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Highly Anticipated Non-Profit Music Venue in Williamsburg, Brooklyn, Announces Opening, Curators, Programming Details and a New Name
For Immediate Release May 8, 2015 Press Contacts: Blake Zidell, John Wyszniewski and Ron Gaskill at Blake Zidell & Associates: 718.643.9052, [email protected], [email protected], [email protected]. HIGHLY ANTICIPATED NON-PROFIT MUSIC VENUE IN WILLIAMSBURG, BROOKLYN, ANNOUNCES OPENING, CURATORS, PROGRAMMING DETAILS AND A NEW NAME Beginning in October, National Sawdust (Formerly Original Music Workshop) Will Provide Composers and Musicians a State-of-the-Art Home for the Creation of New Work and Will Give Audiences and a Place to Discover Genre-Spanning Music at Accessible Ticket Prices Curators to Include Composers Anna Clyne, Bryce Dessner, David T. Little and Nico Muhly; Pianists Simone Dinnerstein and Anne Marie McDermott; Vocalists Helga Davis, Theo Bleckmann and Magos Herrera; and Violinists Miranda Cuckson and Tim Fain Groups and Artists in Residence to Include Brooklyn Rider, Glenn Kotche (Wilco), Alicia Hall Moran and Zimbabwe’s Netsayi Venue Partners and Collaborators Range from Carnegie Hall's Weill Music Institute and the New York Philharmonic’s CONTACT! to Stanford University and Williamsburg-Based El Puente Center for Arts and Culture National Sawdust +, Created by Elena Park, Will Include National Sawdust Talks as well as Performance Series that Offer Leading Directors and Writers, from Richard Eyre to Michael Mayer, a Platform to Share Their Musical Passions Opening Concerts in October to Feature Terry Riley, John Zorn, Roomful of Teeth, Nico Muhly, Bryce Dessner, Fence Bower Jon Rose, Throat Singer Tanya Tagaq and Others Brooklyn, NY (May 7, 2015) - The non-profit National Sawdust, formerly known as Original Music Workshop, is pleased to announce that its highly anticipated, state-of-the-art, Williamsburg, Brooklyn venue will open this fall. -
She Speaks a Celebration of the Past, Present and Future of Women Composers in Australia and Beyond
ADELAIDE She SYMPHONY ORCHESTRA Speaks SEASON 2021 June Presented in partnership with Saturday 19 the Elder Conservatorium of Music Elder Hall at the University of Adelaide Le Parc 2 She Speaks A celebration of the past, present and future of women composers in Australia and beyond. LUNCHTIME CHAMBER MUSIC CONCERT 10 Domestic Voices 1pm, Elder Hall SYMPOSIUM 15 Silent Women 4pm, Madley Studio EVENING ORCHESTRAL CONCERT 16 She Speaks 7pm, Elder Hall LATE EVENING CONCERT 19 When We Speak 9pm, Elder Hall Presented in partnership with the Elder Conservatorium of Music at the University of Adelaide 3 WELCOME You might say that She Speaks is part of the journey towards the fulfilment of a long-felt goal. A few years ago, I stumbled on ABC Classic’s inaugural long-weekend dedicated to music by women composers. As I listened to a huge variety of music by composers I barely knew, I was surprised, delighted and captivated by the extraordinary range of musical styles and expression across the centuries. I also ultimately felt a sense of shame and disappointment: Here I was, a university music graduate who had spent most of his professional life in the world of music, and I had scant knowledge of these composers or their work. Every musical organisation has a role to play in giving music by women an important place in our concert life, and here at the ASO we are resolved to make a difference to the status quo. So, this year, each of our Symphony Series concerts includes music by women. We have also created the Miriam Hyde Giving Circle, which, with your generosity, will make it possible for us to commission and perform more work by women. -
Moore Beethoven Brahms Tour
MOOREJUNE 11 BEETHOVEN– MAY 21 BRAHMSTWO TOUR AUSTRALIAN STRING QUARTET National Season 2019 This is a special concert for us. Australian landscape - a sound that is familiar to all of us, but not generally heard coming We are thrilled to welcome Sharon Grigoryan from the stage. It is most fitting that this piece back to the stage, who returns from parental is dedicated to our esteemed ASQ Patron, leave. We’ve been honoured to play with Maria Myers AC, whose commitment to some fine musicians over the past year and preserving Australian culture is an inspiration we thank all of them for being a part of our to us all. Also, a special thanks to sound artist journey. We