0301 Bartok&Balkans Program Notes
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January / February
CELTIC MUSIC • KENNY HALL • WORLD MUSIC • KIDS MUSIC • MEXICAN PAPER MAKING • CD REVIEWS FREE Volume 3 Number 1 January-February 2003 THE BI-MONTHLY NEWSPAPER ABOUT THE HAPPENINGS IN & AROUND THE GREATER LOS ANGELES FOLK COMMUNITY A Little“Don’t you know that Folk Music Ukulele is illegal in Los Angeles?” — WARREN C ASEYof theWicket Tinkers is A Lot of Fun – a Beginner’s Tale BY MARY PAT COONEY t all started three workshop at UKE-topia hosted by Jim Beloff at years ago when I McCabe’s Guitar Shop in Santa Monica. I was met Joel Eckhaus over my head in about 15 minutes, but I did at the Augusta learn stuff during the rest of the hour – I Heritage Festival just couldn’t execute any of it! But in Elkins, West my fear of chords in any key but I Virginia. The C was conquered. Augusta Heritage The concert that Festival is has been in existence evening was a for over 25 years, and produces delight with an annual 5-week festival of traditional music almost every uke and dance. Each week of the Festival specialist in the explores different styles, including Cajun, SoCal area on the bill. Irish, Old-Time, Blues, Bluegrass. The pro- The theme was old gram also features folk arts and crafts, espe- time gospel, in line with cially those of West Virginia. Fourteen years the subject of Jim’s latest ago Swing Week was instigated by Western book, and the performers that evening had Swing performers Liz Masterson and Sean quite a romp – some playing respectful Blackburn of Denver, CO as a program of gospel, and others playing whatever they music. -
Official Program 2013
а 22-26 august ниј о д е к а ид, М ид, р Ohrid, Macedonia | Ох | Macedonia Ohrid, ohrid choir festival охридски хорски фестивал2013 2nd Competition Concert | 2. Натпреварувачки концерт FRIDAY | ПЕТОК Diamont Hall, Hotel Inex Gorica | Дијамантска Сала, Хотел Инекс Горица 19.00 - 19.15 Mixed Youth Choir “Josip Kaplan” - Croatia 19.15 - 19.30 Gdansk University Choir - Poland 1st Concert of Sacred Music | 1. Концерт на духовна музика 19.30 - 19.45 Choir of Maritime University of Szczecin - Poland Church of St. Sophia | Црква Св. Софија 19.45 - 20.00 Youth Choir of Šabac Singing Society - Serbia 10.00 - 10.10 The Academic Choir of Adam Mickiewicz University - Poland 10.10 - 10.20 The Bialystok Technical University Choir - Poland SATURDAY | САБОТА 10.20 - 10.30 Youth Choir “Canto” School of Music Czesław Niemen - Poland 10.30 - 10.40 Youth Female Chamber Choir “Cantilena” by the museum of school of K. May of Saint-Petersburg Institute of 3rd Competition Concert | 3. Натпреварувачки концерт Informatics and Automation of Russian Science Academy - Russia Diamont Hall, Hotel Inex Gorica | Дијамантска Сала, Хотел Инекс Горица 10.40 - 10.50 Chamber Choir of Bulgarian Academy of Science - Bulgaria 10.00 - 10.15 Children’s Chamber Choir “Solovushko” - Russia 10.50 - 11.00 Butelion Classics Chorus - Macedonia 10.15 - 10.30 “Saulainė” - Lithuania 10.30 - 10.45 Valmiera Music School Choir “SolLaRe” - Latvia 2nd Concert of Sacred Music | 2. Концерт на духовна музика 10.45 - 11.00 Break Church of St. Sophia | Црква Св. Софија 11.00 - 11.15 Children’s Choir “Trallala” - Czech Republic 11.30 - 11.40 Valmiera Music School Choir “SolLaRe” - Latvia 11.15 - 11.30 Children’s Choir “The Stars” - Serbia 11.40 - 11.50 Children’s Choir Pražská kantiléna - Czech Republic 11.50 - 12.00 Female vocal ensemble “Making waves” - Ukraine 4th Competition Concert | 4. -
