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Electronic Music
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by The Research Repository @ WVU (West Virginia University) Graduate Theses, Dissertations, and Problem Reports 2018 Rethinking Interaction: Identity and Agency in the Performance of “Interactive” Electronic Music Jacob A. Kopcienski Follow this and additional works at: https://researchrepository.wvu.edu/etd Part of the Musicology Commons, and the Other Music Commons Recommended Citation Kopcienski, Jacob A., "Rethinking Interaction: Identity and Agency in the Performance of “Interactive” Electronic Music" (2018). Graduate Theses, Dissertations, and Problem Reports. 7493. https://researchrepository.wvu.edu/etd/7493 This Thesis is protected by copyright and/or related rights. It has been brought to you by the The Research Repository @ WVU with permission from the rights-holder(s). You are free to use this Thesis in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you must obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Thesis has been accepted for inclusion in WVU Graduate Theses, Dissertations, and Problem Reports collection by an authorized administrator of The Research Repository @ WVU. For more information, please contact [email protected]. Rethinking Interaction: Identity and Agency in the Performance of “Interactive” Electronic Music Jacob A. Kopcienski Thesis submitted To the College of Creative Arts at West Virginia University in partial fulfillment of the requirements for the degree of Master of Arts in Musicology Travis D. -
CCMRJSERJ 250 West 57Th Street • Suite 626-7 • New York, New York 10019 WINTER-SPRING, 1979/Vol
l /\1\11ERIC/\N U]JETYo= UNt\LRSITY CCMRJSERJ 250 West 57th Street • Suite 626-7 • New York, New York 10019 WINTER-SPRING, 1979/Vol. 12, No. 1 This Issue Contains Information For: PERFORMANCE POSSIBILITIES BROADCASTING OF ASUC RADIO SERIES Thomas Read, Law~ence Moss, Ben Johns TWO SUMMER INSTITUTES ton, and Edwin London. Johnston's NEW RECORDING POSSIBILITIES Two Sonnets of Shakespeare provided some of the finest musical moments of CONFERENCE XIV HELD IN SAN DIEGO the whole meeting. In this piece, Philip Larson of the EVTE demonstrated The Fourteenth annual conference phenomenal range and expressivity. The of the American Society of University entire EVTE quartet (Larson, Deborah Composers met in San Diego for four Kavasch, Linda Vickerman, and Edwin full days' worth of concerts and talks Harkins) was able to perform to full this year, beginning on the last day advantage in Edwin London's Psalm of of February. · The conference director, These Days 2 (also from the opening Ber~ard Rands (University of Califor concert). nia at San Diego), and th~ associate Thursday morning began with directors for programming,· Beverly greetings from National Chairman Edwin Grigsby (California State University London, Conference Director Bernard at Northridge) and Robert Stewart Rands, and UCSD Academic Vice-Chan (California State University at Fuller cellor Paul Saltman. London's remarks ton) , planned sessions that filled the included the notion that ASUC may wish conference days to the brim. About to consider welcoming non-academics fifty new pieces were heard! into the membe rship, given the present The meeting ran quite smoothly, s tate of the academic job market, and thanks to the good efforts of the expressed the hope that we might put organizers and the local planning "art before analysis, music before committee (Thomas Nee, Pauline Oli talk, and accomplishment before cre v eros , Roger Reynolds, Edwin Harkins, dentials." Interestingly, the sub Gerry Gabel, and Steed Cowart). -
Kyong Mee Choi • Dma
