Wide Eyes, Large Smiles Spread at Big Ears

Total Page:16

File Type:pdf, Size:1020Kb

Wide Eyes, Large Smiles Spread at Big Ears VOL. 62, ISSUE 9 1 WEDNESDAY, APRIL 1, 2015 I THEBLUEBANNER.NET featuresEDITOR: LARISA KARR I [email protected] Photo by Timbi Shepherd- Asst. A&F Editor Rhiannon Giddens wows audiences at Big Ears Festival. Wide eyes, large smiles spread at Big Ears TIMBI SHEPHERD out what is at the cutting its diverse array of music Big Ears brings together Kronos Quartet served is what makes Big Ears [email protected] - edge of music. genres: alternative rock, world music and local as the festival’s art- such a lovely experience, A&F Asst. Editor Ashley Capps, founder folk, contemporary classi­ tunes, high culture and ists-in-residence and Hildur Gudnadottir said “Festivals like to say of AC Entertainment, cal, minimalist, jazz, metal folk culture. performed six shows over during a panel and audi­ they’re diverse, but this said he conceived of the and electronic. The festival also unites the course of the weekend, ence discussion. festival is diverse,” Rhi­ festival as an avant-garde Capps said he designed audiences of many ages all in collaboration with Gudnadottir and other annon Giddens told spec­ alternative to Bonna- Big Ears to be even more and backgrounds under other artists. artists could be seen chat­ tators during her Sunday roo, which his company . experimental than Moog­ a common interest in the Their show “Folk Songs ting casually with fans at performance at the Big co-produces. fest. future of music. with Rhiannon Giddens local bars or, for example, and Sam Amidon” was eating Sunday brunch at Ears Festival as her words Capps is also responsi­ The festival’s This year’s lineup especially popular, playing the Bistro at the Bijou. were met with a roar of ble for bringing Moogfest open-minded and icono­ included tUnE-yArDs, applause from the crowd. to Asheville in 2010, clastic curatorial efforts Swans, Ben Frost, Wilco’s to a packed, enthusiastic But especially in a con­ Big Ears is an annual although he has since make for an exciting Nels Cline, Laurie Ander­ house at the historic Ten­ cert setting, Gudnadottir music festival in Knox­ handed over production atmosphere for artists like son, Max Richter, Terry nessee Theatre. said there shouldn’t be an ville, Tennessee, and of that festival to Moog Giddens, who said at no Riley, Hildur Gudnadot- Yet Giddens said, “I’m imagined wall between draws musicians and Music. other festival would she tir, Tyondai Braxton, A one of the happiest people performers and spectators. audiences from all over As Moogfest has have the opportunity to Winged Victory for the in the room right now.” “This is the reason why the world. taken a year off in 2015, play with Kronos Quartet Sullen, Grouper, Sam A spirit of collaboration we play live — because With wide eyes and this year’s Big Ears, in one day and her own band, Amidon and Rhiannon and conversation, not just we’re communicating with especially big ears, people particular, attracted many Carolina Chocolate Drops, Giddens with her band, among artists, but between the audience,” Gudnadottir attend the event to seek Moogfest devotees with the next. Carolina Chocolate Drops. artists and audiences. said. “We love you guys.” How to succeed How growing up never really ends BONNIE FOX Cheerleaders, having and successions of nervous Atlas, and I really needed in the music [email protected] - begun their adult lives breakdowns. to shrug. Copy Editor as trophy wives, would I lasted exactly one I used my state- I was 27, in my second have traded short skirts and a half months before mandated year of sepa­ industry semester back to school for frumpy track suits, and dropping out, going home, ration to discover what after a 10-year hiatus, and one year later, getting I wanted to be and do, ROAN FARB Breakstone not only has SlimEast for Chardonnay [email protected] - a professionally-pressed when the harsh reality of and Valium. Football stars married. Who knows what instead of trying to prove anything to anyone. Contributor CD by music studio my nontraditional status would have inherited fami­ I was thinking. Perhaps it hit me. I requested permis­ ly businesses and receding was a display of giving up Upon graduating high Imagine going from Memory 36, but has also sion to leave English 113 hairlines, packed on beer and accepting the fate I’d school, art school seemed playing with beats on uploaded albums to class early that day to get guts, and fueled their once projected upon my