Laurie Anderson Is One of America's Most Renowned
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~La6(8Ill COMPA.NIES INC
October 1999 Brooklyn Academy of Music 1999 Next Wave Festival BAMcinematek Brooklyn Philharmonic 651 ARTS ~' pi I'" T if II' II i fl ,- ,.. til 1 ~ - - . I I I' " . ,I •[, II' , 1 , i 1'1 1/ I I; , ~II m Jennifer Bartleli, House: Large Grid, 1998 BAM Next Wave Festival sponsored by PHILIP MORRIS ~lA6(8Ill COMPA.NIES INC. Brooklyn Academy of Music Bruce C. Ratner Chairman of the Board Karen Brooks Hopkins Joseph V. Melillo President Executive Prod ucer presents Moby Dick Running time: BAM Opera House approximately ninety October 5, 1999, at 7:00 p.m. (Next Wave Festival Gala) minutes. Songs and October 6-9 & 12-16, 1999, at 7:30 p.m. Stories from Moby Dick is performed without an Visual Design, Music, and Lyrics Laurie Anderson intermission. Performers Pip, The Whale, A Reader Laurie Anderson Ahab, Noah, Explorer Tom Nelis The Cook, Second Mate, Running Man Price Waldman Standing Man Anthony Turner Falling Man Miles Green Musicians Violin, keyboards, guitar, talking stick Laurie Anderson Bass, prepared bass, samples Skuli Sverrisson Artistic Collaborators Co-Visual Design Christopher Kondek Co-Set Design James Schuette Lighting Design Michael Chybowski Sound Design Miles Green Costume Design Susan Hilferty Electronics Design Bob Bielecki Video Systems Design Ben Rubin Staging Co-Direction Anne Bogart General Management Julie Crosby Production Management Bohdan Bushell Production Stage Management Lisa Porter Major support for this presentation was provided by The Ford Foundation with additional support from The Dime Savings Bank of New York, FSB. Next Wave Festival Gala is sponsored by Philip Morris Companies Inc. 17 Produced by electronic theater company, Inc. -
Narrative Representations of Gender and Genre Through Lyric, Music, Image, and Staging in Carrie Underwood’S Blown Away Tour
COUNTRY CULTURE AND CROSSOVER: Narrative Representations of Gender and Genre Through Lyric, Music, Image, and Staging in Carrie Underwood’s Blown Away Tour Krisandra Ivings A Thesis Presented In Partial Fulfillment of the Requirement for the Degree Master of Arts in Music with Specialization in Women’s Studies University of Ottawa © Krisandra Ivings, Ottawa, Canada, 2016 Abstract This thesis examines the complex and multi-dimensional narratives presented in the work of mainstream female country artist Carrie Underwood, and how her blending of musical genres (pop, rock, and country) affects the narratives pertaining to gender and sexuality that are told through her musical texts. I interrogate the relationships between and among the domains of music, lyrics, images, and staging in Underwood’s live performances (Blown Away Tour: Live DVD) and related music videos in order to identify how these gendered narratives relate to genre, and more specifically, where these performances and videos adhere to, expand on, or break from country music tropes and traditions. Adopting an interlocking theoretical approach grounded in genre theory, gender theory, narrative theory in the context of popular music, and happiness theory, I examine how, as a female artist in the country music industry, Underwood uses genre-blending to construct complex gendered narratives in her musical texts. Ultimately, I find that in her Blown Away Tour: Live DVD, Underwood uses diverse narrative strategies, sometimes drawing on country tropes, to engage techniques and stylistic influences of several pop and rock styles, and in doing so explores the gender norms of those genres. ii Acknowledgements A great number of people have supported this thesis behind the scenes, whether financially, academically, or emotionally. -
An Interview with Laurie Anderson by Jody Dalton