are very excited to be reunited Brendan Woithe, whose concert prelude will as a quartet and to bring the family of transport you into Kate Moore’s sound-world. Guadagninis back together again. This year has already seen us undertake We open tonight’s program with a piece some exciting projects in addition to our first close to our hearts. Through the generosity National Season Tour - a recording with iconic of our donors who contributed to the Australian singer songwriter Katie Noonan, Australian String Quartet Richard Divall our beloved ASQ festivals at Dunkeld and Australian Music Fund, we were delighted Margaret River, a brand new concert to commission Australian composer experience at the Adelaide Fringe Festival Kate Moore to write her third string quartet, and an appearance at the Four Winds Cicadidae. In this piece, Moore sets out Easter Music Festival in Bermagui, NSW. -
The Harp Extended: an Exploration of Resonance, Mimicry and Improvisation
THE HARP EXTENDED: AN EXPLORATION OF RESONANCE, MIMICRY AND IMPROVISATION CLARE M. COOPER WRITTEN COMPONENT SUBMITTED IN PARTIAL FULFILMENT OF THE DEGREE OF MASTER OF FINE ART COLLEGE OF FINE ARTS, UNIVERSITY OF NEW SOUTH WALES, SYDNEY. 2008 CONTENTS INTRODUCTION…..……………………………………………... (Page 3) CHAPTER 1: Influence, Expectation and Evolving Ears……… (Page 4-19) Promises the Harp makes simply by being a Harp Cultural Baggage, Stereotype and Cliché The ‘whole’ Harp and its co-conspirators CHAPTER 2: “This Music” - the problem with defining approaches to extending the vocabulary of an instrument…………..………………………….. (Page 19- 29) “This Music” “Extended Technique” and “Non-traditional” playing “Preparation” Know the rules before you break them Lifting the sanctions CHAPTER 3: Improvisation and Necessitating Sounds………….. (Page 30- 34) CHAPTER 4: Mimicry……………………………………………….. (Page 35-37) Mimicking machines: Field Recordings CHAPTER 5: Exploring Physical Structure and Resonant Spaces (Page 38- 44) Exploring the instrument’s physical structure and resonant spaces Amplification and Electronic Extension Feeding tones CHAPTER 6: A Guide to Submitted Works …………………....… (Page 45-47) CONCLUSION ……………………………………………………...... (Page 48) References / Resources / Bibliography List of Interviews conducted via Email Performances / Collaborations / Residencies 2005-2007 1-2 Introduction This research project explores methods of extension of the pedal Harp vocabulary in an attempt to develop a unique language that challenges the instrument's stereotype and better responds to a range of contexts. I have investigated three key areas of extension: the physical structure of the Harp and its internal resonant spaces, mimicry as an exploratory tool useful in better understanding the Harp in relation to the Australian environment, and improvisation both free and structured used to challenge the vocabulary of the Harp in solo performance and collaborative contexts. -
Nine Constructions of the Crossover Between Western Art and Popular Musics (1995-2005)
Subject to Change: Nine constructions of the crossover between Western art and popular musics (1995-2005) Aliese Millington Thesis submitted to fulfil the requirements for the degree of Doctor of Philosophy ~ Elder Conservatorium of Music Faculty of Humanities and Social Sciences The University of Adelaide October 2007 Contents List of Tables…..…………………………………………………………....iii List of Plates…………………………………………………………….......iv Abstract……………………………………………………………………...v Declaration………………………………………………………………….vi Acknowledgements………………………………………………………...vii Chapter One Introduction…………………………………..…..1 Chapter Two Crossover as a marketing strategy…………....…43 Chapter Three Crossover: constructing individuality?.................69 Chapter Four Shortcuts and signposts: crossover and media themes..…………………...90 Chapter Five Evoking associations: crossover, prestige and credibility………….….110 Chapter Six Attracting audiences: alternate constructions of crossover……..……..135 Chapter Seven Death and homogenization: crossover and two musical debates……..……...160 Chapter Eight Conclusions…………………..………………...180 Appendices Appendix A The historical context of crossover ….………...186 Appendix B Biographies of the four primary artists..…….....198 References …...……...………………………………………………...…..223 ii List of Tables Table 1 Nine constructions of crossover…………………………...16-17 iii List of Plates 1 Promotional photograph of bond reproduced from (Shine 2002)……………………………………….19 2 Promotional photograph of FourPlay String Quartet reproduced from (FourPlay 2007g)………………………………….20 3 Promotional -
