School of Music 2012–2013
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Promoting Interdisciplinarity: Its Purpose and Practice in Arts Programming Shannon Farrow Mcneely
University of Mary Washington Eagle Scholar English, Linguistics, and Communication College of Arts and Sciences 2018 Promoting Interdisciplinarity: Its Purpose and Practice in Arts Programming Shannon Farrow McNeely Denise Gillman Danielle Hartman University of Mary Washington, [email protected] Follow this and additional works at: https://scholar.umw.edu/elc Part of the Fine Arts Commons, Higher Education Commons, Interdisciplinary Arts and Media Commons, and the Theatre and Performance Studies Commons Recommended Citation Farrow McNeely, Shannon, Denise Gillman, and Danielle Hartman. “Promoting Interdisciplinarity: Its Purpose and Practice in Arts Programming.” Journal of Performing Arts Leadership in Higher Education IX (2018): 55–67. This Article is brought to you for free and open access by the College of Arts and Sciences at Eagle Scholar. It has been accepted for inclusion in English, Linguistics, and Communication by an authorized administrator of Eagle Scholar. For more information, please contact [email protected]. Journal of Performing Arts Leadership in Higher Education Volume IX Fall 2018 Laurence Kaptain, co-editor Mark Reimer, co-editor ISSN 2151-2744 (online) ISSN 2157-6874 (print) Christopher Newport University Newport News, Va. Te Journal of Performing Arts Leadership in Higher Education is a recognized academic journal published by Christopher Newport University, a public liberal arts institution in Newport News, Virginia. Copyright to each published article is owned jointly by the Rector and Visitors of Christopher Newport University and the author(s) of the article. 2 Editorial Board (Fall 2018 through Spring 2021) Seth Beckman, Duquesne University Robert Blocker, Yale University Robert Cutietta, University of Southern California Nick Erickson, Louisiana State University John W. -
Match Notes Internationaux De Strasbourg - Strasbourg, France 2021-05-23 - 2021-05-29 | $ 235,238
26/05/2021 SAP Tennis Analytics 1.4.9 MATCH NOTES INTERNATIONAUX DE STRASBOURG - STRASBOURG, FRANCE 2021-05-23 - 2021-05-29 | $ 235,238 1 0 win win 1 matches played 61 Sorana Shuai Cirstea (6) Zhang 45 ROMANIA CHINA 1990-04-07 Date of Birth 1989-01-21 Targoviste, Romania Residence Tianjin, China Right-handed (two-handed backhand) Plays Right-handed (two-handed backhand) 5' 9" (1.76 m) Height 5' 10" (1.77 m) 21 Career-High Ranking 23 $6,064,123 Career Prize Money $6,952,466 $233,024 Season Prize Money $160,240 1 / 2 Singles Titles YTD / Career 0 / 2 47-48 (QF: 2009 Roland Garros) Grand Slam W-L (best) 28-34 (QF: 2019 Wimbledon; 2016 Australian Open) 1-0 / 1-1 (Second round: 2021) YTD / Career STRASBOURG W-L 1-0 / 4-4 (Quarter-Finalist: 2020) (best) 12-6 / 242-252 YTD / Career W-L 1-7 / 178-200 6-1 / 83-77 YTD / Career Clay W-L 1-5 / 31-49 2-1 / 90-75 YTD / Career 3-Set W-L 0-1 / 51-49 3-1 / 56-46 YTD / Career TB W-L 0-1 / 42-45 Champion: Istanbul YTD Best Result Second round: Strasbourg https://dev.saptennis.com/media/mediaportal/#season/2021/events/0406/matches/LS009/apps/post-match-insights/match-notes/snapshots/58b5f… 1/8 26/05/2021 SAP Tennis Analytics 1.4.9 MATCH NOTES INTERNATIONAUX DE STRASBOURG - STRASBOURG, FRANCE 2021-05-23 - 2021-05-29 | $ 235,238 Sorana Shuai Cirstea Zhang Head To Head Record YEAR TOURNAMENT SURFACE ROUND WINNER SCORE/ RESULT TIME 2008 CUNEO CLAY 1r Sorana Cirstea 6-3 4-6 6-3 0m Ranking History TOP RANK YEAR-END YEAR TOP RANK YEAR-END 58 - 2021 35 - 69 86 2020 30 35 72 72 2019 31 46 33 86 2018 27 35 37 37 2017 23 36 81 81 2016 24 24 90 244 2015 61 186 21 93 2014 30 62 21 22 2013 51 51 26 27 2012 120 122 https://dev.saptennis.com/media/mediaportal/#season/2021/events/0406/matches/LS009/apps/post-match-insights/match-notes/snapshots/58b5f… 2/8 26/05/2021 SAP Tennis Analytics 1.4.9 MATCH NOTES INTERNATIONAUX DE STRASBOURG - STRASBOURG, FRANCE 2021-05-23 - 2021-05-29 | $ 235,238 Sorana Shuai Cirstea Zhang Tournament History CURRENT TOURNAMENT CURRENT TOURNAMENT 1r: d. -