October. 1989 -- - - • -' • -=== ® BROOKLYN ACADEMY OF MUSIC NEXT WAVE FESTIVAL SPONSORED BY PHILIP MORRIS COMPANIES INC ~-- - §;~~~~~;~~§~--~ · ~~-· -·~ Brooklyn Academy of Music NEXT WAVE Festival Sponsored by Philip Morris Companies. Inc. October. 1989 Volume 7. No. I CONTENTS Singing a New Song: An Interview with Laurie Anderson by Jody Dalton .................................................. 3 Rete/lings: The Nursery and Household Tales of the Brothers Crimm by Peter M. Rojcewicz ..... ....................................... 8 Can we plan a BAMscape? by Bonnie Sue Stein ..... ... .... ....... ...... ........ ..... ....... 13 Nusrat Fateh Ali Khan & Party: The Oawwali Music of the Sufis by Amy Mereson ... .. .. .. ..... ...... .... ....... ... ...... ... 19 Shakespeare Plays a Solo by )ames Leverett .... .. .. ... ............... ..... ... .. ....... 2 2 Andy Warhol and the Velvet Underground by Andy Warhol and Pat Hackett ............... ................. .. 2 5 Finding New Markers: The Choreography of Bebe Miller by Robert Sandia ........................................... .. .. 28 Cover: Bebe Miller In a photograph The NEXT WAVE Festival is produced by the that will form part of Robert Flynt's Brooklyn Academy of Music. 30 Lafayette setting for her new work, Allies, photo by Robert Flynt Avenue. Brooklyn. New York 11217 ON THE NEXT WAVE is published by the Humanities Program of the BAM NEXT WAVE Festival. Editor: Roger W. Oliver Associate Editor: Rory MacPherson Design: Jon Crow/Advance Graphic NEXT WAVE logo design: Valerie Pettis + DOUBLESPACE © 1989 by the Brooklyn Academy of Music • Laurie Anderson, photo by Beatrlz Schiller Singing a New Song: L aurie Anderson is a born sto· mixed printed words. photographic ryteller who keeps reinventing the images and recorded music to set campfire. She has replaced the off chains of associations in the lis backdrop of trees and stars with tener/viewer's mind. -
University of California Santa Cruz
UNIVERSITY OF CALIFORNIA SANTA CRUZ EXTENDED FROM WHAT?: TRACING THE CONSTRUCTION, FLEXIBLE MEANING, AND CULTURAL DISCOURSES OF “EXTENDED VOCAL TECHNIQUES” A dissertation submitted in partial satisfaction of the requirements for the degree of DOCTOR OF PHILOSOPHY in MUSIC by Charissa Noble March 2019 The Dissertation of Charissa Noble is approved: Professor Leta Miller, chair Professor Amy C. Beal Professor Larry Polansky Lori Kletzer Vice Provost and Dean of Graduate Studies Copyright © by Charissa Noble 2019 TABLE OF CONTENTS List of Figures v Abstract vi Acknowledgements and Dedications viii Introduction to Extended Vocal Techniques: Concepts and Practices 1 Chapter One: Reading the Trace-History of “Extended Vocal Techniques” Introduction 13 The State of EVT 16 Before EVT: A Brief Note 18 History of a Construct: In Search of EVT 20 Ted Szántó (1977): EVT in the Experimental Tradition 21 István Anhalt’s Alternative Voices (1984): Collecting and Codifying EVT 28evt in Vocal Taxonomies: EVT Diversification 32 EVT in Journalism: From the Musical Fringe to the Mainstream 42 EVT and the Classical Music Framework 51 Chapter Two: Vocal Virtuosity and Score-Based EVT Composition: Cathy Berberian, Bethany Beardslee, and EVT in the Conservatory-Oriented Prestige Economy Introduction: EVT and the “Voice-as-Instrument” Concept 53 Formalism, Voice-as-Instrument, and Prestige: Understanding EVT in Avant- Garde Music 58 Cathy Berberian and Luciano Berio 62 Bethany Beardslee and Milton Babbitt 81 Conclusion: The Plight of EVT Singers in the Avant-Garde -
The Sculpted Voice an Exploration of Voice in Sound Art
The Sculpted Voice an exploration of voice in sound art Author: Olivia Louvel Institution: Digital Music and Sound Art. University of Brighton, U.K. Supervised by Dr Kersten Glandien 2019. Table of Contents 1- The plastic dimension of voice ................................................................................... 2 2- The spatialisation of voice .......................................................................................... 5 3- The extended voice in performing art ........................................................................16 4- Reclaiming the voice ................................................................................................20 Bibliography ....................................................................................................................22 List of audio-visual materials ............................................................................................26 List of works ....................................................................................................................27 List of figures...................................................................................................................28 Cover image: Barbara Hepworth, Pierced Form, 1931. Photographer Paul Laib ©Witt Library Courtauld Institute of Art London. 1 1- The plastic dimension of voice My practice is built upon a long-standing exploration of the voice, sung and spoken and its manipulation through digital technology. My interest lies in sculpting vocal sounds as a compositional -
