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CHARLIE BERENS Q GALLERY HOLIDAY FARE to Mix up Old and Manitowoc Minute Holiday Show Opens 10 Feasting Favorite PUBLISHER’S Note P
TO THE HOLIDAYS 10 WI FOODS TO FEAST UPON Get Out & Do What You Like to do NOVEMBER 2018 Christmas with the NELSONS Everyone is invited to this family CHARLIE celebration BERENS Tours WI with Manitowoc minute and More BLUES TRAVELER 30+ years and in their comfort zone UPCOMING EVENts: PLUS! Fox Cities | Green Bay TORNADO CLUB Marshfield | Oshkosh STEAK HOUSE Stevens Point | Waupaca A Madison classic Wausau | Wisconsin Rapids Marketing is essential for every business. But let’s face it, some days are a struggle to keep up with everything you are currently doing. Beyond that, in the digital age it can be downright confusing and intimidating to sort through your options. How can you keep up with the chaotic pace of doing business in an increasingly digital world? Let us help... Specializing in Contracted Digital Marketing Services Websites | eMail Marketing | Social Media | Google Business | Reputation Management www.foxxinteractiveservices.com Contact: (715) 412-1284 | [email protected] Get Out & Do What You Like to Do NOVEMBER 2018 p.22 THE NELSONS MAtthEW AND GUNNAR SHARE THEIR FAMILY CHRISTMAS WITH WIscoNSIN P. 4 P. 18 P. 28 P. 30 DEPARTMENTS BLUES TRAVELER CHARLIE BERENS Q GALLERY HOLIDAY FARE To mix up old and Manitowoc Minute Holiday Show opens 10 feasting favorite PUBLISHER’S NOTE p. 2 new in Milwaukee and beyond on in Stevens Point Wisconsin foods SUPPER CLUB p. 12 new tour Tornado Club Steak House Of Madison EVENTS CALENDAR p. 34 PUBLISHER’S NOTE NOVEMBER – A TIME FOR Family Fun Edition THANKS AND TOGETHERNESS November 2018, Vol. -
Wainwright Sisters Keep It in the Family
SATURDAY, NOVEMBER 14, 2015 Music Review Wainwright Sisters keep it in the family here can be something magical about the voices of siblings singing together, as a lis- Tten to the Beach Boys or the Everly Brothers shows. More proof comes in this subtly haunting album by Martha Wainwright and Lucy Wainwright Roche, for whom music has always been a family affair. The half-sisters are daughters of singer-songwriter Loudon In this file picture taken on May 17, 2015, English-Irish pop band One Direction attend the 2015 Wainwright III and separate musical mothers. Billboard Music Awards at the MGM Grand Garden Arena in Las Vegas, Nevada. — AP photos Martha’s mother, the late Kate McGarrigle, wrote and performed with her sister Anna, while Lucy is the daughter of Suzzy Roche of sister act Bieber, One Direction The Roches. try Themes of family and childhood run through their collaboration “Songs in the Dark,” which Martha Wainwright has described as an album to grow up on new albums of “creepy, morbid lullabies.” Recorded at a fam- ily cabin in the Quebec woods, the album is a nce squeaky clean and baby-faced teen world at large but-many fans presume-to ex-girl- mix of traditional folk tunes and new takes on This CD cover image released by PIAS shows stars, Justin Bieber and One Direction have friend Selena Gomez, a fellow former teen star and songs by the likes of Cindy Walker, Townes Van “Songs in the Dark,” a release by The Oquickly discovered the harsh realities of liv- singer. -
To Repeat Or Not to Repeat, That Is the Question1 by Kyle Gann
To Repeat or Not to Repeat, That Is the Question1 By Kyle Gann Steve Reich In the good old 1960s, the Bohemian life was cheap in lower Manhattan, the streets were relatively safe, and artists drove cabs for a living. Steve Reich, for example. He had been experimenting with tapes of interesting voices he found, and he rigged up his cab with a tape recorder so he could tape some of his passengers. One day he recorded a young African- American man who had been beaten up in the Harlem riots of 1964. By the young man's account, the police were taking away victims and would only take those who were visibly bleeding to the hospital. This young man wasn't bleeding, so, as he said, "I had to, like, open the bruise up and let some of the bruise blood come out to show them." The inner melody of that phrase intrigued Reich. He took the tape home and made tape loops from the words "Come out to show them." He started two of the tape loops together and, because his cheap tape recorders weren't precisely the same speed, he listened to them inevitably out of phase. This gradual phasing process obscured the words and turned them into a little repeated melody in C minor. Reich taped the whole process and called the resulting piece Come Out. Describing how it felt the first time he heard two tape loops go out of phase, Reich said, "The sensation that I had in my head was that the sound moved over to my left ear, down to my left shoulder, down my left arm, down my leg, out across the floor to the left, and finally began to reverberate and shake.. -