KYONG MEE CHOI • DMA Professor of Music Composition | Head of Music Composition Chicago College of Performing Arts | Roosevelt University 430 S. Michigan Avenue, Chicago, IL 60605, AUD 950 Email: [email protected]/Phone: 312-322-7137 (O)/ 773-910-7157 (C)/ 773-728-7918 (H) Website: http://www.kyongmeechoi.com Home Address: 6123 N. Paulina St. Chicago, IL 60660, U.S.A. 1. EDUCATION • University of Illinois at Urbana-Champaign, Urbana, IL, U.S.A. Doctor of Musical Arts in Music Composition/Theory, 2005 Dissertation Composition: Gestural Trajectory for Two Pianos and Percussion Dissertation Title: Spatial Relationships in Electro-Acoustic Music and Painting • Georgia State University, Atlanta, GA, U.S.A. Master of Arts in Music Composition, 1999 • Seoul National University, Seoul, Korea Completed Course Work in Master Study in Korean Literature majoring in Poetry, 1997 • Ewha Womans University, Seoul, Korea Bachelor of Science in Science Education majoring in Chemistry, 1995 PRINCIPAL STUDY • Composition: William Brooks, Agostino Di Scipio, Guy Garnett, Erik Lund, Robert Thompson, Scott Wyatt • Lessons and Master Classes: Coriun Aharonian, Larry Austin, George Crumb, James Dashow, Mario Davidovsky, Nickitas Demos, Orlando Jacinto Garcia, Vinko Globokar, Tristan Murail, Russell Pinkston, David Rosenboom, Joseph Butch Rovan, Frederic Rzewski, Kaija Saariaho, Stuart Smith, Morton Subotnick, Chen Yi • Music Software Programming and Electro-Acoustic Music: Guy Garnett (Max/MSP), Rick Taube (Common music/CLM/Lisp), Robert Thompson (CSound/Max), -
Brief Biography (140 Words) James Paul Sain (B
Very Brief Biography (140 words) James Paul Sain (b. 1959) is Professor of Music at the University of Florida where he teaches electroacoustic and acoustic music composition, theory, and technology. He founded and directed the internationally acclaimed Florida Electroacoustic Music Festival for 17 years. His compositional oeuvre spans all major acoustic ensembles, instrumental and vocal soloists, and embraces electroacoustic music. His works have been featured at major national and international societal events. He has presented his music in concert and given lectures in Asia, Europe, South America and North America. Dr. Sain is President Emeritus of the Society of Composers Inc. He previously served for several terms on American Composers Alliance Board of Governors. His music is available in print from Brazinmusikanta and American Composers Editions and on CD on the Capstone, Electronic Music Foundation, Innova, University of Lanús, Mark Masters, Albany and NACUSA labels. Brief Biography (649 words) James Paul Sain (b. 1959), a native of San Diego, California, is Professor of Music at the University of Florida where he teaches acoustic and electroacoustic music composition as well as music theory. He is Composition, Theory and Technology Co-Chair and the Director of Electroacoustic Music. He founded and directed the internationally acclaimed Florida Electroacoustic Music Festival for 17 years. He is responsible for programming over 1600 works of contemporary art music. Composers-in-residence for the festival included renowned electroacoustic music composers such as Hubert S. Howe, Jr., Cort Lippe, Gary Nelson, Jon Appleton, Joel Chadabe, Larry Austin, Barry Truax, Richard Boulanger, Paul Lansky, James Dashow, Mort Subotnick, John Chowning, Charles Dodge and Annea Lockwood. -
CMS Southern Chapter Regional Conference
1 CMS Southern Chapter Regional Conference February 25 – 27, 2021 Virtual Conference 2 A Message from the CMS Southern Chapter President Welcome to the 42nd Annual Conference of the CMS Southern Chapter! What a wonderful conference we had last year in Nashville at Vanderbilt, though it would end up being one of the few CMS regional conferences that took place in the spring. The year 2020 was indeed a difficult one, with a global pandemic, severe economic hardship and uncertainty, and a polarizing political climate during an election year. Like many other CMS chapters, we’re holding our conference online this year, and preparing for this conference has been unlike any other year in the 42 years of existence. But we charge ahead! This year’s conference will include all of the excellent performances, demonstrations, papers, posters, panels, and concerts that would occur during any year. Oral presentations (papers, panels, demonstrations, lecture recitals, and posters) will occur via Zoom meetings hosted by the session chair. All concerts will also occur on Zoom, and performances are pre- recorded and shared during the event by the session host. AirMeet will serve as our platform for hosting all Zoom sessions. Links to sessions are found in the AirMeet link (provided to all registrants via email). We are honored to have Dr. Gloria Ladson-Billings as our keynote speaker this year. Dr. Ladson-Billings is a renowned pedagogical theorist and teacher/educator. She will be joining us via Zoom on Saturday at 1pm for a presentation and Q&A session regarding her research as well as the powerful role music can play in change, reconstruction, and inclusivity. -
