European Day of Early Music
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French Underground Raves of the Nineties. Aesthetic Politics of Affect and Autonomy Jean-Christophe Sevin
French underground raves of the nineties. Aesthetic politics of affect and autonomy Jean-Christophe Sevin To cite this version: Jean-Christophe Sevin. French underground raves of the nineties. Aesthetic politics of affect and autonomy. Political Aesthetics: Culture, Critique and the Everyday, Arundhati Virmani, pp.71-86, 2016, 978-0-415-72884-3. halshs-01954321 HAL Id: halshs-01954321 https://halshs.archives-ouvertes.fr/halshs-01954321 Submitted on 13 Dec 2018 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. French underground raves of the 1990s. Aesthetic politics of affect and autonomy Jean-Christophe Sevin FRENCH UNDERGROUND RAVES OF THE 1990S. AESTHETIC POLITICS OF AFFECT AND AUTONOMY In Arundhati Virmani (ed.), Political Aesthetics: Culture, Critique and the Everyday, London, Routledge, 2016, p.71-86. The emergence of techno music – commonly used in France as electronic dance music – in the early 1990s is inseparable from rave parties as a form of spatiotemporal deployment. It signifies that the live diffusion via a sound system powerful enough to diffuse not only its volume but also its sound frequencies spectrum, including infrabass, is an integral part of the techno experience. In other words listening on domestic equipment is not a sufficient condition to experience this music. -
The Present Position of Authenticity
Performance Practice Review Volume 2 Article 2 Number 2 Fall The rP esent Position of Authenticity Robert Donington Follow this and additional works at: http://scholarship.claremont.edu/ppr Part of the Music Practice Commons Donington, Robert (1989) "The rP esent Position of Authenticity," Performance Practice Review: Vol. 2: No. 2, Article 2. DOI: 10.5642/ perfpr.198902.02.2 Available at: http://scholarship.claremont.edu/ppr/vol2/iss2/2 This Article is brought to you for free and open access by the Journals at Claremont at Scholarship @ Claremont. It has been accepted for inclusion in Performance Practice Review by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. On Behalf of Historical Performance The Present Position of Authenticity Robert Donington Not for the first time, the great divide is opening up between those of us, such as the readers of this Review, who aspire to authenticity in performing early music, and those others who argue, on the contrary, that authenticity is either unattainable or undesirable or both. It is also possible to take up a middle position, allowing for a measure of compromise adjusted to the practical circumstances of a given situation. But even so, it is the basic orientation of the performer which really counts. The effect of it is by no means merely theoretical. The differences in performing practice at the present time are startling, and their significance for every variety of our musical experience is growing all the time. It is not only for early music that the issue is getting to be so very topical. -
Johann Sebastian Bach Du Treuer Gott Leipzig Cantatas BWV 101 - 115 - 103
Johann Sebastian Bach Du treuer Gott Leipzig Cantatas BWV 101 - 115 - 103 Collegium Vocale Gent Philippe Herreweghe Johann Sebastian Bach (1685–1750) Nimm von uns, Herr, du treuer Gott, BWV 101 Mache dich, mein Geist, bereit, BWV 115 Ihr werdet weinen und heulen, BWV 103 Dorothee Mields Soprano Damien Guillon Alto Thomas Hobbs Tenor Peter Kooij Bass Collegium Vocale Gent Philippe Herreweghe Menu Tracklist ------------------------------ English Biographies Français Biographies Deutsch Biografien Nederlands Biografieën ------------------------------ Sung texts Johann Sebastian Bach (1685-1750) Nimm von uns, Herr, du treuer Gott, BWV 101 [1] 1. Coro: Nimm von uns, Herr, du treuer Gott ______________________________________________________________7’44 [2] 2. Aria (tenor): Handle nicht nach deinen Rechten ________________________________________________________3’30 [3] 3. Recitativo e choral (soprano): Ach! Herr Gott, durch die Treue dein__________________________________2’13 [4] 4. Aria (bass): Warum willst du so zornig sein? ___________________________________________________________ 4’14 [5] 5. Recitativo e choral (tenor): Die Sünd hat uns verderbet sehr _________________________________________ 2’11 [6] 6. Aria (soprano, alto): Gedenk an Jesu bittern Tod _______________________________________________________5’59 [7] 7. Choral: Leit uns mit deiner rechten Hand _______________________________________________________________0’55 Mache dich, mein Geist, bereit, BWV 115 [8] 1. Coro: Mache dich, mein Geist, bereit ____________________________________________________________________4’00 -
8Th Annual Gamut Conference Program
The Graduate Association of Musicologists und Theorists presents the 8th annual GAMuT Graduate Student Conference Saturday, February 6, 2021, 9:00am–5:45pm CST Held via Zoom, University of North Texas Keynote Speaker: Olivia Bloechl (University of Pittsburgh) “Doing Music History Where We Are” Generously Supported by The Division of Music History, Theory, and Ethnomusicology Program 9:00 Welcome and Opening remarks Peter Kohanski, GAMuT President/Conference Co-Chair Benjamin Brand, PhD, Professor of Music History and Chair of the Division of Music History, Theory, and Ethnomusicology 9:15 Race and Culture in the Contemporary Music Scene Session Chair: Rachel Schuck “Sounds of the 'Hyperghetto': Sounded Counternarratives in Newark, New Jersey Club Music Production and Performance” Jasmine A. Henry (Rutgers University) “‘I Opened the Lock in My Mind’: Centering the Development of Aeham Ahmad’s Oriental Jazz Style from Syria to Germany” Katelin Webster (Ohio State University) “Keeping the Tradition Alive: The Virtual Irish Session in the time of COVID-19” Andrew Bobker (Michigan State University) 10:45 Break 11:00 Reconsidering 20th-Century Styles and Aesthetics Session Chair: Rachel Gain “Diatonic Chromaticism?: Juxtaposition and Superimposition as Process in Penderecki's Song of the Cherubim” Jesse Kiser (University of Buffalo) “Adjusting the Sound, Closing the Mind: Foucault's Episteme and the Cultural Isolation of Contemporary Music” Paul David Flood (University of California, Irvine) 12:00 Lunch, on your own 1:00 Keynote Address Session -
Direction 2. Ile Fantaisies
CD I Josquin DESPREZ 1. Nymphes des bois Josquin Desprez 4’46 Vox Luminis Lionel Meunier: direction 2. Ile Fantaisies Josquin Desprez 2’49 Ensemble Leones Baptiste Romain: fiddle Elisabeth Rumsey: viola d’arco Uri Smilansky: viola d’arco Marc Lewon: direction 3. Illibata dei Virgo a 5 Josquin Desprez 8’48 Cappella Pratensis Rebecca Stewart: direction 4. Allégez moy a 6 Josquin Desprez 1’07 5. Faulte d’argent a 5 Josquin Desprez 2’06 Ensemble Clément Janequin Dominique Visse: direction 6. La Spagna Josquin Desprez 2’50 Syntagma Amici Elsa Frank & Jérémie Papasergio: shawms Simen Van Mechelen: trombone Patrick Denecker & Bernhard Stilz: crumhorns 7. El Grillo Josquin Desprez 1’36 Ensemble Clément Janequin Dominique Visse: direction Missa Lesse faire a mi: Josquin Desprez 8. Sanctus 7’22 9. Agnus Dei 4’39 Cappella Pratensis Rebecca Stewart: direction 10. Mille regretz Josquin Desprez 2’03 Vox Luminis Lionel Meunier: direction 11. Mille regretz Luys de Narvaez 2’20 Rolf Lislevand: vihuela 2: © CHRISTOPHORUS, CHR 77348 5 & 7: © HARMONIA MUNDI, HMC 901279 102 ITALY: Secular music (from the Frottole to the Madrigal) 12. Giù per la mala via (Lauda) Anonymous 6’53 EnsembleDaedalus Roberto Festa: direction 13. Spero haver felice (Frottola) Anonymous 2’24 Giovanne tutte siano (Frottola) Vincent Bouchot: baritone Frédéric Martin: lira da braccio 14. Fammi una gratia amore Heinrich Isaac 4’36 15. Donna di dentro Heinrich Isaac 1’49 16. Quis dabit capiti meo aquam? Heinrich Isaac 5’06 Capilla Flamenca Dirk Snellings: direction 17. Cor mio volunturioso (Strambotto) Anonymous 4’50 Ensemble Daedalus Roberto Festa: direction 18. -
Download the Conference Abstracts Here
