DOCSLIB.ORG

Seventh International Conference on Music Since 1900

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Seventh International Conference on Music Since 1900 Seventh International Conference on Music Since 1900 Lancaster University Music Analysis Conference 28th – 31st July 2011 Lancaster Institute for the Contemporary Arts Lancaster University Contents Page Welcome 2 General Information 3 Conference Venues 4 Programme Overview 6 Abstracts and Biographies 10 Concert Programmes and Information 90 Exhibitors and Sponsors 96 1 Welcome to MSN/MAC 2011 It is my considerable pleasure to welcome you to Lancaster for the Seventh International Conference on Music Since 1900 and the Lancaster University Music Analysis Conference. The decision to bring these well established conferences together into a single joint event has been vindicated by the nearly 150 papers on offer, spanning a huge range of disciplinary, stylistic and geographic orientations. It is my hope that delegates with a particular fondness towards one or other of the conference series will find plenty to inspire them over the coming days. But even more so, I hope that the joint conference facilitates a productive intermingling and cross-fertilisation of ideas that would otherwise be much harder to achieve in separate events. A single conference, let alone two, could not happen without a huge amount of organisation and hard work behind the scenes. My thanks, therefore, goes firstly to the Programming Committee – Paul Archbold, Arved Ashby, Rachel Cowgill, William Drabkin, Nicholas Gebhardt, Adam Krims, Alan Marsden, Deborah Mawer, Peter Nelson, Nicholas Reyland, Michael Spitzer, Alan Street and Charles Wilson. Thanks too to colleagues from Music at Lancaster University, Live@LICA and to Helen Thomas and Christopher Fuller, who have both expended copious amounts of time and energy in the planning and organisation of the conference and concerts. Invaluable, and gratefully received, administrative support has been provided by the Lancaster University Conference Centre, and in particular Hilary Barraclough and Ros Malcolm. To thank Rosemary Fitzgerald for ‘technical support’ would be to do her a gross disservice, overlooking her stalwart marshalling of resources, facilities and a small army of student helpers and technical assistants (many thanks to these!). I shudder to think how many loose ends would exist were it not for her prodigious labour on behalf of these conferences, and for which I’m truly thankful. Financial support has been gratefully received from numerous sources: Ashgate, Boydell and Brewer, Cambridge University Press, the Ernst von Siemens Music Foundation, Lancaster University (and in particular the Centre for Practice and Theory: Research in Composition (PATRIC)), Liverpool University Press, Music and Letters, Oxford University Press, Routledge, The Society for Music Analysis, twentieth-century music and Wiley-Blackwell. Those of you with the appropriate technology may wish to follow us on, and contribute to, our Facebook, Twitter and Lanyrd accounts during the course of the conference. All that remains is to wish you an enjoyable, challenging, stimulating and rewarding time in Lancaster. Edward Venn Conference Chairman 2 General Information Registration and Keys A registration desk will be positioned in the foyer of the LICA building between 11.00am and 6.00pm on Thursday 28th July, where delegate packs, name badges, parking permits and keys to accommodation can be collected. Outside of these times, please register in the Conference Centre Office. Security In the first instance, delegates should contact conference reception (8am-11pm) on 94194. Outside of these hours, delegates should contact Security on 94541. Locations The main venues for the conference are the LICA building and the Great Hall complex (Nuffield Theatre, Jack Hylton Room). All rooms are on the ground floor. Coffee will take place in the foyers of both these buildings, and book displays will be in the foyer of the LICA building. Meal Arrangements Breakfast, and the evening meals on Thursday and Friday, will be at Barker House Farm. Lunches and the Friday evening dinner will be in the County Private Dining Room. Bar Cartmel Bar will be open each evening. Last drinks will be served at midnight; the bar must be vacated by 12.30am. Telephones There is one public telephone in Edward Roberts