Music Practices Across Borders
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Toom-Bah-Ee-Lero”
ESO WORLD TOUR Grades 1 through 8 Tuesday, April 2, 2019 (Middle School Day) Wednesday, April 3, 2019 Thursday, April 4, 2019 Friday, April 5, 2019 1 ESO WORLD TOUR Spring Festival Overture Li Huanzhi Shepherd’s Hey Percy Grainger Polonaise brillante No. 2 Henryk Wieniawski Claire Arias-Kim, violin African Drumming Demo Michael Folker Beneath Alex Shapiro Suite from “Frozen” Arr. Krogstad Mambo from West Side Story Leonard Bernstein 2 Many thanks to the Elgin Symphony’s education committee for the idea to take this concert on a world tour! It was a unanimous choice: let’s sample orchestral music from the world’s seven continents. Choosing the repertoire for the concert was not as easy as we thought it might be during the conception of this program. How can we narrow down the large quantity of orchestral music from Europe, where the symphony orchestra originated? Bach, Mozart, Brahms, Beethoven would all be obvious choices. In a surprising twist we chose a composer from Poland, the home of the brilliant violinist and composer Henryk Wieniawski. We are thrilled to have young violinist Claire Arias-Kim as our soloist for Wieniawski’s Polonaise brilliante No. 2. What repertoire can we choose from the continents with musical traditions that don’t necessarily include traditional western orchestral instruments? What do we do about Antarctica? (We always try to program something that’s just pure fun.) For Africa, we felt it was important to demonstrate the drumming traditions and to highlight the expertise of one of our members, percussionist Michael Folker. It became a concert of interesting connections. -
An Online Cultural Mobility Funding Guide for AFRICA
An online cultural mobility funding guide for AFRICA — by ART MOVES AFRICA – Research INSTITUT FRANÇAIS – Support ON THE MOVE – Coordination Third Edition — Suggestions for reading this guide: We recommend that you download the guide and open it using Acrobat Reader. You can then click on the web links and consult the funding schemes and resources. Alterna- tively, you can also copy and paste the web links of the schemes /resources that interest you in your browser’s URL field. This guide being long, we advise you not to print it, especially since all resources are web-based. Thank you! Guide to funding opportunities for the international mobility of artists and culture professionals: AFRICA — An online cultural mobility funding guide for Africa by ART MOVES AFRICA – Research INSTITUT FRANÇAIS – Support ON THE MOVE – Coordination design by Eps51 December 2019 — GUIDE TO FUNDING OPPORTUNITIES FOR THE INTERNATIONAL MOBILITY OF ARTISTS AND CULTURE PROFESSIONALS – AFRICA Guide to funding opportunities for the international This Cultural Mobility Funding Guide presents a mapping of mobility of funding opportunities for interna- tional cultural mobility, focused artists and culture on the African continent. professionals The main objective of this cul- tural mobility funding guide is to AFRICA provide an overview of the fund- ing bodies and programmes that support the international mobility of artists and cultural operators from Africa and travelling to Africa. It also aims to provide input for funders and policy makers on how to fill the existing -
Safeguarding the Intangible Cultural Heritage and Diverse Cultural Traditions of India”
Scheme for “Safeguarding the Intangible Cultural Heritage and Diverse Cultural Traditions of India” Form for National Inventory Register of Intangible Cultural Heritage of India A. Name of the State WEST BENGAL B. Name of the Element/Cultural Tradition (in English) BENA B.1. Name of the element in the language and script of the community Concerned, if applicable 뇍যানা (Bengali) C. Name of the communities, groups or, if applicable, individuals concerned (Identify clearly either of these concerned with the practice of the said element/cultural tradition) The Bena is traditionally used by two communities - the Rajbongshis and the Meities of Manipur. The Rajbongshis are spread across North Bengal, western Assam, Meghalaya and eastern parts of Bihar and the neighbouring countries of Bangladesh and Nepal. The Meiteis of Manipur have a similar instrument