DOCSLIB.ORG

Over and Over and Over…: Performing Scripted Music

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Over and Over and Over…: Performing Scripted Music 99 Over and Over and Over…: Performing Scripted Music ABSTRACT BRUCE BRUBAKER A musician considers the signifcance and implications of repetition in the Artist, writer, and pianist Bruce Brubaker has premiered music by John Cage, performance of western classical music. Varying practices used by musicians are Philip Glass, Meredith Monk, Nico Muhly and Mark-Anthony Turnage. He described and contextualised with a series of accounts of performances of Philip has performed at Tanglewood, the Hollywood Bowl, the International Piano Glass’s repetitive, minimalist piano piece Metamorphosis 2. Te evolving concept Festival at La Roque d’Anthéron, New York’s Avery Fisher Hall, the Gewand- of repetition is explored in relation to mechanical sound recording and mass haus in Leipzig, London’s Wigmore Hall, and Finland’s Kuhmo Festival. Recent production. recordings include piano music by Glass, Alvin Curran, William Duckworth, Meredith Monk, and Nico Muhly. A long-time faculty member at New York’s Juilliard School, Bruce Brubaker now chairs the piano department at New England Conservatory in Boston. His essay “Time is Time” appears in Unfolding Time: Studies in Temporality in Twentieth Century Music (2009). He co-edited Pianist, Scholar, Connoisseur: Essays in Honor of Jacob Lateiner (2000). 100 PARSE JOURNAL pitch adjustment remains outside the player’s control. Ever-newer waters fow on those who step into the same rivers. What varies noticeably from performance to perfor- 1 Heraclitus mance are phrase organisation, infection, tone, tonal balances, and matters regarding time, rhythmic proportions, the nature, speed and pacing of beat. First of August 2015. I am just outside the Cloister Te acoustics of the concert space will afect the way at the medieval Abbey of Silvacane in La Roque sounds sustain and how they are perceived by the d’Anthéron, France. I’m about to begin a solo pi- audience and the performer, and this will afect the ano recital by playing Philip Glass’s Metamorphosis performer’s work. Te physical responsiveness of a 2. I’ve performed this piece many times. I expect particular piano will strongly infuence the actions/ to be able to play the music well, yet usual pre-con- reactions of the pianist, and the seemingly unchosen cert anxiety and exhilaration are afecting me. nuances that occur in performance. In my opinion, the specifc audience present at a concert can afect I’m not a drug addict. Yet, many times each year I the music that is made. Music is a group activity. get a fx, strong stimulants fow through my body. Te collective scrutiny of many listening ears alters I give concerts. And almost always, through fear, the musical and artistic awareness of each person— public performance brings me to heightened con- including the performer. sciousness. Adrenaline makes me intensely aware, and perhaps more able to play well. Accounts Te word commonly used in the French language here, of my performances of American minimalist to signify practising a musical instrument is composer Philip Glass’s solo piano piece Metamor- “repetition”. Rehearsal coaches in opera houses phosis 2, regard specifc performances that occurred are called “répétiteurs”. Surely the understood at the times and places mentioned. With words, I sense of this language is that in repetition change might evoke the regularly repetitive yet never-the- arises, improvement or progress. It is not exact or same task of the performer of scripted music—each literal repetition. “Re-peat” is based on the Latin repetition continuing a line made from more and word “petere”, and so, “to seek” again. From the more loops, more and more passes through pre- time of Walter Benjamin’s analysis or earlier, the existing musical text. Metamorphosis 2 contains understanding of artistic repetition changed.2 In multiple literal repetitions of material, concentrat- the postmodern, industrialised world—a world of ing the opposition/balance of sameness and variety mass production—a repeated product or recording present in the performer’s repeating of any music. is clone-like. Te presence of near-exact copies is a As hand and fngers fnd increasingly efcient ways pervasive feature of present-day manufacturing and through a piece of music, the performer may also life experience. Te nature of repeating a perfor- fnd artistic insight. Tough not necessarily sought, mance, and the desire to do so, may have been very analytic awareness may arise through the process of diferent in the pre-industrial world. repetition, and in the laboratory of the concert. A piece of scripted music—conventionally notated Twenty-eighth of July 2015. I’m sitting in the western classical music—is greatly variable in Green Room on the eighth foor