Proceedings+Of+The+8Th+ Scheduling+And+Planning+
ICAPS 2014 ! ! Proceedings+of+the+8th+ Scheduling+and+Planning+Applications+Workshop+ + Edited+By:+ Gabriella+Cortellessa,+Mark+Giuliano,+Riccardo+Rasconi+and+Neil+Yorke@Smith+ + Portsmouth,*New*Hampshire,*USA*5*June*22,*2014* * Organizing*Committee* Gabriella(Cortellessa! ISTC&CNR,!Italy! Mark(Giuliano( Space!Telescope!Science!Institute,!USA!! Riccardo(Rasconi! ISTC&CNR,!Italy! Neil(Yorke6Smith( American!University!of!Beirut,!Lebanon,!and!University!of!Cambridge,!UK! ! Program*Committee* Laura(Barbulescu,!Carnegie!Mellon!University,!USA!! Anthony(Barrett,!Jet!Propulsion!Laboratory,!USA!! Mark(Boddy,!Adventium,!USA!! Luis(Castillo,!University!of!Granada,!Spain!! Gabriella(Cortellessa,!ISTC&CNR,!Italy! Riccardo(De(Benedictis,!ISTC&CNR,!Italy!! Minh(Do,!SGT!Inc.,!NASA!Ames,!USA!! Simone(Fratini,!ESA&ESOC,!Germany!! Mark(Giuliano,!Space!Telescope!Science!Institute,!USA! Christophe(Guettier,!SAGEM,!France!! Patrik(Haslum,!NICTA,!Australia!! Nicola(Policella,!ESA&ESOC,!Germany!! Riccardo(Rasconi,!ISTC&CNR,!Italy! Bernd(Schattenberg,!University!of!Ulm,!Germany!! Tiago(Vaquero,!University!of!Toronto,!Canada!! Ramiro(Varela,!University!of!Oviedo,!Spain!! Gérard(Verfaillie,!ONERA,!France!! Neil(Yorke6Smith,!American!University!of!Beirut,!Lebanon!and!University!of!Cambridge,!UK! Terry(Zimmerman,!University!of!Washington!–!Bothell,!USA! ! ! ! ! ! ! ! ! ! ! ! ! ! Foreword! ! Application!domains!that!entail!planning!and!scheduling!(P&S)!problems!present!a!set!of!compelling!challenges! to!the!AI!planning!and!scheduling!community,!from!modeling!to!technological!to!institutional!issues.!New!real& -
Annual Report 2018 – 2019 Contents a Letter to Our Community
AnnuAl RepoRt 2018 – 2019 Contents A Letter to Our Community Dear Friends of Yale Center Beijing, Yale Center Beijing (YCB) is proud to celebrate its fifth anniversary this fall. Since its establishment on October 27, 2014, YCB is Yale University’s first and only university-wide center outside of the United States and continues to serve as an intellectual hub that draws luminaries from China, the U.S., and beyond. During 2018-2019, YCB hosted a variety of events and programs that advanced Yale's mission to improve our world and develop global leaders for all sectors, featuring topics ranging from health and medicine, technology and entrepreneurship, environment and sustainability, to politics, economics, and the arts and humanities. Over the past half-decade, YCB has become a prominent convening space that engages scholars and thought leaders in dialogues that foster openness, connectedness, and innovation. Today, the Center 1 is a key hub for Yale’s global activities, as programming that features Yale faculty, students, and alumni increased from A Letter to Our Community 33% of the Center’s activities in 2014-2015 to nearly 70% in 2018-2019. 2 Looking forward, as YCB aims to maintain and advance its standing as one of the most vibrant foreign university Yale Center Beijing Advisory Committee centers in China, the Center will facilitate and organize programming that: ± Enlighten—Promote interdisciplinary and transnational discourse, through the Yale Starlight Science Series, 4 the Greenberg Distinguished Colloquium, etc., and; Highlights of the Year ± Engage—Convene emerging and established leaders, whether from academia, business, government, or 8 nonprofit organizations, to discuss and tackle important issues in an ever-changing world, through programs Celebrating Five Years at Yale Center Beijing such as the Yale-Sequoia China Leadership Program and the Women’s Leadership Program. -