Court. Messages can be left at Conference Reception to be passed onto delegates. Illness Anyone needing an ambulance should dial 999 on the internal phone rather than a mobile. The call will then be channelled through security (x94541) who can meet the ambulance and quickly direct them to the scene. Delegates can also utilise the Health Centre on campus during office hours. Smoking There is strictly no smoking inside any of the buildings at Lancaster University. If you do smoke outside, please do not do so on or near the bridge into the LICA building as this is directly underneath offices. Entrance to the Concerts Entrance to all of the conference concerts is free to conference delegates. All the concerts will take place in the Great Hall complex (in the Great Hall, Jack Hylton Room and Nuffield Theatre). Listening Room (LICA A23) Recordings of works relating to conference papers, and/or composed by delegates, will be available to listen to throughout the conference in LICA A23. An overview of the works is included in the delegate pack. 3 Conference Venues Great Hall Complex The Great Hall Complex is marked on the map below with a G Key: a Main entrance to building and Great Hall Foyer b Jack Hylton Room c Alternative entrance to building and Nuffield Theatre Jack Hylton Room Great Hall Foyer Great Hall Nuffield Theatre 4 Conference Venues LICA Building LICA A29 Entrance LICA Foyer LICA A27 LICA A23 LICA A05 5 Programme Overview and Session Locations Each double-page spread in the Abstracts and Biographies section (beginning on p. 10) provides full details of each session. Thursday 28th July 11.00 Arrival and Registration LICA Foyer 12.30 SMA AGM LICA A29 13.45 Welcome LICA A27 14.00 Plenary Session 1 – Marking Time (pp. 10-11 LICA A27 16.00 Tea/Coffee LICA & Great Hall Foyers 16.30 Parallel Sessions 1 (pp. 12-21) 1A: Form and Temporality LICA A27 1B: Berg and Stravinsky LICA A29 1C: New Historiographies LICA A05 1D: Voices and Others Nuffield Theatre 1E: Central European Perspectives Jack Hylton Room 18.30 Pimms Reception Great Hall Foyer Supported by Wiley-Blackwell 19.15 Concert (pp. 90-92) Great Hall Martin Roscoe (piano) Haydn – Sonata in E flat Hob. XVI/52 Rawsthorne – Bagatelles Berg – Sonata Op. 1 Liszt – Bénédiction de Dieu dans la Solitude Bartók – Six Dances in Bulgarian Rhythm 20.30 Dinner Barker House Farm Late Bar Cartmel Bar 6 Friday 29th July 7.30 Breakfast Barker House Farm 8.30 Parallel Sessions 2 (pp. 22-31) 2A: Music in France and Spain LICA A27 2B: Cross-currents in the mid-twentieth century LICA A29 2C: Pitch Organisation LICA A05 2D: Soundscapes Nuffield Theatre 2E: Culture, Identity and Place Jack Hylton Room 10.30 Tea/Coffee LICA & Great Hall Foyers 11.00 Plenary Session 2 – Metaphor (pp. 32-33) LICA A27 With the friendly support of 13.00 Lunch County Dining Room 13.30 Lunchtime Concert (p. 93) Jack Hylton Room William Hughes (piano) Bill Evans: Transcriptions from’ The Solo Sessions’ (1963) 14.30 Parallel Session 3 (pp. 34-43) 3A: Round Table: Composing with Digital Systems LICA A27 3B: Form and Tonality LICA A29 3C: Britten LICA A05 3D: Music and the Screen (1) Nuffield Theatre 3E: Jazz Jack Hylton Room 16.30 Tea/Coffee LICA & Great Hall Foyers 17.00 Plenary Session 3 – Keynote Lecture (p. 45) LICA A27 Henry Klumpenhouwer (University of Alberta) Three Miniatures The Anthony Pople Memorial Lecture 18.30 Dinner County Dining Room 20.30 Concert – RedArch Duo (pp. 94-95) Nuffield Theatre Paul Archbold – ... a little night music Roger Redgate – Ausgangspunkte Edwin Roxburgh – At the still point of the turning world Improvisation – Oboe and electronics David Gorton – Erinnerunggspiel Diana Salazar – New Work With the friendly support of Late Bar Cartmel Bar 7 Saturday 30th July 7.30 Breakfast Barker House Farm 9.00 Parallel Sessions 4 (pp. 46-55) 4A: New Repertoires, New Methodologies LICA A27 4B: Music and Place LICA A29 4C: Interpreting Myths and Desires LICA A05 4D: Feldman Nuffield Theatre 4E: Interacting traditions in Jazz Jack Hylton Room 10.30 Tea/Coffee LICA & Great Hall Foyers 11.00 Parallel Sessions 5 (pp. 56-65) 5A: Round Table: Musical Borrowing in the Twentieth and Twenty-first centuries LICA A27 5B: Computational Approaches to Musical Analysis LICA A29 5C: Analytical Strategies LICA A05 5D: Meaning and Recorded Sound Nuffield Theatre 5E: Music in France Jack Hylton Room 13.00 Lunch Country Dining Room 13.30 