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Pacific Southern Chapter the COLLEGE MUSIC SOCIETY
Pacific Southern Chapter THE COLLEGE MUSIC SOCIETY 20th Regional Conference March 17–18, 2006 California State University – Los Angeles Los Angeles, California Pacific Southern Chapter THE COLLEGE MUSIC SOCIETY ACKNOWLEDGEMENTS The CMS Pacific Southern Chapter gratefully acknowledges all of those who have worked tirelessly to make this conference such a tremendous success: David Connors, Chair, Cal State L.A. Department of Music John M. Kennedy, Director, Cal State L.A. New Music Ensemble and Program co-chair Cathy Benedict, Program co-chair CMS Pacific Southern Chapter Executive Board President: Jeffrey Benedict (California State University - Los Angeles) Vice-President: Cathy Benedict (New York University) Treasurer: William Belan (California State University - Los Angeles) Secretary: Elizabeth Sellers (California State University - Northridge) CMS Pacific Southern Chapter Conference Committee John Kennedy Cathy Kassell Benedict Jeff Benedict March 17, 2006 Dear CMS Colleagues: On behalf of my colleagues at the California State University, Los Angeles, I would like to welcome you to the 2006 College Music Society Southern Pacific Chapter Conference. As always, we have an exciting slate of performances and presentations, and I am sure it will prove to be an intellectually stimulating event for all of us. I look forward to the free exchange of ideas that has become the hallmark of our chapter conferences. I would especially like to welcome Dr. Andrew Meade, who has graciously accepted our invitation to be the keynote speaker. Again, welcome, and I hope that you all have a fabulous conference her at Cal State L.A. Jeff Benedict CMS Pacific-Southern Chapter President 2006 Conference Host S TEINWAY IS THE OFFICIAL PIANO of THE COLLEGE MUSIC SOCIETY’S NATIONAL CONFERENCE New from2 Forthcoming! BEYOND TALENT RESEARCHING THE SONG Creating a Successful Career in Music A Lexicon ANGELA MYLES BEECHING SHIRLEE EMMONS and WILBUR WATKINS LEWIS, Jr. -
American Academy of Arts and Letters
NEWS RELEASE American Academy of Arts and Letters Contact: Ardith Holmgrain 633 WEST 155 STREET, NEW YORK, NY 10032 [email protected] www.artsandletters.org (212) 368-5900 http://www.artsandletters.org/press_releases/2010music.php THE AMERICAN ACADEMY OF ARTS AND LETTERS ANNOUNCES 2010 MUSIC AWARD WINNERS Sixteen Composers Receive Awards Totaling $170,000 New York, March 4, 2010—The American Academy of Arts and Letters announced today the sixteen recipients of this year's awards in music, which total $170,000. The winners were selected by a committee of Academy members: Robert Beaser (chairman), Bernard Rands, Gunther Schuller, Steven Stucky, and Yehudi Wyner. The awards will be presented at the Academy's annual Ceremonial in May. Candidates for music awards are nominated by the 250 members of the Academy. ACADEMY AWARDS IN MUSIC Four composers will each receive a $7500 Academy Award in Music, which honors outstanding artistic achievement and acknowledges the composer who has arrived at his or her own voice. Each will receive an additional $7500 toward the recording of one work. The winners are Daniel Asia, David Felder, Pierre Jalbert, and James Primosch. WLADIMIR AND RHODA LAKOND AWARD The Wladimir and Rhoda Lakond award of $10,000 is given to a promising mid-career composer. This year the award will go to James Lee III. GODDARD LIEBERSON FELLOWSHIPS Two Goddard Lieberson fellowships of $15,000, endowed in 1978 by the CBS Foundation, are given to mid-career composers of exceptional gifts. This year they will go to Philippe Bodin and Aaron J. Travers. WALTER HINRICHSEN AWARD Paula Matthusen will receive the Walter Hinrichsen Award for the publication of a work by a gifted composer. -