View PDF Online
MARLBORO MUSIC 60th AnniversAry reflections on MA rlboro Music 85316_Watkins.indd 1 6/24/11 12:45 PM 60th ANNIVERSARY 2011 MARLBORO MUSIC Richard Goode & Mitsuko Uchida, Artistic Directors 85316_Watkins.indd 2 6/23/11 10:24 AM 60th AnniversA ry 2011 MARLBORO MUSIC richard Goode & Mitsuko uchida, Artistic Directors 85316_Watkins.indd 3 6/23/11 9:48 AM On a VermOnt HilltOp, a Dream is BOrn Audience outside Dining Hall, 1950s. It was his dream to create a summer musical community where artists—the established and the aspiring— could come together, away from the pressures of their normal professional lives, to exchange ideas, explore iolinist Adolf Busch, who had a thriving music together, and share meals and life experiences as career in Europe as a soloist and chamber music a large musical family. Busch died the following year, Vartist, was one of the few non-Jewish musicians but Serkin, who served as Artistic Director and guiding who spoke out against Hitler. He had left his native spirit until his death in 1991, realized that dream and Germany for Switzerland in 1927, and later, with the created the standards, structure, and environment that outbreak of World War II, moved to the United States. remain his legacy. He eventually settled in Vermont where, together with his son-in-law Rudolf Serkin, his brother Herman Marlboro continues to thrive under the leadership Busch, and the great French flutist Marcel Moyse— of Mitsuko Uchida and Richard Goode, Co-Artistic and Moyse’s son Louis, and daughter-in-law Blanche— Directors for the last 12 years, remaining true to Busch founded the Marlboro Music School & Festival its core ideals while incorporating their fresh ideas in 1951. -
The Chamber Music Society at Yale Chamber Music Competition Winners Tuesday, May 1, 2007 at 8:00 P.M
The Yale School of Music Robert Blocker, Acting Dean presents The Chamber Music Society at Yale Chamber Music Competition Winners TUESDAY, MAY 1, 2007 MORSE RECITAL HALL IN SPRAGUE HALL the chamber music society at yale Chamber Music Competition Winners Tuesday, May 1, 2007 at 8:00 p.m. Morse Recital Hall in Sprague Memorial Hall Trio in E-flat major,k . 498, “Kegelstatt” Wolfgang Amadeus Mozart Andante (1756-1791) Menuetto Rondo Romie de Guise-Langlois, clarinet Margot Schwartz, violin Wei-Jen Yuan, piano Triskelion Bruce Adolphe Allegro (b. 1955) Andante (with a ghostly quality) Allegro Joel Brennan and Olivia Malin, trumpet Jocelyn Crawford, horn Joshua Cullum, trombone Stephanie Fairbairn, tuba intermission Quartet in D minor, d. 810, “Death and the Maiden” Franz Schubert Allegro (1797-1828) Andante con moto Scherzo: Allegro molto − Trio Presto The Alianza Quartet Sarita Kwok and Lauren Basney, violin Ah-Young Sung, viola Dmitri Atapine, cello As a courtesy to the performers and to other audience members — Please silence cell phones and pagers Please do not leave the auditorium during selections No flash photography No sound or video recording of any kind 2 0 0 6- 2 0 0 7 s e a s o n Program Notes Mozart: Trio in E-flat,k . 498, “Kegelstatt” The strange subtitle (Kegelstatt or “Skittles”) alone gives this work a unique place in Mozart’s vast chamber music output. Add to that its unusual combination of instru- ments and you have a very original composition indeed. The story behind the work’s origins is that Mozart wrote this in 1786 while playing skittles (an old game similar to bowling) with his friend, the clarinetist Anton Stadler. -
