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Sòouünd Póetry the Wages of Syntax
SòouÜnd Póetry The Wages of Syntax Monday April 9 - Saturday April 14, 2018 ODC Theater · 3153 17th St. San Francisco, CA WELCOME TO HOTEL BELLEVUE SAN LORENZO Hotel Spa Bellevue San Lorenzo, directly on Lago di Garda in the Northern Italian Alps, is the ideal four-star lodging from which to explore the art of Futurism. The grounds are filled with cypress, laurel and myrtle trees appreciated by Lawrence and Goethe. Visit the Mart Museum in nearby Rovareto, designed by Mario Botta, housing the rich archive of sound poet and painter Fortunato Depero plus innumerable works by other leaders of that influential movement. And don’t miss the nearby palatial home of eccentric writer Gabriele d’Annunzio. The hotel is filled with contemporary art and houses a large library https://www.bellevue-sanlorenzo.it/ of contemporary art publications. Enjoy full spa facilities and elegant meals overlooking picturesque Lake Garda, on private grounds brimming with contemporary sculpture. WElcome to A FESTIVAL OF UNEXPECTED NEW MUSIC The 23rd Other Minds Festival is presented by Other Minds in 2 Message from the Artistic Director association with ODC Theater, 7 What is Sound Poetry? San Francisco. 8 Gala Opening All Festival concerts take place at April 9, Monday ODC Theater, 3153 17th St., San Francisco, CA at Shotwell St. and 12 No Poets Don’t Own Words begin at 7:30 PM, with the exception April 10, Tuesday of the lecture and workshop on 14 The History Channel Tuesday. Other Minds thanks the April 11, Wednesday team at ODC for their help and hard work on our behalf. -
New York University Bulletin
New York University Bulletin Steinhardt School of Culture, Education and Human Development New York University Washington Square New York, New York 10003 NOTICES About this Bulletin The policies, requirements, course offerings, schedules, activities, tuition, fees, and calendar of the school and its departments and programs set forth in this bulletin are subject to change without notice at any time at the sole discretion of the administration. Such changes may be of any nature, including, but not limited to, the elimination of the school or college, programs, classes, or activities; the relocation of or modification of the content of any of the foregoing; and the cancellation of scheduled classes or other academic activities. Payment of tuition or attendance at any classes shall constitute a student’s acceptance of the administration ‘s rights as set forth herein. Fieldwork Placement Advisory Be advised that fieldwork placement facilities that provide training required for your program degree, and agencies that issue licenses for practice in your field of study, each may require you to undergo general and criminal background checks, the results of which the facility or agency must find accept able before it will allow you to train at its facility or issue you a license. You should inform yourself of offenses or other facts that may prevent you from obtaining a license to practice in your field of study. NYU Steinhardt will not be responsible if you are unable to complete program requirements or cannot obtain a license to practice in your field because of the results of such background checks. Some fieldwork placement facilities in your field of study may not be available to you in some states due to local legal prohibitions. -
Rezension Für: Deutsches Symphonie-Orchester Berlin
Rezension für: Deutsches Symphonie-Orchester Berlin Edition Friedrich Gulda – The early RIAS recordings Ludwig van Beethoven | Claude Debussy | Maurice Ravel | Frédéric Chopin | Sergei Prokofiev | Wolfgang Amadeus Mozart 4CD aud 21.404 Radio Stephansdom CD des Tages, 04.09.2009 ( - 2009.09.04) Aufnahmen, die zwischen 1950 und 1959 entstanden. Glasklar, "gespitzter Ton" und... Full review text restrained for copyright reasons. Neue Musikzeitung 9/2009 (Andreas Kolb - 2009.09.01) Konzertprogramm im Wandel Konzertprogramm im Wandel Full review text restrained for copyright reasons. Piano News September/Oktober 2009, 5/2009 (Carsten Dürer - 2009.09.01) Friedrich Guldas frühe RIAS-Aufnahmen Friedrich Guldas frühe RIAS-Aufnahmen Full review text restrained for copyright reasons. page 1 / 388 »audite« Ludger Böckenhoff • Tel.: +49 (0)5231-870320 • Fax: +49 (0)5231-870321 • [email protected] • www.audite.de DeutschlandRadio Kultur - Radiofeuilleton CD der Woche, 14.09.2009 (Wilfried Bestehorn, Oliver Schwesig - 2009.09.14) In einem Gemeinschaftsprojekt zwischen dem Label "audite" und Deutschlandradio Kultur werden seit Jahren einmalige Aufnahmen aus den RIAS-Archiven auf CD herausgebracht. Inzwischen sind bereits 40 CD's erschienen mit Aufnahmen von Furtwängler und Fricsay, von Elisabeth Schwarzkopf, Dietrich Fischer-Dieskau u. v. a. Die jüngste Produktion dieser Reihe "The Early RIAS-Recordings" enthält bisher unveröffentlichte Aufnahmen von Friedrich Gulda, die zwischen 1950 und 1959 entstanden. Die Einspielungen von Beethoven, Debussy, Ravel und Chopin zeigen den jungen Pianisten an der Schwelle zu internationalem Ruhm. Die Meinung unserer Musikkritiker: Eine repräsentative Auswahl bisher unveröffentlichter Aufnahmen, die aber bereits alle Namen enthält, die für Guldas späteres Repertoire bedeutend werden sollten: Mozart, Beethoven, Debussy, Ravel, Chopin. -
Vocality and Listening in Three Operas by Luciano Berio
Clare Brady Royal Holloway, University of London The Open Voice: Vocality and Listening in three operas by Luciano Berio Submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy in Music February 2017 The Open Voice | 1 Declaration of Authorship I, Patricia Mary Clare Brady, hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: February 1st 2017 The Open Voice | 2 Abstract The human voice has undergone a seismic reappraisal in recent years, within musicology, and across disciplinary boundaries in the humanities, arts and sciences; ‘voice studies’ offers a vast and proliferating array of seemingly divergent accounts of the voice and its capacities, qualities and functions, in short, of what the voice is. In this thesis, I propose a model of the ‘open voice’, after the aesthetic theories of Umberto Eco’s seminal book ‘The Open Work’ of 1962, as a conceptual framework in which to make an account of the voice’s inherent multivalency and resistance to a singular reductive definition, and to propose the voice as a site of encounter and meaning construction between vocalist and receiver. Taking the concept of the ‘open voice’ as a starting point, I examine how the human voice is staged in three vocal works by composer Luciano Berio, and how the voice is diffracted through the musical structures of these works to display a multitude of different, and at times paradoxical forms and functions. In Passaggio (1963) I trace how the open voice invokes the hegemonic voice of a civic or political mass in counterpoint with the particularity and frailty of a sounding individual human body. -
1984 Western Minstrel
RENOVATIONAFTER FIRES Fire d,estruction in cello-bass storage room Cello-bassroom after renauati,on Ivan Wilson Fine Arts Center was the locationof two arson-suspectedfires last Spring. The first fire was started in four rooms on the top floor of the structure where the art department is housed.All four art studiosreceived major damage,- ' the roof of the building was severely damaged,and water damage to thiid floor carpet and pianoswas significant. Several nights later a secondfire was HOWARDCARPENTER WesternK' started in the cello and string bassstorage RETIRES room and on severalbulletin boards in t[e Uniuers'ity music department. All contentsof the April 28th was the date for an alumni- Department room were destroyed,and smokedamage sponsoredbanquet honoring Dr. Howard was of Musi,c substantial on the third floor. Classes Carpenter, former head of the music were suspended for severaldays. Some department and professor at Western for NEWSLETTER applied lessonswere taught in homesand 30 years.Carolyn and Joe Lippo of churchesfor several for Alumn'i, weeksuntil breathing Jacksonville,Florida, weie r-esponsiblefor becameeasier. A monitoring systemwas organizing the affair and soliciling Students, establishedto check personsentering the contributions for a string/piano Colleagues,and building after p.m. 5:00 and on weekends. scholarshipfund to be establishedin Dr. This monitoring Friends system is still in existence Carpenter'shonor. (Thosealumni wishing and requires that all personsentering the to make a contribution to this scholarshiJ building use the outside door by the dean's fund should send a check to the music office. office marked "Howard Carpenter The summer of 1984became the focus ScholarshipFund.") for putting the arts center back into Many good memories were shared in a condition for the fall semesteractivities filled-to-capacitybanquet room at the Iron and the returning student body. -