THE DEPARTMENT of MUSIC STATE UNIVERSITY of NEW YORK at BUFFALO a
THE DEPARTMENT OF MUSIC STATE UNIVERSITY OF NEW YORK AT BUFFALO a ,-.-.. r -Â¥-^-- presented by L- ._;TMENT OF MUSIC/STATE UNIVERSITV OF NEW YORK AT BUFFALO April 7 - April 14, 1984 JAN WILLIAMS. YVAR MIKHASHOFF. LEJAREN HILLER. CO-DIRECTORS BERNADETTE SPEACH. MANAGING DIRECTOR PROGRAM INDEX PAGE concert THE EUROPEAN NEWMUSICSCENE encounter I/- MUSIC OF FRANK ZAPPA concert MUSIC OF FELDMAN AND MARCUS encounter, concert AFTER HOURS CABARET: EVOCATIONS concert -1 \ NEW FROM NEW YORK..A.: - encounter, concert AFTER HOURS CABARET: INTEGRATIONS concert -' * %5 MUSIC AND THE COMPUTER I a. encounter, concert - -* MUSIC AND THE COMPUTER II encounter, concert AFTER HOURS CABARET: CONTEMPLATIONS concert HILLER-BABBITT COLLAGE - encounter, concert . -^% ." - .' PIANOPERCUSSION EXTRAVAGANZA ,. *< concert Practically from the moment of the founding of the U.B. Music Department by Cameron Baird in 1 953, the creation, performance and study of contemporary music have been integral components of its diverse programs for both students and the public at large. This second North American New Music Festival confirms and reaffirms our commitment to new music here at UB: building on tradi- tion while chronicling today's avant-garde. The task of planning this Festival was made immeasurably easier by the ex~erienceaained from its highly successful antecedents - the Center of the creative and performing ~rtsancfthe ~unein Buffalo Festival. From the residency of Aaron Cooland as the first Slee Professor of Comoosition in 1957, through the 17-year history of the Center - which ended in 1980-the interactionof COG- poser and performer has been our focus; so it is with this new venture as well. -
CMS NORTHEAST CHAPTER REGIONAL CONFERENCE March 20Th and 21St, 2021
CMS NORTHEAST CHAPTER REGIONAL CONFERENCE March 20th and 21st, 2021 Sessions will use Zoom software hosted by the New Jersey City University 2 CONTENTS THE COLLEGE MUSIC SOCIETY NORTHEAST CHAPTER EXECUTIVE BOARD ...................... 4 CMS EXECUTIVE OFFICE STAFF ................................................................................................. 5 CMS NATIONAL BOARD OF DIRECTORS .................................................................................... 5 ACKNOWLEDGEMENTS ............................................................................................................... 6 President’s Welcome ......................................................................................................................... 7 Schedule – Saturday, March 20th, 2021....................................................................................... 8 8:45am | Opening Welcome ................................................................................................................................................. 8 9:00am – 10:15am | Session 1 .............................................................................................................................................. 8 9:00am | PAPER: Developing Culturally Conscious Music Educators in a Music Education Program .................................................................................................................................................................................. 8 9:25am | PAPER: Inclusive Teaching: Creating Community -
Queer Theory and Third-Wave Feminism in Pauline Oliveros's Meditative Works
