Щорiчник 2009-2010 Yearbook
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A Tribute to the Mighty Handful the Russian Guitar Quartet
A Tribute to the Mighty Handful The Russian Guitar Quartet DE 3518 1 DELOS DE DELOS DE A Tribute to the Mighty Handful The Russian Guitar Quartet 3518 A TRIBUTE TO THE MIGHTY HANDFUL 3518 A TRIBUTE TO THE MIGHTY HANDFUL 3518 A TRIBUTE TO César Cui: Cherkess Dances ♦ Cossack Dances Modest Mussorgsky: Potpourri from Boris Godunov Mily Balakirev: Mazurka No. 3 ♦ Polka ♦ “Balakireviana” Alexander Borodin: Polovtsian Dances Nikolay Rimsky-Korsakov: Scheherazade in Spain Total playing time: 64:38 ORIGINAL ORIGINAL DIGITAL DIGITAL A Tribute to the Mighty Handful The Russian Guitar Quartet Dan Caraway, Alexei Stepanov, Vladimir Sumin, Oleg Timofeyev CÉSAR CUI (arr. Oleg Timofeyev): 1. Cherkess Dances (5:53) 2. Cossack Dances (5:24) 3. MODEST MUSSORGSKY (arr. Timofeyev): Potpourri from Boris Godunov (13:25) MILY BALAKIREV (arr. Viktor Sobolenko): 4. Mazurka No. 3 (4:54) 5. Polka (3:17) 6. ALEXANDER BORODIN (arr. Timofeyev): Polovtsian Dances (14:02) MILY BALAKIREV (arr. Alexei Stepanov): “Balakireviana” 7. I – Along the meadow (1:19) 8. II – By my father’s gate (1:49) 9. III – I am tired of those nights (2:54) 10. IV – Under the green apple tree (1:24) 11. NIKOLAY RIMSKY-KORSAKOV (arr. Sobolenko): Scheherazade in Spain (10:12) Total playing time: 64:38 2 NOTES ON THE PROGRAM In a certain way, this album is an attempt to reinvent history. We took the alliance of clas- erious connoisseurs of classical music as sical Russian composers known as “The Mighty well as more superficial listeners usually Handful “ or “The Five” and built a musical trib- Shave a certain image of (if not a prejudice ute to them with our quartet of four Russian about) Russian music. -
Music at the University of Northern Iowa, V23, Fall 2004
University of Northern Iowa UNI ScholarWorks Rhythms: Music at the University of Northern Iowa Magazines Fall 2004 Rhythms: Music at the University of Northern Iowa, v23, Fall 2004 University of Northern Iowa. School of Music. Let us know how access to this document benefits ouy Copyright ©2004 School of Music, University of Northern Iowa; Follow this and additional works at: https://scholarworks.uni.edu/musicnews Part of the Higher Education Commons, and the Music Commons Recommended Citation University of Northern Iowa. School of Music., "Rhythms: Music at the University of Northern Iowa, v23, Fall 2004" (2004). Rhythms: Music at the University of Northern Iowa. 12. https://scholarworks.uni.edu/musicnews/12 This Newsletter is brought to you for free and open access by the Magazines at UNI ScholarWorks. It has been accepted for inclusion in Rhythms: Music at the University of Northern Iowa by an authorized administrator of UNI ScholarWorks. For more information, please contact [email protected]. percussion, voice, theory/ composition, conducting, and keyboards. They have challenged each group to raise reetings from the School of through r ecordings, broadcasts, live the most toward the goal. Currently, G Music. I am pleased to be performances, exchanges and tours. the brass players are winning, writing to you this year with Our research articles are published fo llowed closely by the vocalists. news about our faculty and students. and presented internationally. Our The woodwinds and the keyboards However, it is also a ve1y difficult students and faculty continue to be players are beginning to climb. The time to inform you of the passing of extremely productive and demonstrate conducting majors, percussionists, Robert Byrnes this spring. -
Giuliani's Guitar and Vienna's Musical Markets, 1806–1819
Music by the Ducat: Giuliani’s Guitar and Vienna’s Musical Markets, 1806–1819 by Lindsay Jones A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Faculty of Music University of Toronto © Copyright by Lindsay Jones 2020 Music by the Ducat: Giuliani’s Guitar and Vienna’s Musical Markets, 1806–1819 Lindsay Jones Doctor of Philosophy Faculty of Music University of Toronto 2020 Abstract Amidst ambivalent attitudes held toward the guitar, Italian-born guitar virtuoso Mauro Giuliani (1781-1829) composed and performed in Vienna from 1806 to1819. Giuliani’s time in the city was punctuated by his participation in the market for goods related to the Congress of Vienna. He entered this market by gearing his performances and publications towards representing the Congress’s mandate of cooperation and conversation, as well as the recent interest in Austrian folk songs alongside patriotic sentiments for an emerging Austrian state. Giuliani’s solo guitar performances