The Twenty Second International Carillon Festival
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La Música De Yann Tiersen
Publicado en ARTIUM - Biblioteca y Centro de Documentación (https://catalogo.artium.eus) Inicio > En torno al cine » Películas > A > Amélie > La película > La música de Yann Tiersen La música de Yann Tiersen Yann Tiersen hace cine para los oídos. Sin pantalla, sin proyector: sólo en la imaginación del oyente, la cual solicita a la manera de una película de super-8. El equipo técnico de este talentoso autor/realizador/director de escena/intérprete comprende también piano de juguete, acordeón, violoncelo, banjo, clavicordio... Toca todos estos instrumentos y conoce sus engranajes, en particular aquellos que suscitan la emoción. Pues si la música de Yann Tiersen extrae su inspiración de lo íntimo y recóndito, a su vez habla a todos aquellos que conocen la lengua de las notas. A nivel de puesta en escena, Tiersen también es autor de largos planos secuencias a la manera de pequeños sainetes acerca de viajes, melancolías, fantasías y fiestas. El artista da nombre a estas imágenes poderosamente evocadoras (La rupture, L'arrivée sur l'île, Les jours hereux, Sur le fil...), y conmina a cada cual a reconstruir la historia o a apreciarlas como lo que son. Natural de Brest, Yann manifestó muy pronto un vivo interés por la música. En los pupitres de los conservatorios de Rennes, Nantes o Boulogne, estudió violoncelo, piano y dirección de orquesta. Como todo joven se interesa igualmente por el rock y por la chanson antes de regresar con su primer amor: la música clásica. Tras haber ilustrado piezas de teatro y cortometrajes, en 1995 franquea la prueba del primer álbum con La Valse des Monstres, gracias al reencuentro con el sello Sine Terra Firme (hoy en día rebautizado Ici, d'ailleurs...). -
Neely Hyde: Art on Campus
BAGP THE IPE 1955 2012 C O E V E E G N A N T C O L L THEThursday, February 2, 2012 - Vol. 58.16 14049 Scenic Highway, LookoutBAGPIPE Mountain, Georgia, 30750 bagpipeonline.com Neely Hyde: Art On Campus by Kendi Anderson show “Another Pair of Eyes.” The show revolves around the women The world makes sense to Neely and the stories they have to share. Hyde through the lens of her Hyde’s photographs will be camera. The world she knows and on display until March 2 in the shares through her photographs Kresge Gallery on Covenant’s Naomi Belz is haunting to some and inspiring campus. Professor of Art at Cov- New carpet in Sanderson. to others. Hyde, a Chattanooga- enant College, Jeff Morton, said based artist, is currently shar- that “art needs to be experienced ing a part of her world with the to be understood,”Continued on and page because 2News of Extreme Makeover: Covenant community through her Sanderson Edition Starting the by Molly Anderson ment quickly responded by con- went a step further: removing the tacting Marion Environmental drop ceiling, a sample was taken Sanderson Hall didn’t just get Incorporated, to take a sample of in the space above the tiles where Week Off Right new carpet. Facilities Manage- the air in the reported room. The all the heating, ventilation, and ment took on a project over results indicated there was a small air conditioning (HVAC) piping by Ellen Davis in the Sabbath. Christmas break to proactively amount of mold present in the runs. -
Diaouled Ar Menez Diaouled Ar Menez Mp3, Flac, Wma