which they call the Pena and it plays a very important role in their culture - accompanying many of their rituals and their folk music. It continues to play a much larger role in their lives than the Bena does among the Rajbongshis. D. Geographical location and range of the element/cultural tradition (Please write about the other states in which the said element/tradition is present ) The Bena is to be found in the northern districts of Cooch Behar and Jalpaiguri (which has recently been bifurcated into Jalpaiguri and Alipurduar districts) in West Bengal, Assam, Meghalaya, Bihar and also neighbouring countries like Bangladesh and Nepal. The Bena is traditionally an integral part of a Rajbongshi folk theatre called Kushan. However the Kushan tradition prevails only in North Bengal, Bangladesh and Assam. -
17 Nov. → 24 Déc. 2017 Édition
e édition festival dyonisien migrateur musiques — créations rencontres 17 nov. → 24 déc. 2017 Edito edito Petites et grandes histoires Tout récit est tissé de paroles, de silences, d’oublis, de souvenirs refabriqués, de fictions devenues légendes. Pour son édition 2017, Africolor fait une scène de ces fictions, imaginaires, petites et grandes histoires. Entre le temps fort consacré à Mé 67 et la jet-set imaginaire du coupé-décalé, entre le centenaire de Jean Rouch et le Pas de Côté consacré aux traditions inventées, le festival naviguera de souvenirs douloureux en fictions hilarantes, de récits des routes musicales en cérémonies aux ancêtres, entre vérités plurielles et créations enjaillées. Ce sont les artistes eux-mêmes qui seront les faiseurs d’histoires : Kar Kar pour nous faire écouter le lien entre Louisiane et Mali, Naïssam Jalal et Noura Mint Seymali, Abou Diarra et Mehdi Nassouli pour relier le Nord et le Sud de l’Afrique de l’Ouest ; Ann O’aro, Tao Ravao, Mounawar, Danyèl Waro et Absoir pour raconter les créolités de l’Océan Indien ; Jupiter et Lexxus Legal, Roberto Negro et Valentin Ceccaldi, pour nous conter les transes urbaines du Kinshasa d’aujourd’hui. Entre histoires d’exils et rencontres transatlantiques, Africolor fera aussi une place aux artistes arrivants, soudanais ou syriens, pour une grande soirée à la toute nouvelle MC93 avec la complicité d’Alsarah, la plus brooklynienne des soudanaises. Puis, comme un retour aux origines du festival, Malisadio sera le spectacle autour du Mali, de ses musiques et de sa société. Écrit par Vladimir Cagnolari et Vincent Lassalle, tout en rythmes et en humour, ce spectacle sur le Mali d’aujourd’hui sera un peu l’histoire d’Africolor, qui pour ses 28 ans est toujours farouchement dionysien et migrateur à la fois. -
Spirit of Africa
FULL SCORE Spirit of Africa For Soprano Soloist, SATB Choir and Chamber Orchestra Photo: David Fanshawe, East Africa Music: Liz Lane Words: Jennifer Henderson Spirit of Africa Programme note Spirit of Africa is written as a companion piece to David Fanshawe’s African Sanctus and is inspired by the colours and symbolic meanings of the flags of Egypt, Sudan, Uganda and Kenya, the countries visited by David during his travels recording music for African Sanctus in 1969-1973. The words and music of the five movements trace a journey through the day, with the colour white for daybreak mist, green for morning freshness, red for midday heat, gold for sunset and black for night; each with its own mood and character, hopes and fears. Spirit of Africa is dedicated to David and his wife Jane. Liz Lane and Jennifer Henderson, May 2012 www.lizlane.co.uk 1. Promise of daybreak veiled in the early mist, hidden in shadows that cling to the night; Earth turning slowly toward a new journey into the morning, unknown, beyond sight. Birdsong dispelling the silence of waiting, lifting the darkness with wings taking flight; spray from the waterfall showering diamonds, carving the rock face with ribbons of white. Sweet is the air in the breath of the morning, spirit of purity, radiant light! 2. Dance, my friends, dance with the Earth, dance with the spring time of the year’s rebirth; dance with the sunshine, dance with the breeze, dance with the butterflies, dance with the bees. Sing, my friends, sing with the hills, sing with the river the rain cloud fills; sing with the green grass, sing with the trees, sing with the birds and the fish in the seas. -
