Paul Schoenfield's' Refractory'method of Composition: a Study Of
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Scuola Pianistica Milanese»
Guido Salvetti Forse non ci fu una «scuola pianistica milanese» Una valutazione del ruolo del pianoforte nella vita musicale milanese del primo Ottocen- to deve dar ragione di aspetti non poco contraddittori. Da un lato appare chiaro il ruolo secondario del pianoforte nelle istituzioni pubbliche di istruzione e di concerto. Dall’al- tro appare imponente l’attività che potremmo dire privata, quale ci viene testimoniata dai ‹nobili dilettanti› e dai cataloghi editoriali. Osserviamo innanzi tutto alcuni dati recentemente raccolti sulle pubbliche accade- mie del Regio Conservatorio, a partire dalla sua fondazione nel 1808.1 Pur tenendo conto delle inevitabili lacune di uno spoglio d’archivio, appaiono clamorose le assenze di esi- bizioni pianistiche per interi anni, sommerse da un enorme numero di brani operistici e di ariette. Nei primi dieci anni di vita dell’istituzione, l’insegnante Benedetto Negri propone alle autorità e al pubblico cittadino soltanto questi due interventi pianistici: 8 ottobre 18122 Wolfgang Amadeus Mozart Variazioni per clavicembalo Giovanni Battista Rabitti3 1 ottobre 18154 Friedrich Heinrich Himmel Sonata per pianoforte5 [Luigi] Rabitti «minore» con accompagnamento di corni da caccia: Giacomo Belloli e Giuseppe Schiroli 1 Milano e il suo Conservatorio, a c. di Guido Salvetti, Milano 2003; cd-rom allegato, Appendice iv: Cronologia dei saggi degli allievi dal 1809 al 1896. Questa è l’avvertenza iniziale: «Per la compilazione della cronologia sono stati consultati i programmi di sala e, in alternativa, le recensioni apparse sulla Gazzetta musicale di Milano e sulla Perseveranza. In generale, per i titoli si è mantenuta la grafia come appare nel documento originale; dove è stato possibile si è provveduto, invece, a completare i nomi degliallieviedegliautori». -
An Interview with Larry Maxey
AN INTERVIEW WITH LARRY MAXEY Interviewer: Jewell Willhite Oral History Project Endacott Society University of Kansas 1 LARRY MAXEY B.M., “With Honor,” Michigan State University, 1959- Public School Music M.M., Music Literature and Performance, Eastman School of Music, 1960 D.M.A., Performance and Pedagogy, Eastman School of Music, 1968 Service at the University of Kansas First hired at the University of Kansas, 1970 Assistant professor of Clarinet, 1970-1975 Associate Professor of Clarinet, 1975-1980 Professor of Clarinet, 1980-2007 2 AN INTERVIEW WITH LARY MAXEY Interviewer: Jewell Willhite Q: I am speaking with Larry Maxey, who retired as professor of clarinet at the University of Kansas in 2007. We are in Lawrence, Kansas, on December 17, 2007. Where were you born and in what year? A: Michigan City, Indiana, in 1937. Q: What were your parents’ names? A: My father was Charles Sheldon Maxey. He was named after Charles Sheldon, who was the author of What Would Jesus Do? He was at a church in Topeka, although my grandmother, who lived in Indiana, had only heard of him. My mother was Bernice Frey Maxey. Q: My mother’s name was Bernice also. A: Not a very common name. Q: What was their educational background? A: They both had bachelors and masters degrees, and my mother had a nursing degree. She went on to accumulate a lot of graduate hours over the years and eventually ended up with a masters degree in education as well. My father had a master’s. He taught in high school for his entire life. -
PDF of Listening Into Others
LISTENING INTO OTHERS: AN ETHNOGRAPHIC EXPLORATION IN GOVINDPURI TRIPTA CHANDOLA A SERIES OF READERS PUBLISHED BY THE INSTITUTE OF NETWORK CULTURES ISSUE NO.: 36 LISTENING INTO OTHERS: AN ETHNOGRAPHIC EXPLORATION IN GOVINDPURI TRIPTA CHANDOLA 2 THEORY ON DEMAND Theory on Demand #36 Listening into Others: An Ethnographic Exploration in Govindpuri Tripta Chandola Editing: Geert Lovink and Sepp Eckenhaussen Supervision of previous versions: Dr. Jo Tacchi and Dr. Christy Collis Production: Sepp Eckenhaussen Cover design: Katja van Stiphout Publisher: Institute of Network Cultures, Amsterdam, 2020 ISBN 978-94-92302-63-2 Contact Institute of Network Cultures