinese National Day Civilian Parades and the Signaling of Policy Change in the Reform Era
Chinese National Day Civilian Parades And the signaling of policy change in the Reform Era 改革开放后的中国国庆群众游行 与其传播的政策改变信号 A Thesis by Jiahao Liu Submitted to The University of Michigan In partial fulfillment of the requirements for the degree of HONORS BACHELOR OF ARTS Department of Political Science March 26, 2021 1 Table of Contents Abstract ............................................................................................................................5 Acknowledgements ...........................................................................................................6 Author’s Note ...................................................................................................................7 Introduction .....................................................................................................................8 Why study these parades? ...................................................................................................... 8 Research Question ................................................................................................................ 10 Outline:................................................................................................................................. 11 Chapter 1: Existing Research and Theoretical Framework .............................................. 12 Section 1: Functions of state propaganda in China ............................................................... 12 Establish a leader’s image and an ideological stance: .................................................................................12 -
International Choir Festival & Competition January 16
2nd International Choir Festival & Competition January 16 - 20, 2020 | Kobe, Japan 2 EVENTS 2020 Choir Competitions and Festivals REGISTRATION DATES Early Bird Regular ND 2019 2019 2 SING’N’PRAY KOBE JUN SEP 01 January 16 - 20, 2020 | Kobe, Japan 24 9 2019 2019 VOX LUCENSIS CONCORSO CORALE INTERNAZIONALE SEP NOV 04 April 4 – 8, 2020 | Lucca, Italy 9 11 2019 VOICES & WINE ALBA NOV 04 April 15 - 19, 2020 | Alba, Italy (Piedmont) 18 TH 2019 2019 15 INTERNATIONAL CHOIR COMPETITION & FESTIVAL BAD ISCHL SEP DEC 04 April 29 - May 3, 2020 | Bad Ischl, Austria 30 9 ND 2019 2020 2 HELSINGBORGS KÖRFESTIVAL NOV JAN 05 May 27 - 31, 2020 | Helsingborg, Sweden 4 13 TH 2019 2019 11 WORLD CHOIR GAMES SEP DEC 07 July 5 - 15, 2020 | Flanders, Belgium 16 2 2020 2020 INTERNATIONAL CHOIR COMPETITION KYIV FEB APR 08 August 27 - 31, 2020 | Kyiv, Ukraine 3 20 TH 2020 2020 10 ISOLA DEL SOLE MAR MAY 09 September 26 30, 2020 | Grado, Italy 2 18 2020 2020 SING’N’JOY BOHOL MAR MAY 10 October 7 - 11, 2020 | Tagbilaran City, Bohol, Philippines 2 18 2020 2020 INTERNATIONALES CHORFEST MAGDEBURG MAR MAY 10 October 7 - 11, 2020 | Magdeburg, Germany 2 18 TH 2020 2020 9 CANTA AL MAR FESTIVAL CORAL INTERNACIONAL MAR MAY 10 October 22 - 26, 2020 | Calella/Barcelona, Spain 16 18 2020 DEUTSCHE CHORMEISTERSCHAFT 2020 MAY 11 November 6 – 8, 2020 | Koblenz, Germany 25 ND 2020 2020 32 INTERNATIONAL FRANZ SCHUBERT CHOIR COMPETITION MAR JUN 11 November 11 - 15, 2020 | Vienna, Austria 30 8 2020 VOICES & WINE MÁLAGA JUN 11 November 18 - 22, 2020 | Málaga, Spain (Andalusia) 22 ON STAGE -
Shanghai Symphony Orchestra in ‘C’ Major (1879 to 2010)
This item was submitted to Loughborough University as a PhD thesis by the author and is made available in the Institutional Repository (https://dspace.lboro.ac.uk/) under the following Creative Commons Licence conditions. For the full text of this licence, please go to: http://creativecommons.org/licenses/by-nc-nd/2.5/ Shanghai Symphony Orchestra in ‘C’ Major (1879 to 2010) By Mengyu Luo A Doctoral thesis Submitted in partial fulfilment of the requirements For the award of Doctor of Philosophy Loughborough University 15th March © by Mengyu Luo (2013) 1 Abstract Shanghai Symphony Orchestra is a fascinating institution. It was first founded in 1879 under the name of ‘Shanghai Public Band’ and was later, in 1907, developed into an orchestra with 33 members under the baton of German conductor Rudolf Buck. Since Mario Paci—an Italian pianist—became its conductor in 1919, the Orchestra developed swiftly and was crowned ‘the best in the Far East’ 远东第一 by a Japanese musician Tanabe Hisao 田边尚雄 in 1923. At that time, Shanghai was semi-colonized by the International Settlement and the French Concession controlled by the Shanghai Municipal Council and the French Council respectively. They were both exempt from local Chinese authority. The Orchestra was an affiliated organization of the former: the Shanghai Municipal Council. When the Chinese Communist Party took over mainland China in 1949, the Orchestra underwent dramatic transformations. It was applied as a political propaganda tool performing music by composers from the socialist camp and adapting folk Chinese songs to Western classical instruments in order to serve the masses. -
