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Photo Needed How Little You
HOW LITTLE YOU ARE For Voices And Guitars BY NICO MUHLY WORLD PREMIERE PHOTO NEEDED Featuring ALLEGRO ENSEMBLE, CONSPIRARE YOUTH CHOIRS Nina Revering, conductor AUSTIN CLASSICAL GUITAR YOUTH ORCHESTRA Brent Baldwin, conductor HOW LITTLE YOU ARE BY NICO MUHLY | WORLD PREMIERE TEXAS PERFORMING ARTS PROGRAM: PLEASESEEINSERTFORTHEFIRSTHALFOFTHISEVENING'SPROGRAM ABOUT THE PROGRAM Sing Gary Barlow & Andrew Lloyd Webber, arr. Ed Lojeski From the first meetings aboutHow Little Renowned choral composer Eric Whitacre You Are, the partnering organizations was asked by Disney executives in 2009 Powerman Graham Reynolds knew we wanted to involve Conspirare to compose for a proposed animated film Youth Choirs and Austin Classical Guitar based on Rudyard Kipling’s beautiful story Libertango Ástor Piazzolla, arr. Oscar Escalada Youth Orchestra in the production and are The Seal Lullaby. Whitacre submitted this Austin Haller, piano delighted that they are performing these beautiful, lyrical work to the studios, but was works. later told that they decided to make “Kung The Seal Lullaby Eric Whitacre Fu Panda” instead. With its universal message issuing a quiet Shenandoah Traditional, arr. Matthew Lyons invitation, Gary Barlow and Andrew Lloyd In honor of the 19th-century American Webber’s Sing, commissioned for Queen poetry inspiring Nico Muhly’s How Little That Lonesome Road James Taylor & Don Grolnick, arr. Matthew Lyons Elizabeth’s Diamond Jubilee in 2012, brings You Are, we chose to end the first half with the sweetness of children’s voices to brilliant two quintessentially American folk songs Featuring relief. arranged for this occasion by Austin native ALLEGRO ENSEMBLE, CONSPIRARE YOUTH CHOIRS Matthew Lyons. The haunting and beautiful Nina Revering, conductor Powerman by iconic Austin composer Shenandoah precedes James Taylor’s That Graham Reynolds was commissioned Lonesome Road, setting the stage for our AUSTIN CLASSICAL GUITAR YOUTH ORCHESTRA by ACG for the YouthFest component of experience of Muhly’s newest masterwork. -
March 23, 2012 Masters of Tradition Celebrates the Art of Irish Music At
March 23, 2012 Masters of Tradition celebrates the art of Irish music at the Annenberg Center “A terrifically enjoyable show—accomplished line-up...thrilling climax of galloping jigs and reels.” The Australian (Philadelphia, March 23, 2012)—In its American debut, Masters of Tradition, the ensemble comprised of seven of Ireland's most compelling musicians, brings the heart of Ireland to the Annenberg Center stage. Named for the music festival held each August in the Irish coastal town of Bantry, West County Cork and curated by renowned fiddler Martin Hayes, Masters of Tradition captivates audiences with intimate performances and dazzling instrumentals. The performance will take place on April 15, 2012 at 7 PM. Tickets are $20-$40 (prices are subject to change). For tickets or for more information, please visit AnnenbergCenter.org or call 215.898.3900. Tickets can also be purchased in person at the Annenberg Center Box Office. A celebration of traditional Irish music in its purest form, the performance will showcase a variety of intimate solos, duets and trios as well as full group collaborations. The ensemble reads as a ‘who’s who’ in Irish music and includes vocalist Iarla Ó Lionnáird, fiddlers Martin Hayes and Cathal Hayden, guitarists Dennis Cahill and Seamie O’Dowd, accordionist Máirtín O’Connor and piper David Power. Artistic director Martin Hayes launched the Masters of Tradition Festival in 2002. "The goal of this tour is to focus on the nuances of Irish traditional music," says Hayes. "The performers are all masters of their instruments. Through their talent and abilities, the sophistication and artfulness of the music is revealed." Born in East County Clare, a part of Ireland renowned for traditional music, Hayes is lauded for his distinctly lyrical style. -
Feakle Festival August 6-12 '08