1 Cultual Analysis and Post-Tonal Music
Cambridge University Press 978-0-521-02843-1 - Gendering Musical Modernism: The Music of Ruth Crawford, Marion Bauer, and Miriam Gideon Ellie M. Hisama Excerpt More information 1 CULTUAL ANALYSIS AND POST-TONAL MUSIC Given the vast, marvelous repertoire of feminist approaches to literary analysis introduced over the past two decades, a music theorist interested in bringing femi- nist thought to a project of analyzing music by women might do well to look first to literary theory. One potentially useful study is Sandra Gilbert and Susan Gubar’s landmark work The Madwoman in the Attic, which asserts that nineteenth-century writing by women constitutes a literary tradition separate and distinct from the writing of men and argues more specifically that writings of women, including Austen, Shelley, and Dickinson, share common themes of alienation and enclo- sure.1 Some feminist theorists have claimed that a distinctive female tradition exists also in modernist literature; Jan Montefiore, for example, asserts that in autobio- graphical writings of the 1930s, male modernists tended to portray their experi- ences as universal in contrast to female modernists who tended to represent their experiences as marginal.2 But because of the singular nature of the modernist, post-tonal musical idiom, an analytical project intended to explore whether a distinctive female tradition indeed exists in music immediately runs aground. Unlike tonal compositions, which draw their structural principles from a more or less unified compositional language, post- tonal works are constructed according to highly individualized schemes whose meaning and coherence derive from their internal structure rather than from their relation to a body of works. -
Solo Percussion Is Published Ralph Shapey by Theodore Presser; All Other Soli for Solo Percussion
Tom Kolor, percussion Acknowledgments Recorded in Slee Hall, University Charles Wuorinen at Buffalo SUNY. Engineered, Marimba Variations edited, and mastered by Christopher Jacobs. Morton Feldman The King of Denmark Ralph Shapey’s Soli for Solo Percussion is published Ralph Shapey by Theodore Presser; all other Soli for Solo Percussion works are published by CF Peters. Christian Wolff Photo of Tom Kolor: Irene Haupt Percussionist Songs Special thanks to my family, Raymond DesRoches, Gordon Gottlieb, and to my colleagues AMERICAN MASTERPIECES FOR at University of Buffalo. SOLO PERCUSSION VOLUME II WWW.ALBANYRECORDS.COM TROY1578 ALBANY RECORDS U.S. 915 BROADWAY, ALBANY, NY 12207 TEL: 518.436.8814 FAX: 518.436.0643 ALBANY RECORDS U.K. BOX 137, KENDAL, CUMBRIA LA8 0XD TEL: 01539 824008 © 2015 ALBANY RECORDS MADE IN THE USA DDD WARNING: COPYRIGHT SUBSISTS IN ALL RECORDINGS ISSUED UNDER THIS LABEL. AMERICAN MASTERPIECES FOR AMERICAN MASTERPIECES FOR Ralph Shapey TROY1578 Soli for Solo Percussion SOLO PERCUSSION 3 A [6:14] VOLUME II [6:14] 4 A + B 5 A + B + C [6:19] Tom Kolor, percussion Christian Wolf SOLO PERCUSSION Percussionist Songs Charles Wuorinen 6 Song 1 [3:12] 1 Marimba Variations [11:11] 7 Song 2 [2:58] [2:21] 8 Song 3 Tom Kolor, percussion • Morton Feldman VOLUME II 9 Song 4 [2:15] 2 The King of Denmark [6:51] 10 Song 5 [5:33] [1:38] 11 Song 6 VOLUME II • 12 Song 7 [2:01] Tom Kolor, percussion Total Time = 56:48 SOLO PERCUSSION WWW.ALBANYRECORDS.COM TROY1578 ALBANY RECORDS U.S. TROY1578 915 BROADWAY, ALBANY, NY 12207 TEL: 518.436.8814 FAX: 518.436.0643 ALBANY RECORDS U.K. -
Druckman US 2/9/06 1:42 PM Page 5