Festival Artists
Festival Artists Cellist OLE AKAHOSHI (Norfolk competitions. Berman has authored two books published by the ’92) performs in North and South Yale University Press: Prokofiev’s Piano Sonatas: A Guide for the Listener America, Asia, and Europe in recitals, and the Performer (2008) and Notes from the Pianist’s Bench (2000; chamber concerts and as a soloist electronically enhanced edition 2017). These books were translated with orchestras such as the Orchestra into several languages. He is also the editor of the critical edition of of St. Luke’s, Symphonisches Orchester Prokofiev’s piano sonatas (Shanghai Music Publishing House, 2011). Berlin and Czech Radio Orchestra. | 27th Season at Norfolk | borisberman.com His performances have been featured on CNN, NPR, BBC, major German ROBERT BLOCKER is radio stations, Korean Broadcasting internationally regarded as a pianist, Station, and WQXR. He has made for his leadership as an advocate for numerous recordings for labels such the arts, and for his extraordinary as Naxos. Akahoshi has collaborated with the Tokyo, Michelangelo, contributions to music education. A and Keller string quartets, Syoko Aki, Sarah Chang, Elmar Oliveira, native of Charleston, South Carolina, Gil Shaham, Lawrence Dutton, Edgar Meyer, Leon Fleisher, he debuted at historic Dock Street Garrick Ohlsson, and André-Michel Schub among many others. Theater (now home to the Spoleto He has performed and taught at festivals in Banff, Norfolk, Aspen, Chamber Music Series). He studied and Korea, and has given master classes most recently at Central under the tutelage of the eminent Conservatory Beijing, Sichuan Conservatory, and Korean National American pianist, Richard Cass, University of Arts. -
The Ninth Season Through Brahms CHAMBER MUSIC FESTIVAL and INSTITUTE July 22–August 13, 2011 David Finckel and Wu Han, Artistic Directors
The Ninth Season Through Brahms CHAMBER MUSIC FESTIVAL AND INSTITUTE July 22–August 13, 2011 David Finckel and Wu Han, Artistic Directors Music@Menlo Through Brahms the ninth season July 22–August 13, 2011 david finckel and wu han, artistic directors Contents 2 Season Dedication 3 A Message from the Artistic Directors 4 Welcome from the Executive Director 4 Board, Administration, and Mission Statement 5 Through Brahms Program Overview 6 Essay: “Johannes Brahms: The Great Romantic” by Calum MacDonald 8 Encounters I–IV 11 Concert Programs I–VI 30 String Quartet Programs 37 Carte Blanche Concerts I–IV 50 Chamber Music Institute 52 Prelude Performances 61 Koret Young Performers Concerts 64 Café Conversations 65 Master Classes 66 Open House 67 2011 Visual Artist: John Morra 68 Listening Room 69 Music@Menlo LIVE 70 2011–2012 Winter Series 72 Artist and Faculty Biographies 85 Internship Program 86 Glossary 88 Join Music@Menlo 92 Acknowledgments 95 Ticket and Performance Information 96 Calendar Cover artwork: Mertz No. 12, 2009, by John Morra. Inside (p. 67): Paintings by John Morra. Photograph of Johannes Brahms in his studio (p. 1): © The Art Archive/Museum der Stadt Wien/ Alfredo Dagli Orti. Photograph of the grave of Johannes Brahms in the Zentralfriedhof (central cemetery), Vienna, Austria (p. 5): © Chris Stock/Lebrecht Music and Arts. Photograph of Brahms (p. 7): Courtesy of Eugene Drucker in memory of Ernest Drucker. Da-Hong Seetoo (p. 69) and Ani Kavafian (p. 75): Christian Steiner. Paul Appleby (p. 72): Ken Howard. Carey Bell (p. 73): Steve Savage. Sasha Cooke (p. 74): Nick Granito. -