Showcase Concert III: CMS Performers & Composers
Sixty-Fourth National Conference Showcase Concert III: CMS Performers & Composers David Horace Davies • Concert Manager Friday, October 8, 2021 4:30 p.m. Eastman School of Music Hatch Recital Hall Rochester, New York PROGRAM SHOWCASE PERFORMANCE: Four Nigerian Dances ............................................................. Joshua Uzoigwe Nigerian Dance No.1 Talking Drums ................................................................................... Uzoigwe Egwu Amala Jasmin Arakawa (University of Florida), piano In our effort to advocate for social equality, there is no doubt that cultural understanding and education play a significant role. As music educators, it is crucial that we re-examine our repertoire to be reflective and inclusive of our students’ traditions and heritage. In this program, I am presenting two pieces by Nigerian composer Joshua Uzoigwe that are of high pedagogical quality and can be included in the standard repertoire. “Nigerian Dance No.1” from Four Nigerian Dances provides an excellent study in rhythm and hand coordination. It serves not only as an introductory piece for piano students but also for secondary piano students. “Egwu Amala” from Talking Drums presents a more advanced rhythmical structure and assimilates harmonic and contrapuntal virtuosity. ORIGINAL COMPOSITIONS: Golem ........................................................... Xavier Beteta (Wheaton College) TBA, flute TBA, clarinet TBA, violin TBA, cello TBA, piano I composed Golem after my trip to Prague, Czech Republic. Golem is a popular 16th century legend where a Jewish Rabbi, using a Kabbalistic formula, is able to give life to a humanoid being made out of clay. In a similar way, I, as composer, try to give life to masses of sound. The piece evokes the harsh and primitive motions of a Golem learning how to move. -
Kurt Schwitters's Merzbau: Chaos, Compulsion and Creativity Author[S]: Clare O’Dowd Source: Moveabletype, Vol
Article: Kurt Schwitters's Merzbau: Chaos, Compulsion and Creativity Author[s]: Clare O’Dowd Source: MoveableType, Vol. 5, ‘Mess’ (2009) DOI: 10.14324/111.1755-4527.046 MoveableType is a Graduate, Peer-Reviewed Journal based in the Department of English at UCL. © 2009 Clare O’Dowd. This is an Open Access article distributed under the terms of the Creative Commons Attribution License (CC-BY) 4.0https://creativecommons.org/licenses/by/4.0/, which permits unrestricted use, distribution, and reproduction in any medium, provided the original author and source are credited. Moveable Type Vol. 5 2009: CLARE O’DOWD 1 Kurt Schwitters' Merzbau : Chaos, Compulsion and Creativity For nearly thirty years until his death in 1948, the German artist Kurt Schwitters constructed environments for himself: self-contained worlds, places of safety, nests. Everywhere he went he stockpiled materials and built them into three-dimensional, sculptural edifices. By the time he left Hanover in 1937, heading for exile in England, Schwitters, his wife, his son, his parents, their lodgers, and a large number of guinea pigs had all been living in the midst of an enormous, detritus-filled sculpture that had slowly engulfed large parts of their home for almost twenty years. 1 Schwitters was by no means the only artist to have a cluttered studio, or to collect materials for his work. So the question must be asked, what was it about Schwitters’ activities that was so unusual? How can these and other aspects of his work and behaviour be considered to go beyond what might be regarded as normal for an artist working at that time? And more importantly, what were the reasons for this behaviour? In this paper, I will examine the beginnings of the Merzbau , the architectural sculpture that Schwitters created in his Hanover home. -
The Full Concert Program and Notes (Pdf)