Popular Music and Politics: In, Against and Beyond Identity
CORE Metadata, citation and similar papers at core.ac.uk Provided by University of Huddersfield Repository Popular Music and Politics: In, Against and Beyond Identity Jessica Sylvia Winterson A thesis submitted to the University of Huddersfield in partial fulfilment of the requirements for the degree of Doctor of Philosophy The University of Huddersfield September 2018 Abstract The research establishes radical modes of theorising for an explicitly anti-capitalist musicology able to celebrate music’s enactment of post-capitalist desire and to understand how music helps to ‘make what was previously deemed to be impossible seem attainable’. Adopting a sharp focus on the 1960s to the 1990s this thesis combines popular musicology and autonomist Marxism to argue that music functions as politics in transforming consciousness and shifting domains of acceptability in thought and feeling. Emancipatory politics must destroy the appearance of a ‘natural’ order and the thesis develops perspectives on ‘popular music and politics’ that can account for past struggles against capitalism, demonstrating how and why these struggles are naturalised with the discontinuity they signify necessarily erased or appropriated. Music performs emotional work of political significance such as in the embodiment of hope and confidence necessary for political mobilisation. The capacities of music to articulate the emotions that empower people are deployed here to suggest contradictions contained in, against and beyond identity bear utopian orientation. This statement is developed to ask what it means to counter hegemony and break social cohesion. ‘Insubordination’ forms the macro-arguments of the research. These arguments are around the roles of politics in popular music experience in the translation of mid-twentieth century revolution to capitalist realism and neoliberal modernity. -
Einstein on the Beach an Opera in Four Acts ROBERT WILSON & PHILIP GLASS
CAL PERFORMANCES PRESENTS PROGRAM Friday, October 26, 2012, 6pm Saturday, October 27, 2012, 5pm Sunday, October 28, 2012, 3pm Zellerbach Hall Einstein on the Beach An Opera in Four Acts ROBERT WILSON & PHILIP GLASS Choreography by Lucinda Childs with Helga Davis Kate Moran Jennifer Koh Spoken Text Jansch Lucie Christopher Knowles/Samuel M. Johnson/Lucinda Childs with The 2012 production of Einstein on the Beach, An Opera in Four Acts was commissioned by: The Lucinda Childs Dance Company Cal Performances; BAM; the Barbican, London; Luminato, Toronto Festival of Arts and Creativity; De Nederlandse Opera/The Amsterdam Music Theatre; Opéra et Orchestre Music Performed by National de Montpellier Languedoc-Rousillon; and University Musical Society of the The Philip Glass Ensemble University of Michigan. Michael Riesman, Conductor World Premiere: March 16, 2012, Montpellier, France. Music/Lyrics Direction/Set and Light Design Originally produced in 1976 by the Byrd Hoffman Foundation. Philip Glass Robert Wilson Lighting Sound Costumes Hair/Makeup Urs Schönebaum Kurt Munkasci Carlos Soto Campbell Young Associates: Because Einstein on the Beach is performed without intermission, the audience is invited to leave Luc Verschueren and re-enter the auditorium quietly, as desired. Café Zellerbach will be open for your dining pleasure, serving supper until 8pm and smaller bites, spirits, and refreshments thereafter. The Café is located on the mezzanine level in the lobby. Associate Producer Associate Producer Senior Tour Manager Production Manager Kaleb Kilkenny Alisa E. Regas Pat Kirby Marc Warren Music Director Co-Director Directing Associate Michael Riesman Ann-Christin Rommen Charles Otte These performances are made possible, in part, by the National Endowment for the Arts, and by Patron Sponsors Louise Gund, Liz and Greg Lutz, Patrick McCabe, and Peter Washburn. -
