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Network Notebook
Network Notebook Fall Quarter 2018 (October - December) 1 A World of Services for Our Affiliates We make great radio as affordable as possible: • Our production costs are primarily covered by our arts partners and outside funding, not from our affiliates, marketing or sales. • Affiliation fees only apply when a station takes three or more programs. The actual affiliation fee is based on a station’s market share. Affiliates are not charged fees for the selection of WFMT Radio Network programs on the Public Radio Exchange (PRX). • The cost of our Beethoven and Jazz Network overnight services is based on a sliding scale, depending on the number of hours you use (the more hours you use, the lower the hourly rate). We also offer reduced Beethoven and Jazz Network rates for HD broadcast. Through PRX, you can schedule any hour of the Beethoven or Jazz Network throughout the day and the files are delivered a week in advance for maximum flexibility. We provide highly skilled technical support: • Programs are available through the Public Radio Exchange (PRX). PRX delivers files to you days in advance so you can schedule them for broadcast at your convenience. We provide technical support in conjunction with PRX to answer all your distribution questions. In cases of emergency or for use as an alternate distribution platform, we also offer an FTP (File Transfer Protocol), which is kept up to date with all of our series and specials. We keep you informed about our shows and help you promote them to your listeners: • Affiliates receive our quarterly Network Notebook with all our program offerings, and our regular online WFMT Radio Network Newsletter, with news updates, previews of upcoming shows and more. -
As General Managers of Public Radio Stations That Serve Millions of Americans in Communities Large and Small, Urban and Rural And;
As General Managers of Public Radio stations that serve millions of Americans in communities large and small, urban and rural and; As Producers of local, regional and national content aired by stations throughout the nation committed to telling the evolving story of America, its proud history, and its committed citizens; We are writing to express our grave concern regarding the House legislation that would prohibit stations from using any Federal funds to pay for national programming and would eliminate CPB’s Program Fund. By prohibiting the use of Federal funds in any national programming, and in particular, by eliminating the CPB Program Fund, millions of Americans will be deprived of critical national and international news, information and cultural programming that cannot be found elsewhere. Local public radio stations will no longer reliably provide the community information and context so necessary to cities and towns challenged by change and faltering economies. Institutions and projects at risk include: - Radio Bilingüe’s national program service, public radio’s principal source of Latino programming - Koahnik Public Media’ Native Voice 1, public radio’s principal source of Native American programming - Youth Media, the California-based media network of young audio and video producers and a key source of a youth voice in the mass media - The Public Insight Network, American Public media’s expanding project to bring citizen experts into public radio journalism - Independent producers who depend upon the Program Fund for money to support production of series such as StoryCorps and This I Believe - Independent organizations dedicated to innovation, training, and excellence in journalism such as the Public Radio Exchange and the Association of Independents in Radio. -
Download Booklet