Laurie Anderson & Ensemble
Image: Ebru Yildiz Laurie Anderson & Ensemble Creative team Violinist Violist Taonga pūoro Laurie Anderson (United States) Eyvind Kang (United States & Canada) Horomona Horo (Aotearoa/New Zealand) Bassist Cellist Gamelan Wellington Greg Cohen (United States) Rubin Kodheli (Albania) (Aotearoa/New Zealand) Lou Reed Drones Percussionist The Calling Here Comes the Ocean Stewart Hurwood (United States) Shahzad Ismaily (Pakistan) Megan Collins Megan Collins Jo Hilder Budi Putra Budi Putra Gregory Street Curated by Laurie Anderson The Calling Here Comes the Ocean Wed 4 Mar, 6.30pm Fri 6 Mar, 8pm Lower Hutt Events Centre Michael Fowler Centre Thanks to: Partnered by: Thanks to: A partnership between Wellington City Council, Hutt City Council, Upper Hutt City Council and Porirua City Council. Event programmes supported by: Please make sure your mobile phone is turned off. Latecomers will only be seated during an appropriate break. Taking photographs and using a recording device at any Festival performance are strictly forbidden. Ticket holders consent to be filmed as part of the audience. The information in this programme is correct at the time of publication. The Festival reserves the right to alter, without notice, events, programmes and artists. Tell us what you think of the show @NZFestivaloftheArts #NZFEST festival.nz Biographies Greg Cohen Besides his life as a bass player, Greg Cohen stays busy teaching Laurie Anderson music in Berlin. He is a Professor of Music at the Jazz-Institut- Berlin and also continues to tour and record on a regular basis. Laurie Anderson is one of America’s most renowned – and daring – creative pioneers. Known primarily for her multimedia Greg has worked as an arranger, producer, musical director presentations, she has cast herself in roles as varied as visual and composer for theatre, film, television and in recording artist, composer, poet, photographer, filmmaker, electronics studios. -
Hart Rolls Over Mondale by John Yearwood the Primary
(Qnratftftnit Batlg (ttamjma Serving Storrs Since 1896 Vol. LXXXVII No. 86 The University of Connecticut Wednesday. February 29, 1984 New Hampshire primary: Hart rolls over Mondale By John Yearwood the primary. With 58 percent national polls." Hart told his Assignments Editor of the votes counted, Hart had chanting supporters, "but MANCHESTER N.H.—Sen. an unconfirmed 40 percent to that will come with time." Gary Hart pulled off the big- Mondale's 28 percent. According to exit polls con- gest upset of the political sea- "The American people are ducted by ABC News. Hart did son yesterday by defeating ready for a change and ready best among college students. former vice president Walter for new leadership." Hart told 74 percent of whom voted for F. Mondale in the country's the approximately 300 sup- him. Also, 55 percent of the first presidential primary. porters, during his victory undecideds and 40 percent of Hart's upset was a big blow speech here. "This campaign the independents voted for to Mondale's well-oiled cam- is for those not only young in the Colorado Senator. paign which some polls age but also in spirit," Hart Republican President showed had a substantial said. Ronald Reagan also pulled off margin over Hart coming into "We don't have a position in a surprise here by gathering enough Democratic votes to finish ahead of three Democ- President DiBiaggio speaking at the convocation cere- Hart campaigns actively; rats. He received 10 percent of mony yesterday (Charles Hisey photo). the vote, fueled in large part, Mondale tries to coast by an editorial in the state's By John Paradis largest newspaper, the Union liobhidge awarded an Assistant Managing Editor Leader, telling voters to write BEDFORD, N.H.—Sen. -
Ohio's #1 Professor