Diaouled Ar Menez Diaouled Ar Menez mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Folk, World, & Country Album: Diaouled Ar Menez Country: France Released: 1980 Style: Celtic, Folk MP3 version RAR size: 1940 mb FLAC version RAR size: 1188 mb WMA version RAR size: 1327 mb Rating: 4.5 Votes: 959 Other Formats: AHX MMF MP4 AUD DMF WMA AA Tracklist 1 Etienne Riwallan 8:27 2 Gwezenn An Avaloù 2:57 3 Ton Ar Pichon Bihan 7:57 4 Botkol Sant Nigouden 4:08 5 Ar Soudard Maleürus 4:40 6 Ar Vugale Laouen 3:56 7 E Kostez An Henbont 3:26 8 Son Ar Startijenn 1:48 Credits Accordion, Vocals – Yann Erwann Ar C'Horr Bagpipes [Biniou] – Fulub Ar Strat* Bass Guitar – Tangi Ar Dore* Bombarde – Mikael Sohier Bombarde, Flute [Irish], Tambourine, Backing Vocals – Yann Goasdoue* Drums – Yann Fanch Ar Merdy Guitar, Mandolin, Bass Guitar – Yann Ar Manac'h Layout – S. Lambert Liner Notes – Per Denez Recorded By – Yann Clair Violin, Guitar, Vocals – Melaine Favennec Notes Reissue of the first album of Diaouled Ar Menez, with new cover art. Barcode and Other Identifiers Barcode: 3 453784 00129 Rights Society: SACEM SDRM SACD SGDL Label Code: DISC 400 Matrix / Runout: 120482 06049923 Mastering SID Code: IFPI A98 Mould SID Code: LBR 82 Other versions Category Artist Title (Format) Label Category Country Year Diaouled Ar Menez (LP, SB 318 Diaouled Ar Menez Arfolk SB 318 France 1973 Album) Diaouled Ar Menez (Cass, K7 20006.4 Diaouled Ar Menez Cdmc K7 20006.4 France 2001 Album, RP) Diaouled Ar Menez (Cass, MC118 Diaouled Ar Menez Arfolk MC118 France Unknown Album, RE) Diaouled Ar Menez (LP, SB 318 Diaouled Ar Menez Arfolk SB 318 France 1973 Album) Diaouled Ar Menez (LP, SB 318 Diaouled Ar Menez Arfolk SB 318 France 1980 Album, RE) Related Music albums to Diaouled Ar Menez by Diaouled Ar Menez Yann Dulché - Together - EP Max K. -
Prospective Encounters
FOUR INNOVATIVE EVENTS IN GREENWICH VILLAGE presented by the NEW YORK PHILHARMONIC PIERRE BOULEZ, Music Director EISNER AND LUBIN AUDITORIUM, LOEB STUDENT CENTER, NEW YORK UNIVERSITY Friday Evening, February 18, 1972, at 7:30 p.m. PROSPECTIVE ENCOUNTER IV PIERRE BOULEZ, Conductor STANLEY SILVERMAN PLANH Stanley Silverman, Guitar Violin Flute, Alto Flute Percussion Kenneth Gordon Paige Brook Richard Fitz Viola Clarinet, Gordon Gottlieb Sol Greitzer Bass Clarinet Mandolin Cello Stephen Freeman Jacob Glick Bernardo Altmann GEORGE CRUMB "Ancient Voices of Children" A Cycle of Songs on Texts by Garcia Lorca I "El niho busca su voz" ("The Little Boy Was Looking for his Voice") "Dances of the Ancient Earth" II "Me he perdido muchas veces por el mar" ("I Have Lost Myself in the Sea Many Times") III "6De d6nde vienes, amor, mi nino?" ("From Where Do You Come, My Love, My Child?") ("Dance of the Sacred Life-Cycle") IV "Todas ]as tardes en Granada, todas las tardes se muere un nino" ("Each After- noon in Granada, a Child Dies Each Afternoon") "Ghost Dance" V "Se ha Ilenado de luces mi coraz6n de seda" ("My Heart of Silk Is Filled with Lights") Jan DeGaetani, Mezzo-soprano Joseph Lampke, Boy soprano Oboe Harp Percussion Harold Gomberg Myor Rosen Raymond DesRoches Mandolin Piano Richard Fitz Jacob Glick PaulJacobs Gordon Gottlieb Orchestra Personnel Manager, James Chambers ERIC SALZMAN with QUOG ECOLOG QUOG Josh Bauman Imogen Howe Jon Miller Tina Chancey Garrett List Barbara Oka Tony Elitcher Jim Mandel Walter Wantman Laura Greenberg Bill Matthews -
Sfkieherd Sc~Ol Ofmusic