552127-28bk VBO Debussy 10/2/06 8:40 PM Page 8 CD1 1 Nocturnes II. Fêtes . .. 6:56 2 String Quartet No. 1 in G minor, Op. 10 I. Animé et très décidé . 6:11 3 Prélude à l’après-midi d’un faune . 10:29 4 Estampes III. Jardins sous la pluie . 3:43 5 Cello Sonata in D minor I. Prologue . 4:25 6 Suite bergamasque III. Clair de lune . 4:26 7 Violin Sonata in G minor II. Intermède: fantastique et léger . 4:17 8 24 Préludes No. 8. La fille aux cheveux de lin . 2:14 9 La Mer II. Jeux de vagues . 7:29 0 Pelléas et Melisande Act III Scene 1 . 14:22 ! 24 Préludes No. 12. Minstrels . 2:05 @ Rapsodie arabe for Alto Saxophone and Orchestra . 10:50 Total Timing . 78:00 CD2 1 Images II. Iberia . 21:43 2 24 Préludes No. 10. La cathédrale engloutie . 5:47 3 Marche écossaise sur un thème populaire . 6:10 4 Images I I. Reflets dans l’eau . 5:15 5 Rêverie . 3:50 6 L’isle joyeuse . 5:29 7 La Mer I. De l’aube à midi sur la mer . 9:18 8 La plus que lente . 4:44 9 Danse sacrée et danse profane II. Danse profane . 5:16 0 Two Arabesques Arabesque No. 1 . 5:05 ! Children’s Corner VI. Golliwogg’s Cake-walk . 3:09 Total Timing . 76:17 FOR FULL LIST OF DEBUSSY RECORDINGS WITH ARTIST DETAILS AND FOR A GLOSSARY OF MUSICAL TERMS PLEASE GO TO WWW.NAXOS.COM 552127-28bk VBO Debussy 10/2/06 8:40 PM Page 2 CLAUDE DEBUSSY (1862-1918) Children’s Corner VI. -
From the Editor Contact Elisabeth at [email protected]
British Flute Society @BritishFluteSoc on Facebook @TheFluteEditor From the Editor Contact Elisabeth at [email protected] s December arrives, members of the British Flute Society can reflect on another successful year. In 2013, we have been privileged to enjoy exceptional recitals from our various Premier Flautists; our annual competitions continue to grow in both popularity and attainment, and there has been a growing involvement from Aour regional representatives, many of whom have organised local events. We are, as always, greatly indebted to many people: artists, trade specialists, and flute-loving volunteers, all of whom have made the events of the past year possible. In 2014 the BFS-RAM Premier Flautist recital series will continue, starting with the acclaimed duo of Andy Findon and Geoff Eales who will perform theirDancing Flute programme at the Duke’s Hall, Royal Academy of Music, on 16 February. Most excitingly, planning for the Convention is also now well under way, thanks to the hard work of Convention Director Carla Rees, and this issue unveils a preview of some of the artists who will be joining us in Warwick in August next year. Finally, on a personal note, I would like to thank everyone who has contributed to PAN over the past year. Without the generous commitment of time and expertise freely given by contributors and reviewers from around the world, this magazine could not exist. I am very grateful for your help and your flute- playing friendship. I hope you enjoy the December edition of PAN. Elisabeth Hobbs Editor December -
Female Composer Segment Catalogue
FEMALE CLASSICAL COMPOSERS from past to present ʻFreed from the shackles and tatters of the old tradition and prejudice, American and European women in music are now universally hailed as important factors in the concert and teaching fields and as … fast developing assets in the creative spheres of the profession.’ This affirmation was made in 1935 by Frédérique Petrides, the Belgian-born female violinist, conductor, teacher and publisher who was a pioneering advocate for women in music. Some 80 years on, it’s gratifying to note how her words have been rewarded with substance in this catalogue of music by women composers. Petrides was able to look back on the foundations laid by those who were well-connected by family name, such as Clara Schumann and Fanny Mendelssohn-Hensel, and survey the crop of composers active in her own time, including Louise Talma and Amy Beach in America, Rebecca Clarke and Liza Lehmann in England, Nadia Boulanger in France and Lou Koster in Luxembourg. She could hardly have foreseen, however, the creative explosion in the latter half of the 20th century generated by a whole new raft of female composers – a happy development that continues today. We hope you will enjoy exploring this catalogue that has not only historical depth but a truly international voice, as exemplified in the works of the significant number of 21st-century composers: be it the highly colourful and accessible American chamber music of Jennifer Higdon, the Asian hues of Vivian Fung’s imaginative scores, the ancient-and-modern syntheses of Sofia Gubaidulina, or the hallmark symphonic sounds of the Russian-born Alla Pavlova. -