LOUDON WAINWRIGHT III Haven’T Got the Blues (Yet) (429 Records)
MUSIC / NEW MUSIC By STEPHEN HOLDEN Published: September 8, 2014 LOUDON WAINWRIGHT III Haven’t Got the Blues (Yet) (429 Records) From an enfant terrible, once hailed as a new Bob Dylan, to a wary but not too grumpy older man, Loudon Wainwright III, now 68, has stayed the course for well over four decades, charting his life and times with pungent light verses and biting turns of phrase. As a folk singer-songwriter, he has proved that a sharp sense of humor can make for verses more durable than earnest self-examination. You can’t whine about the aging process but you can confront it and soften it with laughter. And on the best songs in “Haven’t Got the Blues (Yet),” his 23rd studio album, he faces impending decrepitude with a smile on his face, buoyed by Zoloft. “Brand New Dance,” which opens the album, is a frantic rockabilly swinger in which he announces a new dance craze “sweeping the land,” where “First you get out of bed, then you attempt to stand.” There’s a silver lining. “But that senior discount that’s my kind of treat/Cause when I get on the bus, you got to gimme a seat.” As the song continues, the point of view widens to embrace an older person’s cynicism on Election Day: “One of them fools is bound to win/But it’s the same old same old all over again.” Mr. Wainwright’s music hasn’t changed significantly. It varies from good-timey folk to spare folk-blues. If his voice has thinned a bit, he still conveys the jovial intimacy of a born storyteller whose public self- mockery exorcises demons. -
Performance History 2020 ITSOFOMO (In the Shadow Of
Ben Neill – Performance History 2020 ITSOFOMO (In the Shadow of Forward Motion), collaboration with David Wojnarowicz, Getty Museum, Los Angeles, CA Fantini Futuro, Berrie Center for the Performing Arts at Ramapo College, Mahwah, NJ 2019 ITSOFOMO (In the Shadow of Forward Motion), collaboration with David Wojnarowicz, KW Institute, Berlin Big Ears Festival 2019, duo with Mimi Goese, Knoxville, TN International Computer Music Conference, NYU, New York, NY Fantini Futuro world premiere, Roulette, Brooklyn, NY 2018 ITSOFOMO (In the Shadow of Forward Motion), collaboration with David Wojnarowicz, 4 performances at Whitney Museum of American Art, New York, NY STEIM, Amsterdam, The Netherlands 2017 Winter Garden at Brookfield Place, WNYC New Sounds Live, MANITOGA, STEAK abc, performance and installation with artist Carol Szymanski College of Santa Monica Art Gallery, performance of Horizonal in exhibition of artist Andy Moses Woodstock Artists Association and Museum (WAAM), Fathom, collaboration with Mimi Goese Howland Center, Beacon NY, collaborative performance with visual artist Carl van Brunt O+ Festival, Kingston, NY, performance with Mimi Goese Romanischer Sommer, Koln, Germany; World Minimal Music Festival, Amsterdam, Netherlands; Klangspauren Festival, Polling, Germany, NO Festival, Krems, Austria; co- leader of Theater of Eternal Music Brass Ensemble performance of La Monte Young’s work The Second Dream 2016 Lied Center, University of Kansas, The Demo with Mikel Rouse Brooklyn Academy of Music BAM Café with Mimi Goese Café Oto, London, UK International Conference on Live Interfaces, University of Sussex, Brighton, UK Manitoga/The Russel Wright Design Center, Garrison, NY, performance of MANITOGA The Towne Crier, Beacon, NY, premiere of Fathom, commissioned work with Mimi Goese Ultima Festival, Oslo, Norway, Creative Technology Week, “Repurposed Technology; A Night of Invented Instrument Performance”, Clemente Cultural Center, New York, NY Roulette, John Cage Concert for Piano and Orchestra, Orchestra of the S.E.M. -
Wainwright, Rufus (B