GUEST ARTIST RECITAL JEFFREY JACOB, Piano Thursday, September 18, 2008 8:00 p.m. Lillian H. Duncan Recital Hall sfkieherd RICE UNIVERSITY Sc~ol ofMusic PROGRAM Makrokosmos II George Crumb Twelve Fantasy-Pieces after the Zodiac (b.1929) (for amplified piano) 1. Morning Music (Genesis II) 2. The Mystic Chord 3. Rain-Death Variations 4. Twin Suns (Doppelganger aus der Ewigkeit) 5. Ghost-Nocturne: For the Druids of Stonehenge 6. Gargoyles 7. Tora I Tora I Tora I ( Cadenza Apocalittica) 8. A Prophecy of Nostradamus 9. Cosmic Wind 10. Voices from "Corona Borealis" 11. Litany of the Galactic Bells 12. Agnus Dei 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 ofrecording equipment are prohibited. BIOGRAPHY Described by the Warsaw Music Journal as "unquestionably one of the greatest performers of 20th-century music," and the New York Times as "an artist ofintense concentration and conviction," Jeffrey Jacob re ceived his education from the Juilliard School (Master of Music) and the Peabody Conservatory (Doctor ofMusical Arts) and counts as his prin cipal teachers Mieczyslaw Munz, Carlo Zecchi, and Leon Fleisher. Since his debut with the London Philharmonic in Royal Festival Hall, he has appeared as piano soloist with over twenty orchestras internationally including the Moscow, St. Petersburg, Seattle, Portland, Indianapolis, Charleston, Silo Paulo and Brazilian National Symphonies, and the Si lesian, Moravian , North Czech, and Royal Queenstown Philharmonics. A noted proponent ofcontemporary music, he has performed the world premieres of works written for him by George Crumb, Gunther Schuller, Vincent Persichetti, Samuel Adler, Francis Routh, and many others. -
Paper 59 2019.Pdf
1 Accademia Musicale Studio Musica International Conference on New Music Concepts and Inspired Education Proceeding Book Vol. 6 Accademia Musicale Studio Musica Michele Della Ventura Editor COPYRIGHT MATERIAL 2 Printed in Italy First edition: April 2019 ©2019 Accademia Musicale Studio Musica www.studiomusicatreviso.it Accademia Musicale Studio Musica – Treviso (Italy) ISBN: 978-88-944350-0-9 3 Preface This volume of proceedings from the conference provides an opportunity for readers to engage with a selection of refereed papers that were presented during the International Conference on New Music Concepts and Inspired Education. The reader will sample here reports of research on topics ranging from mathematical models in music to pattern recognition in music; symbolic music processing; music synthesis and transformation; learning and conceptual change; teaching strategies; e-learning and innovative learning. This book is meant to be a textbook that is suitable for courses at the advanced under- graduate and beginning master level. By mixing theory and practice, the book provides both profound technological knowledge as well as a comprehensive treatment of music processing applications. The goals of the Conference are to foster international research collaborations in the fields of Music Studies and Education as well as to provide a forum to present current research results in the forms of technical sessions, round table discussions during the conference period in a relax and enjoyable atmosphere. 36 papers from 16 countries were received. All the submissions were reviewed on the basis of their significance, novelty, technical quality, and practical impact. After careful reviews by at least three experts in the relevant areas for each paper, 12 papers from 10 countries were accepted for presentation or poster display at the conference. -