of Broadcasting playing. Even played by the same solo pianist over House in London. In about 15 minutes, I’m going and over and over, a piece of music will emerge to play Philip Glass’s Metamorphosis 2 on the BBC diferently at each instance, each iteration. Each programme In Tune, a daily live show on Radio piano has particular tuning, timbre, and sustaining 3. I’ve already tried the piano in the studio, a capabilities. In terms of conventional piano playing, Hamburg Steinway C, and chatted a bit with the BRUCE BRUBAKER 101 interviewer. After my playing, we will recording studio he will necessarily 1. “ποταμοῖσι τοῖσιν αὐτοῖσιν ἐμϐαίνουσιν, talk on the air. I’ve been asked if I will encounter a wider range of repertoire ἕτερα καὶ ἕτερα ὕδατα read a question that’s part of a UK- than could possibly be his lot in the ἐπιρρεῖ.” Tis is repeated by wide competition. Te winner receives concert hall… It permits him to Plato. Te reference comes down to us in many forms tickets to a BBC Proms concert. encounter a particular piece of music and with embellishments. It and to analyze and dissect it in a appeals to me that such an idea, apparently a parable of Repetition can give an appearance most thorough way, to make it a vital change, can be repeated so of order. Musicians are accustomed part of his life for a relatively brief frequently and in so many to repetition. Even music that isn’t period, and then to pass on to some ways. especially repetitive is subject to consid- other challenge and to the satisfaction 2. Benjamin, Walter. Te erable repeating in a musician’s life. One of some other curiosity. Such a work Work of Art in the Age of Mechanical Reproduc- month, as an adolescent pianist, I began will no longer confront him with a tion [Das Kunstwerk im each day’s practising by playing through daily challenge. His analysis of the Zeitalter seiner technischen “cold” (without warming up) Chopin’s composition will not become distorted Reproduzierbarkeit (1936)]. Translated by Harry Zohn. “Black Key” Etude, opus 10, number 5. by overexposure, and his performance In Illuminations: Essays and Replaying is our practice, a structuring top-heavy with interpretive “niceties” Refections. Hannah Arendt (ed.). New York: Harcourt, of time, and, for the player, a structuring intended to woo the upper balcony, as Brace. 1968. https://www. of life. In making a repertory, musicians is almost inevitably the case with the marxists.org/reference/ strike a balance between repeating overplayed piece of concert repertoire.5 subject/philosophy/works/ ge/benjamin.htm (Accessed material and exploring new material. 2015-09-07). Some pianists play a huge number of 3. Eno, Brian, and Schmidt, pieces. Others delve into a few. How Tirtieth of May 2015, Wuhan, China. Peter. Oblique Strategies. many times, and in how many ways, I’ve been backstage at the new Qintai 1975. http://www.rtqe.net/ did the celebrated pianist Ignacy Jan Concert Hall for a couple of hours. ObliqueStrategies/Ed1.html (Accessed 2015-09-05). Paderewski perform the “Moonlight” Coming back here from the hotel this Sonata? Or rock music icon Mick Jagger afternoon, trafc was much heavier 4. Mechanical sound recording existed well sing “(I Can’t Get No) Satisfaction”? than trafc this morning. Tonight’s before recordings were concert includes a number of musicians made that could be played from the festival that I’ve been part of back. Already in the 1850s Repetition is a form of change. and 1860s, Édouard-Léon this week. I am going to play a single Scott de Martinville made 3 Brian Eno and Peter Schmidt piece: Philip Glass’s Metamorphosis 2. sound recordings with the “phonoautograph.” See the In my playing of the piece, two passages work of the First Sounds that used to seem technically graceless research group: http://www. In 1966, pianist Glenn Gould described are much easier to play now. frstsounds.org/research/ scott.php (Accessed 2016- the change he believed was occurring 01-24). in the musical performer’s work. After In recent years, I have given many per- 4 5. Gould, Glenn. Te producing a repeatable sound recording, formances of repetitive piano music by Prospects of Recording. a musician need not perform the same Philip Glass. In the playing of phrases Reprinted from High Fidel- music over and over and over: or whole sections of repeated material— ity 16. no. 4. 1966. In Te Glenn Gould Reader. Tim material that is notated without Page (ed.). Toronto: Lester Conceivably, for the rest of his life he variation—I welcome some changes & Orpen Dennys. 1984. pp. will never again take up or come in of emphasis or rhythmic infection in 335-336. contact with that particular work. the performance. It’s a delicate, even In the course of a lifetime spent in the precarious balance. Wilful changes are 102 PARSE JOURNAL 6. Freud, Sigmund. Ratschläge für den Arzt bei der psycho- garish, too noticeable.