Giving Voice Bro 09 2
International Festival of the Voice 2009 18 - 26 April, Wroclaw, Poland HARMONIC ACCORD: ENCOUNTERS THROUGH SONG SPOTKANIE W PIESNI´ 2 Giving Voice 11 stanowi specjaln edycję festiwalu; Giving Voice International Festival of the Voice współorganizuj go Center for Performance Research Contents z Walii oraz Instytut im. Jerzego Grotowskiego we Harmonic Accord Wrocławiu.Tegoroczny festiwal odbywa się w ramach Venues & Access - 2 obchodów Roku Grotowskiego 2009. Encounters through Song Przez 7 dni Wrocław będzie go´scił niespotykan ró˙znorodno´s´c tradycji Giving Voice 11: A festival of extraordinary voices from around the world including those from: Armenia, Austria, głosowych całego swiata:´ Armenii, Austrii, Korsyki, Gruzji, Gwinei, Iranu,Włoch, Harmonic Accord - 3 Corsica, Georgia, Guinea, Iran, Italy, Kurdistan, Mongolia, North America, Palestine, Poland, Kurdystanu, Mongolii, Ameryki Północnej, Palestyny, Polski, Sardynii, Serbii, Sardinia, Serbia, Spain, the Ukraine and Wales. Hiszpanii, Ukrainy oraz Walii. Calendar - 4 Poprzez dzielenie się ideami oraz praktyk w ramach ró˙znych warsztatów, How to Create Giving Voice springs from a strong events programmed for the Year of our questions embrace: aesthetics; pokazów i dyskusji, festiwal gromadzi praktyków, nauczycieli, teoretyków, belief in the voice’s ability to Grotowski 2009 in addition to this technique; the culturally specific; uzdrowicieli zainteresowanych prac z głosem, którzy niekoniecznie mieli Your Own Experience - 4 communicate beyond language and special edition of Giving Voice, matters of repertoire; archaism and the okazję do spotkania na drodze swej praktyki. Workshops - 5 - 14 cultural difference, and that working information of which may be found on relationship of tradition to innovation with the voice can allow people, from www.grotowski-institute.art.pl. -
Seiii Ozawa J Mrsic Thrfctor // )
E Seiii Ozawa J mrsic thrfctor // ) /-» s\ r\ 1994 eason When you know your worth Omega Constellation 18K gold and stainless steel ladies' watch .with diamond bezel. Scratch-resistant sapphire crystal. Water resistant. Swiss made since 1848. OMEGA fi& ALPHA OMEGA Sfta& cU/}atcAe& The sign of excellence AMERICA'S WATCH SPECIALISTS Harvard Square-57 J.F.K. Street ©1994 Omega,*a division of EMI (US) Inc. Cambridge, MA 02138 1-800-447-4367 (617) 864-1227 Seiji Ozawa, Music Director One Hundred and Fourteenth Season, 1994-95 Trustees of the Boston Symphony Orchestra, Inc. J. P. Barger, Chairman Nicholas T. Zervas, President Mrs. Edith L. Dabney, Vice-Chairman William J. Poorvu, Vice-Chairman and Treasurer Mrs. John H. Fitzpatrick, Vice-Chairman Harlan E. Anderson Nader E Darehshori Julian T. Houston Mrs. August R. Meyer Peter A. Brooke Deborah B. Davis Edna S. Kalman Mrs. Robert B. Newman James E Cleary Nina L. Doggett Allen Z. Kluchman Peter C. Read John E Cogan, Jr. DeanW. Freed Harvey Chet Krentzman Carol Scheifele-Holmes Julian Cohen Avram J. Goldberg George Krupp Richard A. Smith Wilham E Connell Thelma E. Goldberg R. Willis Leith, Jr. Ray Stata William M. Crozier, Jr. Trustees Emeriti Vernon R. Alden AbramT. Collier Mrs. George I. Kaplan Mrs. George Lee Sargent Philip K. Allen Nelson J. Darling, Jr. George H. Kidder Sidney Stoneman David B. Arnold, Jr. Archie C. Epps Thomas D. Perry, Jr. John Hoyt Stookey Allen G. Barry Mrs. Harris Fahnestock Irving W Rabb John L. Thorndike Leo L. Beranek Mrs. John L. Grandin Other Officers of the Corporation John Ex Rodgers, Assistant Treasurer Daniel R. -