Crumb, George | Grove Music
Grove Music Online Crumb, George (Henry ) Richard Steinitz https://doi.org/10.1093/gmo/9781561592630.article.A2249252 Published in print: 26 November 2013 Published online: 16 October 2013 (b Charleston, WV, Oct 24, 1929). American composer. Born to accomplished musical parents, he participated in domestic music- making from an early age, an experience that instilled a lifelong empathy with the Classical and Romantic repertory, as his Three Early Songs (1947) exemplify. He studied at Mason College (1947– 50), the University of Illinois, Urbana-Champaign (MM 1953), the Berlin Hochschule für Musik (Fulbright Fellow, 1955–6), where he was a student of Boris Blacher, and the University of Michigan, Ann Arbor (DMA 1959), where his teachers included Ross Lee Finney. At Ann Arbor, Crumb encountered the poetry of Federico García Lorca and listened with fellow students to Folkways recordings of world music. Debussy and Mahler were early influences, as well as Ives and the hymnody and revival songs in which Crumb was also immersed. But it was European music from Stravinsky and Ravel to the Second Viennese School and Dallapiccola that is reflected in his first significant composition, Variazioni (1959) for large orchestra, in a synthesis never doctrinaire, but sophisticated and transparent, displaying already an acute sensitivity to color. In the year of its completion, Crumb accepted a post at the University of Colorado, Boulder (1959–64) where, although employed as a piano teacher, his first mature works were composed. These include Five Pieces for Piano (1962), Night Music I (1963), which began as an instrumental composition but “came into focus” when he decided to set two poems by Lorca, and Four Nocturnes (1964). -
Langues, Accents, Prénoms & Noms De Famille
Les Secrets de la Septième Mer LLaanngguueess,, aacccceennttss,, pprréénnoommss && nnoommss ddee ffaammiillllee Il y a dans les Secrets de la Septième Mer une grande quantité de langues et encore plus d’accents. Paru dans divers supplément et sur le site d’AEG (pour les accents avaloniens), je vous les regroupe ici en une aide de jeu complète. D’ailleurs, à mon avis, il convient de les traiter à part des avantages, car ces langues peuvent être apprises après la création du personnage en dépensant des XP contrairement aux autres avantages. TTaabbllee ddeess mmaattiièèrreess Les différentes langues 3 Yilan-baraji 5 Les langues antiques 3 Les langues du Cathay 5 Théan 3 Han hua 5 Acragan 3 Khimal 5 Alto-Oguz 3 Koryo 6 Cymrique 3 Lanna 6 Haut Eisenör 3 Tashil 6 Teodoran 3 Tiakhar 6 Vieux Fidheli 3 Xian Bei 6 Les langues de Théah 4 Les langues de l’Archipel de Minuit 6 Avalonien 4 Erego 6 Castillian 4 Kanu 6 Eisenör 4 My’ar’pa 6 Montaginois 4 Taran 6 Ussuran 4 Urub 6 Vendelar 4 Les langues des autres continents 6 Vodacci 4 Les langages et codes secrets des différentes Les langues orphelines ussuranes 4 organisations de Théah 7 Fidheli 4 Alphabet des Croix Noires 7 Kosar 4 Assertions 7 Les langues de l’Empire du Croissant 5 Lieux 7 Aldiz-baraji 5 Heures 7 Atlar-baraji 5 Ponctuation et modificateurs 7 Jadur-baraji 5 Le code des pierres 7 Kurta-baraji 5 Le langage des paupières 7 Ruzgar-baraji 5 Le langage des “i“ 8 Tikaret-baraji 5 Le code de la Rose 8 Tikat-baraji 5 Le code 8 Tirala-baraji 5 Les Poignées de mains 8 1 Langues, accents, noms -
Boston Symphony Orchestra Concert Programs, Summer, 1970