2010 Npr Annual Report About | 02
2010 NPR ANNUAL REPORT ABOUT | 02 NPR NEWS | 03 NPR PROGRAMS | 06 TABLE OF CONTENTS NPR MUSIC | 08 NPR DIGITAL MEDIA | 10 NPR AUDIENCE | 12 NPR FINANCIALS | 14 NPR CORPORATE TEAM | 16 NPR BOARD OF DIRECTORS | 17 NPR TRUSTEES | 18 NPR AWARDS | 19 NPR MEMBER STATIONS | 20 NPR CORPORATE SPONSORS | 25 ENDNOTES | 28 In a year of audience highs, new programming partnerships with NPR Member Stations, and extraordinary journalism, NPR held firm to the journalistic standards and excellence that have been hallmarks of the organization since our founding. It was a year of re-doubled focus on our primary goal: to be an essential news source and public service to the millions of individuals who make public radio part of their daily lives. We’ve learned from our challenges and remained firm in our commitment to fact-based journalism and cultural offerings that enrich our nation. We thank all those who make NPR possible. 2010 NPR ANNUAL REPORT | 02 NPR NEWS While covering the latest developments in each day’s news both at home and abroad, NPR News remained dedicated to delving deeply into the most crucial stories of the year. © NPR 2010 by John Poole The Grand Trunk Road is one of South Asia’s oldest and longest major roads. For centuries, it has linked the eastern and western regions of the Indian subcontinent, running from Bengal, across north India, into Peshawar, Pakistan. Horses, donkeys, and pedestrians compete with huge trucks, cars, motorcycles, rickshaws, and bicycles along the highway, a commercial route that is dotted with areas of activity right off the road: truck stops, farmer’s stands, bus stops, and all kinds of commercial activity. -
Boston Symphony Orchestra Concert Programs, Season
Mffi — - ,„ :{ ^. ;/j ' "'^/FWS5Sj_£gj. QUADRUM The Mali. At Chkstnut Hill 617-965-5555 Seiji Ozawa, Music Director Carl St. Clair and Pascal Verrot, Assistant Conductors One Hundred and Eighth Season, 1988-89 Trustees of the Boston Symphony Orchestra, Inc. Nelson J. Darling, Jr., Chairman George H. Kidder, President J. P. Barger, Vice-Chairman Mrs. Lewis S. Dabney, Vice-Chairman Archie C. Epps, Vice-Chairman William J. Poorvu, Vice-Chairman and Treasurer Vernon R. Alden Mrs. Eugene B. Doggett Mrs. Robert B. Newman David B. Arnold, Jr. Mrs. John H. Fitzpatrick Peter C. Read Mrs. Norman L. Cahners Avram J. Goldberg Richard A. Smith James F. Cleary Mrs. John L. Grandin Ray Stata Julian Cohen Francis W. Hatch, Jr. William F. Thompson William M. Crozier, Jr. Harvey Chet Krentzman Nicholas T. Zervas Mrs. Michael H. Davis Mrs. August R. Meyer Trustees Emeriti Philip K. Allen E. Morton Jennings, Jr. Mrs. George R. Rowland Allen G. Barry Edward M. Kennedy Mrs. George Lee Sargent Leo L. Beranek Albert L. Nickerson Sidney Stoneman Mrs. John M. Bradley Thomas D. Perry, Jr. John Hoyt Stookey Abram T. Collier Irving W. Rabb John L. Thorndike Mrs. Harris Fahnestock Other Officers of the Corporation John Ex Rodgers, Assistant Treasurer Jay B. W&iles, Assistant Treasurer Daniel R. Gustin, Clerk Administration Kenneth Haas, Managing Director Daniel R. Gustin, Assistant Managing Director and Manager of Tanglewood Michael G. McDonough, Director of Finance and Business Affairs Anne H. Parsons, Orchestra Manager Costa Pilavachi, Artistic Administrator Caroline Smedvig, Director of Promotion Josiah Stevenson, Director of Development Robert Bell, Data Processing Manager Marc Mandel, Publications Coordinator Helen P. -
City, University of London Institutional Repository
City Research Online City, University of London Institutional Repository Citation: Pace, I. ORCID: 0000-0002-0047-9379 (2021). New Music: Performance Institutions and Practices. In: McPherson, G and Davidson, J (Eds.), The Oxford Handbook of Music Performance. Oxford, UK: Oxford University Press. This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/25924/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] New Music: Performance Institutions and Practices Ian Pace For publication in Gary McPherson and Jane Davidson (eds.), The Oxford Handbook of Music Performance (New York: Oxford University Press, 2021), chapter 17. Introduction At the beginning of the twentieth century concert programming had transitioned away from the mid-eighteenth century norm of varied repertoire by (mostly) living composers to become weighted more heavily towards a historical and canonical repertoire of (mostly) dead composers (Weber, 2008). -