like the most radical thing music-editing software sites like Bandcamp and my divorce finalized. wives’ addictions through enemies. I could do at 17. My mom like GarageBand to being Soundcloud. Back in 2002,1 was neglect and affairs. I, the The next seven years had an art degree, and paid to perform those “Time is not your friend. much like many recent weird gothic outcast, was were the antithesis of Hol­ I was intrigued by her tracks live in front of a You sit down to start high school graduates, about to show them all. lywood glamour. stories from the ‘60s at her live audience. working on a song, and with an irrepressible fire But the pressure was too I worked between two alma mater, the Atlanta For Leon Breakstone, you’ll look up at the clock, in my belly to make my much. There was a full and five jobs at any given College of Art. What I’d 19-year-old UNC Ashe­ and realize you lost an mark upon the world. I course load, in addition time to support some guy found at my art school was ville freshman from Win­ entire afternoon,” Break­ practically levitated from to 24 hours per weekend who fancied himself an an assortment of big fish ston-Salem, experiment­ stone said. my hometown of Hender­ of required crew work. artist. I worked in a gift from small ponds, in a 10 ing with music editing Breakstone claims he sonville to Winston-Salem In what struck me as shop, served coffee, typed, gallon tank, all ruthlessly software has opened a lot started out his musical on the euphoria of my cruel jest, they seemed to transcribed interviews competing for survival and of doors, like the produc­ career by making a few hard-won acceptance into assign crews based upon for a freelance journal­ glory. tion of his first album. albums on GarageBand, the hallowed an intended major’s polar ist, painted houses, and Writing, I eventually Breakstone recently eventually making a few North Carolina School opposite. As a costume de­ cleaned bachelor pads and realized, was my first performed a live set of his more, and that is mainly of the Arts. I’d heard tales sign major, I was assigned offices. I lived on $10 a and only love. I’d always album Dank Titty in Wind­ what influenced him to of juniors and seniors to set construction. week in those days, eating been the English teacher’s sor, Ontario. This was his compose music today. getting hired in Los I earned the nickname only bananas and peanut pet, and as a sheltered first paid performance Breakstone encourages Angeles before they “Muscles,” from my butter, with the occasional youngest child, books playing alongside Ante aspiring musicians to get even graduated. My mis­ superiors’ amusement in bag of pretzels as a treat. I and newspapers were my Ujevic, a minimal tech­ their music out there and sion was to one day win a watching 5-foot-3-inch, walked to work and to the best friends. They were no artist from Windsor, approach people,with the revenge Oscar for costume 110 pound me hauling discount grocery ware­ my windows into every­ Ontario. The show also goal of getting to know design. armfuls of two-by-fours house, only driving when thing. As soon as I got the featured a visual art duo important people around I say “revenge,” because across the workshop. I absolutely necessary. I approval to have my own from Detroit, Armageddon you who are involved in this crowning achievement sweated more over cut paid all the rent and bills, library card as a child, Beach Party. your ideal music scene. would cement my victory precision than the very and toward the end, two I educated myself from “I got into making music He also claims that suc­ over everyone who picked real possibility of los­ car payments. D.H. Lawrence and Ag­ and beats when I was cess in the music industry on me in school. Those ing fingers, while using I stuck around as long as atha Christie, to Stephen in third grade. I would can be about being in the people, by the time I a miter saw for the first I did out of stubbornness. King and Anne Rice. I start fake bands with my right place at the right received my golden statue time. Sewing machines, I think I enjoyed proving read Oprah’s Book Club friends, and then started time. on TV, would have settled not woodcutting machines, how much pressure I could selections. Tread Tom taking music lessons after Besides releasing an into boring and dissatisfied were my forte, so I fre­ a bit,” Breakstone said. bear. Eventually, I real- TRANSITION ON PAGE 12 SEE INDUSTRY ON PAGE 10 lives, I told myself. quently broke out in hives ized I had become lady L.