Phone: +31 20 5951865 Email: [email protected] Web: http://www.networkcultures.org This publication is available through various print on demand services. EPUB and PDF editions are freely downloadable from our website: http://networkcultures.org/publications/. This publication is licensed under the Creative Commons Attribution-NonCommercial- NoDerivatives 4.0 International (CC BY-NC-SA 4.0) LISTENING INTO OTHERS: AN ETHNOGRAPHIC EXPLORATION IN GOVINDPURI 3 4 THEORY ON DEMAND CONTENTS PREFACE: FOR BITIYA 6 HOW TO USE THE BOOK 8 FACT SHEET 13 1. IN SEARCH OF THE NEVER-LOST SLUMS: ETHNOGRAPHY OF AN ETHNOGRAPHER 31 2. LISTENING: AN ETHNOGRAPHIC EXPLORATION 45 3. AN ‘OBSCENE’ CALLING EMOTIONALITY IN/OF MARGINALIZED SPACES: A LISTENING OF/INTO ‘ABUSIVE’ WOMEN IN GOVINDPURI 61 4. THE SUBALTERN AS A POLITICAL ‘VOYEUR’? 75 5. COLLABORATIVE LISTENING: ON PRODUCING A RADIO DOCUMENTARY IN THE GOVINDPURI SLUMS - WITH TOM RICE 92 6. I WAIL, THEREFORE I AM 100 7. SONIC SELFIES: EQUALIZING THE ENCOUNTER WITH THE OTHER - IN CONVERSATION WITH JODI DEAN AND GEERT LOVINK 108 8. -
Fall 2003 2 Table of Contents
American Judo A Journal of the United States Judo Association Fall 2003 2 Table of Contents Message from Jim Bregman: Progress Through Outreach James S. Bregman.............................................................................................................5 James S. Bregman CEO Profiles Ed Szrejter......................................................................................................................11 Michael L. Szrejter George Harris................................................................................................................12 President Thomas A. Layon Committee Reports Vice President and Electronic Services National Corporate Tom Reiff .......................................................................................................................15 Counsel 2003 USJA National Symposium Hope Kennedy.................................................................................................................16 James R. Webb Treasurer Technical Notes Eugene S. Fodor Tani Otoshi.....................................................................................................................10 Secretary Basic Choke Defense ..................................................................................................12 Kote Gaeshi Variants .................................................................................................14 Board of Directors USJA Directory .................................................................................................................39 -
String Sinfonia, June 3, 2019, Program Notes Mika Armaly Western Washington University, [email protected]
Western Washington University Western CEDAR WWU Graduate School Collection WWU Graduate and Undergraduate Scholarship Spring 2019 String Sinfonia, June 3, 2019, Program Notes Mika Armaly Western Washington University, [email protected] Follow this and additional works at: https://cedar.wwu.edu/wwuet Part of the Music Performance Commons Recommended Citation Armaly, Mika, "String Sinfonia, June 3, 2019, Program Notes" (2019). WWU Graduate School Collection. 882. https://cedar.wwu.edu/wwuet/882 This Masters Thesis is brought to you for free and open access by the WWU Graduate and Undergraduate Scholarship at Western CEDAR. It has been accepted for inclusion in WWU Graduate School Collection by an authorized administrator of Western CEDAR. For more information, please contact [email protected]. String Sinfonia June 3, 2019 Program Notes By Mika Armaly Accepted in Partial Completion of the Requirements for the Degree Master of Music in Conducting ADVISORY COMMITTEE: Committee Chair Dr. Ryan Dudenbostel Committee Member Dr. Leslie Guelker-Cone Committee Member Professor Grant Donnellan GRADUATE SCHOOL Kathleen L. Kitto, Acting Dean Master’s Thesis In presenting this thesis in partial fulfillment of the requirements for a master’s degree at Western Washington University, I grant to Western Washington University the non-exclusive royalty-free right to archive, reproduce, distribute, and display the thesis in any and all forms, including electronic format, via any digital library mechanisms maintained by WWU. I represent and warrant this is my original work, and does not infringe or violate any rights of others. I warrant that I have obtained written permissions from the owner of any third party copyrighted material included in these files. -