6Th Int. Anton Bruckner Choir Competition and Festival June 14 - 18, 2017 Linz, Austria
6th Int. Anton Bruckner Choir Competition and Festival June 14 - 18, 2017 Linz, Austria RESULTS Winner of the Anton Bruckner Choir Prize 2017 Text5Queens of Qoro Quando, Emma Kuntsi, Finland Result Category A1 - Mixed Choirs with compulsory piece Name of the group Conductor Country PointsDiploma CW GP CP SP Q Florida College ChorusJonat Jonathan Bassett USA24,25 GOLD IV I Result Category A2 - Male Choirs with compulsory piece Name of the group Conductor Country PointsDiploma CW GP CP SP Q Den Norske StudentersangforeningMarit Marit Tøndel Bodsberg Norway25,69 GOLD VI I Moški Pevski ZborMatja Srečko Kosovel Matjaž Šček Slovenia19,75 SILVER X Result Category B1 - Mixed Choirs without compulsory piece Name of the group Conductor Country PointsDiploma CW GP CP SP Q Helsingin Laulu Hann Hanna Remes Finland19,25 SILVER IX Ensamble Vocal BuenosMarc Aires Marcelo Ramiro Ortiz Rocca Argentina17,92 SILVER VIII Result Category B2 - Male Choirs without compulsory piece Name of the group Conductor Country PointsDiploma CW GP CP SP Q MGV Eintracht FrickhofenJens e.V. Jens Röth Germany20,56 GOLD I II CW = Category Winner GP = Grand Prize CP = Conductor Prize SP = Special Prize The choir has qualified to perform at the following INTERKULTUR major Events within the next 5 years: Q I =World Choir Games–The Champions Competition; World Choir Championships–The Champions Round; Grand Prix of Choral Music Q II = World Choir Games–The Champions Competition; World Choir Championships–The Champions Round Ruhberg 1 35463 Fernwald (Frankfurt/Main) Germany E‐Mail: -
Asia Pacific Choir Games & Grand Prix of Nations
ASIA PACIFIC CHOIR GAMES & GRAND PRIX OF NATIONS COLOMBO 2017 Octobe r 21 – 28, 2017 · Colombo, Sri Lanka COMPETITION RESULTS 4th Asia Pacific Choir Games Colombo 2017 Grand Prix of Nations Colombo 2017 October 21 – 28, 2017 Overview The Open Competition 26 GOLD Diplomas 37 SILVER Diplomas 2 BRONZE Diplomas Asia Pacific Champions Competition 31 GOLD Medals 11 SILVER Medals 0 BRONZE Medals Grand Prix of Nations Colombo 2017 19 GOLD Medals 4 SILVER Medals 0 BRONZE Medals Top Countries of Medal Winners of the Asia Pacific Choir Games Country Total Sri Lanka 19 Indonesia 12 India 3 Iran 3 China 2 Champions of the Asia Pacific Choir Games Category C1 Children´s Choirs The Children's Choir Alie Parusa Elena Petukhova Russia of the Art School #1 in Vladivostok Category C2 Youth Choirs Methodist College ChoirSanjeev Jayaratnam Sri Lanka Category C3 Chamber Choirs / Vocal NotedSanjeev Jayaratnam Sri Lanka Ensembles Category C4 Adult Choirs PSM Miracle Voices UIIIrene Vista Budi Indonesia Kusumastuti Category C5 Musica Sacra a cappella The Children's Choir Alie Parusa Elena Petukhova Russia of the Art School #1 in Vladivostok Category C6 Musica Sacra with Prestantia ChoralePriyeshni Peiris‐Perera Sri Lanka accompaniment & Wasantha Kumara Geekiyanage Category C7 Gospel, Spiritual, Music Hotumese ChoirMichael Mailuhu Indonesia of Spirit and Faith Category C8 Jazz, Pop, Show The PiccolinisPeshali Yapa Sri Lanka Category C9 Folklore a cappella Paduan Suara Mahasiswa Abraham Patrick Indonesia Universitas Atma Jaya Badiaraja Simanjuntak Yogyakarta Category -
A Chinese New Year Concert with the Orchestra Now
US-CHINA MUSIC INSTITUTE OF THE BARD COLLEGE CONSERVATORY OF MUSIC CENTRAL CONSERVATORY OF MUSIC, CHINA THE SOUND OF SPRING A CHINESE NEW YEAR CONCERT WITH THE ORCHESTRA NOW JANUARY 25 AND 26, 2020 SOSNOFF THEATER, FISHER CENTER AT BARD COLLEGE ROSE THEATER, JAZZ AT LINCOLN CENTER’S FREDERICK P. ROSE HALL Welcome to the first annual Chinese New Year concert with The Orchestra Now, presented by the US-China Music Institute of the Bard College Conservatory of Music. This is a happy, optimistic time of year to honor family and wish one another good fortune, while enjoying the season’s many THE SOUND OF SPRING traditions. I am delighted that you have chosen to join us for today’s celebration. A CHINESE NEW YEAR CONCERT