Recommended publications
  • 1 Loghaven Artist Residency Launches with Announcement Of
    Loghaven Artist Residency Launches with Announcement of Inaugural Artists and Completion of 90-Acre Campus First Artists in Residence Include Ann Carlson, Amy Lam, Jennifer Wen Ma, Daniel Bernard Roumain, Wendy Red Star, and Many Others Loghaven Facilities Include Purpose-Built Studios, New Equipment, and Artist Housing in Rehabilitated, Historic Log Cabins Open Call for Applications for 2021 Residencies to Begin June 1, 2020 Knoxville, TN – January 22, 2020 – Loghaven Artist Residency, a newly created residency for emerging and established artists in the fields of visual art, dance, music, writing, theater, and interdisciplinary work, announces its first group of artists and the completion of its campus. The launch of Loghaven Artist Residency is the culmination of years of planning, research, design, and input from artists, arts leaders, and the Alliance of Artist Communities. The residency features artist housing in historic, rehabilitated log cabins, as well as a newly constructed Performing Arts Studio and Visual Arts Studio, and a 3,900-square-foot Gateway Building with additional studio space and facilities for artists—all located on 90 acres of woodland, minutes from downtown Knoxville, Tennessee. Loghaven Artist Residency offers: • Facilities for dancers and theater makers—there are limited residencies that offer dancers and theater makers the facilities that are essential for their work. Loghaven has a professionally designed Performing Arts Studio and a Multidisciplinary Studio to support these practitioners. • Spaces for collaborative artist groups—the number of artists working collaboratively has grown significantly, and few residences are designed to accommodate this type of practice. Loghaven’s studio spaces serve the needs of collaborative teams: all are large enough for group work, and three of the artist cabins are suited for an intensive live/work experience for a collaborative team.
    [Show full text]
  • PDF Transition
    ! ! ! ! “FINGERS GLITTERING ABOVE A KEYBOARD:” ! THE KEYBOARD WORKS AND HYBRID CREATIVE PRACTICES OF ! TRISTAN PERICH! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! A Dissertation! Presented to the Faculty of the Graduate School! of Cornell University! in Partial Fulfillment of the Requirements for the Degree of! Doctor of Musical! Arts! ! ! by! David Benjamin Friend! May 2019! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! © 2019 David Benjamin! Friend! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! “FINGERS GLITTERING ABOVE A KEYBOARD:”! THE KEYBOARD WORKS AND HYBRID CREATIVE PRACTICES OF ! TRISTAN! PERICH! ! David Benjamin Friend, D.M.A.! Cornell University,! 2019! ! !This dissertation examines the life and work of Tristan Perich, with a focus on his works for keyboard instruments. Developing an understanding of his creative practices and a familiarity with his aesthetic entails both a review of his personal narrative as well as its intersection with relevant musical, cultural, technological, and generational discourses. This study examines relevant groupings in music, art, and technology articulated to Perich and his body of work including dorkbot and the New Music Community, a term established to describe the generationally-inflected structural shifts! in the field of contemporary music that emerged in New York City in the first several years of the twenty-first century. Perich’s one-bit electronics practice is explored, and its impact on his musical and artistic work is traced across multiple disciplines and a number of aesthetic, theoretical, and technical parameters. This dissertation also substantiates the centrality of the piano to Perich’s compositional process and to his broader aesthetic cosmology. A selection of his works for keyboard instruments are analyzed, and his unique approach to keyboard technique is contextualized in relation to traditional Minimalist piano techniques and his one-bit electronics practice." ! ! BIOGRAPHICAL! SKETCH! ! !! !David Friend (b.
    [Show full text]
  • Ears Embiggened: 50 Years of ECM
    Ears Embiggened: 50 Years of ECM (The first in a series of preview posts as we count down to the 2019 Big Ears Festival in Knoxville, TN.) Back in the old days – way before the internet machine made hearing just about any recorded piece of music in the world as easy as finding a homemade porno of some celebrity and/or politician – finding out about music beyond the typical commercial channels took some real work. Much of this involved poring over publications of varying literacy levels to find out who was playing with who, where, and how often.<fn>God bless the Village Voice.</fn> You had to spend time dialing in college and alternative radio stations (no internet radio! You had to be within hailing range.) and hoping against reason that the stoned DJ <fn>I resemble that remark.</fn> might remember to announce the name of the track you were dying to identify. Often, you would listen to six or eight more songs in a row, only to have the hapless jock (mea culpa) announce only the last two because, well, he forgot, man. You had to haunt the record stores. There used to be mammoth stores – stores like Peaches and Turtles and Virgin – aisle after aisle of record bins sorted by genre, carefully filed in alphabetical order. This was for the new, sealed releases. Very expensive, at least 5 or 6 bucks a record. Then there were the used record stores, meccas for music geeks where you could stand for hours flipping through the stacks hoping to find a gem that you could make off with for two clams, three if it was a double disc set.