A Number/Program/Inside
euripides’ trojan women ADAPTED BY ROSALBA CLEMENTE and DAWN LANGMAN MUSIC BY PHILIP GRIFFIN and ROSS DALY 12 - 27 NOV THE DUNSTAN PLAYHOUSE GREEK ORTHODOX COMMUNITY OF SOUTH AUSTRALIA INC. The Greek Orthodox Community of South Australia was established in 1930 to create and develop a range of services to assist Greek people. Since then, the Community has provided a variety of cultural, social, welfare, religious and educational programmes further promoting Greek cultural and social life to people in South Australia. CHURCH SERVICES HINDMARSH CHILD CARE CENTRE Greek Orthodox Cathedral of Archangels Michael & Gabriel The Centre cares for children from 7.00am to Greek Orthodox Church of Koimisis Theotokou 6.00pm, Monday-Friday. It provides culturally Greek Orthodox Church of Sts. Constantine & Helen inclusive programmes serving the diverse nature of Greek Orthodox Church of Saint Nicholas the community.The Centre is warm and welcoming Women’s Fellowships with a safe, stimulating environment. RIDLEYTON GREEK HOME FOR THE AGED CULTURAL PROGRAMMES Ridleyton Greek Home for the Aged was established Olympic Dance School by a joint venture project between the Greek School of Greek Music Orthodox Community of S.A. Inc. & the Australian Greek Theatre Group Greek Society for the Care of the Elderly Inc. The Cultural and Religious Festival Home aims to provide care, accommodation and Greek Film Festival of Adelaide services that are compatible with the linguistic and Greek Community Publishing House cultural needs of the elderly residents at Ridleyton Greek Writers Guild Greek Home for the Aged and in the community at Resource Library large. Greek Orthodox Community Choir GREEK COMMUNITY WELFARE SERVICES RELIGIOUS & COMMUNITY RADIO 5EBI-FM Community Services, Support for frail older people A radio programme on 5EBI-FM every Friday from and people with disabilities and/or their carers, 8.00am-9.00am provides listeners with information Elderly programmes,Youth programmes & Services, on the latest community events, news and includes a Emergency Relief. -
Graduate Catalog 2010–11 Mills College Graduate Catalog 2010Ð11
Graduate Catalog 2010–11 Mills College Graduate Catalog 2010–11 This catalog provides information on graduate admission and financial aid, student life, and academic opportunities for graduates at Mills College. Information for undergraduate students is provided in a separate Undergraduate Catalog. This catalog is published by: Mills College 5000 MacArthur Blvd. Oakland, CA 94613 www.mills.edu Cover photo: Nic Lehoux Table of Contents Mills College . 3 Education. 26 Accreditation . 3 Early Childhood Education . 28 Administration of Programs. 3 Master of Arts in Education Nondiscrimination Statement. 3 with an Emphasis in Early Childhood Education . 28 Student Privacy Rights. 3 Master of Arts in Education with Campus Photography . 3 an Emphasis in Leadership in Student Graduation and Persistence Rates. 3 Early Childhood . 28 Doctor of Education in Leadership with Academic Calendar . 4 an Emphasis in Early Childhood . 29 Master of Arts in Education About Mills College . 6 with an Emphasis in Child Life Overview . 6 in Hospitals . 29 Faculty . 6 Early Childhood Special Education Credential Program. 29 Academic Environment . 7 Educational Leadership . 30 Campus Resources . 7 Administrative Services Credential . 30 Graduate Housing. 7 Master of Arts in Education . 30 History . 8 Doctor of Education . 31 Studio Art . 9 Teacher Preparation . 31 Multiple Subjects Credential with Master of Fine Arts in Studio Art . 10 an Early Childhood Emphasis . 31 Courses. 10 Multiple Subjects Credential . 32 Single Subject Credential: Art, English, Biochemistry and Molecular Biology. 12 Foreign Language, or Social Studies . 32 Certificate Program . 13 Single Subject Credential: Math or Science . 32 Computer Science. 14 Master of Arts in Education with Master of Arts in Interdisciplinary an Emphasis in Teaching (MEET) . -
View 2008 Program