Queer Theory and Third-Wave Feminism in Pauline Oliveros's Meditative Works Item Type text; Electronic Thesis Authors Ramirez, Eloy Fidel 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, presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 04/10/2021 17:51:02 Link to Item http://hdl.handle.net/10150/642101 QUEER THEORY AND THIRD-WAVE FEMINISM IN PAULINE OLIVEROS’S MEDITATIVE WORKS by Eloy Ramirez ____________________________ Copyright © Eloy Ramirez 2020 A Thesis Submitted to the Faculty of the FRED FOX SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC In the Graduate College THE UNIVERSITY OF ARIZONA 2020 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Master’s Committee, we certify that we have read the thesis prepared by: Eloy Ramirez titled: Queer Theory and Third-Wave Feminism in Pauline Oliveros’s Meditative Works and recommend that it be accepted as fulfilling the thesis requirement for the Master’s Degree. Matthew Mugmon _________________________________________________________________ Date: ____________Jun 30, 2020 Matthew Mugmon Jay Rosenblatt _________________________________________________________________ Date: ____________Jul 2, 2020 Jay Rosenblatt Jennifer C Post _________________________________________________________________ Date: ____________Jul 6, 2020 Jennifer C Post John T. Brobeck _________________________________________________________________ Date: ____________Jul 6, 2020 John T. Brobeck Final approval and acceptance of this thesis is contingent upon the candidate’s submission of the final copies of the thesis to the Graduate College. -
Boston Symphony Orchestra Concert Programs, Summer, 1991
q#.H- RECENT ADDITIONS TO OUR CONTEMPORARY MUSIC CATALOGUE P67101 WILLIAM ALBRIGHT Sonata for Alto Saxophone and Piano .$22.00 P67287 ELINOR ARMER A Season of Grief $10.00 Baritone or Mezzo-Soprano and Piano P67169 RICHARD DANIELPOUR Psalms $11.00 Piano Solo P67213 MARIO DAVIDOVSKY Synchronisms No. 9 (Score) $12.50 Violin and Tape P67298 MATTHEW HARRIS Music After Rimbaud (Score) $11.00 Fl, Cl, Vn, Vc P67284 WILLIAM HOLAB Rhapsody $6.00 Guitar Solo P67157 JOHN HUGGLER CAPRICCIO SREGOLATO (Score) $13 75 Fl, Cl(Bcl), Vn, Va, Vc, Pf P67257 URSULA MAMLOK Stray Birds $25.00 Sop, Fl(Picc, Alto), Vc P67197 BRUCE J. TAUB Preludes (12) $20.00 Piano Solo P67064 GEORGE BALCH WILSON Cornices, Architraves and Friezes $12.00 Violoncello Solo P67113 ARTHUR WOODBURY Between Categories $19.25 Alto Saxophone and Piano P66929 CHARLES WUORINEN Divertimento $16.50 Alto Saxophone and Piano C. F. PETERS CORPORATION 373 Park Avenue South, New York, NY 10016 • (212) 686-4147 1991 FESTIVAL OF CONTEMPORARY MUSIC Oliver Knussen, Festival Director sponsored by the TANGLEWOOD MUSIC CENTER Leon Fleisher, Artistic Director Gilbert Kalish, Chairman of the Faculty Andrew Imbrie, Composer-in-Residence Oliver Knussen, Head of Contemporary Music Activities Bradley Lubman, Assistant to Oliver Knussen Richard Ortner, Administrator Barbara Logue, Assistant to Richard Ortner James E. Whitaker, Chief Coordinator Carol Wood worth, Secretary to the Faculty Harry Shapiro, Orchestra Manager Works presented at this year's Festival were prepared under the guidance of the following Tanglewood Music Center Faculty: Phyllis Bryn-Julson Donald MacCourt Dennis Helmrich Fenwick Smith Gilbert Kalish Yehudi Wyner Ron an Lefkowitz 1991 Visiting Composer/Teachers David Del Tredici Jacob Druckman Colin Matthews Judith Weir The 1991 Festival of Contemporary Music is supported by a gift from Dr. -
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Advances in Social Science, Education and Humanities Research, volume 519 Proceedings of the 3rd International Conference on Arts and Design Education (ICADE 2020) An Introduction to Free Improvisation Music Through YouTube Daniel Antonio Milán Cabrera*, Yudi Sukmayadi Fakultas Pendidikan Seni dan Desain-Pascasarjana Universitas Pendidikan Indonesia Bandung, Indonesia *[email protected] Abstract—Even though it has passed more than half a musical ideas through modeling and imitation” [3]. century, free improvisation music is still unknown by the big Fortunately, the academia and some cultural institutions are public and still hasn´t got the deserved recognition in the artistic starting to accept and valuate improvisation because it has an and musical circles or institutions. Fortunately, this is starting to important role in