    [Show full text]
  • The Cd Central Staff
    CD CENTRAL BEST OF 2009 CD CENTRAL BEST OF 2009 CD CEN- TRAL BEST OF 2009 CD CENTRAL BEST OF 2009 CD CENTRAL BEST OF 2009 CD CENTRAL BEST OF 2009 CD CENTRAL BEST OF 2009 CD CENTRAL BEST OF 2009 CD CENTRAL BEST OF 2009 CD CEN- TRAL BEST OF 2009 CD CENTRAL BEST OF 2009 CD CENTRAL BEST OF 2009 CD CENTRAL BEST OF 2009 CD CENTRAL BEST OF 2009 CD CENTRAL BEST OF 2009 CD CENTRAL BEST OF 2009 CD CEN- TRAL BEST OF 2009 CD CENTRAL BEST OF 2009 CD CENTRAL BEST OF 2009 CD CENTRAL BEST OF 2009 CD CENTRAL BEST OF 2009 CD CENTRAL BEST OF 2009 WELL, HELLO! It’s been another fun year at CD Central! Certainly one filled with ups and downs (thinking about the Limestone road project here) but the bottom line is we’ve enjoyed bringing some great music to Lexington, both live and on disc. This booklet is our annual recap of some of the year’s brightest musical highlights. One of the great things we can look back at this year is our participation in Local First Lexington. All of the members of LFL are locally-owned, independent businesses who do great things for our community. These are the businesses that make Lexington a unique place among a sea of national chain stores. Please make it one of your New Year’s resolutions to “Think Local First” when making your buying decisions in the coming year. It feels good to shop local and it makes Lexington a better place.
    [Show full text]
  • Program Notes (PDF)
    July 13 –31, 2 016 Lincoln Center Festival lead support is provided by American Express July 28–30 Stanley H. Kaplan Penthouse S¯o Percussion: Trilogy July 28 Reich, Dessner, Lang July 29 Xenakis, Ergün, Trueman July 30 Cage, Lansky, Mackey S¯o Percussion Eric Cha-Beach Josh Quillen Adam Sliwinski Jason Treuting This performance is made possible in part by the Josie Robertson Fund for Lincoln Center. Public support for Festival 2016 is provided by the New York City Department of Cultural Affairs and New York State Council on the Arts. – LINCOLN CENTER FESTIVAL 2016 SO PERCUSSION About S o– Percussion: Trilogy 2016 represents a milestone in defines percussion is not the specific So–Percussion’s work: 15 years of com - nature of instruments and playing exper - missioning new pieces for percussion. In tise, but rather our willingness to be flexi - 2001, we had our first professional season, ble and diverse with what we play. our first concert in New York City at the Bang on a Can Marathon, and the initiation So–’s four festival concerts began with of our first major commission, David Steve Reich’s Drumming at Alice Tully Hall Lang’s the so-called laws of nature. on July 16 as part of Reich/Reverberations, a three-concert series celebrating Reich’s Our history with Lincoln Center Festival 80th birthday. Drumming is the pillar that began in 2007 when we teamed up with supports most of the other works. the electronica duo Matmos for explo - rations of the tonal possibilities of uncom - Happily, it is becoming increasingly chal - mon objects.