Feakle Festival August 6-12 '08 WED 6 1.00pm – 2.00pm Riches of Clare Concert featuring: Conor Keane, Seanie O'Gorman & Dave Harper. Community Centre. Free 7.30pm Official Opening of Festival. A tribute to Paddy O'Donoghue presented by Paula Carroll. Wine and food reception. All are welcome! Community Centre. Free 10.00pm Festival Session with Mark Donnellan, Cyril O’Donoghue and friends. Peppers Bar. Free Workshops will take place on Thursday 7, Friday 8 and Saturday 9 from 10am - 1pm unless otherwise stated. Enrol at National School from 9am onwards. Workshop prices are €20.00 per day or €50.00 for three days. Instrument Tutor Fiddle (beginner) Denise Glass Fiddle (Intermediate/Advanced) Martin Hayes, Pat O’Connor, Joan Hanarahan Accordian Eoghan O’Sullivan Concertina Mary MacNamara, Kate MacNamara Flute (beginner) Jennifer Lenihan Flute (Intermediate/Advanced) Paul Smyth Guitar Denis Cahill Singing (Thursday & Friday) Helen Hayes Sean Nós Singing Ciarán Ó'Gealbháin Banjo Dave Harper Set Dancing 11.00am – 5.00pm on Saturday. Bohan's Bar. Emphasis on Clare Battering Step. €10. Peter Hanrahan Seanos Dancing 10.00am - 1.00pm on Friday and Saturday. Suzanne Leahy Tin Whistle John Kelly Singing - 'In verse and in Rhyme'; trends in traditional songmaking (Saturday only). Micheal Marrinan THURS 7 10.00am – 1.00pm Workshops 3.00pm Festival Walk – enjoy the beautiful landscape of East Clare. Walk starts from the Community Centre and includes a house session and refreshment stop! (Approx 5 miles). Free 4.00pm - 6.00pm Afternoon session for workshop students providing an opportunity for students to play in sessions led by workshop tutors. -
Sunspot Concerts at the Lyceum Furnace Mountain Martin Hayes
Sunspot Concerts at the Lyceum Furnace Mountain Saturday, March 20, 2010, 8 PM $18 advance/$21 door Furnace Mountain, named after the tallest peak of the Catoctin Mountains, is a quartet of traditional musicians who play the music of the Virginia countryside and mountains. Dave Van Deventer (fiddle) and Danny Knicely (mandolin & guitar) front the instrumental side of things, while vocalists Morgan Morrison (bouzouki) and Aimee Curl (bass) layer in a stunning mix of the earthy and ethereal. Their music is at times lively and raucous, with spirited fiddle melodies weaving in and around the powerful rhythms of the bass and bouzouki. At other times it is poignant and poetic, with sublime vocal harmonies beautifully interpreting some of the oldest songs ever written. They’ve just released a new CD, Fields of Fescue. www.furnacemountain.com. Martin Hayes & Dennis Cahill Saturday, April 10, 2010, 8 PM $26 advance/$30 door Martin Hayes has drawn musical inspiration from sources as diverse as the Estonian composer Arvo Pärt, the Spanish viola da gamba master Jordi Savall and the jazz genius John Coltrane to create his own signature style of Irish fiddle music. Still, he remains grounded in the music he grew up with in his own locality, Maghera, Feakle, East County Clare. Coming this Summer & Fall: Saturday, July 31, The Kane Sisters Friday, Sept. 17, Red Molly Tickets available at www.sunspotpro.com The Lyceum, 201 South Washington St, Alexandria, VA Join Sunspot online at www.myspace.com/sunspotpro and on Facebook www.groups.to/sunspotconcerts Sunspot Production • www.sunspotpro.com • 800 404-9049 About the Concerts Past Sunspot Shows Sunspot Concerts Sunspot showcases musicians from the United Irish singer Karan Casey ● Irish-American At The Lyceum States and around the globe, representing all singer Cathie Ryan ● American banjo master styles of traditional and contemporary folk Tony Trischka ● Connemara fiddlers The Kane Spring 2010 music. -
Pt.BI ISHTAR ~IKAIBKRS
ASCAP "S 2006 DART CLADI Pt.BI ISHTAR ~IKAIBKRS WiD AFFILIATED FOREIG& SOCIETIKS 3 OLC&IE I OF III P U B L I S H E R .357 PUBLISHING (A) S1DE UP MUSIC $$ FAR BEYOND ENTERTAINMENT $3.34 CHANGE OF THE BEAST ? DAT I SMELL MUS1C 'NANA PUDDIN PUBL1SHING A & N MUSIC CORP A & R MUSIC CO A A B A C A B PUBLISH1NG A A KLYC 4 A A P PUBLISHING A AL1KE PUBLiSHING A ALIKES MUSIC PUBLISHING A AND F DOGZ MUSIC A AND G NEALS PUBLiSHER A AND L MUS1C A AND S MUSICAL WORKS AB& LMUSIC A B A D MUZIC PUBLISHING A B ARPEGGIO MUSIC ABCG I ABCGMUSIC A B GREER PUBLISH1NG A B REAL MUSIC PUBLISHING A B U MUSIC A B WILLIS MUS1C A BAGLEY SONG COMPANY A BALLISTIC MUSIC A