FW May-June 03.Qxd
IRISH COMICS • KLEZMER • NEW CHILDREN’S COLUMN FREE Volume 3 Number 5 September-October 2003 THE BI-MONTHLY NEWSPAPER ABOUT THE HAPPENINGS IN & AROUND THE GREATER LOS ANGELES FOLK COMMUNITY Tradition“Don’t you know that Folk Music is Disguisedillegal in Los Angeles?” — WARREN C ASEY of the Wicked Tinkers THE FOLK ART OF MASKS BY BROOKE ALBERTS hy do people all over the world end of the mourning period pro- make masks? Poke two eye-holes vided a cut-off for excessive sor- in a piece of paper, hold it up to row and allowed for the resump- your face, and let your voice tion of daily life. growl, “Who wants to know?” The small mask near the cen- The mask is already working its ter at the top of the wall is appar- W transformation, taking you out of ently a rendition of a Javanese yourself, whether assisting you in channeling this Wayang Topeng theater mask. It “other voice,” granting you a new persona to dram- portrays Panji, one of the most atize, or merely disguising you. In any case, the act famous characters in the dance of masking brings the participants and the audience theater of Java. The Panji story is told in a five Alban in Oaxaca. It represents Murcielago, a god (who are indeed the other participants) into an arena part dance cycle that takes Prince Panji through of night and death, also known as the bat god. where all concerned are willing to join in the mys- innocence and adolescence up through old age. -
PROVISION of the II International Competition Named After Tlep Aspantaiuly
Approved by S.I. Iskakov President of Charity Fund named after Tlep Aspantaiuly PROVISION of the II International Competition named after Tlep Aspantaiuly, dedicated to the celebration of the 20th anniversary of the Republic of Kazakhstan’s capital – Astana city Astana-2018 PROVISION on organization and holding of the II International Competition for kobyz players named after Tlep Aspantaiuly (for bowed string folk instruments performers) 1. General provisions 1. In order to celebrate the 20th anniversary of the Republic of Kazakhstan’s capital – Astana city, will be held the II International Competition for kobyz players named after Tlep Aspantaiuly (hereinafter – Competition). 2. This Provision shall define the rules, goals, objectives, and the procedure of conducting and funding. 3. The Competition is held on the territory of the Republic of Kazakhstan in Astana. 4. The founder and organizer of the Competition is the Charity Fund named after Tlep Aspantaiuly. Countries participating in the Competition: Republic of Azerbaijan Republic of Armenia Republic of Belarus Republic of Bulgaria Federal Republic of Germany Hellenic Republic Georgia Arab Republic of Egypt Republic of India Islamic Republic of Iran Italian Republic Republic of Kazakhstan People’s Republic of China Kyrgyz Republic Lebanese Republic Republic of Lithuania Republic of Moldova Mongolia Republic of Poland Russian Federation: Altai Republic, Tuva Republic, Republic of Tatarstan, Republic of Khakassia, Sakha Republic, Republic of Dagestan, Kabardino-Balkar Republic, Karachay-Cherkess Republic, Republic of Crimea, Republic of Bashkortostan Romania Syrian Arab Republic Republic of Tajikistan Turkmenistan Republic of Turkey Republic of Uzbekistan Ukraine Republic of Finland French Republic Republic of Croatia Kingdom of Sweden Republic of Estonia Republic of Korea Japan 2. -