    [Show full text]
  • Steve Reich DOUBLE SEXTET / RADIO REWRITE Ensemble Signal Brad Lubman Conductor
    STEVE REICH DOUBLE SEXTET / RADIO REWRITE ENSEMBLE SIGNAL Brad Lubman conductor 1 STEVE REICH / Double Sextet / Radio Rewrite / ENSEMBLE SIGNAL / Brad Lubman HMU 907671 © harmonia mundi his CD holds recordings of two of Steve Reich’s most recent In truth, there is not much Radiohead in Radio Rewrite, just a STEVE REICH (b. 1936) pieces. Double Sextet is from 2007, Radio Rewrite is from 2012, few wisps of the harmonic motion from Everything in Its Right Place Tand they are both strong, tuneful, energetic, tightly made works. and a few scraps of tune from Jigsaw Falling into Place. But the whole (2007) [21’55] They are also from the complete other end of Steve’s career than the last piece keeps reminding me of another Reich project, Reich Remixed, in DOUBLE SEXTET CD of his music that Ensemble Signal made for harmonia mundi, their which electronica artists showed their debt to Reich’s innovations by 1 I. Fast 8’18 pristine and elegant recording of Steve’s 1974-76 masterpiece Music For morphing tiny bits of his music into large swaths of theirs. After all 6’57 2 II. Slow 18 Musicians. these years, Radio Rewrite feels like his own remix, using only as much 3 III. Fast 6’40 Music For 18 Musicians is one of those pieces that changed the mu- Radiohead as he needs to get his own music flowing. sical world. Most people never get the chance to change the world – it is – David Lang RADIO REWRITE (2013) [17’50] really hard! And rare. And it also raises certain challenges that ordinary people don’t usually face.
    [Show full text]
  • Montclair State University Digital Commons Spinning
    Montclair State University Montclair State University Digital Commons 2017-2018 Women Innovators in the Performing Arts PEAK Performances Programming History 5-10-2018 Spinning Office of Arts + Cultural Programming PEAK Performances at Montclair State University Follow this and additional works at: https://digitalcommons.montclair.edu/peak-performances-2017-2018 Part of the Theatre and Performance Studies Commons Recommended Citation Office of Arts + Cultural Programming and PEAK Performances at Montclair State University, "Spinning" (2018). 2017-2018 Women Innovators in the Performing Arts. 11. https://digitalcommons.montclair.edu/peak-performances-2017-2018/11 This Book is brought to you for free and open access by the PEAK Performances Programming History at Montclair State University Digital Commons. It has been accepted for inclusion in 2017-2018 Women Innovators in the Performing Arts by an authorized administrator of Montclair State University Digital Commons. For more information, please contact [email protected]. PER FORMANC ES 17/18 World Premiere! Julia Wolfe | Maya Beiser | Laurie Olinder Spinning Photo by ioulex Photo by Rodrigo Vazquez Photo by Rodrigo May 10–13, 2018 Alexander Kasser Theater Dr. Susan A. Cole, President Daniel Gurskis, Dean, College of the Arts Jedediah Wheeler, Executive Director, Arts + Cultural Programming World Premiere! Julia Wolfe | Maya Beiser | Laurie Olinder Spinning Conceived by Julia Wolfe and Maya Beiser Music and Text by Julia Wolfe Projection Art and Design by Laurie Olinder Sound Designer Dave Cook Lighting Designer Aaron Copp Choreographer Netta Yerushalmy Projection Programmer Simon Harding Associate Lighting Designer Jennifer Hill Costume Designer Diego Montoya Produced by Islandia Music & Jensen Artists Production Manager Chris Roberts Maya Beiser, cello Lavena Johanson, cello Melody Giron, cello Additional footage for Spinning by Bill Morrison.
    [Show full text]
  • Big, Bent Ears May 2015-January 2016 Gben a Multimedia Installation About Listening Bi W
    T EARS EN , B IG B g in n te is l ut bo a ion llat sta ia in a multimed tEars.org Big, Bent Ears May 2015-January 2016 gBen A multimedia installation about listening Bi w. Curated by Sam Stephenson & Ivan Weiss of Rock Fish Stew w w Artists BIG, BENT EARS originated as an online series in Alex Boerner, filmmaker collaboration with The Paris Review called “Big, Bent Mika Chance, filmmaker Ears: A Serial in Documentary Uncertainty.” Kate Joyce, photographer Carter McCall, filmmaker We have provided links throughout this guide to related Jonna McKone, filmmaker Ligaiya Romero, filmmaker chapters. Please follow along using your mobile devices. Richard Rothman, photographer Ivan Weiss, filmmaker g Partners .or w tew Rock Fish Stew Institute of Literature and Materials • Arts Access • ww.RockFishS Triple Aught • DecoRaleigh • SiteLink • CAM/now • Morningstar Law Group • Themeworks • Gensler • Theater Consultants Collaborative • ROCK FISH STEW is a documentary non-profit The Wine Feed • The Betty Eichenberger Adams Society based in Durham, N.C. We work with words, films, CAM’s educational and community programs are funded in part by the photographs, collected materials – whatever is called Goodnight Educational Foundation, The Grable Foundation, the William for. We explore people’s daily processes and devotion R. Kenan Jr. Charitable Trust, the United Arts Council of Raleigh and to craft, and strive to elucidate the connections between Wake County, IBM Community, SunTrust Grant, Telepathic Graphic. individuals, their communities and histories, and the Family Sundaes are funded by the PNC Foundation. environment at large. Rock Fish Stew received primary funding for this project from the Reva and David Logan Foundation of Chicago.