Categorization of Stringed Instruments with Multifractal Detrended Fluctuation Analysis
CATEGORIZATION OF STRINGED INSTRUMENTS WITH MULTIFRACTAL DETRENDED FLUCTUATION ANALYSIS Archi Banerjee*, Shankha Sanyal, Tarit Guhathakurata, Ranjan Sengupta and Dipak Ghosh Sir C.V. Raman Centre for Physics and Music Jadavpur University, Kolkata: 700032 *[email protected] * Corresponding Author ABSTRACT Categorization is crucial for content description in archiving of music signals. On many occasions, human brain fails to classify the instruments properly just by listening to their sounds which is evident from the human response data collected during our experiment. Some previous attempts to categorize several musical instruments using various linear analysis methods required a number of parameters to be determined. In this work, we attempted to categorize a number of string instruments according to their mode of playing using latest-state-of-the-art robust non-linear methods. For this, 30 second sound signals of 26 different string instruments from all over the world were analyzed with the help of non linear multifractal analysis (MFDFA) technique. The spectral width obtained from the MFDFA method gives an estimate of the complexity of the signal. From the variation of spectral width, we observed distinct clustering among the string instruments according to their mode of playing. Also there is an indication that similarity in the structural configuration of the instruments is playing a major role in the clustering of their spectral width. The observations and implications are discussed in detail. Keywords: String Instruments, Categorization, Fractal Analysis, MFDFA, Spectral Width INTRODUCTION Classification is one of the processes involved in audio content description. Audio signals can be classified according to miscellaneous criteria viz. speech, music, sound effects (or noises). -
Lotus Infuses Downtown Bloomington with Global
FOR MORE INFORMATION: [email protected] || 812-336-6599 || lotusfest.org FOR IMMEDIATE RELEASE: 8/26/2016 LOTUS INFUSES DOWNTOWN BLOOMINGTON WITH GLOBAL MUSIC Over 30 international artists come together in Bloomington, Indiana, for the 23rd annual Lotus World Music & Arts Festival. – COMPLETE EVENT DETAILS – Bloomington, Indiana: The Lotus World Music & Arts Festival returns to Bloomington, Indiana, September 15-18. Over 30 international artists from six continents and 20 countries take the stage in eight downtown venues including boisterous, pavement-quaking, outdoor dance tents, contemplative church venues, and historic theaters. Representing countries from A (Argentina) to Z (Zimbabwe), when Lotus performers come together for the four-day festival, Bloomington’s streets fill with palpable energy and an eclectic blend of global sound and spectacle. Through music, dance, art, and food, Lotus embraces and celebrates cultural diversity. The 2016 Lotus World Music & Arts Festival lineup includes artists from as far away as Finland, Sudan, Ghana, Lithuania, Mongolia, Ireland, Columbia, Sweden, India, and Israel….to as nearby as Virginia, Vermont, and Indiana. Music genres vary from traditional and folk, to electronic dance music, hip- hop-inflected swing, reggae, tamburitza, African retro-pop, and several uniquely branded fusions. Though US music fans may not yet recognize many names from the Lotus lineup, Lotus is known for helping to debut world artists into the US scene. Many 2016 Lotus artists have recently been recognized in both -
Brazilian Choro
The Brazilian by Tadeu Coelho and Julie Koidin Choro: Historical Perspectives and Performance Practices alanço is to choro as swing is to jazz—in both, mandatory elements to proper performance Band enjoyment of the music. Immersion in the sound of choro is imperative to playing it well. Knowledge of its origins and history is also helpful. Introduction the melody through spirited improvisations, sometimes David Willoughby, editor of the College Music Society quoting other melodies, from popular to classical styles. Newsletter, posed these questions: Should it not be a con- Although easier to decipher these performance intricacies stantly sought after goal for musicians trained in narrow via recordings, it still remains difficult—although