559260 bk Druckman US 2/9/06 1:42 PM Page 5 Curtis Macomber Fred Sherry AMERICAN CLASSICS Curtis Macomber is among the most versatile soloists/chamber musicians, equally at home in repertoire from Bach A pioneer and a visionary in the music world, the cellist Fred Sherry has introduced audiences on five continents to Babbitt. As a member of the New World String Quartet from 1982-93, he performed in virtually all the important and all fifty United States to the music of our time through his close association with such composers as Babbitt, concert series in the United States, as well as touring abroad. He is the violinist of Speculum Musicae and a Berio, Carter, Davidovsky, Foss, Knussen, Lieberson, Mackey, Takemitsu, Wuorinen and Zorn. He has been a founding member of the Apollo Trio, with a series of acclaimed recordings. He is a member of the chamber music member of The Group for Contemporary Music, Berio’s Juilliard Ensemble and the Galimir String Quartet, and a faculty of the Juilliard School, where he studied with Joseph Fuchs. He is also on the violin faculty of the Manhattan close collaborator with jazz pianist and composer Chick Corea. He was a founding member of Speculum Musicae School of Music, and has taught at the Tanglewood, Taos and Yellow Barn Music Festivals. and Tashi. Fred Sherry has been an active performer with the Chamber Music Society of Lincoln Center since the 1970s, an Artist Member since 1984 and was the Artistic Director from 1988 to 1992. He is a member of the cello Jacob and chamber music faculty of the Juilliard School and the cello faculty of the Mannes College of Music. -
559288 Bk Wuorinen US
AMERICAN CLASSICS SONGS OF PEACE AND PRAISE Choral Music from Queens College Weisgall • Brings • Mandelbaum • Smaldone Sheng • Schober • Saylor • Kraft The New York Virtuoso Singers Harold Rosenbaum Queens College Choir and Vocal Ensemble Bright Sheng • James John SONGS OF PEACE AND PRAISE Songs of Peace and Praise Choral Music from Queens College Choral Music from Queens College Hugo Weisgall (1912–1997) Bruce Saylor (b. 1946) The choral music on this recording represents a group of Foundation. He twice served as composer-in-residence at composers who are or were at one time faculty members of the American Academy in Rome, was president of the 1 God is due praise (Ki lo noeh) (1958) 2:34 Missa Constantiae (2007) the Aaron Copland School of Music at Queens College, American Music Center for ten years, and also served as 8 Kyrie 1:31 CUNY. It was conceived as a vehicle to celebrate the long president of the American Academy and Institute of Arts and Allen Brings (b. 1934) 9 Sanctus 1:03 history of composers associated with the school, through Letters. Weisgall is a former director of the composer-in- 2 In paradisum (1957) 3:15 0 Benedictus 1:30 the vocal excellence of the incomparable New York residence program for the Lyric Opera of Chicago and was ! Agnus Dei 3:06 Virtuoso Singers, and the vibrant talents of the students in professor of music at Queens College from 1961 to 1983. Joel Mandelbaum (b. 1932) the Queens College Choir and Vocal Ensemble. A Weisgall’s God is due praise (Ki lo noeh) is a musical 3 The Village – Act 1, Finale (1995) 4:53 somewhat larger selection of works was performed in April setting of one of the hymns traditionally sung by Leo Kraft (1922–2014) 2015 at Merkin Hall in NYC, and all were recorded in the Ashkenazi Jews at the conclusion of the Passover Seder. -
Speculum Musicae
NEW MUSIC AT RICE presents SPECULUM MUSICAE in a concert of works by JACOB DRUCKMAN PHILIPPE MANOURY DAVID SANFORD MARIO DAVIDOVSKY SALVATORE SCIARRINO and FRANCO DONATONI Friday, February 22, 2008 8:00 p.m. Lillian H. Duncan Recital Hall RICE UNNERSITY PROGRAM Glint (1995) Jacob Druckman for clarinet, violin, and piano (1928-1996) Marimba duo from Philippe Manoury Le Livre des Claviers (1988; revised 1992) (b.1952) Dogma 74 (2002) David Sanford for viola, cello, flute, clarinet, and piano (b.1963) I Brick Alley Coke II Turner's Market Ill 20th Street Cafeteria INTERMISSION Synchronisms No.12 (2006) Mario