1 Loghaven Artist Residency Launches with Announcement Of
Loghaven Artist Residency Launches with Announcement of Inaugural Artists and Completion of 90-Acre Campus First Artists in Residence Include Ann Carlson, Amy Lam, Jennifer Wen Ma, Daniel Bernard Roumain, Wendy Red Star, and Many Others Loghaven Facilities Include Purpose-Built Studios, New Equipment, and Artist Housing in Rehabilitated, Historic Log Cabins Open Call for Applications for 2021 Residencies to Begin June 1, 2020 Knoxville, TN – January 22, 2020 – Loghaven Artist Residency, a newly created residency for emerging and established artists in the fields of visual art, dance, music, writing, theater, and interdisciplinary work, announces its first group of artists and the completion of its campus. The launch of Loghaven Artist Residency is the culmination of years of planning, research, design, and input from artists, arts leaders, and the Alliance of Artist Communities. The residency features artist housing in historic, rehabilitated log cabins, as well as a newly constructed Performing Arts Studio and Visual Arts Studio, and a 3,900-square-foot Gateway Building with additional studio space and facilities for artists—all located on 90 acres of woodland, minutes from downtown Knoxville, Tennessee. Loghaven Artist Residency offers: • Facilities for dancers and theater makers—there are limited residencies that offer dancers and theater makers the facilities that are essential for their work. Loghaven has a professionally designed Performing Arts Studio and a Multidisciplinary Studio to support these practitioners. • Spaces for collaborative artist groups—the number of artists working collaboratively has grown significantly, and few residences are designed to accommodate this type of practice. Loghaven’s studio spaces serve the needs of collaborative teams: all are large enough for group work, and three of the artist cabins are suited for an intensive live/work experience for a collaborative team. -
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! ! ! ! “FINGERS GLITTERING ABOVE A KEYBOARD:” ! THE KEYBOARD WORKS AND HYBRID CREATIVE PRACTICES OF ! TRISTAN PERICH! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! A Dissertation! Presented to the Faculty of the Graduate School! of Cornell University! in Partial Fulfillment of the Requirements for the Degree of! Doctor of Musical! Arts! ! ! by! David Benjamin Friend! May 2019! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! © 2019 David Benjamin! Friend! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! “FINGERS GLITTERING ABOVE A KEYBOARD:”! THE KEYBOARD WORKS AND HYBRID CREATIVE PRACTICES OF ! TRISTAN! PERICH! ! David Benjamin Friend, D.M.A.! Cornell University,! 2019! ! !This dissertation examines the life and work of Tristan Perich, with a focus on his works for keyboard instruments. Developing an understanding of his creative practices and a familiarity with his aesthetic entails both a review of his personal narrative as well as its intersection with relevant musical, cultural, technological, and generational discourses. This study examines relevant groupings in music, art, and technology articulated to Perich and his body of work including dorkbot and the New Music Community, a term established to describe the generationally-inflected structural shifts! in the field of contemporary music that emerged in New York City in the first several years of the twenty-first century. Perich’s one-bit electronics practice is explored, and its impact on his musical and artistic work is traced across multiple disciplines and a number of aesthetic, theoretical, and technical parameters. This dissertation also substantiates the centrality of the piano to Perich’s compositional process and to his broader aesthetic cosmology. A selection of his works for keyboard instruments are analyzed, and his unique approach to keyboard technique is contextualized in relation to traditional Minimalist piano techniques and his one-bit electronics practice." ! ! BIOGRAPHICAL! SKETCH! ! !! !David Friend (b. -