Охридскихорскифестивал Ohridchoirfestival
26-30АВГУСТAUGUST OHRIDMACEDONIA ОХРИДСКИХОРСКИФЕСТИВАЛ OHRIDCHOIRFESTIVAL ОФИЦИЈАЛНАПРОГРАМА2010 | OFFICIALPROGRAM2010 Competition Concert 1, Friday 27.08.2010 Pop Concert, Saturday 28.08.2010 10.00 Children’s Choir Omnes Latvia 18.00 Children Singers Divisi Spain 10.15 Vuk Karadžić Serbia 18.10 Mozaik Serbia 10.30 Smiltė Lithuania 18.20 Cantica Nova Italy PROGRAM 10.45 Break 18.30 Rozkvet Slovakia 11.00 Ave Musica Ukraine 18.30 Shtaslivetsa Bulgaria 11.15 Stellatus Hungary 11.30 Oriana Ukraine Folk Concert 3, Saturday 28.08.2010 Competition Concert 2, Friday 27.08.2010 19.00 Ave Musica Ukraine 19.10 Cantica Nova Italy 12.00 Girls’ Youth Choir Onmes Latvia 19.20 Mistika Bulgaria 12.15 April Russia 19.30 Warsaw School of Social 12.30 Warsaw School of Social Sciences and Humanities Choir Poland | ПРОГРАМА Sciences and Humanities Choir Poland 19.40 Cappela Polifonica Romania 12.45 Vox Humana Romania 19.50 Stefka Blagoeva Bulgaria 13.00 Break 13.15 Männerstimmen Basel Switzerland 13.30 Cantica Nova Italy 13.45 Oplenac Serbia Competition Concert 3, Saturday 28.08.2010 10.00 Chamber Choir of Pécs Hungary Concert od Sacred Music 1, Sunday 29.08.2010 10.15 Lviv State Music College Ukraine 10.30 Consonanza Poland 10.00 Consonanza Poland 10.45 Break 10.10 Children Singers Divisi Spain 11.00 Mistika Bulgaria 10.20 Dobri Hristov Bulgaria 11.15 Rozkvet Slovakia 10.30 Ave Musica Ukraine 11.30 Shtaslivetsa Bulgaria 10.40 Vox Humana Romania 10.50 Girls’ Youth Choir Onmes Latvia Competition Concert 4, Saturday 28.08.2010 Concert od Sacred Music 2, Sunday -
The Influence of Bulgarian Folk Music on Petar Christoskov's Suites And
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Louisiana State University Louisiana State University LSU Digital Commons LSU Major Papers Graduate School 2004 The influence of Bulgarian folk music on Petar Christoskov's Suites and Rhapsodies for solo violin Blagomira Paskaleva Lipari Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_majorpapers Part of the Music Commons Recommended Citation Lipari, Blagomira Paskaleva, "The influence of Bulgarian folk music on Petar Christoskov's Suites and Rhapsodies for solo violin" (2004). LSU Major Papers. 47. https://digitalcommons.lsu.edu/gradschool_majorpapers/47 This Major Paper is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Major Papers by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. THE INFLUENCE OF BULGARIAN FOLK MUSIC ON PETAR CHRISTOSKOV’S SUITES AND RHAPSODIES FOR SOLO VIOLIN Written Document Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in The Department of Music by Blagomira Paskaleva Lipari B. M., State Academy of Music, Sofia, Bulgaria, June 1996 M. M., Louisiana State University, May 1998 August, 2004 ACKNOWLEDGMENTS This project could not have been possible without the support and encouragement of several people. Thanks to my violin professor Kevork Mardirossian for providing the initial inspiration for this project and for his steady guidance throughout the course of its completion. -
Violino E Tecnologia Origem E Evolução Tecnológica Entre Os