Lunchtime Lecture Recital (p. 76) Jack Hylton Room Nicholas Ross (Sweet Briar College) Arabesques and Spirals: Golden Proportion in Debussy’s Clair de lune, D’un cahier d’esquisses, and Images for solo piano 14.30 Parallel Sessions 6 (pp. 66-75) 6A: Music in Britain LICA A27 6B: Music in the Digital Age LICA A29 6C: Approaches to Harmony and Voice-leading LICA A05 6D: Music and Screen (II) Nuffield Theatre 6E: Exploring Creative Processes Jack Hylton Room 16.30 Tea/Coffee LICA & Great Hall Foyers 17.00 Plenary Session 4 – Keynote Lecture (p. 77) LICA A27 Philip Bohlman (University of Chicago) Analysing Aporia 19.00 Reception Barker House Farm Supported by Cambridge University Press 20.00 Conference Banquet Barker House Farm Late Bar Cartmel Bar 8 Sunday 31st July 7.30 Breakfast Barker House Farm 9.00 Parallel Sessions 7 (pp. 78-87) 7A: Lateness and Abstraction LICA A27 7B: Canons and Margins LICA A29 7C: Harmonic Practices LICA A05 7D: Approaches to Opera Nuffield Theatre 7E: Cage and Zappa Jack Hylton Room 11.00 Tea/Coffee LICA Foyer 11.30 Plenary Session 5 – Analysing Jazz on Audiovisual LICA A27 Resources: Performance, Embodiment and Mediatised Representations (pp.
Load more

Recommended publications
  • Recasting Gender
    RECASTING GENDER: 19TH CENTURY GENDER CONSTRUCTIONS IN THE LIVES AND WORKS OF ROBERT AND CLARA SCHUMANN A Thesis Presented to The Graduate Faculty of The University of Akron In Partial Fulfillment of the Requirements for the Degree Master of Music Shelley Smith August, 2009 RECASTING GENDER: 19TH CENTURY GENDER CONSTRUCTIONS IN THE LIVES AND WORKS OF ROBERT AND CLARA SCHUMANN Shelley Smith Thesis Approved: Accepted: _________________________________ _________________________________ Advisor Dean of the College Dr. Brooks Toliver Dr. James Lynn _________________________________ _________________________________ Faculty Reader Dean of the Graduate School Mr. George Pope Dr. George R. Newkome _________________________________ _________________________________ School Director Date Dr. William Guegold ii TABLE OF CONTENTS Page CHAPTER I. THE SHAPING OF A FEMINIST VERNACULAR AND ITS APPLICATION TO 19TH-CENTURY MUSIC ..............................................1 Introduction ..............................................................................................................1 The Evolution of Feminism .....................................................................................3 19th-Century Gender Ideologies and Their Encoding in Music ...............................................................................................................8 Soundings of Sex ...................................................................................................19 II. ROBERT & CLARA SCHUMANN: EMBRACING AND DEFYING TRADITION
    [Show full text]
  • Concert Programdownload Pdf(349
    The University at Buffalo Department of Music and The Robert & Carol Morris Center for 21st Century Music present Stockhausen's Mantra For Two Pianos Eric Huebner and Steven Beck, pianos Sound and electronic interface design: Ryan MacEvoy McCullough Sound projection: Chris Jacobs and Ryan MacEvoy McCullough Saturday, October 14, 2017 7:30pm Lippes Concert Hall in Slee Hall PROGRAM Mantra (1970) Karlheinz Stockhausen (1928 – 2007) Program Note by Katherine Chi To say it as simply as possible, Mantra, as it stands, is a miniature of the way a galaxy is composed. When I was composing the work, I had no accessory feelings or thoughts; I knew only that I had to fulfill the mantra. And it demanded itself, it just started blossoming. As it was being constructed through me, I somehow felt that it must be a very true picture of the way the cosmos is constructed, I’ve never worked on a piece before in which I was so sure that every note I was putting down was right. And this was due to the integral systemization - the combination of the scalar idea with the idea of deriving everything from the One. It shines very strongly. - Karlheinz Stockhausen Mantra is a seminal piece of the twentieth century, a pivotal work both in the context of Stockhausen’s compositional development and a tour de force contribution to the canon of music for two pianos. It was written in 1970 in two stages: the formal skeleton was conceived in Osaka, Japan (May 1 – June 20, 1970) and the remaining work was completed in Kürten, Germany (July 10 – August 18, 1970).