Load more

Recommended publications
  • 2016 Program Booklet
    Rebecca Penneys Piano Festival Fourth Year July 12 – 30, 2016 University of South Florida, School of Music 4202 East Fowler Avenue, Tampa, FL The family of Steinway pianos at USF was made possible by the kind assistance of the Music Gallery in Clearwater, Florida Rebecca Penneys Ray Gottlieb, O.D., Ph.D President & Artistic Director Vice President Rebecca Penneys Friends of Piano wishes to give special thanks to: The University of South Florida for such warm hospitality, USF administration and staff for wonderful support and assistance, Glenn Suyker, Notable Works Inc., for piano tuning and maintenance, Christy Sallee and Emily Macias, for photos and video of each special moment, and All the devoted piano lovers, volunteers, and donors who make RPPF possible. The Rebecca Penneys Piano Festival is tuition-free for all students. It is supported entirely by charitable tax-deductible gifts made to Rebecca Penneys Friends of Piano Incorporated, a non-profit 501(c)(3). Your gifts build our future. Donate on-line: http://rebeccapenneyspianofestival.org/ Mail a check: Rebecca Penneys Friends of Piano P.O. Box 66054 St Pete Beach, Florida 33736 Become an RPPF volunteer, partner, or sponsor Email: [email protected] 2 FACULTY PHOTOS Seán Duggan Tannis Gibson Christopher Eunmi Ko Harding Yong Hi Moon Roberta Rust Thomas Omri Shimron Schumacher D mitri Shteinberg Richard Shuster Mayron Tsong Blanca Uribe Benjamin Warsaw Tabitha Columbare Yueun Kim Kevin Wu Head Coordinator Assistant Assistant 3 STUDENT PHOTOS (CONTINUED ON P. 51) Rolando Mijung Hannah Matthew Alejandro An Bossner Calderon Haewon David Natalie David Cho Cordóba-Hernández Doughty Furney David Oksana Noah Hsiu-Jung Gatchel Germain Hardaway Hou Jingning Minhee Jinsung Jason Renny Huang Kang Kim Kim Ko 4 CALENDAR OF EVENTS University of South Florida – School of Music Concerts and Masterclasses are FREE and open to the public Donations accepted at the door Festival Soirée Concerts – Barness Recital Hall, see p.
    [Show full text]
  • Forum Panelist Statements and Biographies
    Winter Series Panelists January 9, 16, 23, 2010 SARA BROWN (January 9) Time as Shape: Scenic Design A stage design can ground a performance in a specificmoment in history or unmoor an audience from linear time. My designs for Images from the Embers and for Island shape time in distinct ways. Both pieces were collaborations with Dana Tai Soon Burgess & Company and dealt with similar themes of history, memory, and loss. Images from the Embers follows a woman in the years shortly after WWII. She travels through despair and madness as she is haunted by the loss of her former lover during the war. Fragments of the couple’s letters shape the physical environment, and projections and light create the only visual shifts that we see. She is trapped in a world that is a physical record of her past loss. Images from her memory appear and she shares the stage with her former self engaged in a duet with her lost love. She is stuck in her inescapable present, unable to dislodge herself from the past. Island follows a group of immigrants from China as they travel through the Angel Island Immi• gration Station. Due to the Chinese exclusion act, the island turned from a gateway to a prison. The time that the detainees spent was recorded in the form of poetry carved into the walls that held them. The dance space is definedby a single 12’x16’ projection on the floorthat is in a constant state of change throughout the performance. The immigrants are contained within this image sur• rounded by four foreboding figures that guard them.