Excerpts from the Japan Country Reader
Excerpts from the Japan Country Reader (The complete Reader, more than 1300 pages in length, is available for purchase by contacting [email protected].) JAPAN COUNTRY READER TABLE O CONTENTS on Carroll Bliss, Jr. 1924-1926 Commercial Attach*, Tokyo Cecil B. ,yon 1933 Third Secretary, Tokyo .a/ 0aldo Bishop 1931-1932 ,anguage Training, Tokyo 1932 3ice Consul, Osaka 1938-1941 Political Officer, Tokyo 7lrich A. Straus 1936-1940 Childhood, Japan 1946-1910 8-2 Intelligence Officer, 7nited States .ilitary, Japan .arshall 8reen 1939-1941 Secretary to Ambassador, Tokyo 1942 Japanese ,anguage School, Berkeley, California Niles 0. Bond 1940-1942 Consular Officer, Yokohama Robert A. Fearey 1941-1942 Private Secretary to the 7.S. Ambassador, Tokyo Cliff Forster 1941-1943 Japanese Internment, Philippines Ray .arshall 1941-1946 Naval Occupying Forces, Japan Christopher A. Phillips 1941-1946 7.S. Army = Staff of 8eneral .acArthur, Tokyo Eileen R. onovan 1941-1948 Education Officer, Civil Information and Education, Tokyo 1948-1910 Japan-Korea esk Officer, 0ashington, C Abraham .. Sirkin 1946-1948 Chief of News ivision, 8eneral .acArthurAs BeadCuarters, Tokyo Boward .eyers 1946-1949 ,egal Assistant to 8eneral 0illoughby, Tokyo Benry 8osho 1946-1910 Japan esk, 7SIS, 0ashington, C 0illiam E. Butchinson 1946-1911 Staff of 8eneral .acArthur, Tokyo 1912-1914 Information Officer, 7SIS, Tokyo John R. ODBrien 1946-1948 Press Analyst, Civil Information and Education, Japan 1948-1911 Public Affairs Information Officer, 7SIS, Tokyo Kathryn Clark-Bourne 1942-1910 .ilitary Intelligence, Tokyo Richard A. Ericson, Jr. 1942-1910 Consular Officer, Yokohama 1910-1912 Economic Officer, Tokyo 1913 Japanese ,anguage Training, Tokyo 1914-1918 Economic Officer, Tokyo Richard B. -
Writing Emotions
Ingeborg Jandl, Susanne Knaller, Sabine Schönfellner, Gudrun Tockner (eds.) Writing Emotions Lettre 2017-05-15 15-01-57 --- Projekt: transcript.titeleien / Dokument: FAX ID 0247461218271772|(S. 1- 4) TIT3793_KU.p 461218271780 2017-05-15 15-01-57 --- Projekt: transcript.titeleien / Dokument: FAX ID 0247461218271772|(S. 1- 4) TIT3793_KU.p 461218271780 Ingeborg Jandl, Susanne Knaller, Sabine Schönfellner, Gudrun Tockner (eds.) Writing Emotions Theoretical Concepts and Selected Case Studies in Literature 2017-05-15 15-01-57 --- Projekt: transcript.titeleien / Dokument: FAX ID 0247461218271772|(S. 1- 4) TIT3793_KU.p 461218271780 Printed with the support of the State of Styria (Department for Health, Care and Science/Department Science and Research), the University of Graz, and the Faculty of Arts and Humanities University of Graz. An electronic version of this book is freely available, thanks to the support of libraries working with Knowledge Unlatched. KU is a collaborative initiative designed to make high quality books Open Access for the public good. The Open Access ISBN for this book is 978-3-8394-3793-3. More information about the initiative and links to the Open Access version can be found at www.knowledgeunlatched.org. This work is licensed under the Creative Commons Attribution-NonCommercial-No- Derivs 4.0 (BY-NC-ND) which means that the text may be used for non-commercial purposes, provided credit is given to the author. For details go to http://creativecommons.org/licenses/by-nc-nd/4.0/. To create an adaptation, translation, or derivative -
Norfolk Chamber Music Festival Also Has an Generous and Committed Support of This Summer’S Season