    [Show full text]
  • Musical Conception, Para-Musical Events and Stage Performance in Jani Christou’S Strychnine Lady (1967)
    Musical conception, para-musical events and stage performance in Jani Christou’s Strychnine Lady (1967) Giorgos Sakallieros Department of Music Studies, Aristotle University of Thessaloniki, Greece [email protected] Konstantinos Kyriakos Department of Theatre Studies, University of Patras, Greece [email protected] Proceedings of the fourth Conference on Interdisciplinary Musicology (CIM08) Thessaloniki, Greece, 3-6 July 2008, http://web.auth.gr/cim08/ Background in music analysis. Jani Christou (1926-1970) was a eminent Greek avant-garde composer who expanded the traditional aesthetics of musical conception, as well as of concert and stage performance, to a whole new art-form that involved music, philosophy, psychology, mythical archetypes, and dramatic setting. His ideals and envisagements, constantly evolving from the late 1950s, are profoundly denoted in his late works, created between 1965-1968 (Mysterion, Anaparastasis I – III, Epicycle, Strychnine Lady). These works, originally conceived as ‘stage rituals’, include instrumental performance, singing, acting, dance, tape and visual effects, and thus combine musical and para-musical events and gestures. Background in theatre studies. From the early 1960s music theatre comprised a major field of avant-garde composition in which spectacle and dramatic impact were emphasized over purely musical factors. Avant-garde performance trends and media, such as Fluxus or happenings, had a significant impact on several post-war composers both in Europe and North America (i.e. Cage, Ligeti, Berio, Nono, Kagel, Henze, Stockhausen, Birtwistle and Maxwell Davies), which led to the establishment and flourish of the experimental music theatre during the 1960s and 1970s. The use of new dramatic and musical means combined elements of song, dance, mimic, acting, tape, video and visual effects which could be tailored to a wide range of performing spaces.
    [Show full text]
  • Little Things Make Big Things Happen - Celebrating Success in a Challenging Environment
    little things make big things happen - celebrating success in a challenging environment Richmond Fellowship is a registered social landlord (Housing Corporation Registration No. H2025), a registered charity (Registration No. 200453) and a company limited by guarantee (No. 662712). Richmond Fellowship’s Board adopted the National Housing Federation Code of Governance in 1996. Richmond Fellowship is a member of the Independent Housing Ombudsman Scheme. 02 little things make big things happen - celebrating success in a challenging environment BOARD OF DIRECTORS David Brindle Derek Caren, Chief Executive Peter Corley, Chair ‘Our mission is: Barbara Deacon-Hedges Stephanie De La Haye Diane French, Director of Performance and Quality making Nigel Goldie Ian Hughes Raj Lakhani, Director of Finance Rebecca Pritchard recovery Stuart Riggall, Director of People and Organisation Development Kevin Tunnard, Director of Operations AUDIT AND ASSURANCE COMMITTEE reality Peter Corley Barbara Deacon-Hedges, Chair David Kennedy Rebecca Pritchard creating our future... step by step! 4 REMUNERATION COMMITTEE success in a challenging environment 6 Peter Corley Barbara Deacon-Hedges challenges and opportunities 7 Nigel Goldie, Chair learning from the olympics 8 small steps, big achievements 10 PATRON a snapshot of what service users achieved, in their own words! 16 HRH Princess Alexandra and finally, great staff make great differences 18 VICE PATRON annual accounts & staff statistics 2012 20 The Most Reverend and Right Honourable Dr. Rowan Williams, statutory sector purchasers 22 Archbishop of Canterbury HEAD OFFICE 80 Holloway Road For more information about RF’s work and its Services, please contact: London N7 8JG Marise Willis: T: 020 7697 3359 E: [email protected] T: 020 7697 3300 or visit our website www.richmondfellowship.org.uk F: 020 7697 3301 www.richmondfellowship.org.uk 03 little things make big things happen - celebrating success in a challenging environment Creating our future..