not specialties to work together towards broader musical impossible—to catch the “twinkle” in the performer’s eye. understandings and towards the creation of a more Choro’s limited dissemination is furthered by its lack of vibrant musical culture? Should such a culture comprise accurate printed music. The vast majority of sheet music only materials imported from Western Europe? Should it publications have accompaniment that is written in a lead not synthesize musical repertories, of various kinds, from sheet format, i.e. chord symbols over melody. Without a all over the world?1 recording, it would be impossible to decipher the rhythms Throughout the world, the tradition of a country studying used in the accompaniment. The numerous errors found in its own cultural practices is not inceptive with its art. Such is the majority of publications, both in the melodic lines and the case of the choro, an indigenous music of Brazil, mostly chord symbols, further infringe on the probability of the instrumental, but at times with lyrics. -
AFRICAN SANCTUS Für Sopran, Chor, Instrumentalensemble Und Tonband Yvonne Friedli • Ölberg-Chor • Ingo Schulz Livemitschnitt Vom 19
David Fanshawe (*1942) AFRICAN SANCTUS für Sopran, Chor, Instrumentalensemble und Tonband Yvonne Friedli • Ölberg-Chor • Ingo Schulz www.emmaus.de Livemitschnitt vom 19. u. 20.5.2006, Emmaus-Kirche, Berlin-Kreuzberg „One World, one Music“ David Fanshawe (*1942): African Sanctus für Sopran, Chor, Instrumentalensemble und Tonband David Fanshawe ist Komponist, Forscher, Musikethnologe, Fotograf und Autor. Er hat zahlreiche internationale Auszeichnungen erhalten. Begonnen hat seine Karriere mit der Filmmontage, später dann wandte er sich am Royal College of Music mit John Lambert dem Studium der Komposition zu. 1970 fand er internationale Anerkennung mit Salaams, einem Werk, das auf Rhythmen der Perlenfischer von Bahrain aufbaut. Andere Konzertstücke: Fantasy on Dover Castle, Requiem for the Children of Aberfan, The Awakening, Dona Nobis Pacem. Neben Gesangsstücken hat er auch die Filmmusik für über 30 Filme und TV-Produktionen komponiert. Eine geglückte Mischung aus Musik und Reisen prägt seine sehr eigenen Werke. Seiner 10 Jahre dauernden Odyssee durch die Inseln des Pazifischen Ozeans verdanken wir unzählige Filme, Dias und handgeschriebene Hefte, die uns die Musik und mündlich überlieferten Traditionen Polynesiens, Mikronesiens und Melanesiens vermitteln. Heute lebt er in Wiltshire / Großbritannien................................ African Sanctus ist eine unorthodoxe Fassung der lateinischen Messe, in Einklang gebracht mit traditioneller afrikanischer Musik, die der Komponist auf seinen Nilreisen (1969-1973) aufgenommen hat. David Fanshawe reiste 1960 das erste Mal nach Afrika. Ihn bewegte die Idee, ein großes Werk zu komponieren, das seine Liebe zum Reisen, zum Abenteuer und zur Tonbanddokumentation vereinen sollte..................... In Kairo, auf dem Hügel der Zitadelle stehend und über den Nil blickend, hatte er zum ersten Mal die Vorstellung einer ungewöhnlichen Kombination von westlicher Chormusik mit dem Gebetsruf des islamischen Muezzin. -
UNLV Magazine UNLV Publications
UNLV Magazine UNLV Publications Spring 1994 UNLV Magazine Barbara Cloud University of Nevada, Las Vegas Follow this and additional works at: https://digitalscholarship.unlv.edu/unlv_magazine Part of the Arts and Humanities Commons, Curriculum and Instruction Commons, Curriculum and Social Inquiry Commons, and the Social and Behavioral Sciences Commons Repository Citation Cloud, B. (1994). UNLV Magazine. In S. DiBella (Ed.),, UNLV Magazine, 2(2), 1-17. Available at: https://digitalscholarship.unlv.edu/unlv_magazine/40 This Magazine is protected by copyright and/or related rights. It has been brought to you by Digital Scholarship@UNLV with permission from the rights-holder(s). You are free to use this Magazine in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. This Magazine has been accepted for inclusion in UNLV Magazine by an authorized administrator of Digital Scholarship@UNLV. For more information, please contact [email protected]. es Part()f~at~akes UNLV A National Flagship University JUCG lhe Physics Department knows about motion: it's moving into a $9.2 million, 65,000-square- foot facility that's nothing short of state-of-the-art. .. What's inside that building is even more impressive. Bright students learning from brilliant teachers, teachers specializing in extragalactic astronomy, condensed matter theory, and atomic and molecular theory. \~ Maybe that's why anyone - student or teacher - who's serious about physics is serious about UNLV. -