The University of Arizona
Erskine Caldwell, Margaret Bourke- White, and the Popular Front (Moscow 1941) Item Type text; Electronic Dissertation Authors Caldwell, Jay E. Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 05/10/2021 10:56:28 Link to Item http://hdl.handle.net/10150/316913 ERSKINE CALDWELL, MARGARET BOURKE-WHITE, AND THE POPULAR FRONT (MOSCOW 1941) by Jay E. Caldwell __________________________ Copyright © Jay E. Caldwell 2014 A Dissertation Submitted to the Faculty of the DEPARTMENT OF ENGLISH In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF PHILOSOPHY In the Graduate College THE UNIVERSITY OF ARIZONA 2014 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Dissertation Committee, we certify that we have read the dissertation prepared by Jay E. Caldwell, titled “Erskine Caldwell, Margaret Bourke-White, and the Popular Front (Moscow 1941),” and recommend that it be accepted as fulfilling the dissertation requirement for the Degree of Doctor of Philosophy. ________________________________________________ Date: 11 February 2014 Dissertation Director: Jerrold E. Hogle _______________________________________________________________________ Date: 11 February 2014 Daniel F. Cooper Alarcon _______________________________________________________________________ Date: 11 February 2014 Jennifer L. Jenkins _______________________________________________________________________ Date: 11 February 2014 Robert L. McDonald _______________________________________________________________________ Date: 11 February 2014 Charles W. Scruggs Final approval and acceptance of this dissertation is contingent upon the candidate’s submission of the final copies of the dissertation to the Graduate College. -
A Musical History
the Glee Club’s 1906 Christmas vacation trip.This source parallels Howard’s account, but looks back half a century to the origins of what was then considered informal singing, except that the Glee Club was then the new informal singing group. 2 THE YALE GLEE CLUB OF 1909 james merriam howard, president, with eight future whiffenpoofs This account reveals that the Whiffenpoofs emerged from a tradition of singing in America, epitomized by the male quartet, that was already more than fifty years old. Marshall Bartholomew ’07s, in his unpublished manuscript A History of Music at Yale, remarked ‘the male quartet became a regular feature of Yale Glee Club concerts soon after the Civil War.’ 2 Even before the first Yale Glee Club was formed, close harmony had made its appearance on the Yale campus, as he records: In 1856, for example, there were informal singing groups which took fanciful titles unto them- selves, as similar groups do at present [the 1950s].We find the Beethoven Bummers - evidently pok- ing fun at the more serious Beethoven Society; also there were the Owls and the Four Sharps. 3 This tradition continued into the 1880s with other groups including the Midnight Caterwaulers of 1870 (a quintet), the Sing- 1 WHIFFENPOOF PRE-HISTORY yale glee club of 1865 ing Club of 1872 (a quartet), the Crows of 1872 (an octet), and the Offenbachanal- ORIGINS ians of 1874 (a quartet). The Beethoven The Reverend James Merriam Howard wrote his ‘authentic’ history of the Bummers lasted into the 1870s with as founding of the Whiffenpoofs for the 50th Whiffenpoof anniversary to set the many as fifteen singers 4 record straight about how the Whiffenpoofs began and how The Whiffenpoof Song Howard’s account understandably was created.