UNIVERSIDADE NOVA DE LISBOA FACULDADE DE CIÊNCIAS SOCIAIS E HUMANAS DEPARTAMENTO DE CIÊNCIAS MUSICAIS Carlos Alexandre Mourão de Carvalho e Damas Violino e Tecnologia Origem e evolução tecnológica entre os séculos XV e XXI Para Obtenção do Grau de Mestre em Artes Musicais – Estudos em Música e Tecnologias Orientado por : Prof. Doutora Isabel Pires LISBOA ANO UNIVERSITÁRIO DE 2011 / 2012 1 AGRADECIMENTOS Agradeço a colaboração e auxílio das seguintes pessoas: Prof. Doutora Isabel Pires; Sr. Ralph Ashmead, fabricante e colecionador de arcos, Califórnia, E.U.A.; Sr. Pieter Afourttit, investigador e fabricante de arcos históricos, Holanda; Sr. José Vázquez, investigador, Fundação Orpheon, Áustria; Sra. Celia Willitt, Cooper Collection, Reino Unido; Sr. Justin Robertson, Robertson & Sons violin shop, Albuquerque, E.U.A.; Sr. Arian Sheets, National Music Museum, Universty of South Dakota, E.U.A.; Sr. John Silzel, professor associado da Biola University, Departement of Chemistry, Physics & Engineering, La Mirada – California, E.U.A.; Sr. Suguro Goto, investigador, IRCAM, Paris. 2 SUMÁRIO I. AS ORIGENS........................................................................................................... 6 1.1 As origens e evolução do violino até ao século XVI ............................................................... 7 I.1 As origens e evolução do arco até ao século XVI ..................................................................19 II. MUDANÇAS TECNOLOGICAS ENTRE OS SÉCULOS XVI E XIX ........... 21 II.1 Evolução da forma e estrutura -
The Influence of Bulgarian Folk Music on Petar Christoskov's Suites and Rhapsodies for Solo Violin
Louisiana State University LSU Digital Commons LSU Major Papers Graduate School 2004 The influence of Bulgarian folk music on Petar Christoskov's Suites and Rhapsodies for solo violin Blagomira Paskaleva Lipari Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_majorpapers Part of the Music Commons Recommended Citation Lipari, Blagomira Paskaleva, "The influence of Bulgarian folk music on Petar Christoskov's Suites and Rhapsodies for solo violin" (2004). LSU Major Papers. 47. https://digitalcommons.lsu.edu/gradschool_majorpapers/47 This Major Paper is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Major Papers by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. THE INFLUENCE OF BULGARIAN FOLK MUSIC ON PETAR CHRISTOSKOV’S SUITES AND RHAPSODIES FOR SOLO VIOLIN Written Document Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in The Department of Music by Blagomira Paskaleva Lipari B. M., State Academy of Music, Sofia, Bulgaria, June 1996 M. M., Louisiana State University, May 1998 August, 2004 ACKNOWLEDGMENTS This project could not have been possible without the support and encouragement of several people. Thanks to my violin professor Kevork Mardirossian for providing the initial inspiration for this project and for his steady guidance throughout the course of its completion. His professional dedication to music and teaching is a gift to all his students. -
EAST-CENTRAL EUROPEAN & BALKAN SYMPHONIES from the 19Th Century to the Present Composers