BETTER HISTORY PUBLISH1NG A BETTER PUBL1SHING COMPANY A BETTER TOMORROM A BIG ATT1TUDE INC A BIG F-YOU TO THE RHYTHM A BILL DOUGLAS MUSIC A BIRD AND A BEAR PUBLISHING A BLACK CLAN 1NC A BLONDE THING PUBLISHING A BOCK PUBLISHING A BOMBINATION MUSIC A BOY AND HIS DOG A BOY NAMED HO A BRICK CALLED ALCOHOL MUSIC A BROOKLYN PROJECT A BROS A BUBBA RAMEY MUSIC A BURNABLE PUBLISHING COMPANY A C DYENASTY ENT A CARPENTER'S SON A CAT NAMED TUNA PUBLISHING A CHUNKA MUSIC A CIRCLE OF FIFTHS MUSIC A CLAIRE MlKE MUSIC A CORDIS MUSIC A CREATI VE CHYLD ' PUB L I SHING A CREATIVE RHYTHM A CROM FLIES MUSIC INC A .CURSIVE MEMDR1ZZLE A D D RECORDiNGS A D G MUSICAL PUBLISHING INC A D HEALTHFUL LIFESTYLES A D SIMPSON OWN A D SMITH PUBLISHING P U B L I S H E R A D TERROBLE ENT1RETY A D TUTUNARU PUBLISHING A DAISY IN A JELLYGLASS A DAY XN DECEMBER A DAY XN PARIS MUSIC A DAY W1TH KAELEY CLAIRE A DELTA PACIFIC PRODUCTION A DENO -
Volume I (Final) Proofread
UCLA UCLA Electronic Theses and Dissertations Title The Influence of Pop Music in the Works of Three Contemporary American Composers: Steven Mackey, Julia Wolfe and Nico Muhly Permalink https://escholarship.org/uc/item/5h4626dd Author Lee, Hyunjong Publication Date 2014 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles The Influence of Pop Music in the Works of Three Contemporary American Composers: Steven Mackey, Julia Wolfe and Nico Muhly A dissertation submitted in partial satisfaction of the requirements for the degree Doctoral of Philosophy in Music by Hyunjong Lee 2014 © copyright by Hyunjong Lee 2014 ABSTRACT OF THE DISSERTATION The Influence of Pop Music in the Works of Three Contemporary American Composers: Steven Mackey, Julia Wolfe and Nico Muhly by Hyunjong Lee Doctor of Philosophy in Music University of California, Los Angeles, 2014 Professor Ian Krouse, Chair There are two volumes in this dissertation: the first is a monograph, and the second a musical composition, both of which are described below. Volume I These days, labels such as classical, rock and pop mean less and less since young musicians frequently blur boundaries between genres. These young musicians have built an alternative musical universe. I construct five different categories to explore this universe. They are 1) circuits of alternate concert venues, 2) cross-genre collaborations, 3) alternative modes of musical groups, 4) new compositional trends in classical chamber music, and 5) new ensembles and record labels. ii In this dissertation, I aim to explore these five categories, connecting them to recent cultural trends in New York. -
Music Globally Protected Marks List (GPML) Music Brands & Music Artists
Music Globally Protected Marks List (GPML) Music Brands & Music Artists © 2012 - DotMusic Limited (.MUSIC™). All Rights Reserved. DotMusic reserves the right to modify this Document .This Document cannot be distributed, modified or reproduced in whole or in part without the prior expressed permission of DotMusic. 1 Disclaimer: This GPML Document is subject to change. Only artists exceeding 1 million units in sales of global digital and physical units are eligible for inclusion in the GPML. Brands are eligible if they are globally-recognized and have been mentioned in established music trade publications. Please provide DotMusic with evidence that such criteria is met at [email protected] if you would like your artist name of brand name to be included in the DotMusic GPML. GLOBALLY PROTECTED MARKS LIST (GPML) - MUSIC ARTISTS DOTMUSIC (.MUSIC) ? and the Mysterians 10 Years 10,000 Maniacs © 2012 - DotMusic Limited (.MUSIC™). All Rights Reserved. DotMusic reserves the right to modify this Document .This Document 10cc can not be distributed, modified or reproduced in whole or in part 12 Stones without the prior expressed permission of DotMusic. Visit 13th Floor Elevators www.music.us 1910 Fruitgum Co. 2 Unlimited Disclaimer: This GPML Document is subject to change. Only artists exceeding 1 million units in sales of global digital and physical units are eligible for inclusion in the GPML. 3 Doors Down Brands are eligible if they are globally-recognized and have been mentioned in 30 Seconds to Mars established music trade publications. Please -