WITH THE ORCHESTRA NOW This year’s program, The Sound of Spring, features many extraordinary musicians on the distinguished faculty of our copresenter, the Central Conservatory of Music in Beijing, China. I would like to thank Saturday, January 25 at 7 pm President Yu Feng of the Central Conservatory, as well as our guests today: conductor Chen Bing; and Sosnoff Theater, Fisher Center for the Performing Arts soloists Wang Jianhua on percussion, Wang Lei on sheng, Yu Hongmei on erhu, Zhang Hongyan on pipa, and Zhang Weiwei on suona. Thanks also to folk singer Ji Tian, who has traveled from Shaanxi Sunday, January 26 at 3 pm Province, in Northwest China, to take part in today’s concert. In this program you will learn more about Rose Theater, Jazz at Lincoln Center’s Frederick P. -
Announcement General WCG Cincinnati .Indd
July 4 - 14 · 2012 Official ParticiPant 1 infOrmatiOn Organizer INTERKULTUR Foundation in cooperation with The Cincinnati Organizing Committee of the 7th World Choir Games supported by The Honorable Mayor Mark Mallory, City of Cincinnati and numerous national and international committees and organizations Presidency Mr. Günter Titsch (Germany), General Director and President INTERKULTUR of the World Choir Games Mr. Dan Lincoln (USA), President and CEO Cincinnati USA Convention & Visitors Bureau Honorary Presidents Mr. Walter Scheel (Germany) of the World Choir Games Former President of the Federal Republic of Germany Prof. Eric Ericson (Sweden) Honorary Artistic President Maestro Mikis Theodorakis (Greece) Honorary Artistic President Artistic Directors Prof. Dr. Ralf Eisenbeiß (Germany) of the 7th World Choir Games Maestro Gábor Hollerung (Hungary) Mr. Christian Ljunggren (Sweden) Dr. Earl Rivers (USA) Honorary Artistic Director Maestro Erich Kunzel (USA) in Memoriam Managing Directors Piroska Horváth (Hungary) International Organizing Committee of the 7th World Choir Games Mr. Nick Vehr (USA) Cincinnati Organizing Committee of the 7th World Choir Games Chairpersons Global Chairpersons of the 7th World Choir Games Mr. and Mrs. Werner & Sabine Geissler USA Chairpersons Mr. and Mrs. Lee & Shannon Carter The Honorable Judge Nathaniel & Lillian Jones INTERKULTUR USA Dr. Hilary Apfelstadt, Ohio State University, Columbus, OH Honorary Committee Dr. Anton Armstrong, St. Olaf College, Northfield, MN Dr. René Clausen, Concordia College, Moorehead, MN André de Quadros, Boston University, Boston, MA Dr. John Haberlen, Georgia State University, (retired), Atlanta, GA Jing Ling-Tam, University of Texas, Arlington, TX Dr. Jerry McCoy, University of North Texas, Denton, TX Dr. Eric Nelson, Emory University, Decatur, GA John Nelson, L’Ensemble orchestral de Paris, Paris, France Dr. -
QIN MUSIC in CONTEMPORARY CHINA by Da
MEDIA, MARKET ECONOMY, AND CULTURAL TRANSFORMATION: QIN MUSIC IN CONTEMPORARY CHINA by Da Lin B.A. in Music, Xi’an Conservatory of Music, 2005 Submitted to the Graduate Faculty of Arts and Sciences in partial fulfillment of the requirements for the degree of Master of Arts University of Pittsburgh 2010 i UNIVERSITY OF PITTSBURGH SCHOOL OF ARTS AND SCIENCES This thesis was presented by Da Lin It was defended on November 29, 2010 and approved by Andrew Weintraub, Professor, Department of Music Adriana Helbig, Assistant Professor, Department of Music Thesis Director: Bell Yung, Professor, Department of Music ii Copyright © by Da Lin 2010 iii Bell Yung MEDIA, MARKET ECONOMY, AND CULTURAL TRANSFORMATION: QIN MUSIC IN CONTEMPORARY CHINA Da Lin, M.A. University of Pittsburgh, 2010 The qin, historically recognized as an instrument of Chinese literati, has been presented in various forms of mass media for over fifty years. After the establishment of the People’s Republic in 1949, the government promoted public performances in a propaganda/persuasion media system; consequently, mass media started to play significant roles in reshaping aesthetic standards, performance practices, musical features, and meanings of the qin tradition. The mass media in China, however, went through a commercialization reform after the late 1970s and has shaped the current propaganda/persuasion model. This new media structure has hastened the emergence of new musical features and meanings of the qin in the commercial logic as opposed to the Party logic. Such interactions with technology have arguably constituted contemporary performance practices that have departed from traditional aesthetic standards held by literati practitioners who played the qin for self-satisfaction.