    [Show full text]
  • Phantom Thread Tyrone, Riveting Attention Here As She Has Just Done, to Oscar-Nominated Effect, in Phantom Thread.” with Live Score
    Adam E. Max, Chairman of the Board Katy Clark, President William I. Campbell, Vice Chairman of the Board Joseph V. Melillo, Executive Producer BAM and Wordless Music present Paul Thomas Anderson’s “… searing emotional intensity is supplied by Lesley Manville as Mary Phantom Thread Tyrone, riveting attention here as she has just done, to Oscar-nominated effect, in Phantom Thread.” with Live Score —THE TELEGRAPH (UK) Feb 24, 2018 at 8pm; Feb 25 at 3:30pm | BAM Howard Gilman Opera House “[Jeremy Irons gives] a masterly performance, from incandescent Original music by Jonny Greenwood anger to final forlorn despair … ” London Contemporary Orchestra —THE SUNDAY TIMES (UK) Robert Ames, conductor Galya Bisengalieva, concertmaster/solo violin Katherine Tinker, piano MAY 8—27 Jonathan Green, sound engineer Wordless Music Orchestra LONG DAY’S JOURNEY Photo: Lesley Manville and Jeremy Irons, by Hugo Glendinning INTO NIGHT BY EUGENE O’NEILL BRISTOL OLD VIC Major Sponsor of Music Programming at BAM: TICKETS START AT $35 / 718.636.4100 Season Sponsor: Major support for Long Day’s Journey Into Night provided Support for the Signature Artist Series provided by: BAM.org by the Richenthal Foundation. Leadership support for BAM Cinema programs provided by The Thompson Family Foundation. Wordless Music Orchestra Who’s Who VIOLIN VIOLA CLARINET outdoor audience of 7,000 at Prospect Park in array of musicians, artists, creative figures, platforms, Tom Chiu Jarvis Benson Patricia Billings Brooklyn; with the legendary Kranky ambient duo Stars and venues such as Radiohead, Frank Ocean, Jed Daniel Constant Caleb Burhans Eileen Mack of the Lid; and with John Cale as part of the BAM Next Kurzel, Jonny Greenwood, Steve Reich, Justice, Terry Monica Davis Isabel Hagen Wave Festival.
    [Show full text]
  • November 14-17, 2018 Indianapolis, Indiana
    Percussive Arts Society International Convention INDIANAPOLIS, INDIANA NOVEMBER 14-17, 2018 EXPAND YOUR PASIC EXPERIENCE! RUDIMENT TRAINING, BOSTON CRUSADERS AUDITIONS SUNDAY DRUM CIRCLE FACILITATION WORKSHOP, CLOSING DRUM CIRCLE EVENING CONCERTS AND EVENTS EXPERIENCES FULL CASH BAR NOW AVAILABLE WORLDS FASTEST DRUMMER, LATE NIGHT HANGS TABLE OF CONTENTS 6 PAS President’s Welcome 8 Special Thanks 14 Area Map and Restaurant Guide 16 Convention Center Map 20 Exhibitors by Name 21 Exhibit Hall Map 22 Exhibitors by Category 24 Exhibitor Company Descriptions 36 Artist Sponsors 40 11.14.18 Schedule of Events 41 Focus Day Schedule of Events 42 11.15.18 Schedule at a Glance 44 11.15.18 Schedule of Events 50 11.16.18 Schedule at a Glance 52 11.16.18 Schedule of Events 56 11.17.18 Schedule at a Glance 58 11.17.18 Schedule of Events 62 About the Artists 84 PAS History 86 PAS 2018 Awards 89 PAS Hall of Fame 90 PASIC 2018 Advertisers PASIC is a program of the Percussive Arts Society, whose mission is to inspire, educate, and support percussionists and drummers throughout the world. Learn more at PAS.org CSM14657 PASIC Program 2018 Spread.qxp_Layout 1 10/19/18 2:44 PM Page 1 Sound is the Priority Yamaha Corporation is recognized around the world as the leader in musical instruments and sound reinforcement products. On the stage, in the studio and on the field, players choose Yamaha products to achieve peak performance. Yamaha brings an unparalleled ability to blend YX-230 9300 Series 3300 Series the best of the acoustic and digital worlds.