THURSDAY 8 SEPTEMBER 2016: SESSIONS 1‐4 Maciej Fortuna and Krzysztof Dys (Academy of Music, Poznán) BIOGRAPHIES Maciej Fortuna is a Polish trumpeter, composer and music producer. He has a PhD degree in Musical Arts and an MA degree in Law and actively pursues his artistic career. In his work, he strives to create his own language of musical expression and expand the sound palette of his instrument. He enjoys experimenting with combining different art forms. An important element of his creative work consists in the use of live electronics. He creates and directs multimedia concerts and video productions. Krzysztof Dys is a Polish jazz pianist. He has a PhD degree in Musical Arts. So far he has collaborated with the great Polish vibrafonist Jerzy Milian, with famous saxophonist Mikoaj Trzaska, and as well with clarinettist Wacaw Zimpel. Dys has worked on a regular basis with young, Poznań‐based trumpeter, Maciej Fortuna. Their album Tropy has been well‐received by the audience and critics as well. Dys also plays in Maciej Fortuna Quartet, with Jakub Mielcarek, double bass, and Przemysaw Jarosz, drums. In 2013 the group toured outside Poland with a project ‘Jazz from Poland’, with a goal to present the work of unappreciated or forgotten or Polish jazz composers. The main inspiration for Krzysztof Dys is the work of Russian composers Alexander Nikolayevich Scriabin, Sergei Sergeyevich Prokofiev, American artists like Bill Evans and Miles Davis, and last but not least, a great Polish composer, Grayna Bacewicz. TITLE Classical Inspirations in Jazz Compositions Based on Selected Works by Roman Maciejewski ABSTRACT A few years prior to commencing a PhD programme, I started my own research on the possibilities of implementing electronic sound modifiers into my jazz repertoire. -
Conducting Studies Conference 2016
Conducting Studies Conference 2016 24th – 26th June St Anne’s College University of Oxford Conducting Studies Conference 2016 24-26 June, St Anne’s College WELCOME It is with great pleasure that we welcome you to St Anne’s College and the Oxford Conducting Institute Conducting Studies Conference 2016. The conference brings together 44 speakers from around the globe presenting on a wide range of topics demonstrating the rich and multifaceted realm of conducting studies. The practice of conducting has significant impact on music-making across a wide variety of ensembles and musical contexts. While professional organizations and educational institutions have worked to develop the field through conducting masterclasses and conferences focused on professional development, and academic researchers have sought to explicate various aspects of conducting through focussed studies, there has yet to be a space where this knowledge has been brought together and explored as a cohesive topic. The OCI Conducting Studies Conference aims to redress this by bringing together practitioners and researchers into productive dialogue, promoting practice as research and raising awareness of the state of research in the field of conducting studies. We hope that this conference will provide a fruitful exchange of ideas and serve as a lightning rod for the further development of conducting studies research. The OCI Conducting Studies Conference Committee, Cayenna Ponchione-Bailey Dr John Traill Dr Benjamin Loeb Dr Anthony Gritten University of Oxford University of -
Neotrance and the Psychedelic Festival DC
Neotrance and the Psychedelic Festival GRAHAM ST JOHN UNIVERSITY OF REGINA, UNIVERSITY OF QUEENSLAND Abstract !is article explores the religio-spiritual characteristics of psytrance (psychedelic trance), attending speci"cally to the characteristics of what I call neotrance apparent within the contemporary trance event, the countercultural inheritance of the “tribal” psytrance festival, and the dramatizing of participants’ “ultimate concerns” within the festival framework. An exploration of the psychedelic festival offers insights on ecstatic (self- transcendent), performative (self-expressive) and re!exive (conscious alternative) trajectories within psytrance music culture. I address this dynamic with reference to Portugal’s Boom Festival. Keywords psytrance, neotrance, psychedelic festival, trance states, religion, new spirituality, liminality, neotribe Figure 1: Main Floor, Boom Festival 2008, Portugal – Photo by jakob kolar