Wainwright, Rufus (b. 1973) by Linda Rapp Encyclopedia Copyright © 2015, glbtq, Inc. Entry Copyright © 2004, glbtq, inc. Rufus Wainwright. Reprinted from http://www.glbtq.com Courtesy Dreamworks Records. Singer and songwriter Rufus Wainwright has built a successful career with witty lyrics and rich melodies that have earned him comparisons to Cole Porter and George Gershwin. Wainwright cites Al Jolson, Edith Piaf, and Nina Simone as artists who were among his early inspirations. Both music critics and Wainwright's loyal fans appreciate the structural complexity and lush orchestrations of his works. Described by Advocate reviewer Anderson Jones as "the thinking gay man's sex symbol," Wainwright composes and performs songs marked by intelligence, humor, and pathos. In his rendition, his songs are at once achingly plaintive and hip, their frank romanticism only barely mediated by a light dose of irony. Wainwright comes from a distinctly musical family. His father is American folk-singer and humorist Loudon Wainwright III, and his mother is Canadian folk-singer and songwriter Kate McGarrigle. Born July 22, 1973 in Rhinebeck, New York, Rufus Wainwright grew up in Montreal, where his mother made her home after his parents separated when he was three and subsequently divorced. Music has always been at the center of Wainwright's life. He began learning to play the piano at six and by his early teens was performing on tour with his mother, his aunt Anna McGarrigle, and his sister Martha Wainwright as the McGarrigle Sisters and Family. Wainwright wrote his first song, "I'm A-Runnin'," for the children's film Tommy Tricker and the Stamp Traveller (1988, directed by Michael Rubbo), for which his mother and aunt had been engaged to provide the music. -
Dypdykk I Musikkhistorien - Del 23: Minimalistisk Musikk (25.03.2019 - TNB) Oppdatert 25.03.2019
Dypdykk i musikkhistorien - Del 23: Minimalistisk musikk (25.03.2019 - TNB) Oppdatert 25.03.2019 Spilleliste pluss noen ekstra lyttetips: Pionerer Dragon’s teeth Moondog And His Friends (1953) / Moondog November (1959) / Dennis Johnson Untitled organ (1964-1966) / Terry Riley Inside the dream syndicate volume 1: Day of Niagara (1965) [2000] I of IV (1966) Electronic works (1997) / Pauline Oliveros It’s gonna rain (1965) / Steve Reich Piano phase (1967) / Steve Reich The Velvet Underground & Nico (1966) / The Velvet Underground & Nico De 4 store La Monte Young The well-tuned piano (1964) (The well-tuned piano in the Magenta lights (2000)[DVD]) Steve Reich Drumming (1971) ; Music for 18 musicians (1976) ; Different trains (1988) (Phases - A Nonesuch retrospective (2006)) Terry Riley A rainbow in curved air (1969) In C (1968) / Terry Riley In C (1968) (Terry Riley - In C (2005) / DesAccordes) In C (2001) / Acid Mother Temple & The Melting Paraiso U.F.O. Philip Glass Music in twelve parts (1976) Glassworks (1982) Andre minimalister From the side of man and womankind Outside the dream syndicate (1973) / Tony Conrad with Faust Visitations Part 1 Visitations (1973) / Jon Gibson Evil nigger (1979) (Unjust Malaise (2005) / Julius Eastman) Monk Fear And Loathing In Gotham - Gotham Lullaby (Dolmen music (1981) / Meredith Monk) Nothin To Look At Just A Record (1982) / Phil Niblock Crossing the border (1990) / Steve Martland Europa The piano concerto / Michael Nyman Passio (1988) / Arvo Pärt De Stijl (1994) / Louis Andriessen Hout [Louis Andriessen] Industry (1995) / Bang On A Can Baalbeck under the stars ; Shijingshand ballad (Inside (2014) / Urban Sax) Opera Akhnaten / Philip Glass Nixon in China / John Adams Mikrotonalitet ii-v-i freeHorn (2017) / Larry Polansky Lois V Vierk Postminimalisme Part I. -
Label: Audiokult Recordings, Vienna, Austria Artist: Ben Neill Album: Horizonal Release Date: September 15, 2015 Contact: [email protected]
Label: Audiokult Recordings, Vienna, Austria Artist: Ben Neill Album: Horizonal Release date: September 15, 2015 Contact: [email protected] Horizonal is a new album by electronic music innovator Ben Neill featuring his self-designed computer interactive mutantrumpet. The recording is an ambient journey that blends Neill’s richly timbral melodies and textures with glitchy, minimal beats and deep sub bass lines. Using the unique palette of sounds generated by his instrument, Neill incorporates elements of future garage and deep house while keeping an ambient, reflective vibe with jazzy overtones. Guest artists appearing on the record are guitar wizard Gary Lucas, (Future Sound of London, Captain Beefheart) and saxophonist/sonic ecologist David RotHenberg. In addition to 5 original songs, the album includes a cover version of Sweetness and Light, written and recorded by the 1990’s shoegaze band Lush. Neill has been active as a composer/performer in New York City since the mid 1980’s when he worked with synthesizer pioneer Robert Moog to develop the first version of his instrument. He has previously released 9 albums on labels including Astralwerks, Verve, Six Degrees and THirsty Ear. Horizonal is his first release since the 2011 Songs for Persephone, a collaboration with vocalist Mimi Goese released on Ramseur Records. Neill has performed his music in wide ranging venues, from concert halls and jazz festivals to experimental art spaces and dance clubs. He has been called “a creative composer and genius performer” (Time Out NY),"the mad scientist of dancefloor jazz" (CMJ), and "a musical powerhouse, a serious and individual talent" (Time Out London). -