    [Show full text]
  • Sergei Prokofiev Russia Modern Era Composer (1891-1953)
    Hey Kids, Meet Sergei Prokofiev Russia Modern Era Composer (1891-1953) Sergei Prokofiev was born in Russia on April 27, 1891. He began studying the piano with his mother at the age of three. By the age of five Sergei was displaying unusual musical abilities. His first composition, written down by his mother, was called Indian Gallop. By the age of nine he had written his first opera, The Giant. At the age of thirteen Sergei entered the St. Petersburg Conservatory having already produced a whole portfolio of compositions. While at the conservatory he studied with Russian composer Nikolai Rimsky-Korsakov. Later in his life, Prokofiev was said to have regretted not having taken full advantage of this opportunity. The music that Prokofiev composed was new and different. He brought to the concert hall strange new harmonies, dynamic rhythms and lots of humor. When the Russian Revolution broke out, Prokofiev traveled to America. He hoped he would be able to compose in peace. American audiences, however, were not ready for his new sounds so he moved to Paris. In Paris, Prokofiev found greater success where his operas and ballets were well liked. Prokofiev returned to Russia in 1932 spending the last 19 years of his life in his home country. During this time, he produced some of his finest works including Peter and the Wolf for chamber orchestra and narrator, and the score for his ballet Romeo and Juliet which contained some of his most inspired music. Sergei Prokofiev died on March 5, 1953 as one of the most admired composers of the twentieth century.
    [Show full text]
  • Comparison and Contrast of Performance Practice for the Tuba
    COMPARISON AND CONTRAST OF PERFORMANCE PRACTICE OF THE TUBA IN IGOR STRAVINSKY’S THE RITE OF SPRING, DMITRI SHOSTAKOVICH’S SYMPHONY NO. 5 IN D MAJOR, OP. 47, AND SERGEI PROKOFIEV’S SYMPHONY NO. 5 IN B FLAT MAJOR, OP. 100 Roy L. Couch, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2006 APPROVED: Donald C. Little, Major Professor Eugene Migliaro Corporon, Minor Professor Keith Johnson, Committee Member Brian Bowman, Coordinator of Brass Instrument Studies Graham Phipps, Program Coordinator of Graduate Studies in the College of Music James C. Scott, Dean of the College of Music Sandra L. Terrell, Dean of the Robert B. Toulouse School of Graduate Studies Couch, Roy L., Comparison and Contrast of Performance Practice for the Tuba in Igor Stravinsky’s The Rite of Spring, Dmitri Shostakovich’s Symphony No. 5 in D major, Op. 47, and Sergei Prokofiev’s Symphony No. 5 in B flat major, Op. 100, Doctor of Musical Arts (Performance), May 2006, 46 pp.,references, 63 titles. Performance practice is a term familiar to serious musicians. For the performer, this means assimilating and applying all the education and training that has been pursued in a course of study. Performance practice entails many aspects such as development of the craft of performing on the instrument, comprehensive knowledge of pertinent literature, score study and listening to recordings, study of instruments of the period, notation and articulation practices of the time, and issues of tempo and dynamics. The orchestral literature of Eastern Europe, especially Germany and Russia, from the mid-nineteenth century through the mid-twentieth century provides some of the most significant and musically challenging parts for the tuba.
    [Show full text]
  • 25 Little Known Ways to Get Paid to Speak.Pages
    25 Ways You can get Paid to Speak ! Contents Chasing Keynotes 1 More Income Streams is Better 1 Why Speaking for Free is a Smart Strategy 2 Who Hires You? 2 How to Get Hired 3 Become an Authority 3 25 Ways You Can Get Paid to Speak 5 1. Industry associations 5 2. Corporate event 5 3. In-house training 5 4. Conference workshop 6 5. Emcee at conferences 6 6. Service clubs 6 7. Lunch and learn 7 8. Business networking groups 7 9. Special interest groups 7 10. Webinar for client 7 11. On-line course 8 12. Speaker bureaus 8 13. Education institutions 8 14. Facilitation 9 15. Platform speech 9 16. Toastmasters International 9 17. Seminar companies 9 18. Live on-line seminar 10 19. Showcase event 10 20. Public seminars 10 21. Host your own conference 10 22. Membership program 11 23. Video on demand 11 24. On-line course 11 25. Cruise ships 11 Getting Started 12 25 Ways You can get Paid to Speak ! Getting paid to speak is an exciting way to share your ideas and inspiration and get paid. When most people think of “speaking” they think of main stage keynote speaking. While keynote speaking typically commands the highest fees, there are more opportunities than you might think. In this article I’ve listed 25 ways to get in front of an audience. Some are easy (like speaking to your local community organization), some require more planning. Some of these opportunities are paid and with others you earn your money in other ways or use one engagement to build referrals.