www.jacomedia.net As electronic dance music cultures (EDMCs) flourish in the global present, their relig- ious and/or spiritual character have become common subjects of exploration for scholars of religion, music and culture.1 This article addresses the religio-spiritual Dancecult: Journal of Electronic Dance Music Culture 1(1) 2009, 35-64 + Dancecult ISSN 1947-5403 ©2009 Dancecult http://www.dancecult.net/ DC Journal of Electronic Dance Music Culture – DOI 10.12801/1947-5403.2009.01.01.03 + D DC –C 36 Dancecult: Journal of Electronic Dance Music Culture • vol 1 no 1 characteristics of psytrance (psychedelic trance), attending specifically to the charac- teristics of the contemporary trance event which I call neotrance, the countercultural inheritance of the “tribal” psytrance festival, and the dramatizing of participants’ “ul- timate concerns” within the framework of the “visionary” music festival. -
Classical Music from the Late 19Th Century to the Early 20Th Century: the Creation of a Distinct American Musical Sound
Portland State University PDXScholar Young Historians Conference Young Historians Conference 2019 May 1st, 12:30 PM - 1:45 PM Classical Music from the Late 19th Century to the Early 20th Century: The Creation of a Distinct American Musical Sound Ashley M. Christensen Lakeridge High School Follow this and additional works at: https://pdxscholar.library.pdx.edu/younghistorians Part of the Music Theory Commons Let us know how access to this document benefits ou.y Christensen, Ashley M., "Classical Music from the Late 19th Century to the Early 20th Century: The Creation of a Distinct American Musical Sound" (2019). Young Historians Conference. 13. https://pdxscholar.library.pdx.edu/younghistorians/2019/oralpres/13 This Event is brought to you for free and open access. It has been accepted for inclusion in Young Historians Conference by an authorized administrator of PDXScholar. Please contact us if we can make this document more accessible: [email protected]. CLASSICAL MUSIC FROM THE LATE 19th CENTURY TO THE EARLY 20th CENTURY: THE CREATION OF A DISTINCT AMERICAN MUSICAL SOUND Marked by the conflict of the Civil War, the late 19th century of American history marks an extremely turbulent time for the United States of America. As the young nation reached the second half of the century, idle threats of a Southern secession from the union bloomed into an all-encompassing conflict. However, through the turbulence of the war, American music persisted. Strengthened in battle, the ideas of a reconstructed American national identity started to form a distinctly different American culture and way of life. This is reflected in the nation’s shift in the music written after the war. -
Amherst Early Music Festival Directed by Frances Blaker
Amherst Early Music Festival Directed by Frances Blaker July 8-15, and July 15-22 Connecticut College, New London CT Music of France and the Low Countries Largest recorder program in U.S. Expanded vocal programs Renaissance reeds and brass New London Assembly Festival Concert Series Historical Dance Viol Excelsior www.amherstearlymusic.org Amherst Early Music Festival 2018 Week 1: July 8-15 Week 2: July 15-22 Voice, recorder, viol, violin, cello, lute, Voice, recorder, viol, Renaissance reeds Renaissance reeds, flute, oboe, bassoon, and brass, flute, harpsichord, frame drum, harpsichord, historical dance early notation, New London Assembly Special Auditioned Programs Special Auditioned Programs (see website) (see website) Baroque Academy & Opera Roman de Fauvel Medieval Project Advanced Recorder Intensive Ensemble Singing Intensive Choral Workshop Virtuoso Recorder Seminar AMHERST EARLY MUSIC FESTIVAL FACULTY CENTRAL PROGRAM The Central Program is our largest and most flexible program, with over 100 students each week. RECORDER VIOL AND VIELLE BAROQUE BASSOON* Tom Beets** Nathan Bontrager Wouter Verschuren It offers a wide variety of classes for most early instruments, voice, and historical dance. Play in a Letitia Berlin Sarah Cunningham* PERCUSSION** consort, sing music by a favorite composer, read from early notation, dance a minuet, or begin a Frances Blaker Shira Kammen** Glen Velez** new instrument. Questions? Call us at (781)488-3337. Check www.amherstearlymusic.org for Deborah Booth* Heather Miller Lardin* Karen Cook** Loren Ludwig VOICE AND THEATER a full list of classes by May 15. Saskia Coolen* Paolo Pandolfo* Benjamin Bagby** Maria Diez-Canedo* John Mark Rozendaal** Michael Barrett** New to the Festival? Fear not! Our open and inviting atmosphere will make you feel at home Eric Haas* Mary Springfels** Stephen Biegner* right away. -