jazz, traditional and popular music from change and nowadays it is possible to access to a huge amount of different corners of the world, European music from middle historical and contemporary recordings and videos in internet, age to classicism; and free improvisation. Concerts, festivals, especially in the giant site YouTube. The objective of this article scholar texts, symposiums [4], workshops, and even formal is to guide the neophytes in their quest to know more about this multi-faceted music by explaining what it is and how it studies about free improvisation are quickly blooming in many developed. The text has links to You Tube videos and audios that countries, especially the “developed” ones [5]. explain, exemplify or develop the ideas. In addition, a link to a The article is aimed to introduce the neophytes to this comprehensive list of You Tube videos about free improvisation multi-faceted music by defining it and describing its influences is provided for further appreciation. -
Improvised Music After 1950: Afrological and Eurological Perspectives Author(S): George E
Improvised Music after 1950: Afrological and Eurological Perspectives Author(s): George E. Lewis Source: Black Music Research Journal, Vol. 16, No. 1, (Spring, 1996), pp. 91-122 Published by: Center for Black Music Research - Columbia College Chicago and University of Illinois Press Stable URL: http://www.jstor.org/stable/779379 Accessed: 23/07/2008 16:49 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/action/showPublisher?publisherCode=cbmr. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit organization founded in 1995 to build trusted digital archives for scholarship. We work with the scholarly community to preserve their work and the materials they rely upon, and to build a common research platform that promotes the discovery and use of these resources. For more information about JSTOR, please contact [email protected]. http://www.jstor.org IMPROVISEDMUSIC AFTER 1950: AFROLOGICALAND EUROLOGICALPERSPECTIVES GEORGEE. LEWIS Since the early 1950s controversy over the nature and function of im- provisation in musical expression has occupied considerable attention among improvisers, composers, performers, and theorists active in that sociomusical art world that has constructed itself in terms of an assumed high-culture bond between selected sectors of the European and Ameri- can musical landscapes. -
Pauline Oliveros, Somatics, and the New Musicology
Pauline Oliveros, Somatics, and the New Musicology JOHN KAPUSTA In the 1960s and ’70s a loose network of “body workers” emerged in the United States to form what became known as the somatics or bodywork movement.1 Advocates for somatics, though diverse in intellectual orientation, embraced one common goal: to Thank you to James Davies, Reed Gochberg, Scott Saul, and Mary Ann Smart, who read and commented on previous versions of this 1 article. Thank you, too, to Kerry O’Brien for many enlightening conversations about Oliveros and bodywork. My thanks also to the librarians and archivists at the University of California, San Diego Special Collections and Archives and the Esalen Institute in Big Sur, California, whose help was invaluable as I completed research for this project. Finally, thank you to the editors and anonymous reviewers of this journal for their criticisms and suggestions. Ear- lier versions of some of the material in this article were presented at the 2019 Annual Meeting of the American Musicological Society and the 2015 Feminist Theory and Music Conference. This research was supported by funding from the Eastman School of Music, the Society for American Music Edward T. Cone Fellowship, the American Musicological Society Ora Frishberg Saloman Endowment Travel Award, and the Music Department of the University of California, Berkeley. 1 On the history of somatic practices in relation to twentieth-century spirituality and body cultures, see Jeffrey J. Kripal, Esalen: America and the Religion of No Religion (Chicago: University of Chicago Press, 2007); Don Hanlon Johnson, ed., Bone, Breath & Gesture: Practices of Embodiment (Berkeley, CA: North Atlantic Books, 1995); Catherine L.