EAST-CENTRAL EUROPEAN & BALKAN SYMPHONIES From the 19th Century to the Present A Discography of CDs and LPs Prepared by Michael Herman Composers R-Z ALEXANDER RAICHEV (1922-2003, BULGARIAN) Born in Lom. He studied composition with Assen Karastoyanov and Parashkev Hadjiev at the Sofia State Conservatory and then privately with Pancho Vladigerov. He went on for post-graduate studies at the Liszt Music Academy in Budapest where he studied composition with János Viski and Zoltán Kodály and conducting with János Ferencsik. He worked at the Music Section of Radio Sofia and later conducted the orchestra of the National Youth Theatre prior to joining the staff of the State Academy of Music as lecturer in harmony and later as professor of harmony and composition. He composed operas, operettas, ballets, orchestral, chamber and choral works. There is an unrecorded Symphony No. 6 (1994). Symphony No. 1 (Symphony-Cantata) for Mixed Choir and Orchestra "He Never Dies" (1952) Konstantin Iliev/Bulgarian A Capella Choir "Sv. Obretanov"/Sofia State Philharmonic Orchestra BALKANTON BCA 1307 (LP) (1960s) Vasil Stefanov/Bulgarian Radio Symphony Orchestra and Chorus BALKANTON 0184 (LP) (1950s) Symphony No. 2 "The New Prometheus" (1958) Vasil Stefanov/Bulgarian Radio Symphony Orchestra BALKANTON BCA 176 (LP) (1960s) Yevgeny Svetlanov/USSR State Symphony Orchestra (rec. 1965) ( + Vladigerov: Piano Concertos Nos. 3 and 4 and Marinov: Fantastic Scenes) MELODIYA D 016547-52 (3 LPs) (1965) Symphony No. 3 "Strivings" (1966) Dimiter Manolov/Sofia State Philharmonic Orchestra ( + Bulgaria-White, Green, Red Oratorio) BALKANTON BCA 2035 (LP) (1970s) Ivan Voulpe/Bourgas State Symphony Orchestra ( + Stravinsky: Firebird Suite) BALKANTON BCA 1131 (LP) (c. -
Ege'nin Iki Yakasinda Yay Sesleri1
Cilt-Volume: 2 | Sayı-Issue: 2 | Sayfa-Page: 343-356 | Güz-Fall | Yıl-Year: 2017 IBAD, 2017; 2(2):343-356 Geliş tarihi/First received: 29.04.2017 Kabul tarihi/Accepted: 15.07.2017 EGE’NİN İKİ YAKASINDA YAY SESLERİ1 Doç. Dr. Gözde Çolakoğlu SARI2 Özet Tarih süzgecinden geçerek kuşaktan kuşağa aktarılan kültürel öğelerden olan, müzik yapmak amacıyla kullanılan ve ses çıkaran nesneler şeklinde tarif edilebilen çalgılar, toplumların kültürel varlıklarını ayakta tutan temel direklerdendir. Bu temsili özellikleri onların farklı kültür ve coğrafyalarda, farklı işlevlerle çalınmasına sebep olmuştur. Çalındıkları toplumlara özgü özellikleri kendi kimliklerine yerleştirdikleri için; pek çok ülke, bölge ve yöreyle özdeşleşmiş ve bölgesel ve yöresel özellikleri üzerlerinde taşır hale gelmişlerdir. Bu özellikler bağlamında; tellere tırnak teması suretiyle çalınan ve armudî biçime sahip yaylı çalgı incelendiğinde; aynı çalgı tipinin farklı kimlik, işlev ve özelliklerle Ege’nin iki yakasında icra edildiği görülmektedir. Ege Denizindeki Yunanistan adalarından Atina ve Selanik’e, İstanbul’dan İzmir, Fethiye, Antalya ve Burdur’a kadar geniş bir coğrafyada çalınan çalgı; bölgesine göre kâh lyra, kâh kemençe, kâh Yörük kemanesi olur. Bölge genişletilecek olunursa, Ege Denizi’nin paralelinde Akdeniz’e kavuşan Adriyatik’e kıyısı olan Hırvatistan’ın Dubrovnik şehrinde lyrica olarak görülen çalgı, Bulgaristan’da gadulka, Türkiye’nin Batı Karadeniz bölgesinde ise tırnak kemane adını alır. Bu makalede köklü bir tarihe ve geniş bir coğrafi konuma sahip olan söz konusu çalgının, Ege’nin iki yakasında icra edilen versiyonları karşılaştırmalı olarak incelenecektir. Çalgılar iş gördükleri müzik türleri, tarihi ve coğrafi yakınlıkları ve ortak bir mirasa sahip olmalarının getirdiği sonuçlar bağlamında araştırılacak, ses renkleri, yapıları, icra tarzları ve aralarındaki etkileşimler irdelenecektir. -
Balkanicus Ensemble