    [Show full text]
  • Unit 7 Romantic Era Notes.Pdf
    The Romantic Era 1820-1900 1 Historical Themes Science Nationalism Art 2 Science Increased role of science in defining how people saw life Charles Darwin-The Origin of the Species Freud 3 Nationalism Rise of European nationalism Napoleonic ideas created patriotic fervor Many revolutions and attempts at revolutions. Many areas of Europe (especially Italy and Central Europe) struggled to free themselves from foreign control 4 Art Art came to be appreciated for its aesthetic worth Program-music that serves an extra-musical purpose Absolute-music for the sake and beauty of the music itself 5 Musical Context Increased interest in nature and the supernatural The natural world was considered a source of mysterious powers. Romantic composers gravitated toward supernatural texts and stories 6 Listening #1 Berlioz: Symphonie Fantastique (4th mvmt) Pg 323-325 CD 5/30 https://www.youtube.com/watch?v=QwCuFaq2L3U 7 The Rise of Program Music Music began to be used to tell stories, or to imply meaning beyond the purely musical. Composers found ways to make their musical ideas represent people, things, and dramatic situations as well as emotional states and even philosophical ideas. 8 Art Forms Close relationship Literature among all the art Shakespeare forms Poe Bronte Composers drew Drama inspiration from other Schiller fine arts Hugo Art Goya Constable Delacroix 9 Nationalism and Exoticism Composers used music as a tool for highlighting national identity. Instrumental composers (such as Bedrich Smetana) made reference to folk music and national images Operatic composers (such as Giuseppe Verdi) set stories with strong patriotic undercurrents. Composers took an interest in the music of various ethnic groups and incorporated it into their own music.
    [Show full text]
  • Kent Academic Repository Full Text Document (Pdf)
    Kent Academic Repository Full text document (pdf) Citation for published version Nikolopoulou, Marialena and Martin, Karen and Dalton, Ben (2015) Shaping pedestrian movement through playful interventions in security planning: what do field surveys suggest? Journal of Urban Design . pp. 1-21. ISSN 1357-4809. DOI https://doi.org/10.1080/13574809.2015.1106913 Link to record in KAR http://kar.kent.ac.uk/53859/ Document Version Publisher pdf Copyright & reuse Content in the Kent Academic Repository is made available for research purposes. Unless otherwise stated all content is protected by copyright and in the absence of an open licence (eg Creative Commons), permissions for further reuse of content should be sought from the publisher, author or other copyright holder. Versions of research The version in the Kent Academic Repository may differ from the final published version. Users are advised to check http://kar.kent.ac.uk for the status of the paper. Users should always cite the published version of record. Enquiries For any further enquiries regarding the licence status of this document, please contact: [email protected] If you believe this document infringes copyright then please contact the KAR admin team with the take-down information provided at http://kar.kent.ac.uk/contact.html Journal of Urban Design ISSN: 1357-4809 (Print) 1469-9664 (Online) Journal homepage: http://www.tandfonline.com/loi/cjud20 Shaping pedestrian movement through playful interventions in security planning: what do field surveys suggest? Marialena Nikolopoulou, Karen Martin & Ben Dalton To cite this article: Marialena Nikolopoulou, Karen Martin & Ben Dalton (2015): Shaping pedestrian movement through playful interventions in security planning: what do field surveys suggest?, Journal of Urban Design, DOI: 10.1080/13574809.2015.1106913 To link to this article: http://dx.doi.org/10.1080/13574809.2015.1106913 © 2016 The Author(s).