    [Show full text]
  • 5. a Report on New Music Alex Ross
    Classical Music Contemporary Perspectives and Challenges Classical Music This kaleidoscopic collection reflects on the multifaceted world of classical music as it advances through the twenty-first century. With insights drawn from Contemporary Perspectives and Challenges leading composers, performers, academics, journalists, and arts administrators, special focus is placed on classical music’s defining traditions, challenges and contemporary scope. Innovative in structure and approach, the volume comprises two parts. The first provides detailed analyses of issues central to classical music in the present day, including diversity, governance, the identity and perception of classical music, and the challenges facing the achievement of financial stability in non-profit arts organizations. The second part offers case studies, from Miami to Seoul, of the innovative ways in which some arts organizations have responded to the challenges analyzed in the first part. Introductory material, as well as several of the essays, provide some preliminary thoughts about the impact of the crisis year 2020 on the world of classical music. Classical Music Classical Classical Music: Contemporary Perspectives and Challenges will be a valuable and engaging resource for all readers interested in the development of the arts and classical music, especially academics, arts administrators and organizers, and classical music practitioners and audiences. Edited by Paul Boghossian Michael Beckerman Julius Silver Professor of Philosophy Carroll and Milton Petrie Professor and Chair; Director, Global Institute for of Music and Chair; Collegiate Advanced Study, New York University Professor, New York University This is the author-approved edition of this Open Access title. As with all Open Book publications, this entire book is available to read for free on the publisher’s website.
    [Show full text]
  • Steve Reich Music for 18 Musicians Ensemble Signal Brad Lubman Music Director
    STEVE REICH MUSIC FOR 18 MUSICIANS ENSEMBLE SIGNAL Brad Lubman music director 1 STEVE REICH / Music for 18 Musicians / ENSEMBLE SIGNAL / Brad Lubman HMU 907608 © harmonia mundi (b. 1936) have a vivid memory from the spring of 1977. It was a It invokes and illuminates a deep understanding of what it means to be STEVE REICH relatively warm and bright sunny April afternoon as I was exploring human. MUSIC FOR 18 MUSICIANS I the streets of Soho in downtown Manhattan, having slipped away to I had discovered Steve Reich’s work several years before, exploring the city from the school I was attending a short two-hour drive upstate. the music library of my local NPR station, where I had somehow secured 1 Pulses 5’23 In those days, Soho was a rather forlorn and relatively deserted district of my very own radio show while still in high school. I discovered it mostly 2 Section I 4’19 warehouses and boarded-up storefronts – there were no fancy boutiques in sequence with its creation and release or record, first the ‘tape’ pieces, 3 Section II 4’26 or upscale restaurants to speak of and certainly no hordes of tourists Come Out then It’s Gonna Rain and Violin Phase. Then Four Organs and 4 Section III A 3’57 crowding the sidewalks. But I was on a mission. I was looking for The the Deutsche Grammophon three LP set that included Drumming. These Kitchen, an experimental arts outpost then located on Wooster Street, days, this music – and that which came after – has become so much 5 Section III B 4’05 which was presenting an evening – three in a row if I recall correctly – of an influence on our musical culture that it can be rather difficult to 4’59 6 Section IV with Steve Reich and Musicians.
    [Show full text]