Le Temple De La Gloire
april insert 4.qxp_Layout 1 5/10/17 7:08 AM Page 15 A co-production of Cal Performances, Philharmonia Baroque Orchestra & Chorale, and Centre de musique baroque de Versailles Friday and Saturday, April 28 –29, 2017, 8pm Sunday, April 30, 2017, 3pm Zellerbach Hall Jean-Philippe Rameau Le Temple de la Gloire (The Temple of Glory) Opera in three acts with a prologue Libretto by Voltaire featuring Nicholas McGegan, conductor Marc Labonnette Camille Ortiz-Lafont Philippe-Nicolas Martin Gabrielle Philiponet Chantal Santon-Jeffery Artavazd Sargsyan Aaron Sheehan New York Baroque Dance Company Catherine Turocy, artistic director Brynt Beitman Caroline Copeland Carly Fox Horton Olsi Gjeci Alexis Silver Meggi Sweeney Smith Matthew Ting Andrew Trego Philharmonia Baroque Orchestra & Chorale Bruce Lamott, chorale director Catherine Turocy, stage director and choreographer Scott Blake, set designer Marie Anne Chiment, costume designer Pierre Dupouey, lighting designer Sarah Edgar, assistant director Cath Brittan, production director Major support for Le Temple de la Gloire is generously provided by Philharmonia Baroque Orchestra & Chorale supporters: David Low & Dominique Lahaussois, The Waverley Fund, Mark Perry & Melanie Peña, PBO’s Board of Directors, and The Bernard Osher Foundation. Cal Performances and Philharmonia Baroque Orchestra & Chorale dedicate Le Temple de la Gloire to Ross E. Armstrong for his extraordinary leadership in both our organizations, his friendship, and his great passion for music. This performance is made possible, in part, by Patron Sponsors Susan Graham Harrison and Michael A. Harrison, and Francoise Stone. Additional support made possible, in part, by Corporate Sponsor U.S. Bank. april insert 4.qxp_Layout 1 5/10/17 7:08 AM Page 16 Title page of the original 1745 libretto of Le Temple de la Gloire . -
Salt Lake City August 1—4, 2019 Nfac Discover 18 Ad OL.Pdf 1 6/13/19 8:29 PM
47th Annual National Flute Association Convention Salt Lake City August 1 —4, 2019 NFAc_Discover_18_Ad_OL.pdf 1 6/13/19 8:29 PM C M Y CM MY CY CMY K Custom Handmade Since 1888 Booth 110 wmshaynes.com Dr. Rachel Haug Root Katie Lowry Bianca Najera An expert for every f lutist. Three amazing utists, all passionate about helping you und your best sound. The Schmitt Music Flute Gallery offers expert consultations, easy trials, and free shipping to utists of all abilities, all around the world! Visit us at NFA booth #126! Meet our specialists, get on-site ute repairs, enter to win prizes, and more. schmittmusic.com/f lutegallery Wiseman Flute Cases Compact. Strong. Comfortable. Stylish. And Guaranteed for life. All Wiseman cases are hand- crafted in England from the Visit us at finest materials. booth 214 in All instrument combinations the exhibit hall, supplied – choose from a range of lining colours. Now also NFA 2019, Salt available in Carbon Fibre. Lake City! Dr. Rachel Haug Root Katie Lowry Bianca Najera An expert for every f lutist. Three amazing utists, all passionate about helping you und your best sound. The Schmitt Music Flute Gallery offers expert consultations, easy trials, and free shipping to utists of all abilities, all around the world! Visit us at NFA booth #126! Meet our specialists, get on-site ute repairs, enter to win prizes, and more. 00 44 (0)20 8778 0752 [email protected] schmittmusic.com/f lutegallery www.wisemanlondon.com TABLE OF CONTENTS Letter from the President ................................................................... 11 Officers, Directors, Staff, Convention Volunteers, and Competition Committees ...............................................................