Third Annual Conference December 5-7, 2008 Improvisation and Identity: Discovering Self and Community in a Trans-Cultural Age ISIM promotes performance, education, and research in improvised music, and illuminates connections between musical improvisation and creativity across fields. Keynote Address: Roscoe Mitchell Featured Performers and Speakers: Joëlle Léandre and India Cooke isim INTERNATIONAL SOCIETY FOR IMPROVISED MUSIC THIRD ANNUAL CONFERENCE About ISIM Mission Statement ISIM promotes performance, education, and research in improvised music, and illuminates connections between musical improvisation and creativity across fields. Narrative Reflecting the melding of diverse cultures, ethnicities, disciplines, and ideas that shapes society at large, today’s musical world is increasingly characterized by creative expressions that transcend conventional style categories. Improvisation is a core aspect of this global confluence, and in recent years the phrase “improvised music” has emerged as a kind of an overarching label for much of this eclectic musical activity. Initially used to describe jazz and its offshoots, the phrase now encompasses a broad spectrum of formats—from computer music and multi-media 1 collaborations to string quartets, bebop quintets and multiethnic fusion. Enabling spontaneous interactions between musicians from the most disparate backgrounds, the dissolution of boundaries between performers and listeners, and access to the transcendent dimensions of creative experience, improvisation is at the heart of a new musical paradigm that is uniquely reflective of contemporary life. Musical improvisation may also shed light on creativity in a wide variety of fields, as corporate executives, educators, athletes, medical professionals and other practitioners recognize an improvisatory core to success, progress, and fulfillment in their respective disciplines. -
Kk Null / Julien Ottavi/ Gisle Frøysland
KLUBB KANIN presenterer: KK NULL / JULIEN OTTAVI/ GISLE FRØYSLAND/ CLOUDBUILDER Den japanske noise legenden KK NULL og multikunstneren JULIEN OTTAVI er på Europa turné sammen med VJ og kunstner GISLE FRØYSLAND. Oslobaserte CLOUDBUILDER åpner kvelden! ROCKHEIM Lørdag 22. oktober kl. 20.00. GRATIS INNGANG! Konserten avholdes i samarbeide med Musikkteknologidagene, MUSTEK, NTNU. --- KK NULL http://kknull.com/en/ (real name : KAZUYUKI KISHINO) was born in Tokyo, Japan. Composer, guitarist, singer, mastermind of ZENI GEVA and electronic wizard. One of the top names in Japanese noise music and in a larger context, one of the great cult artists in experimental music since the early 80's. In 1981 KK NULL studied at Butoh dancer, Min Tanaka's "Mai-Juku" workshop and started his career by performing guitar improvisations in the clubs in Tokyo. He continued by collaborating with MERZBOW for two years, and joining the band YBO2 (with Masashi Kitamura, the chief editer of "Fool's Mate" magazine and Tatsuya Yoshida, the drummer of RUINS) and starting the improvised noise/rock trio ABSOLUT NULL PUNKT (with Seijiro Murayama, the original drummer of Keiji Haino's FUSHITSUSHA), and also GEVA2 (GEVA GEVA) with Tatsuya Yoshida (RUINS) and Eye Yamatsuka (BOREDOMS). In 1985 he established his own label NUX ORGANIZATION to produce & release his own works and subsequently the bands such as MELT-BANANA and SPACE STREAKINGS. He also produced the series of "Dead Tech" (compilation albums by Japanese bands) which heralded Japanese alternative music boom internationally from the early 90's to date. In the early 90's he gained world-wide recognition as the mastermind, guitarist and singer of the progressive hardcore trio ZENI GEVA with their extremely heavy sound, releasing five albums produced by STEVE ALBINI (two on Jello Biafra's Alternative Tentacles label) and a few more on other labels such as NEUROSIS's Neurot Recordings. -
Some Proposals for Reclaiming the Practice of Live Music
Listening to History: Some Proposals for Reclaiming ABSTRACT The author explores the vibrant, but often hidden, the Practice of Live Music unorthodox musical culture of Australia, recounting little known movements, events, dates, personalities and Aboriginal traditions. He urges Jon Rose the listener to investigate and value this unique and fecund musical history, and in so doing, find models that are relevant to solving the dilemmas of a declining contemporary music practice. Live music encourages direct interconnectivity among ast year at a Sydney university, a musicologist To many living in our current people and with the physical L world upon which we rely for observed, “Everybody knows that music in Australia didn’t re- cut-and-paste paradise, this