THE MAGAZINE OF OHIO WESLEYAN UNIVERSITY Spring 2016 OHIO’S #1 PROFESSOR Eco-Scientist Laurie Anderson Expands the Classroom PagePage 12 12 4 Moot Court 18 Conventioneers 26 Art and 30 Record Conquerers Since 1884 Artifice Championships Elliott Hall at sunrise. Photo by Larry Hamill. 12 18 26 Features 12 Breaking Boundaries Named the 2015 Ohio Professor of the Year, Laurie Anderson is on a quest to solve 21st-century problems. Her method? Engage students to be part of the solution. 18 Conventional Wisdom No doubt about it—presidential nominations raise spirited debate. A century-plus tradition, Ohio Wesleyan’s Mock Convention brings its own political fervor every four years to OWU’s Gray Chapel. 26 Art & Artifice Retiring theatre professor Bonnie Milne Gardner and her former student—Anne Flanagan— reunite to showcase one last play. This time, it’s Flanagan’s award-winning “Artifice” that takes center stage at the Studio Theatre. Departments 02 LEADER’S LETTER 10 COMFORT ZONES 36 CALENDAR 04 FROM THE JAYWALK 30 BISHOP BATTLES 37 FACULTY NOTES 07 OWU TIMESCAPES 32 ALUMNI PROFILE 38 CLASSNOTES 08 GIFTS AND GRATITUDE 34 ALUMNI HAPPENINGS 48 THE FINAL WORD ON THE COVER: Professor of Botany-Microbiology Laurie Anderson in her element at the Moore Greenhouse. Cover photo: Mark Schmitter ‘12 2 | OWU Leader’s Letter CIVIC – AND CIVIL – ENGAGEMENT Arneson Pledge needed more than ever n February Ohio Wesleyan students, home state of Arkansas, where Melissa reasoned reflection. Students and faculty I faculty, and staff gathered in Gray and I were joined by OWU Trustee and deliberated with one another and shared Chapel to continue a tradition that Delaware County Commissioner Jeff the convention floor as equals. -
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Broken Tools and Misfit Toys: Adventures in Applied Media Theory Marcel O’Gorman University of Waterloo AbstrAct The majority of media theorists who have applied their work in new technolog - ical contexts have eschewed formal experimentation to produce a print-oriented mode of dis - course. Even in the digital humanities, scholars build and use tools that ultimately lead to the creation of traditional academic essays and monographs. Applied Media Theory (AMT) is a method that engages in formal experimentation with media to generate critical discourses and technologies. This article identifies a new applied critical practice that not only examines, but also intervenes, in the formation of digital culture, primarily by combining digital art practices with conventional research methods. AMT is outlined here through a description of projects underway in the Critical Media Lab at the University of Waterloo. KeywOrds Digital Art; Media Theory; Digital Humanities; Practice-based Research résuMé La plupart des théoriciens des médias qui situent leurs travaux dans de nouveaux contextes technologiques préfèrent un discours orienté vers l’imprimé plutôt que des expérimentations sur la forme. Même dans l’étude des médias interactifs, les chercheurs développent et emploient des outils qui mènent ultimement à la création de monographies et d’articles traditionnels. La théorie médiatique appliquée est une approche où l’on effectue des expériences formelles avec les médias afin de générer des technologies et des discours critiques. Cet article identifie à ce titre une nouvelle pratique critique appliquée qui examine non seulement la formation de la culture numérique mais intervient aussi dans cette formation, principalement en combinant les pratiques d’art numérique et les méthodes de recherche conventionnelles. -
Laurie Anderson's Technology-"Neither Love It Nor Leave It"
Laurie Anderson's Technology-"Neither Love It Nor Leave It" Viki D. Thompson W.rlder Laurie Anderson. like her work. has tended to defy record players. Images themselves have often come from labels. John Howell in a 1983 Ariforwn ariiclc called her technological sources. televisions. aircraft. electric clocks. representative of ·a generation that graduated from college electric sockets, to name a few. In the book made to doc in the ac1ivis1 60s (she was born in 1947). studied itself in ument United States, Anderson addressed this technologi the 70s. and now stares blankly at the start of the 80s· cal aspect of her media directly. In Part Ill she provided a asking itself "what to do'!" 1 However, Laurie Anderson has numbered and labelled diagram of the perfonnance area a history of being an answerer to that question. By doing (Figure 2), writing: ·Let's take a look around the stage at poetry, music. photography. fi lm, video, installations, per what wc like to call The Systcm- i.e., the highly sophisti• formane<.