    [Show full text]
  • N E W S L E T T E R Vol
    Harvard University Department of MUSICn e w s l e t t e r Vol. 8, No. 2/Summer 2008 The More Things Change...: Music at Harvard, Then & Now Music Building by Anne C. Shreffler North Yard Harvard University Taking advantage of the Cambridge, MA 02138 comparatively quiet sum- mer months, I recently re-read Eliot Forbes’s A 617-495-2791 History of Music at Harvard www.music.fas.harvard.edu to 1972 (Department of Music, Harvard Univer- sity, 1988). Forbes, class of 1941 and a professor in the Music Department INSIDE from 1958 to 1984, known primarily for his magiste- Graduate student Meredith Schweig, Professors Rehding and Shreffler, graduate student 3 Faculty News rial revised and expanded Andrea Bohlman, and Professor Revuluri 4 Tutschku receives tenure; edition of Alexander Wheelock Thayer’s Life of that the musical transaction goes both ways: people Clark appointed Beethoven, writes of the different roles played by can do things with music—perform, compose, and music at Harvard: study it—but music also does things to (and with) 4 RISM adds Yale, Juilliard Music can provide stimulation, often of a deep, us: by providing “stimulation, often of a deep, spiri- manuscripts spiritual nature, to those who perform; music can tual nature...; music can be a life of its own...; music 5 Graduate Student News be a life of its own for those who create it through can be a subject of total absorption.” Finally, Forbes speaks of the special role of music at a liberal arts 6 Library News composition; and music can be a subject of total absorption for those who would study its history university, which must address the needs of those 6 Archiving Ulysses Kay and its roots.
    [Show full text]
  • PRESSEMITTEILUNG 16.11.2015 Bruce Brubaker Am 30. Januar Im
    FKP Scorpio Konzertproduktionen GmbH Große Elbstr. 277 a ∙ 22767 Hamburg Tel. (040) 853 88 888 ∙ www.fkpscorpio.com PRESSEMITTEILUNG 16.11.2015 Bruce Brubaker am 30. Januar im Birdland Der Pianist Bruce Brubaker interpretiert auf seinem neuen Album „Glass Piano“ Stücke des Komponisten Philipp Glass neu und präsentiert diese 2016 erstmalig seinem deutschen Publikum. Brubaker führte unter anderem Mozart mit den Los Angeles Philharmonikern auf, interpretierte Philip Glass für die BBC und trat regelmäßig als Interpret im New Yorker Le Poisson Rouge auf. Er nahm mit den renommierten deutschen und amerikanischen Plattenlabels ECM sowie Arabesque Records auf und veröffentlichte die viel beachteten Alben „Drones Album“ mit Nico Muhly oder „Piano Songs“ mit Meredith Monk und Ursula Oppens. Brubakers im Juni diesen Jahres erschienenes Album „Glass Piano“ ist dabei beinahe ein Zufallsresultat, das nur deshalb zustande kam, weil das Plattenlabel InFiné den Künstler um einige Remixversionen seiner früheren Glass-Interpretationen bat. Im Zuge des Wiederhörens der Kompositionen fühlte sich Brubaker dazu inspiriert, die Stücke erneut aufzunehmen. Der Komponist Nico Mulhy sagt über seine Musik: „Die berühmten Arpeggios von Glass klingen in den Interpretationen von Bruce entweder hauchzart oder streng. Genauso sind diese Strukturen auch gedacht. Ein Arpeggio als harmonisches Grundgerüst sollte wie eine gebrochene Version eines Akkordes klingen, die jedoch stärker ist, als dieser allein. Metaphorisch gesprochen kann es als ein Spinnennetz, eine Skulptur aus Zuckerwatte oder aber als ein Stahlgerüst daherkommen. Bruce reizt genau diese Facettenbreite in seinen Interpretationen aus und gibt den Kompositionen eine aufregende und abwechslungsreiche Note.“ Am 30. Januar 2016 spielt Bruce Brubaker seine Philip-Glass-Variationen im Hamburger Birdland.