Program Sequenza I (1958) for fl ute Diane Grubbe, fl ute Sequenza VII (1969) for oboe Kyle Bruckmann, oboe O King (1968) for voice and fi ve players Hadley McCarroll, soprano Diane Grubbe, fl ute Matt Ingalls, clarinet Mark Chung, violin Erik Ulman, violin Christopher Jones, piano David Bithell, conductor Sequenza V (1965) for trombone Omaggio Toyoji Tomita, trombone Interval a Berio Laborintus III (1954-2004) for voices, instruments, and electronics music by Luciano Berio, David Bithell, Christopher Burns, Dntel, Matt Ingalls, Gustav Mahler, Photek, Franz Schubert, and the sfSound Group texts by Samuel Beckett, Luciano Berio, Dante, T. S. Eliot, Paul Griffi ths, Ezra Pound, and Eduardo Sanguinetti David Bithell, trumpet; Kyle Bruckmann, oboe; Christopher Burns, electronics / reciter; Mark Chung, violin; Florian Conzetti, percussion; Diane Grubbe, fl ute; Karen Hall, soprano; Matt Ingalls, clarinets; John Ingle, soprano saxophone; Christopher Jones, piano; Saturday, June 5, 2004, 8:30 pm Hadley McCarroll, soprano; Toyoji Tomita, trombone; Erik Ulman, violin Community Music Center Please turn off cell phones, pagers, and other 544 Capp Street, San Francisco noisemaking devices prior to the performance. Sequenza I for solo flute (1958) Sequenza V for solo trombone (1965) Sequenza I has as its starting point a sequence of harmonic fields that Sequenza V, for trombone, can be understood as a study in the superposition generate, in the most strongly characterized ways, other musical functions. of musical gestures and actions: the performer combines and mutually Within the work an essentially harmonic discourse, in constant evolution, is transforms the sound of his voice and the sound proper to his instrument; in developed melodically. -
Steven Schick: Solo
Miller Theatre at Columbia University 2013-14 | 25th Anniversary Season Special Event Steven Schick: Solo Thursday, January 30, 8:00 p.m. Saturday, February 1, 8:00 p.m. Please note that photography and the use of recording devices are not permitted. Remember to turn off all cellular phones and pagers before tonight’s performance begins. Miller Theatre is wheelchair accessible. Large print programs are available upon request. For more information or to arrange accommodations, please call 212-854-7799. Miller Theatre at Columbia University 2013-14 | 25th Anniversary Season Special Event Steven Schick: Solo Part One: Origins Thursday, January 30, 8:00 p.m. Part Two: Responses Saturday, February 1, 8:00 p.m. Free Event: Percussion in the 21st Century Friday, January 31, 3:00 p.m. Explore the future of this dynamic art from through a conversation moderated by Schick with music luminaries including composer Kaija Saariaho, jazz vibraphonist Stefon Harris, percussionists Aiyun Huang and Haruka Fujii, and So Percussion founder Adam Sliwinski. The event will be followed by a reception. Zyklus © Universal Edition Miller Theatre at Columbia University 2013-14 | 25th Anniversary Season Special Event Steven Schick: Solo Part One: Origins Thursday, January 30, 8:00 p.m. Zyklus (1959) Karlheinz Stockhausen (1928 -2007) The King of Denmark (1964) Morton Feldman (1926-1987) Intérieur I (1966) Helmut Lachenmann (b. 1936) Toucher (1972) Vinko Globokar (b. 1934) INTERMISSION Psappha (1975) Iannis Xenakis (1922-2001) Silvers Streetcar for the Orchestra (1982) Alvin Lucier (b. 1931) ?Corporel (1982) Globokar Rebonds (1989) Xenakis This program runs approximately two hours including intermission. -
The Pennsylvania State University the Graduate School College Of
The Pennsylvania State University The Graduate School College of Arts and Architecture CUT AND PASTE ABSTRACTION: POLITICS, FORM, AND IDENTITY IN ABSTRACT EXPRESSIONIST COLLAGE A Dissertation in Art History by Daniel Louis Haxall © 2009 Daniel Louis Haxall Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy August 2009 The dissertation of Daniel Haxall has been reviewed and approved* by the following: Sarah K. Rich Associate Professor of Art History Dissertation Advisor Chair of Committee Leo G. Mazow Curator of American Art, Palmer Museum of Art Affiliate Associate Professor of Art History Joyce Henri Robinson Curator, Palmer Museum of Art Affiliate Associate Professor of Art History Adam Rome Associate Professor of History Craig Zabel Associate