THE COLORADO COLLEGE MUSIC DEPARTMENT Presents Balkanicus Ensemble Patrick O’Keefe, clarinet Nikolay Gueorguiev, gadulka Nickolai Kolarov, cello Jill Dawe, piano Peter Cooper, percussion The Irregulars Bulgarian contemporary and traditional music Dedicated to the 80th anniversary of Vassil Kazandjiev and 90th anniversary of the birth of Konstantin Iliev Thursday February 6, 2014 7:30 PM Packard Hall Saga of Konstantin Iliev for Cello and Piano Vassil Kazandjiev (b.1934) Seven Bagatelles for Clarinet and Cello Konstantin Iliev (1924-1988) Trio Sonata – In Memory of Lazar Nikolov for Clarinet, Cello and Piano Vassil Kazandjiev Lento - Allegro Adagio e rubato molto - Allegro marcato Adagio - Lento The Song of the Dolphin for Cello and Vibraphone Vassil Kazandjiev Concertino for Gadulka and Piano Nikolay Stoykov Moderate fast (b.1936) Slow Playful Potpourri of Bulgarian Folk Tunes Traditional Please refrain from using electronic devices during the concert PROGRAM NOTES The Bulgarian folk music is known for its emblematic irregular rhythms, unique singing intonations and dances, made famous by the Mystery of the Bulgarian voices and other ensembles. On the other hand the music of the contemporary composers, some of whom we will introduce you to, is less known. Nikolay Stoykov bases his piece on this tradition. Konstantin Iliev, Lazar Nikolov, Ivan Spassov and Vassil Kazandjiev were among the pioneers of a new revolutionary music. As it came in contrast to Socialist realism it was rejected and they were accused by the powerful of the day of promoting Western formalism. We would like you to feel some of the atmosphere in which they worked and the passions that their music caused. -
Medium of Performance Thesaurus for Music
A clarinet (soprano) albogue tubes in a frame. USE clarinet BT double reed instrument UF kechruk a-jaeng alghōzā BT xylophone USE ajaeng USE algōjā anklung (rattle) accordeon alg̲hozah USE angklung (rattle) USE accordion USE algōjā antara accordion algōjā USE panpipes UF accordeon A pair of end-blown flutes played simultaneously, anzad garmon widespread in the Indian subcontinent. USE imzad piano accordion UF alghōzā anzhad BT free reed instrument alg̲hozah USE imzad NT button-key accordion algōzā Appalachian dulcimer lõõtspill bīnõn UF American dulcimer accordion band do nally Appalachian mountain dulcimer An ensemble consisting of two or more accordions, jorhi dulcimer, American with or without percussion and other instruments. jorī dulcimer, Appalachian UF accordion orchestra ngoze dulcimer, Kentucky BT instrumental ensemble pāvā dulcimer, lap accordion orchestra pāwā dulcimer, mountain USE accordion band satāra dulcimer, plucked acoustic bass guitar BT duct flute Kentucky dulcimer UF bass guitar, acoustic algōzā mountain dulcimer folk bass guitar USE algōjā lap dulcimer BT guitar Almglocke plucked dulcimer acoustic guitar USE cowbell BT plucked string instrument USE guitar alpenhorn zither acoustic guitar, electric USE alphorn Appalachian mountain dulcimer USE electric guitar alphorn USE Appalachian dulcimer actor UF alpenhorn arame, viola da An actor in a non-singing role who is explicitly alpine horn USE viola d'arame required for the performance of a musical BT natural horn composition that is not in a traditionally dramatic arará form. alpine horn A drum constructed by the Arará people of Cuba. BT performer USE alphorn BT drum adufo alto (singer) arched-top guitar USE tambourine USE alto voice USE guitar aenas alto clarinet archicembalo An alto member of the clarinet family that is USE arcicembalo USE launeddas associated with Western art music and is normally aeolian harp pitched in E♭.