    [Show full text]
  • On Behalf of Nature
    BAM 2014 Next Wave Festival #OnBehalfofNature Brooklyn Academy of Music Alan H. Fishman, Chairman of the Board William I. Campbell, Vice Chairman of the Board Adam E. Max, Vice Chairman of the Board Karen Brooks Hopkins, President On Behalf Joseph V. Melillo, Executive Producer of Nature Meredith Monk & Vocal Ensemble BAM Harvey Theater Dec 3—6 at 7:30pm; Dec 7 at 3pm Running time: one hour and 15 minutes, no intermission Music and direction by Meredith Monk Lighting design by Elaine Buckholtz Sound design by Jody Elff Costumes and scenography by Yoshio Yabara With Sidney Chen, Ellen Fisher, Katie Geissinger, Meredith Monk, Bruce Rameker, Allison Sniffin voices Bohdan Hilash winds John Hollenbeck percussion Allison Sniffin keyboards, violin, French horn Production manager Philip Sandström Season Sponsor: Technical director Johnny Chanthavong Assistant technical director Jess Malcolm Sound engineer Dave Cook Time Warner is the BAM 2014 Score preparation/Music director Allison Sniffin Next Wave Festival Sponsor Video editing Meredith Monk and Michael Grenadier Viacom is the BAM 2014 Music Sponsor Production coordinator/Company manager Peter Sciscioli Leadership support for music at BAM provided by: Frances Bermanzohn & Alan Roseman Pablo J. Salame On Behalf of Nature As I began working on On Behalf of Nature, I asked myself the question: “how would one create an ecological art work that didn’t make more waste in the world?” Live performances leave no traces except, hopefully, in the minds of audience members. This ephemeral aspect is both poignant and exhilarating. Sometimes though, the desire for novelty and surface excitement leads to buying a lot of new things, spending a great deal of money for an experience that lasts only a few hours.
    [Show full text]
  • Nuit Blanche À La Philharmonie De Paris
    NUIT BLANCHE À LA PHILHARMONIE DE PARIS Nuit du samedi 7 au dimanche 8 octobre 2017 De 20h30 à 6h du matin, entrée libre 5 nuits en une UNE NUIT, UNE VIE / HOMMAGE A PIERRE HENRY UNE NUIT MINIMALISTE UNE NUIT EN LA UNE NUIT DU QUATUOR UNE NUIT A LA BOUGIE AU MUSEE DE LA MUSIQUE CONTACTS PRESSE OPUS 64 Valérie Samuel & Mathias Jordan - 01 40 26 77 94 - [email protected] / [email protected] PHILHARMONIE DE PARIS Gaëlle Kervella - 01 44 84 89 69 - [email protected] / Philippe Provensal - 01 44 84 45 63 - [email protected] - UNE NUIT, UNE VIE / Hommage à Pierre Henry - Cette nuit rend hommage au compositeur qui s'est éteint le 5 juillet 2017. Une invitation à une fantaisie autobiographique, comme une symphonie, pour un voyage au fil des œuvres les plus marquantes de Pierre Henry (1927-2017). Une remontée dans le temps en compagnie de ses fidèles collaborateurs, dont Thierry Balasse. Toute une vie en une nuit : la Philharmonie de Paris propose de se promener sur les diverses planètes de la galaxie Pierre Henry de 20h30 à 6h30 du matin. Un périple original pour appréhender l’ampleur et l’éclectisme de l’œuvre du père de la musique électroacoustique. De la Symphonie pour un homme seul (qu’il composa avec Pierre Schaeffer en 1950) à Multiplicité (commande de la Philharmonie de Paris Que Pierre Henry a terminée avant sa disparition et qui sera créé durant cette nuit exceptionnelle), en passant par son tubesque Psyché Rock qu’il créa en 1967 avec Michel Colombier pour la Messe pour le temps présent de Maurice Béjart, ce sont les temps forts de l’œuvre d’un créateur qui n’a cessé de se remettre en question qui seront ici proposés.