-s. bits and pieces of the above. and doing them all cated (very expensive) state-of-the-art gadgetry with which al the same time, she has in turn suggested that Howell's I cast my spell." J 1983 evaluation was not quite apt. In this ironic statement Anderson encapsulated one of Beginning in 1970 with a one-person show at Barnard the most riveting themes or aspects of her work. Technol College in New York City, a 1971 publication entitled Tire ogy. that is, the symbol for the mechanical, the material, Package: A Mystery, and an initial perfonnance in Roches the precise. -
Bucknell Course Catalog 07-08
Catalog 2007-08 Bucknell University Lewisburg, Pennsylvania 17837 www.bucknell.edu 03/07 1 Mission Statement Bucknell is a unique national university where liberal arts and professional programs complement each other. Bucknell educates men and women for a lifetime of critical thinking and strong leadership characterized by continued intellectual exploration, creativity, and imagination. A Bucknell education enables students to interact daily with faculty who exemplify a passion for learning and a dedication to teaching and scholarship. Bucknell fosters a residential, co-curricular environment in which students develop intellectual maturity, personal conviction, and strength of character, informed by a deep understanding of different cultures and diverse perspectives. Bucknell seeks to educate its students to serve the common good and to promote justice in ways sensitive to the moral and ethical dimensions of life. 2 Policy Statements Bucknell University admits students without regard to race, national or ethnic origin, reli- gion, disability, or gender to all the rights, privileges, programs, and activities generally accorded or made available to students at Bucknell, and does not discriminate on the basis of race, color, gender, sexual orientation, age, religion, national or ethnic origin, marital sta- tus, veteran status, or disability in the administration of its educational policies, admissions policies, scholarships and loan programs, and athletic and other university-administered programs. It complies fully with the prohibitions against discrimination on the basis of race and sex contained in Title VI of the Civil Rights Act of 1964 and Title IX of the Educational Amendments of 1972. In employment of both students and staff, Bucknell is an Affirmative Action and Equal Opportunity Employer. -
Table of Contents
1 •••I I Table of Contents Freebies! 3 Rock 55 New Spring Titles 3 R&B it Rap * Dance 59 Women's Spirituality * New Age 12 Gospel 60 Recovery 24 Blues 61 Women's Music *• Feminist Music 25 Jazz 62 Comedy 37 Classical 63 Ladyslipper Top 40 37 Spoken 65 African 38 Babyslipper Catalog 66 Arabic * Middle Eastern 39 "Mehn's Music' 70 Asian 39 Videos 72 Celtic * British Isles 40 Kids'Videos 76 European 43 Songbooks, Posters 77 Latin American _ 43 Jewelry, Books 78 Native American 44 Cards, T-Shirts 80 Jewish 46 Ordering Information 84 Reggae 47 Donor Discount Club 84 Country 48 Order Blank 85 Folk * Traditional 49 Artist Index 86 Art exhibit at Horace Williams House spurs bride to change reception plans By Jennifer Brett FROM OUR "CONTROVERSIAL- SUffWriter COVER ARTIST, When Julie Wyne became engaged, she and her fiance planned to hold (heir SUDIE RAKUSIN wedding reception at the historic Horace Williams House on Rosemary Street. The Sabbats Series Notecards sOk But a controversial art exhibit dis A spectacular set of 8 color notecards^^ played in the house prompted Wyne to reproductions of original oil paintings by Sudie change her plans and move the Feb. IS Rakusin. Each personifies one Sabbat and holds the reception to the Siena Hotel. symbols, phase of the moon, the feeling of the season, The exhibit, by Hillsborough artist what is growing and being harvested...against a Sudie Rakusin, includes paintings of background color of the corresponding chakra. The 8 scantily clad and bare-breasted women. Sabbats are Winter Solstice, Candelmas, Spring "I have no problem with the gallery Equinox, Beltane/May Eve, Summer Solstice, showing the paintings," Wyne told The Lammas, Autumn Equinox, and Hallomas.