Bxet in Separate Attacks, Militants Hit U.S
M V 20=3>0CC8CD34)Beat high food prices by canning your own fruit | ?PVT" • TANGO • FOXTROT • WALTZ • CHA CHA • SALSA • RUMBA • MERENGUE • SAMBA • MAMBO • SWING DDanceance TThehe • CHA SWING • WALTZ • FOXTROT & WESTERN • TANGO • BALLROOM COUNTRY NNightight AAway!way! • Alex/Landmark • Tysons Corner • Bethesda • Gathersburg • Columbia • Silver Spring • Ashburn/NOW OPEN 1-800-503-6769 WWW.ARTHURMURRAYDC.COM What you do on the dance fl oor is our business! • TANGO • FOXTROT • WALTZ • CHA SALSA RUMBA • MERENGUE SAMBA • WALTZ • FOXTROT • TANGO Classes Forming Now • SALSA • RUMBA • MERENGUE • SAMBA • MAMBO • SWING • HUSTLE • NIGHTCLUB • BALLROOM A PUBLICATION OF | PL A N YOU R N IG H T AT E X PR E S S N IG H T OU T. C OM | AUGUST 20, 2008 | -- 5A44++ Wednesday :X[[TS 8]CP[XQP] >UUT]bXeT In separate attacks, militants hit U.S. base, French troops BELA SZANDELSZKY/AP BELA Russians blindfold Georgian prisoners Tuesday. BDA>1805670=8BC0=kHeavily armed fight- Russia shows ers launched two of the biggest insurgent <XgTSBXV]b) attacks in Afghanistan in years, culminat- strength, begins to pull out | $ ing early Tuesday with six suicide bombers charging the second-largest U.S. base. An earlier ambush killed 10 French troops in >QP\PFPcRW) Democrat the deadliest militant stays mum on his VP choice | # assault since 2005. 5A0=24A402CB The French soldiers 1Pcc[T^eTaca^^_b) — including paratroop- The attack led D]\PcRWTS) ers and a member of the French President Foreign Legion — were Nicolas Sarkozy to 21-year-old U.S. on a reconnaissance fly to Afghanistan. wrestler wins gold mission in the moun- France is sending tains of Surobi, a mili- 700 more troops to in Beijing | ( tant redoubt 30 miles the Afghan fight east of the Afghan capi- this month, and 4=C4AC08=<4=C tal, Kabul, when they the deaths could were ambushed Monday heighten opposi- afternoon. -
Psaudio Copper
Issue 41 SEPTEMBER 11TH, 2017 Welcome to Copper #41! The title isn't to announce a James Taylor retrospective---sorry to crush your hopes--- but is just what I see in today's weather reports. The Pacific Northwest, where I'm bound for a long-delayed vacation, is up in flames, along with many other parts of the tinder-dry US. Meanwhile, back in my former home of Florida...they've already had nearly two feet of rain, and Hurricane Irma is not even close to the state yet. Stay safe, everyone. I'm really pleased and excited to have Jason Victor Serinus back with us, with the first part of an intensive introduction to art song. Jason brings tremendous knowledge of the field, and provides plenty of recorded examples to listen to, and in the case of videos, watch. There are many stunning performances here, and I hope you enjoy this extraordinary resource. We'll have Part 2 in Copper #42. Dan Schwartz is again in the lead-off spot with the second in his series of articles on encounters–this one, with Phil Lesh and crew; Seth Godin tells us how control is overrated; Richard Murison hears a symphony; Duncan Taylor takes us to Take 1; Roy Hall tells about a close encounter of the art kind; Anne E. Johnson introduces indie artist Anohni; and I worry about audio shows (AGAIN, Leebs??), and conclude my look at Bang & Olufsen. Industry News tells of the sale of audiophile favorite, Conrad-Johnson; Gautam Raja is back with an amazing story that I think you'll really enjoy, all about Carnatic music, overlooked heritage, and the universal appeal of rock music; and Jim Smith takes another warped look at LPs. -
Uncovering the Cover