Conference Program
2nd International Conference on Minimalist Music University of Missouri-Kansas City Kansas City, Missouri September 2-6th 2009 Special Guests: Sarah Cahill, Robert Carl, Tom Johnson, Charlemagne Palestine, and Mikel Rouse Co-Directors: Kyle Gann and David McIntire Steering Committee: Andrew Granade, Andy Lee, Jedd Schneider, and Scott Unrein David Rosenboom James Tenney How Much Better if Plymouth Rock Had Spectrum Pieces Landed on the Pilgrims The Barton Workshop, David Rosenboom, Erika Duke-Kirkpatrick, Vinny Golia, James Fulkerson, musical director Swapan Chaudhuri, Aashish Khan, I Nyoman Wenten, 80692-2 [2 CDs] Daniel Rosenboom, and others 80689-2 [2 CDs] Larry Polansky Stuart Saunders Smith The Theory of Impossible Melody The Links Series of Jody Diamond, Chris Mann, voice; Phil Burk and Larry Polansky, live computers; Larry Polansky, electric guitar; Robin Vibraphone Essays Hayward, tuba 80690-2 [2 CDs] 80684-2 Io Jody Diamond Flute Music by Johanna Beyer, In That Bright World: Joan La Barbara, Larry Polansky, Music for Javanese Gamelan James Tenney, and Lois V Vierk Master Musicians at the Indonesian Margaret Lancaster, utes Institute of the Arts, Surakarta, Central Java, 80665-2 Indonesia; with Jody Diamond, voice 80698-2 Musica Elettronica Viva James Mulcro Drew MEV 40 (1967–2007) Animating Degree Zero Alvin Curran, Frederic Rzewski, Richard Teitelbaum, The Barton Workshop, Steve Lacy, Garrett List, George Lewis, Allan Bryant, James Fulkerson, musical director Carol Plantamura, Ivan Vandor, Gregory Reeve 80687-2 80675 (4 CDs) Robert Erickson Andrew Byrne Auroras White Bone Country Boston Modern Orchestra Project; Rafael Popper-Keizer, cello Stephen Gosling, piano; Gil Rose, conductor David Shively, percussion 80695-2 80696-2 The entire CRI CD catalog is now available as premium-quality on-demand CDs. -
ACRL News Issue (B) of College & Research Libraries
New Publications George M. Eberhart American Music in the Twentieth Cen nese-American name styles and customs, and tury, by Kyle Gann (400 pages, December identifying a Chinese surname character. An 1997), surveys the art music composed in the appendix provides a list of common surnames United States from the tone poems of Charles and their Chinese characters. $32.50. Ives to the total ism of Mikel Rouse. Writ ten McFarland. ISBN 0-7864-0418-3. for the general reader with a basic knowledge If Chinese ethnic groups are your inter of music, the book covers ultramodernism in est, consult An Ethnohistoricαl Dictio the 1920s, populism in the 1930s, experimen- nary of China, by James S. Olson (434 talism, atonality, John Cage and the New York pages, March 1998). Every significant anthro School, post-Cage conceptualism, minimalism, pological and linguistic group is described new romanticism, electronic music, rock and here, not just the 55 minority “nationalities” jazz fusion, postminimalism, and totalism. Each officially recognized by the People’s Repub chapter offers a discussion of recommended lic. An extensive essay on China’s largest musical examples and concise composer bi ethnic group, the Han, covers their history ographies. An essential guide for those who from the Neolithic to the 1990s. $89.50. want to move beyond Mahler and Brahms. Greenwood. ISBN 0-313-28853-4. $39.00. Schirmer Books. ISBN 0-02-864655-X. Schirmer has also published a revised, con The International Director of Univer cise edition of Daniel Kingman’s American sity Histories, edited by Carol Summerfield Music: A Panorama (433 pages, March and Mary Elizabeth Devine (780 pages, April 1998), which covers folk and ethnic music, 1998), is actually a collection of historical es blues, country, rock, popular sacred music, says on 168 selected academic institutions pop from colonial times to the present, jazz, worldwide.