Professor of Art History Head of the Department of Art History * Signatures are on file in the Graduate School ii ABSTRACT In 1943, Peggy Guggenheim‘s Art of This Century gallery staged the first large-scale exhibition of collage in the United States. This show was notable for acquainting the New York School with the medium as its artists would go on to embrace collage, creating objects that ranged from small compositions of handmade paper to mural-sized works of torn and reassembled canvas. Despite the significance of this development, art historians consistently overlook collage during the era of Abstract Expressionism. This project examines four artists who based significant portions of their oeuvre on papier collé during this period (i.e. the late 1940s and early 1950s): Lee Krasner, Robert Motherwell, Anne Ryan, and Esteban Vicente. Working primarily with fine art materials in an abstract manner, these artists challenged many of the characteristics that supposedly typified collage: its appropriative tactics, disjointed aesthetics, and abandonment of ―high‖ culture. -
Jeffrey Milarsky, Conductor Giorgio Consolati, Flute Kady Evanyshyn
Friday Evening, December 1, 2017, at 7:30 The Juilliard School presents AXIOM Jeffrey Milarsky, Conductor Giorgio Consolati, Flute Kady Evanyshyn, Mezzo-soprano Tengku Irfan, Piano Khari Joyner, Cello LUCIANO BERIO (1925–2003) Sequenza I (1958) GIORGIO CONSOLATI, Flute Folk Songs (1965–67) Black Is the Color I Wonder as I Wander Loosin yelav Rossignolet du bois A la femminisca La donna ideale Ballo Motettu de tristura Malurous qu’o uno fenno Lo fiolaire Azerbaijan Love Song KADY EVANYSHYN, Mezzo-soprano Intermission BERIO Sequenza XIV (2002) KHARI JOYNER, Cello “points on the curve to find…” (1974) TENGKU IRFAN, Piano Performance time: approximately 1 hour and 20 minutes, including one intermission The taking of photographs and the use of recording equipment are not permitted in this auditorium. Information regarding gifts to the school may be obtained from the Juilliard School Development Office, 60 Lincoln Center Plaza, New York, NY 10023-6588; (212) 799-5000, ext. 278 (juilliard.edu/giving). Alice Tully Hall Please make certain that all electronic devices are turned off during the performance. Notes on the Program faith, in spite of it all, in the lingering pres- ence of the past. This gave his work a dis- by Matthew Mendez tinctly humanistic bent, and for all his experimental impulses, Berio’s relationship LUCIANO BERIO to the musical tradition was a cord that Born October 24, 1925, in Oneglia, Italy never would be cut. Died May 27, 2003, in Rome, Italy Sequenza I In 1968 during his tenure on the Juilliard One way Berio’s interest in -
January 19, 2018
in concert with MEREDITH MONK Performing works by ZORN MONK RZEWSKI BYRON FUNG BROWN Jan 19, 2018 at the San Francisco Conservatory of Music in the LABORATORY Series San Francisco Contemporary Music Players San Francisco Contemporary Music Players (SFCMP), a 24-member, unionized ensemble of highly skilled musicians, performs innovative, large-ensemble, contemporary classical music with a spotlight on California composers. SFCMP aims to nourish the creation and dissemination of new works through high-quality musical performances, commissions, education and community outreach. SFCMP promotes the music of composers from across cultures and stylistic traditions who are creating a vast and vital 21st-century musical language. SFCMP seeks to share these experiences with as many people as possible, both in and outside of traditional concert settings. Tonight’s event is part of SFCMP’s In the Laboratory Series, where you will experience contemporary classical works that have pushed the boundaries of the concert format through experimentation and exploration. WE DEDICATE our 2017-18 season to our artistic director STEVEN SCHICK, in gratitude for his 7 years of dedication to SFCMP. Thank you, Steve! Steven Schick Solo Performance SAT, MAR 24, 2018 at Z Space 5:30 pm Steven Schick Celebration Reception and Toast 7:00 pm CONCERT Artistic Director and percussionist Steven Schick, who celebrates his final season with SFCMP, will perform in a special Saturday evening solo concert made for this occasion. On the program: Iannis XENAKIS’s Psappha; Kurt