Uncovering the Cover Reading Authenticity and Subjectivity in Cover Songs Master thesis in musicology, Institute of Musicology, University of Oslo Spring, 2012 Åste Jensen Sjøvaag Contents Acknowledgements..................................................................................................................................... 3 Chapter 1. Introduction............................................................................................................................... 5 Research questions...................................................................................................................................... 6 The cover song............................................................................................................................................ 9 Theoretical concepts................................................................................................................................. 12 Method - the reading process.................................................................................................................... 24 The music.................................................................................................................................................. 29 Synopsis.................................................................................................................................................... 34 Chapter 2. “Fields of Gold”...................................................................................................................... -
Caoimhín Mac Aoidh on Regional Irish Fiddle Styles
20/03/2018, 0018 Page 1 of 1 Translate this page to French Go Translation by GO! Network Caoimhín Mac Aoidh on Regional Irish Fiddle Styles REPRODUCED BY PERMISSION OF THE AUTHOR: By all means feel free to use the article at the site. The only thing you need to point out is that the article is now at least 20 years old and was originally published in Vol. 1 of An Fhidil Ghaelach (now out of print).—Caoimhín Mac Aoidh Part 1 Part 2 Part 3 Part 1 Approximately 90 years ago the Irish language was spoken without break along the entire southern western and northern coastline and as far inland as County Roscommon (Irish Language Survey of 1891). At this time the Irish of these areas, dialectically speaking, gradually flowed into one another, thus making distinct dialects along a continuous transverse section almost undetectable. A language can be simply defined as a highly organised series of sounds and it is important to note that music, and in this case traditional Irish dance music, also fits well with this definition. I feel that both language and music are reflective of their practitioners or creators. Northerners to me generally are straightforward people in their humour and speech. Their music is usually straightforward as well; their song, ornamentally, is also. The Ulster dialect of Irish is often referred to as bland or flat. The music of the more southern counties, as regards their sound, and Irish dialects are significantly lighter in nature. A link between the music and the language is herein implied. -
Foreign Bodies in the River of Sound
FOREIGN BODIES IN THE RIVER OF SOUND SEEKING IDENTITY AND IRISH TRADITIONAL MUSIC Helen O’Shea Thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy School of Social Sciences Faculty of Arts Victoria University of Technology 2005 CONTENTS Images................................................................................................................................ v Musical Examples............................................................................................................ vi Abstract ........................................................................................................................... ix Declaration........................................................................................................................ x Acknowledgements.......................................................................................................... xi INTRODUCTION ............................................................................................................ 1 Chapter 1 THE RESEARCHER’S QUEST: THEORIZING MUSIC AND IDENTITY ..................... 6 1.1 Identifying identity .................................................................................................. 6 1.2 Theorizing music.................................................................................................... 10 1.3 Understanding Irish music..................................................................................... 21 1.4 The researcher’s quest...........................................................................................