were defined by his unique ability to overcome what critics regarded as the guitar’s seemingly unsurmountable deficiencies. His active participation in the virtuoso concert culture of Vienna—a market that was removed from a growing “serious” concert culture—was defined by his increasing involvement in the commercially-driven subscription concert. Underlying Giuliani’s participation in the Congress of Vienna and the popular virtuoso concert was his interest in the burgeoning folk music movement. Related to Austrian patriotic sentiments, Giuliani’s folk-inspired Ländler and variation sets reveal his preoccupation with a more quotation-based approach to folk song composition, an approach that—while attractive in terms of print music sales—jeopardized the longevity of his folk-inspired works by obscuring his authorial ingenuity. -
Vysotsky's Soul Packaged in Tapes
ABSTRACT Title of Dissertation: “Vysotsky’s Soul Packaged in Tapes": Identity and Russianness in the Music of Vladimir Vysotsky Heather Lynn Miller, Doctor of Philosophy, 2006. Dissertation directed by: Professor Robert C. Provine Division of Musicology and Ethnomusicology School of Music, University of Maryland This study examines the relationship between music, identity, and Russianness as demonstrated by the songs of the bard Vladimir Vysotsky. The career of Vysotsky occurred within the context of Soviet Russia, but more broadly, his songs embody characteristics specific to Russian culture. For this study, I draw on the fields of ethnomusicology, history, and cultural studies to assist in the interpretation of music and identity in a cultural context. By investigating the life and career of this individual, this study serves as a method in which to interpret the identity of a musical performer on multiple levels. I gathered fieldwork data in Moscow, Russia in the summers of 2003 and 2004. Information was gathered from various sites connected to Vysotsky, and from conversations with devotees of his music. The role of identity in musical performance is complex, and to analyze Vysotsky’s Russianness, I trace his artistic work as both ‘official’ actor and ‘unofficial’ musician. Additionally, I examine the lyrics of Vysotsky’s songs for the purposes of relating his identity to Russian culture. In order to define ‘Russianness,’ I survey theoretical perspectives of ethnicity and nationalism, as well as musical and non-musical symbols, such as the Russian soul (dusha), all of which are part of the framework that creates Russian identity. In addition to Russian identity, I also address a performer’s musical identity which focuses mainly on musical composition and performance. -
To View the Report
2016 ANNUAL REPORT NORWAY 04 06 GREETING FROM REPORT FROM THE EXECUTIVE THE GOVERNING DIRECTOR BOARD 08 10 FULBRIGHT THE NORWEGIAN GEOGRAPHY PROGRAM 20 30 THE AMERICAN OTHER ACTIVITIES PROGRAM ALUMNI 32 34 BOARD AND FINANCIAL STAFF REVIEW Cover Photos: by Joe Kennedy, Siw Innstrand, and Timothy Gonchoroff. Back Cover Photos: Anja Elverum, Gray Barrett, George Christie The 2016-17 Norwegian grantees to the U.S. p.12 Returning Norwegians tell their stories p.14 Our Roving Scholars p.28 The 2016-17 U.S. grantees to Norway p.22 Our Alumni in action p.30 Stories from American Grantees p.26 REPORT FROM THE EXECUTIVE DIRECTOR In a long awaited white paper on quality in higher education (Meld. St. 16 [2016-17] Kultur for kvalitet i høyere utdanning) the Ministry of Education and Research states that internationalization is a precondition for enhancing the quality of higher education in Norway. Specifically, PETTER NÆSS Norwegian universities and higher education institutions are expected to graduate candidates who are “active, attractive, and responsible par- EXECUTIVE DIRECTOR ticipants in the international community” – very much the same criteria we look for in our Fulbright applicants. Moreover, the report points out that international collaboration and in- ternational perspectives are required to address global social problems, If the objective is to and to secure broader foreign policy, development, and commercial in- terests. Again, this is strikingly consistent with Fulbright; both in program enhance the quality design – with grants such as the Fulbright Arctic Chair, the Fulbright Arctic Initiative, and the Refugee Resettlement specialists – and in the of higher education self-selected research goals of the students and scholars; the proj- ect descriptions on pages 12 and 23 demonstrate how our grantees, through their scientific pursuits, converge on issues of social justice and and research through global concerns from many different angles.