Welcome To The Festival Welcome to another concerts that explore different aspects of this theme, I hope that season of “Music you come away intrigued, curious, and excited to learn and hear Among Friends” more. Professor Paul Berry returns to give his popular pre-concert at the Norfolk lectures, where he will add depth and context to the theme Chamber Music of the summer and also to the specific works on each Friday Festival. Norfolk is a evening concert. special place, where the beauty of the This summer we welcome violinist Martin Beaver, pianist Gilbert natural surroundings Kalish, and singer Janna Baty back to Norfolk. You will enjoy combines with the our resident ensemble the Brentano Quartet in the first two sounds of music to weeks of July, while the Miró Quartet returns for the last two create something truly weeks in July. Familiar returning artists include Ani Kavafian, magical. I’m pleased Melissa Reardon, Raman Ramakrishnan, David Shifrin, William that you are here Purvis, Allan Dean, Frank Morelli, and many others. Making to share in this their Norfolk debuts are pianist Wendy Chen and oboist special experience. James Austin Smith. In addition to I and the Faculty, Staff, and Fellows are most grateful to Dean the concerts that Blocker, the Yale School of Music, the Ellen Battell Stoeckel we put on every Trust, the donors, patrons, volunteers, and friends for their summer, the Norfolk Chamber Music Festival also has an generous and committed support of this summer’s season. educational component, in which we train the most promising Without the help of so many dedicated contributors, this festival instrumentalists from around the world in the art of chamber would not be possible. -
Juillet State Choir, LATVIJA Jane Archibald 2019 Brazilian Guitar Quartet / Quatuor De Guitares Brésilien
JULY 4-17 juillet State Choir, LATVIJA Jane Archibald 2019 Brazilian Guitar Quartet / Quatuor de guitares brésilien Music and History / Cirque Fantastic Miloš Musique et histoire JULY 4-17 juillet 2019 th anniversary 10 ème anniversaire SOUVENIR 613.241.0777 www.musicandbeyond.ca SUNDAY dimanche JULY 7 juillet FRE Ent E E rée ve GRA n TUIT t E 10 am - 3 pm de 10 h à 15 h Grounds of the University of Ottawa Sur les terrains de l’Université d’Ottawa MUSIC AND HISTORY / MUSIQUE ET HISTOIRE July 12 juillet 6 pm – 11 pm / de 18 h à 23 h Welcome! Bienvenue! I am delighted to be welcoming you to the 10th anniversary season Je suis ravi de vous accueillir au Festival Musique et Autres of Music and Beyond! Thank you for joining us for this very special Mondes, qui célèbre cette année son dixième anniversaire. Merci landmark festival. de vous joindre à nous pour marquer ce jalon exceptionnel ! It has been such an exciting journey! I have enjoyed every minute Notre parcours a été vraiment passionnant. J’ai pris un plaisir of planning the many hundreds of different concerts and events constant à planifier les centaines de concerts et événements qui ont that link music with such a broad range of art forms and cultural noué des liens entre la musique et une vaste gamme d’arts et de explorations. formes culturelles. The next 15 days will be a celebration of 10 years of incredibly La quinzaine musicale qui commence illustrera les dix années hard work by so many people. -
Trio Sobrenna
presents A Fourth-Year Recital Trio Sobrenna Sophia Park, violin Brent Davis, cello Anna Wang, piano Saturday, May 1, 2021 3:30 pm Old Cabell Hall University of Virginia Recital Program Trio Sobrenna Piano Trio in G Major Claude Debussy (1862-1918) I. Andantino con molto allegro II. Scherzo: Moderato con allegro III. Andante espressivo IV. Finale: Appassionato Café Music Paul Schoenfield (b. 1947) I. Allegro II. Rubato. Andante moderato III. Presto ~Intermission~ Piano Trio No. 2 in E-Flat Major, Op. 100 Franz Schubert (1797-1828) I. Allegro II. Andante con moto III. Scherzo: Allegro moderato IV. Allegro moderato This recital is funded by the University of Virginia Office of Undergraduate Research through the University Award for Projects in the Arts. The Projects in the Arts award is intended to expand students’ opportunities for creative expression and showcase significant accomplishments in the arts. The program funds outstanding undergraduate projects in the arts to be carried out in the summer and the upcoming academic year. About the Performers Since forming in 2017, Trio Sobrenna – violinist Sophia Park, cellist Brent Davis, and pianist Anna Wang – has worked together in the Chamber Music Seminar program at UVA for a full eight semesters, receiving coachings from Professors David Sariti, Adam Carter, Daniel Sender, and Ayn Balija. Within the program, the trio has studied a variety of pieces, including works by Felix Mendelssohn, Johannes Brahms, Anton Arensky, and Antonín Dvořák. The ensemble has also performed in masterclasses with Professor John D’earth of the University of Virginia, Susanna Klein of Virginia Commonwealth University, as well as László Pólus and László Holics of the University of Pécs. -