prob- ally get going until the mid-1960s.” Significantly, this gem was ably seems irrelevant, even an irrita- our existence; music can be life supporting, and in some situa- spoken at a seminar that featured a film about the Ntaria Ab- tion—why bother with the detailed tions, as important as life itself. original Ladies’ Choir from Hermannsburg, Central Australia sonic interconnectivity of the past While there is much to learn (Fig. 1). The denial of a vibrant and significant musical history when you can avoid both past and from the past, digital technology in white as well as indigenous culture has done this country a present by logging into, say, Sec- can be utilized as an interface great disservice. ond Life? I didn’t add ‘future’ to establishing a tactile praxis and enabling musical expression It may well be the prime reason why none of the 20th cen- the list of avoidances, because you that promotes original content, tury’s great musical forms ever originated in Australia. -
Download Our 2019-20 Annual Report
ANNUAL 2019-20REPORT CITY RECITAL HALL LIMITED 1 CONTENTS 3 STRATEGIC FRAMEWORK 4 ACTIVITY HIGHLIGHTS 5 CHAIR’S MESSAGE 6 CEO’S MESSAGE 7 PRESENTING PARTNERS AND HIRERS 8 APPEARING ON OUR STAGE 10 VISITOR EXPERIENCES 11 SUPPORT FOR THE SECTOR 12 COMMUNITY ENGAGEMENT 13 CITY RECITAL HALL PRESENTS 15 KEY PRESENTERS 16 VENUE HIRERS 17 PARTNERS AND SUPPORTERS 18 GIVING 19 CORPORATE GOVERNANCE 20 BOARD 22 STAFF Concert: Considering Matthew Shepard Photo: Robert Catto Front Cover Photo: Maria Prada Photography 2 STRATEGIC FRAMEWORK Concert: Echoes of the Jazz Age Photo: Maria Boyadgis VISION OUR GUIDING PRINCIPLES STRATEGIC GOALS To be one of the ‘must visit’ cultural AND VALUES BRAND destinations in Australia. • Progressive thinking and creative City Recital Hall is a place that offers excellence underpin everything we do. “music and more” to a wide audience MISSION We think outside the square to deliver unique and creative experiences for PLACE To unlock the cultural, social and our artists, partners and audiences. The beating cultural heart of the economic value of City Recital Hall. Sydney CBD • Democratic and diverse - Everyone We will do this by: plays an important part, every voice is QUALITY heard, everyone is respected. If it’s on at City Recital Hall, it must be • producing, promoting, presenting, We champion diversity by engaging good encouraging and facilitating excellent with all genres, all peoples, all ideas. cultural events; We are proud to be open, transparent SERVICE and inclusive. • ensuring diversity of users, audiences City Recital Hall is an excellently run arts and programs; • Playful - We love exploring ideas and company with a talented, passionate • engaging new audiences; and opportunities in a fun and creative and flexible team that goes above and cultural environment. -
Barre Phillips Discography
Barre Phillips Discography **ERIC DOLPHY / VINTAGE DOLPHY / GM RECORDINGS /GM3005D NYC: March 14/ April 18 1963 w/ Jim Hall, Phil Woods , Sticks Evans etc... **LEONARD BERNSTEIN - N.Y. PHILARMONIC / LEONARD BERNSTEIN CONDUCTS MUSIC OF OUR TIME. LARRY AUSTIN IMPROVISATIONS FOR ORCHESTRA AND JAZZ SOLISTS. COLUMBIA ML6133 NYC: January 1964 w/ Don Ellis, Joe Cocuzzo **ATTILA ZOLLER / THE HORIZON BEYOND / MERCURY / 13814MCY Berlin : March 15, 1965 w/ Don Friedman, Daniel Humair Note : Mercury 13814 MCY Emarcy MG-26013 **BOB JAMES / EXPLOSIONS / ESP1009 NYC: May 1965 w/ Robert Pozar **ARCHIE SHEPP / NEW THING AT NEWPORT / IMPULSE / A 94 Newport : July 2, 1965 w/ Bobby Hutcherson, Joe Chambers Note : Impulse A94 - Impulse IA9357/2 ** JIMMY GIUFFRE LIVE / EUROPE 1 / 710586 / CB701 Paris, Olympia, 27 February 1965 In trio w/ Don Friedman **ARCHIE SHEPP / ON THIS NIGHT / IMPULSE / A 97 Newport : July 2, 1965 w/ Bobby Hutcherson, Joe Chambers Note : Impulse A97 - Impulse IA9357/2 **PETER NERO / ON TOUR / RCA / LPM3610 Pheonix Arizona, Pueblo and Denver Colorado, February, 1966 w/ Joe Cusatis **ATTILA ZOLLER / KATZ UND MAUS / SABA / 15112ST NYC : December 14-15, 1966 w/ Jimmy Owens **HEINER STATLER / BRAINS ON FIRE VOL 1 / LABOUR RECORDS / LRS7001 - NYC : December , 1966 w/ Jimmy Owens, Garnett Brown, Joe Farrell, Don Fiedman, etc ... **CHRIS MCGREGOR SEXTET - UP TO EARTH - FLEDGING RED 3069 1969/London w/ Louis Mohoto, John Surman, Evan Parker, Mongezi Fezam Dudu Pakwana relased in 2008 - **THE CHRIS McGREGOR TRIO / FLEDGLING RED 3070 London 1969