ISM /, *w*s M •*r:;*. KUCJCW n;. ,-1. * Tanglewood 1970° Seiji Ozawa, Gunther Schuller, Artistic Directors Leonard Bernstein, Advisor FESTIVAL OF CONTEMPORARY MUSIC August 16 — August 20, 1970 Sponsored by the BERKSHIRE MUSIC CENTER In Cooperation with the FROMM MUSIC FOUNDATION PERSPECTIVES NEWOF MUSIC PERSPECTIVES OF NEW MUSIC Participants in this year's Festival are invited to subscribe to the American journal devoted to im- portant issues of contemporary music and the problems of the composer. Published for the Fromm Music Foundation by Princeton University Press. Editor: Benjamin Boretz Advisory Board: Aaron Copland, Ernst Krenek, Darius Milhaud, Walter Piston, Roger Sessions, Igor Stravinsky. Semi-annual. $6.00 a year. $15.00 three years. Foreign Postage is 25 cents additional per year. Single or back issues are $5.00. Princeton University Press Princeton, New Jersey I 5fta 'V. B , '*•. .-.-'--! HffiHHMEffl SiSsi M^lll Epppi ^EwK^^bJbe^h 1 * - ' :- HMK^HRj^EI! 9HKS&k 7?. BCJB1I MQ50 TANGLEWOOD SEIJI OZAWA, GUNTHER SCHULLER, Artistic Directors/LEONARD BERNSTEIN, Adviser THE BERKSHIRE MUSIC CENTER Joseph Silverstein, Chairman of the Faculty Harry J. Kraut, Administrator Aaron Copland, Chairman of the Faculty Emeritus Daniel R. Gustin, Assistant Administrator Leon Barzin, Head, Orchestral Activities James Whitaker, Chief Coordinator ,vvv /ss. Festival of Contemporary Music presented in cooperation with The Fromm Music Foundation Paul Fromm, President Fellowship Program Contemporary Music Activities Gunther Schuller, Head George Crumb, Charles Wuorinen, and Chou Wen-Chung, Guest Teachers Paul Zukofsky, Assistant The Berkshire Music Center is maintained for advanced study in music Sponsored by the Boston Symphony Orchestra William Steinberg, Music Director Michael Tilson Thomas, Associate Conductor Thomas D. -
ESUK Spring Music Soirée 2021 Arthur, Luc, Eugene & Andre (S5
ESUK Spring Music Soirée 2021 Leo (S2) – ‘Shark Soup’ by Sam Wedgwood (piano) Arthur, Luc, Eugene & Andre (S5) - ‘Smile/Chocolate Jesus’ by Lily Frieda (S2) – ‘I Feel Pretty’ (from ‘West Side Story’) by Leonard Allen/Tom Waits (voice, guitar, piano, bass and cajon) Bernstein (voice) Lilly Roth (S7) – ‘Rue Des Cascades’ by Yann Tiersen (piano) Clémentine acc. by Miranda (S1) – ‘Neapolitan Air’ by P. Tchaikovsky (cello and piano) Olivia & Georgi (S6) – ‘November’ by Gabrielle Aplin (voice and piano) Daniel (S3) – ‘Rock ‘n’ Roll Medley’ (voice and guitar) Martin & Penelope (S4) – ‘Burn’ (from ‘Hamilton’) by Lin-Manuel Miranda (voice and piano) Constance (S2) – ‘Stay’ by Rihanna (voice) Isaac (S4) – ‘Concert Etude in D Flat Major’ by F. Liszt (piano) Rosie & Elin (S3) – ‘The Entertainer’ by Scott Joplin (violin and cello) Ruby & Edie (S1) – ‘Somewhere Only We Know’ by Keane (voice and piano) Miranda (S1) – ‘Russian Wedding’ by Kathy and David Blackwell (cello) Olivia (S6) – ‘Nocturne Op. 9 No. 2’ by F. Chopin (piano) Lily-Jeanne (S2) – ‘Suspirium’ by Thom Yorke (voice and piano) Oscar (S6) – ‘Suite II in Dm (Prelude)’ by J.S. Bach (cello) Nadine (S4) – ‘Voi Che Sapete’ by W.A. Mozart (voice) Max (S7) – ‘Novelette in E minor’ by F. Poulenc (piano) Nicholas (S6) – ‘Bourrée I and II, from Suite No. III’ by J.S. Bach (French horn) Jacques (S6) – ‘Autumn Leaves’ by Joseph Kosma and Johnny Mercer (guitar) Raphael (S6) – ‘Round Midnight’ by Thelonius Monk (piano) Emily (S6) & Sam – ‘Everything Has Changed’ by Taylor Swift (voice and guitars) Malaika & Marlene (S2) – ‘Walk Me Home’ by P!nk (voice) Theo (S6) – ‘Fantaisie-Impromptu’ by F. -