Songs Without Words Troy1510
ELIOT FISK GUITAR | YEHUDA HANANI CELLO SONGSfrom BACH WITHOUT to BACHIANAS WORDS WWW.ALBANYRECORDS.COM TROY1510 ALBANY RECORDS U.S. 915 BROADWAY, ALBANY, NY 12207 TEL: 518.436.8814 FAX: 518.436.0643 ALBANY RECORDS U.K. BOX 137, KENDAL, CUMBRIA LA8 0XD TEL: 01539 824008 © 2014 ALBANY RECORDS MADE IN THE USA DDD WARNING: COPYRIGHT SUBSISTS IN ALL RECORDINGS ISSUED UNDER THIS LABEL. THIS CD IS ABOUT SONG — a cornucopia of exquisite jewels from a multitude of cultures: Spanish, music in those heady early years. Little did I dream that half a lifetime later a series of coincidences Italian, German, Brazilian, Cuban, Jewish, Russian, Romanian-Gypsy, and the American heartland. would bring Yehuda and me together in music and in the brotherly affection reflected in the Like the miniaturized trees of bonsai, it is a universe in a nutshell, reduction to the very essentials. contents of this CD. The cello is a newcomer to the string family. It appeared on the musical scene in the early Over an arc that stretches from Bach-Guonod to Villa-Lobos’s famous Bachianas No. 5 1500’s. The guitar, however, is ancient. It is an incarnation of the kithara, the most popular (originally scored for the unthinkable combination of eight cellos and soprano!) we offer four gems instrument of classical Greece. Apollo played it and passed it on to Orpheus, the patron saint by Cui, Fauré, Lecuona and Monti; Bloch’s moving Prayer, then a set of eight Schubert songs, of all musicians. four of Robert Beaser’s Mountain Songs (originally for flute and guitar), and a two-movement Since this blending of sustained and plucked sounds makes for ideal pairing, it is surprising that Boccherini Sonata. -
German Writers on German Opera, 1798–1830
! "# $ % & % ' % !"# $!%$! &#' !' "(&(&()(( *+*,(-!*,(."(/0 ' "# ' '% $$(' $(#1$2/ 3((&/ 14(/ Propagating a National Genre: German Writers on German Opera, 1798–1830 A Dissertation submitted to the Division of Graduate Studies and Research of the University of Cincinnati in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY In the Division of Composition, Musicology, and Theory of the College-Conservatory of Music 2010 by Kevin Robert Burke BM Appalachian State University, 2002 MM University of Cincinnati, 2004 Committee Chair: Dr. Mary Sue Morrow ABSTRACT Standard histories of Western music have settled on the phrase “German Romantic opera” to characterize German operatic developments in the early part of the nineteenth century. A consideration of over 1500 opera reviews from close to thirty periodicals, however, paints a more complex picture. In addition to a fascination with the supernatural, composers were drawn to a variety of libretti, including Biblical and Classical topics, and considered the application of recitative and other conventions most historians have overlooked because of their un-German heritage. Despite the variety of approaches and conceptions of what a German opera might look like, writers from Vienna to Kassel shared a common aspiration to develop a true German opera. The new language of concert criticism found from specialized music journals like the Allgemeine musikalische Zeitung to the entertainment inserts of feuilletons like the Zeitung für die elegante Welt made the operatic endeavor of the early nineteenth century a national one rather than a regional one as it was in the eighteenth century. ii Copyright 2010, Kevin Robert Burke iii ACKNOWLEDGEMENTS First, I would like to offer gratitude to all my colleagues, friends, and family who supported me with encouraging words, a listening ear, and moments of celebration at the end of each stage.