Davidovsky for clarinet and electronic sounds (b.1934) Centauro Marino (1984) Salvatore Sciarrino for violin, viola, cello, clarinet, and piano (b.1947) Arpege (1986) Franco Donatoni for violin, cello, flute, clarinet, (1927-2000) piano, and percussion SPECULUM MUSICAE Curtis Macomber, violin Maureen Gallagher, viola Chris Finckel, cello Jennifer Grim, flute Allen Blustine, clarinet Aleck Karis, piano Jared Soldiviero, percussion James Baker, conductor and percussion The reverberative acoustics of Duncan Recital Hall magnify the slightest sound made by the audience. Your care and courtesy will be appreciated. The taking ofphotographs and use of recording equipment are prohibited. j L PROGRAM NOTES Glint . Jacob Druckman Glint springs from nocturnal imagery, not peaceful dark, but rather night that is charged and expectant. The work is colored by a five-note "ohrwurm" ( "ear worm ": a tune that keeps insisting itself on one's mind) received from a work by my great colleague and dear friend Toru Takemitsu. I hope he will forgive the five notes and see my theft as the tribute it is. -
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. -
DAVID RAKOWSKI: WINGED CONTRAPTION PERSISTENT MEMORY | PIANO CONCERTO DAVID RAKOWSKI B
DAVID RAKOWSKI: WINGED CONTRAPTION PERSISTENT MEMORY | PIANO CONCERTO DAVID RAKOWSKI b. 1958 PERSISTENT MEMORY PERSISTENT MEMORY (1996–97) PIANO CONCERTO [1] I. Elegy 9:05 [2] II. Variations, Scherzo, and Variations 12:01 WINGED CONTRAPTION PIANO CONCERTO (2005–06) [3] I. Freely; Vivace 9:30 MARILYN NONKEN piano and toy piano [4] II. Adagio 6:53 BOSTON MODERN ORCHESTRA PROJECT [5] III. Scherzando 5:28 GIL ROSE, CONDUCTOR [6] IV. Poco andante, quasi adagietto, con gusty; Allegro; Cadenza; Allegro 12:04 [7] WINGED CONTRAPTION (1991) 9:24 TOTAL 64:27 COMMENT get further and further away and something would happen to bring the elegy back. That “something” became a repeated note climax in the scherzo from which the string sections would explode, first in unison, and then into another 16-note chord; that chord brings back By David Rakowski the meandering elegy music as a variation. A codetta exposes the three cellos and puts I was at the American Academy in Rome when the commission offer from Orpheus them back together as a section, themselves ending with a meandering half-step. Chamber Orchestra came. At the time, my wife’s mother had cancer with a short time The Piano Concerto came about through the tireless efforts of Marilyn Nonken, with to live, and I couldn’t afford plane fare to come to the funeral. So I was feeling a kind of whom I’d collaborated many times, and so my idea was to acknowledge her in the piece melancholy as I started work on the piece. by building it from existing piano études either written for her or that she had recorded. -
Philip Rhodes
NWCR758 Philip Rhodes 6. 2. The “Pierrot” Music Box (19th Century) ........................................... (1:59) Waltz tempo 7. 3. Landscape (George Seurat, French, 19th Century) ............................................ (1:51) Miniature 8. 4. Station of the Cross (Theodore Chassériau, French, 19th Century) ................................ (6:41) Rondo with Chorale Variations 9. 5. Le Bouquet (Pablo Picasso, Spanish, 20th Century) ............................................ (1:15) Fast 10. 6. A Bacchanal (Brueghel-van Balen, Flemish, late 16th Century) ....................... (2:43) Giocoso James Livingston, clarinet; The Louisville String Quartet: Paul Kling. Peter McHugh, violins; Virginia Schneider, viola; Guillermo Helguera, cello Autumn Settingfor Soprano and String Quartet (1969) ..................................................... (11:12) 11. 1. autumn fragments ................................. (3:55) Visions of Remembrance for Soprano, Mezzo, 12. 2. prophecy ............................................... (2:13) and Twelve Instruments (1979) .......................... (20:52) 13. 3. remembrance/reality ............................. (5:04) 1. Flashback .................................................. (4:01) Phyllis Bryn-Julson, soprano; Speculum Musicae 2. Grown-Up Relatives ................................. (3:37) String Quartet: Eugene Drucker, Daniel Reed, 3. My Grandmother’s Love Letters ............... (7:10) violins; John Graham, viola; Fred Sherry, cello 4. Piano and Epilogue .................................. -