    [Show full text]
  • Download Download
    Teresa de Lauretis Futurism: A Postmodern View* The importance of Modernism and of the artistic movements of the first twenty or so years of this century need not be stressed. It is now widely acknowledged that the "historical avant-garde" was the crucible for most of the art forms and theories of art that made up the contemporary esthetic climate. This is evidenced, more than by the recently coined academic terms "neoavanguardia" and "postmodernism," 1 by objective trends in the culture of the last two decades: the demand for closer ties between artistic perfor- mance and real-life interaction, which presupposes a view of art as social communicative behavior; the antitraditionalist thrust toward interdisciplinary or even non-disciplinary academic curri- cula; the experimental character of all artistic production; the increased awareness of the material qualities of art and its depen- dence on physical and technological possibilities, on the one hand; on the other, its dependence on social conventions or semiotic codes that can be exposed, broken, rearranged, transformed. I think we can agree that the multi-directional thrust of the arts and their expansion to the social and the pragmatic domain, the attempts to break down distinctions between highbrow and popular art, the widening of the esthetic sphere to encompass an unprecedented range of phenomena, the sense of fast, continual movement in the culture, of rapid obsolescence and a potential transformability of forms are issues characteristic of our time. Many were already implicit, often explicit, in the project of the historical avant-garde. But whereas this connection has been established and pursued for Surrealism and Dada, for example, Italian Futurism has remained rather peripheral in the current reassessment; indeed one could say that it has been marginalized and effectively ignored.
    [Show full text]
  • Module 1: How to Find Speaking Opportunities (The Secret Is They Are EVERYWHERE!)
    How to Make $100,000+ 1 as a Professional Speaker How to Make 100,000+ as a Professional Speaker With Rob Pennington, Ph.D., educational psychologist and award-winning speaker, trainer, coach and author Module 1: How to Find Speaking Opportunities (The Secret is they are EVERYWHERE!) “There’s an audience out there right now who is hoping to find someone with your exact message, delivered in the way that only you can deliver it. Every moment you put it off is a missed opportunity to help someone find a solution they need to make life better.” Brian T. Edmondson, author and coach Internet Marketing Made Easy “The more often you speak, the more often people will pay you. It helps if you can make it easy for them to remember you the next time they are looking for a speaker.” Dr. Rob Pennington SESSIONS: Module 1: How to Find Speaking Opportunities Module 2: How to Land Speaking Engagements & Get Multiple Gigs From One Client. Module 3: How to Ask for Your Fee & Get Paid Really Well Along the way we will also cover ways to use speaking to market your services, create products, generate publicity, expand your platform and create more paid speaking. And remember – a free coaching session for anyone who completes all three sessions. ©2013RESOURCE INTERNATIONAL 713-305-5117 GetPaidMoreToSpeak.com How to Make $100,000+ 2 as a Professional Speaker FOR THOSE JUST BEGINNING…. If you are in the process of getting your presentation and/or pf together, then let me encourage you to find a local professional speaker who can coach you to make your progress easier and quicker.
    [Show full text]
  • (Public Pack)Agenda Document for Council, 29/06/2016 13:00
    Public Document Pack A meeting of the Council will be held in the Civic Hall, Leeds on Wednesday, 29th June, 2016 at 1.00 pm Members of the Council are invited to attend and transact the following business: 1 Minutes 1 - 6 To approve the minutes of the Council Meeting held on 19th May 2016. 2 Declarations of Interest To receive any declarations of interest from Members. 3 Communications To receive such communications as the Lord Mayor, the Leader, Members of the Executive Board or the Chief Executive consider appropriate 4 Deputations To receive deputations in accordance with Council Procedure Rule 10 5 Report on Appointments 7 - 10 To consider the report of the City Solicitor on appointments. 6 Recommendations of the Independent Remuneration Panel 11 - 18 - Members' Allowance Scheme To consider the report of the City Solicitor advising Council of the receipt of a report from the Independent Remuneration Panel (IRP) and asks Council to consider the recommendations of the IRP in relation to the Members’ Allowances Scheme. 7 Report on the Leeds Award 19 - 28 To consider the report of the City Solicitor in respect of the Leeds Award. 1 8 Report on Scrutiny Annual Report 29 - 46 To consider the report of the City Solicitor presenting the Scrutiny Boards’ Annual report to Council, prepared in accordance with Article 6 of the Constitution. 9 Questions To deal with questions in accordance with Council Procedure Rule 11 10 Minutes of the Health and Wellbeing Board and the 47 - 66 Executive Board To receive the minutes in accordance with Council Procedure Rule 2.2(i).
    [Show full text]