    [Show full text]
  • Management, Concert Tours and a Cd Recording
    1 © ........................................ 2 SUMMARY EDITORIALS 04 14TH INTERNATIONAL PIANO COMPETITION OF ORLEANS 07 2020 JURY 08 2020 CANDIDATES 12 PRIZES 14 PIANO WORKS N°3 BLACK LETTERS BY PASCAL DUSAPIN: THE COMMISSIONED PIECE 16 ROUNDS 18 FINAL: THE SOLOISTS OF THE ORCHESTRE SYMPHONIQUE D'ORLÉANS 19 AND THE ENSEMBLE INTERCONTEMPORAIN - CONDUCTOR, SIMON PROUST LAUREATES CONCERTS IN PARIS 22 RELATED EVENTS 23 SCHEDULE OF 14TH INTERNATIONAL PIANO COMPETITION OF ORLÉANS 24 PRATICAL INFORMATION 25 TWENTY-FOUR YEARS OF RECORDING 26 PARTNERS 27 3 EDITORIALS Éric Denut, Orléans Concours International President Dear friends of the Competition, Thanks to our volunteers, without whom quite simply nothing would be possible. Thanks to our management and artistic and It is always with a great deal of emotion that I express on administrative production team, thoroughly restructured in its behalf of the association, its office and its general assembly, organisation since the last Competition and who rose brilliantly our gratitude to all of you who support us continuously and to the challenge. Thanks to our members of the jury: let them with determination. The list is long, and the words, despite be warmly thanked for their presence and their commitment, their sincerity, fall short of expressing our gratitude. Our and finally to our candidates, words fail to describe their thanks go in particular... to the Conservatoire and the Théâtre courage, their talent, and their enthusiasm. However... we also d'Orléans, of which it can never be said enough how essential think of all those local institutions, businesses and individuals, a role they play in opening a world of emotion, and opening families, friends, neighbours, who do not yet attend the the eyes of the younger generation amongst us to a world of Competition, who do not dare to do so or who do not know of creation and innovation.
    [Show full text]
  • Bruce Brubaker
    BRUCE BRUBAKER MERCREDI 1ER ET JEUDI 2 FÉVRIER À 20:30 ÉGLISE SAINT-GENÈS-LES-CARMES DURÉE 1 HEURE AUTOUR DU SPECTACLE ÉCOUTE-APÉRO-DÉDICACE AVEC BRUCE BRUBAKER JEUDI 2 FÉVRIER, DE 18:00 À 18:45 CHEZ SPLIFF MINISTORE, DISQUAIRE INDÉPENDANT 8, RUE DE LA TREILLE À CLERMONT-FERRAND VENEZ ÉCOUTER ET FAIRE DÉDICACER VOTRE ALBUM AUTOUR Le point fort de Bruce Brubaker est de comprendre D’UN VERRE, LORS UN MOMENT PRIVILÉGIÉ AVEC L’artiSTE. et réinterpréter la musique de Philip Glass. Il entretient ENTRÉE LIBRe – SANS RÉSErvATION une relation particulière avec ses compositions, encouragé par le critique de musique et producteur américain Tim Page (Pulitzer Prize 1997) qui a introduit Bruce Brubaker à la musique de Philip Glass. Depuis ce jour, soit plus de 20 ans, Brubaker et Glass se sont rencontrés à plusieurs reprises pour évoquer ces reprises et c’est alors installé GLASS PIANO chez Bruce une profonde compréhension des intentions D’APRÈS L’œUVRE DE Philip Glass intimes et des particularités de Philip. DE ET AVEC Les fans sont probablement familiarisés avec le concept de Bruce Brubaker remix dans les musiques électroniques – quand un artiste PRODUCTION MÉLODYN réinvente un morceau à partir des compositions originales - CRÉDITS ILLUSTRATION DE mais l’art du remix existe également depuis longtemps dans le COUVERTURE © ANTOINE+MANUEL monde de la musique contemporaine et classique. Le pianiste À PARTIR DES PHOTOGRAPHIES DE © TIMOTHY SACCENTI New-Yorkais Bruce Brubaker a dédié sa carrière à cette démarche. Un artiste qui a non seulement maîtrisé l’art de réinterpréter certaines grandes compositions mais qui a aussi ajouté de sa propre vision, les réimaginant et les poussant à leurs paroxysmes pour leur offrir une nouvelle forme unique.