LINER NOTES Recorded Anthology of American Music, Inc
DAVID TAYLOR New World Record 80494 Bass Trombone MOONRISE WITH MEMORIES Frederic Rzewski: Moonrise With Memories was commissioned by and written for David Taylor in 1978. Taylor specifically requested a piece for bass trombone, a piece that could not be played on a tenor instrument. He also suggested an accompanying ensemble of bass (or other low-range) instruments, but I chose instead a different arrangement. The soloist is accompanied by any six instruments that can play in the soprano range (more or less that of an oboe), so that the customary relation of melody and supporting parts is turned upside down. The form is an arch, ascending and descending on either side of a central song, which is based on a short poem, "World War II," by Langston Hughes. The thinking behind this simple piece was influenced by, perhaps more than anything else, my reading of Colin Turnbull's book on Pygmy culture, The Forest People (Simon and Schuster, 1962). Without knowing a great deal about Pygmy music, I nevertheless felt strangely in tune with it, and in fact, used some heterophonic techniques, especially in the central semi-improvisatory section, that refer to the tradition. The bass trombone could be heard as the molino of Pygmy ceremony, a kind of long trumpet that is used to imitate the various voices of the forest, but above all to wake up the forest, to keep it awake, to make sure it continues its benevolent function of provider and source of life. It is usually brought out and played when something big goes wrong, or when somebody dies, and an optimistic answer to a threatening situation is needed. -
Radiolovefest
BAM 2015 Winter/Spring Season #RadioLoveFest Brooklyn Academy of Music New York Public Radio Alan H. Fishman, Chairman of the Board Cynthia King Vance, Chair, Board of Trustees William I. Campbell, Vice Chairman of the Board John S. Rose, Vice Chair, Board of Trustees Adam E. Max, Vice Chairman of the Board Susan Rebell Solomon, Vice Chair, Board of Trustees Karen Brooks Hopkins, President Mayo Stuntz, Vice Chair, Board of Trustees Joseph V. Melillo, Executive Producer Laura R. Walker, President & CEO BAM and WNYC present RadioLoveFest Produced by BAM and WNYC May 5—10 LIVE PERFORMANCES Radiolab Live, May 5, 7:30pm, OH Death, Sex & Money, May 8, 7:30pm, HT Terry Gross in conversation with Marc Maron, May 6, Bullseye Comedy Night—Hosted by Jesse Thorn, 7:30pm, OH May 9, 7:30pm, OH Don’t Look Back: Stories From the Teenage Years— Selected Shorts: Uncharted Territories—A 30th The Moth & Radio Diaries, May 6, 8:30pm, HT Anniversary Event, May 9, 7:30pm, HT Eine Kleine Trivia Nacht—WQXR Classical Music Quiz WQXR Beethoven Piano Sonata Marathon, Show, May 6, 8pm, BC May 9, 10am—11:15pm, HS Wait Wait... Don’t Tell Me!®—NPR®, May 7, 7:30pm, OH Mexrrissey: Mexico Loves Morrissey, Islamophobia: A Conversation—Moderated by Razia May 10, 7:30pm, OH Iqbal, May 7, 7:30pm, HT It’s All About Richard Rodgers with Jonathan Speed Dating for Mom Friends with The Longest Schwartz, May 10, 3pm, HT Shortest Time, May 7, 7pm, BC Leonard Lopate & Locavores: Brooklyn as a Brand, Snap Judgment LIVE!, May 8, 7:30pm, OH May 10, 3pm, BC SCREENINGS—7:30pm, BRC BAMCAFÉ