Liner Notes, Visit Our Web Site
“Music of Our Time” When I worked at Columbia Records during the second half of the 1960s, the company was run in an enlightened way by its imaginative president, Goddard Lieberson. Himself a composer and a friend to many writers, artists, and musicians, Lieberson believed that a major record company should devote some of its resources to projects that had cultural value even if they didn’t bring in big profits from the marketplace. During those years American society was in crisis and the Vietnam War was raging; musical tastes were changing fast. It was clear to executives who ran record companies that new “hits” appealing to young people were liable to break out from unknown sources—but no one knew in advance what they would be or where they would come from. Columbia, successful and prosperous, was making plenty of money thanks to its Broadway musical and popular music albums. Classical music sold pretty well also. The company could afford to take chances. In that environment, thanks to Lieberson and Masterworks chief John McClure, I was allowed to produce a few recordings of new works that were off the beaten track. John McClure and I came up with the phrase, “Music of Our Time.” The budgets had to be kept small, but that was not a great obstacle because the artists whom I knew and whose work I wanted to produce were used to operating with little money. We wanted to produce the best and most strongly innovative new work that we could find out about. Innovation in those days had partly to do with creative uses of electronics, which had recently begun changing music in ways that would have been unimaginable earlier, and partly with a questioning of basic assumptions. -
Dubberly Curriculum Vitae
STEPHEN DUBBERLY Opera Conductor Division of Conducting and Ensembles College of Music University of North Texas Denton, TX 76203-1367 940-367-8770 EDUCATION 1992 Doctor of Musical Arts Yale University, New Haven, Connecticut 1986-87 Graduate Fellowship Piano Performance The University of Texas at Austin 1986 Master of Musical Arts Yale University 1985 Master of Music Yale University 1979 Diploma with honors College Preparatory Uruguayan-American School, Montevideo, Uruguay 1974-78 5 Performance Certificates Piano, Solfège Conservatorio Juan Sebastián Bach, Montevideo conducting studies with Harold Evans, Otto-Werner Mueller, and Kirk Trevor piano studies with Santiago Baranda Reyes, Boris Berman, Claude Frank, and Seymour Lipkin vocal literature studies with Nico Castel, David Garvey, Thomas Grubb, and Gérard Souzay PROFESSIONAL EXPERIENCE 2016- Conductor Red River Lyric Opera Wichita Falls, Texas 2016- Music Director Opera in Concert in Italy Urbino, Texas 2015 Chorus Master OPERA San Antonio San Antonio, Texas 2013-2015 Conductor Opera Breve Wichita Falls, Texas 2012- Music Director Opera in Concert Dallas, Texas 2012- Conductor Frontiers Festival/ Fort Worth Opera Ft. Worth, Texas 2010-2016 Chorus Master, Associate Conductor Fort Worth Opera Ft. Worth, Texas 2008 Chorus Master Fort Worth Opera Ft. Worth, Texas 2002-2014 Music Director Christ Presbyterian Church Flower Mound, Texas 2001-02 Music Director Black Tie Opera Ensemble Houston, Texas 1999- Associate Professor of Music University of North Texas Denton, Texas (tenured in 2002) Music Director, UNT Opera 1999-2001 Music Director American Bel Canto Opera Denton/Kansas City 1998-99 Music Staff Des Moines Metro Opera Indianola, Iowa 1998-99 Music Director Totally Vocal! Institute Knoxville, Tennessee 1997-99 Director of Music First Presbyterian Church Crossville, Tennessee 1996-99 Music Director Knoxville Opera Studio Knoxville, Tennessee 1993- Pianist Bel Canto Festival Highlands, North Carolina 1992-97 Music Staff Opera Theatre of Saint Louis St.