    [Show full text]
  • NEC Academic Catalog FINAL.Pdf
    New England Conservatory Founded 1867 290 Huntington Avenue Boston, Massachusetts 02115 necmusic.edu (617) 585-1100 Office of Admissions (617) 585-1101 Office of the President (617) 585-1200 Office of the Provost (617) 585-1305 Office of Student Services (617) 585-1310 Office of Financial Aid (617) 585-1110 Business Office (617) 585-1220 Fax (617) 262-0500 New England Conservatory is accredited by the New England Association of Schools and Colleges. New England Conservatory does not discriminate on the basis of race, color, religion, sex, age, national or ethnic origin, sexual orientation, physical or mental disability, genetic make-up, or veteran status in the administration of its educational policies, admission policies, employment policies, scholarship and loan programs or other Conservatory-sponsored activities. For more information, see the Anti-Harassment and Anti-Sexual Harassment Policies found in the NEC Student Handbook and Employee Handbook. Edited by Suzanne Hegland and co-edited by Rebecca Teeters, June and July 2015. The information herein is subject to change and amendment without notice. Table of Contents 2 College Administrative Personnel 3-7 College Faculty 8-9 Academic Calendar 11-49 Academic Regulations and Information 51-53 Health Services and Residence Hall Information 55-61 Financial Information 63-77 Undergraduate Programs of Study Bachelor of Music Undergraduate Diploma Undergraduate Minors (Bachelor of Music) 79 Music-in-Education Concentration 81-97 Graduate Programs of Study Master of Music Vocal Pedagogy
    [Show full text]
  • John Cage: the Text Pieces I 23
    21ST CENTURY MUSIC JANUARY 2000 INFORMATION FOR SUBSCRIBERS 21ST-CENTURY MUSIC is published monthly by 21ST-CENTURY MUSIC, P.O. Box 2842, San Anselmo, CA 94960. Subscription rates in the U.S. are $84.00 per year; subscribers elsewhere should add $36.00 for postage. Single copies of the current volume and back issues are $8.00 (large back orders must be ordered by volume and be pre-paid). Please allow one month for receipt of first issue. Domestic claims for non-receipt of issues should be made within 90 days of the month of publication, overseas claims within 180 days. Thereafter, the regular back issue rate will be charged for replacement. Overseas delivery is not guaranteed. Send orders to 21ST-CENTURY MUSIC, P.O. Box 2842, San Anselmo, CA 94960. e-mail: [email protected]. Typeset in Times New Roman. Copyright 2000 by 21ST-CENTURY MUSIC. This journal is printed on recycled paper. Copyright notice: Authorization to photocopy items for internal or personal use is granted by 21ST-CENTURY MUSIC. INFORMATION FOR CONTRIBUTORS 21ST-CENTURY MUSIC invites pertinent contributions in analysis, composition, criticism, interdisciplinary studies, musicology, and performance practice; and welcomes reviews of books, concerts, music, recordings, and videos. The journal also seeks items of interest for its calendar, chronicle, comment, communications, opportunities, publications, recordings, and videos sections. Typescripts should be double-spaced on 8 1/2 x 11 -inch paper, with ample margins. Authors with access to IBM compatible word-processing systems are encouraged to submit a floppy disk, or e-mail, in addition to hard copy. Prospective contributors should consult "The Chicago Manual of Style," 13th ed.