1 the Association for Diplomatic Studies and Training Foreign Affairs
The Association for Diplomatic Studies and Training Foreign Affairs Oral History Project ARNOLD DENYS Interviewed by: Self Copyright 1998 ADST TABLE OF CONTENTS Acknowledgements A out the Author Note to the Reader Preface A Crisis in the Life of a Foreign Service Officer My Beginnings (S Citi)enship Return to Civilian Life Panama Assignment Crisis in Panama London Egypt Athens Mexico Canada ,ashington, DC Antwerp ,ashington to Tijuana Tijuana Tijuana to Retirement Conclusion DIARY Son of Flanders The Making of a Consul. Diary of an American Foreign Service Officer In Memory of Emiel Denys 01103411767 8odelieve Maria Denys 01101411117 AC9NO,LED8MENTS 1 I feel deep gratitude to my late parents for their encouragement to write this memoir. The late Mrs. 9atherine McCook 9nox, an art historian from ,ashington, DC, was in great part responsi le for my efforts in compiling letters and notes on the American Foreign Service. My thanks also go to Rhoda Riddell, Ph.D., a writer and teacher, who transcri ed and edited my handwritten account, which was taken from my diary. I also wish to thank Art Drexler, who completed the editing and prepared the book for printing. I wish also to thank the following persons, whom I have known in the long course of my foreign service career, and who have meant so much to me both personally and professionally, and deserve special acknowledgment. Consul 8eneral John D. Barfield Vice Consul 0Ret.7 Frank J. Barrett Miguel Angel 8arcia Charles Stuart 9ennedy, Director of the Association for Diplomatic Studies, who inspired me with his work on the Foreign Affairs Oral History Program. -
Johann Sebastian Bach´S “Goldberg Variations“ to Treat Insomnia from Renal Lithiasis Pain
Historical and Commentary Note Johann Sebastian Bach´s “Goldberg variations“ to treat insomnia from renal lithiasis pain. Sleep research in Nuclear Medicine Andreas Otte MD Division of Biomedical Engineering, Department of Electrical Engineering and Information Technology, Oenburg University, Oenburg, Germany, Badstr. 24, D-77652 Oenburg, Germany, E-mail: [email protected] Hell J Nucl Med 2016; 19(1): 13-14 Published online: 1 April 2016 he organist Johann Nikolaus Forkel (1749-1818) was the rst to describe the Goldberg variations (BWV 988) and their inuence on sleep disorders of Count Hermann Karl von Keyserlingk (1696-1764) in his book from 1802 on Johann TSebastian Bach´s life, art and works [1]: [For this work] we have to thank the instigation of the former Russian ambassador to the electoral court of Saxony, Count Kaiserling, who often stopped in Leipzig and brought there with him the aforementioned Goldberg, in order to have him given musical instruction by Bach. The Count was often ill and had sleepless nights. At such times, Goldberg, who lived in his house, had to spend the night in an antechamber, so as to play for him during his insomnia. Once the Count mentioned in Bach's presence that he would like to have some clavier pieces for Goldberg, which should be of such a smooth and somewhat lively character that he might be a little cheered up by them in his sleepless nights. Bach thought himself best able to fulll this wish by means of Variations, the writing of which he had until then considered an ungrateful task on account of the repeatedly similar harmonic foundation.