Brasilian Rhythms and Drumming Techniques
BRASILIAN RHYTHMS AND DRUMMING TECHNIQUES Dr. Jason Koontz Director of Percussion Studies Eastern Kentucky University GENERAL CHARACTERISTICS OF AFRO-BRASILIAN MUSIC *Call and response *Rhythmic complexity (syncopation & polyrhythm) *Structure based on melodic/rhythmic ostinato patterns *Use of timeline/clave *Music as means of communal participation SAMBA - AFRO-BRASILIAN URBAN POPULAR SONG/DANCE FORM Carnival samba (e.g. Samba Batucada and Samba Enredo (Rio,São Paulo), Axé (Bahia) §Characterized by heavy percussion, songs about themes presented in Carnival Pagode (Year-round) samba §Characterized by light percussion and plucked string accompaniment (guitar, cavaquinho) §Songs often satiric, witty, improvised Partido Alto Rhythm Variations A ™2 ≈ ¿™ ¿ ¿ ¿ ¿ ≈ ¿ ¿ ™ / 4 J 3 B ™ ¿ ¿ ≈ ¿ ¿ ≈ ¿™ ¿ ¿ ™ / J 5 C ™ ≈ ¿ ¿ ‰ ¿ ¿ ¿ ¿™ ¿ ™ / J 7 D ™ ≈ ¿ ¿ ‰ ¿ ¿ ¿ ≈ ¿ ¿ ™ / J 9 E *"palma da mão" rhythm ™ ¿™ ¿ ‰ ¿ ¿™ ¿ ‰ ¿ / J J PAGODE INSTRUMENTS: Surdo de Mão – Bass drum instrument played with the hand (a.k.a. Tan Tan, Rebolo) Tamborim (tom-boo-reem), a small single-headed frame drum Pandeiro, (pahn-dey-roo) a tambourine Reco-Reco (hecko-hecko) – scraped metal spring instrument (like a metal Guiro) Cuica (Kwee-Ka) friction drum Cavaquinho – Brasilian counterpart to the Portuguese Cavaquinho, and Ukulele (steel strings G-D-B-G) Pagode (pah-go-jee) rhythms A pattern 1 B pattern 2 > > > > > > > > ° ™2 œ œ œ ™ ™ œ œ œ œ œ œ œ œ ™ Cuíca / ™4 ≈ œ œ œ ≈ œ œ ™ ™ œ œ œ œ œ œ œ œ ™ ™2 ≈ ≈ ™ ™ ≈ ≈ ™ Tamborim / ™4 ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ™ ™ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ™ *"Teleco-teco" rhythm (based on Partido Alto) >. >. >o >. >. >. >o >. ™ o o ™ ™ ™ 2 >¿ >¿ o >¿ ≈ o o ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ Pandeiro / ™4 ≈ œ œ œ œ œ ™ ™ œ œ œ œ œ œ œ œ ™ t f h f t f h f t f h f t f h f . -
PORT 365 Course Syllabus
University of Washington Department of Spanish and Portuguese Studies Portuguese 365/ JSIS A 365 From Samba to Funk: A Portray of Brazilian Society through Music (Mapping Luso-Brazilian Cultures) Areas of Knowledge: Individual and Societies, Diversity, Visual Literary and Performing Arts Winter 2020 Instructors: Eduardo Viana da Silva [email protected] Class meets on T/Th – 1:30-3:20 pm Phone number: (206) 543-794 Denny Hall, room 259 Office: Padelford, room C-222 Office hours: Tue (3:30-4:30) Th (11:30-12:30) JSIS A 365/ PORT 365 - Catalogue Description Explores cultures of Brazil, Portuguese-speaking Africa, Asia, and Europe within the framework of cultural studies theory. Follows an interdisciplinary approach, drawing from readings, audio files (radio), films and documentaries in history, literature, arts and performances, anthropology, among others. Focuses on selected cultural aspects and countries. Taught in English. Course Description for Winter 2020 This course will look at several cultural representations of Brazil and other Portuguese-speaking countries through music, including genres as samba, choro, tropicália, maracatu, and funk, among others. Most of the course work will focus on Brazilian society and history through music. We will also study some of the musical genres from Portugal, Angola, Cape Verde, and Mozambique and its historical and cultural aspects as well. By the end of this course students will be able to: • Evaluate aspects of culture formation through several music genres in Brazil, Mozambique, Angola, Cape Verde, and Portugal; • Cultivate a critical appreciation and understanding of music genres and artists from the Luso-Brazilian world; • Develop an understanding of pertinent culture differences and global citizenship; • Consider the lasting ideas and values of similarities and differences between the self and the other, in light of each culture; • Learn to read and interpret critically; • Evaluate ideas from multiple perspectives.