    [Show full text]
  • WILDFLOWERS a Feminine Genesis
    2018 Regional Theatre Tony Award Recipients and The Irish Arts Center presents WILDFLOWERS a feminine genesis Inspired by the writings of W. B. Yeats Conceived, Choreographed and Performed by Maureen Fleming Ellen Stewart Theatre 66 East 4th Street, NYC, 10003 October 18 - 21, 2018 WILDFLOWERS a feminine genesis Inspired by the writings of W. B. Yeats Conceived, Choreographed and Performed by Maureen Fleming Music by Colm Mac Con Iomaire, James Mahon and Philip Glass Lighting and Set Design by Christopher Odo Sound Design by Brett R. Jarvis Videography by Jeff Bush and Christopher Odo Stage Assistance by Patrick Welsh Woman’s voice by Maureen Fleming Uillean Pipes and Flute by James Mahon Piano by Bruce Brubaker Violin by Colm Mac Con Iomaire “The purpose of rhythm, it has always seemed to me, is to prolong the moment of contemplation, the moment when we are both asleep and awake, which is the moment of creation, by hushing us with an alluring monotony, while it holds us waking by variety, to keep us in that state of perhaps real trance, in which the mind liberated from the will is unfolded in symbols.” The Symbolism of Poetry (1900) The recent discovery of the writings of William Butler Yeats has inspired both new creations and the integration of existing works into a new form. Yeats’ vision of merging mystical symbols into an ‘Art of the People’ has inspired ‘Wildflowers, a feminine genesis’, involving “elementary” ideas repeating across religions, cultures and folk traditions. ‘Wildflowers’ explores ’immortal waters’ of the ancient
    [Show full text]
  • Andris Nelsons Music Director Designate
    bernard haitink conductor emeritus seiji ozawa music director laureate 2013–2014 Season | Week 19A andris nelsons music director designate season sponsors Table of Contents | Week 19A 7 bso news 15 on display in symphony hall 16 the boston symphony orchestra 19 “salome” in the fin-de-siècle imagination by helen m. greenwald 26 this week’s program Notes on the Program 28 The Program in Brief… 29 Richard Strauss’s “Salome” 38 To Read and Hear More… Guest Artists 41 Andris Nelsons 55 Dominic Armstrong 42 Gun-Brit Barkmin 56 Jason Ferrante 43 Jane Henschel 57 Walter Fink 45 Gerhard Siegel 57 Nathan Stark 47 Evgeny Nikitin 58 Michael Meraw 49 Carlos Osuna 59 Keith Miller 50 Renée Tatum 59 Ryan Speedo Green 51 David Cangelosi 60 Robert Honeysucker 53 Alex Richardson 61 Abigail Fischer 62 sponsors and donors 80 future programs 82 symphony hall exit plan 83 symphony hall information program copyright ©2014 Boston Symphony Orchestra, Inc. program book design by Hecht Design, Arlington, MA cover design by BSO Marketing cover photo of Andris Nelsons by Marco Borggreve BOSTON SYMPHONY ORCHESTRA Symphony Hall, 301 Massachusetts Avenue Boston, MA 02115-4511 (617)266-1492 bso.org andris nelsons, ray and maria stata music director designate bernard haitink, lacroix family fund conductor emeritus, endowed in perpetuity seiji ozawa, music director laureate 133rd season, 2013–2014 trustees of the boston symphony orchestra, inc. Edmund Kelly, Chair • William F. Achtmeyer, Vice-Chair • Carmine A. Martignetti, Vice-Chair • Stephen R. Weber, Vice-Chair • Theresa M. Stone, Treasurer David Altshuler • George D. Behrakis • Jan Brett • Paul Buttenwieser • Ronald G.
    [Show full text]