A Better Kind of Bank Presenting the World’S finest Classical Artists Since 1919 2016|2017
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Pacific Southern Chapter the COLLEGE MUSIC SOCIETY
Pacific Southern Chapter THE COLLEGE MUSIC SOCIETY 20th Regional Conference March 17–18, 2006 California State University – Los Angeles Los Angeles, California Pacific Southern Chapter THE COLLEGE MUSIC SOCIETY ACKNOWLEDGEMENTS The CMS Pacific Southern Chapter gratefully acknowledges all of those who have worked tirelessly to make this conference such a tremendous success: David Connors, Chair, Cal State L.A. Department of Music John M. Kennedy, Director, Cal State L.A. New Music Ensemble and Program co-chair Cathy Benedict, Program co-chair CMS Pacific Southern Chapter Executive Board President: Jeffrey Benedict (California State University - Los Angeles) Vice-President: Cathy Benedict (New York University) Treasurer: William Belan (California State University - Los Angeles) Secretary: Elizabeth Sellers (California State University - Northridge) CMS Pacific Southern Chapter Conference Committee John Kennedy Cathy Kassell Benedict Jeff Benedict March 17, 2006 Dear CMS Colleagues: On behalf of my colleagues at the California State University, Los Angeles, I would like to welcome you to the 2006 College Music Society Southern Pacific Chapter Conference. As always, we have an exciting slate of performances and presentations, and I am sure it will prove to be an intellectually stimulating event for all of us. I look forward to the free exchange of ideas that has become the hallmark of our chapter conferences. I would especially like to welcome Dr. Andrew Meade, who has graciously accepted our invitation to be the keynote speaker. Again, welcome, and I hope that you all have a fabulous conference her at Cal State L.A. Jeff Benedict CMS Pacific-Southern Chapter President 2006 Conference Host S TEINWAY IS THE OFFICIAL PIANO of THE COLLEGE MUSIC SOCIETY’S NATIONAL CONFERENCE New from2 Forthcoming! BEYOND TALENT RESEARCHING THE SONG Creating a Successful Career in Music A Lexicon ANGELA MYLES BEECHING SHIRLEE EMMONS and WILBUR WATKINS LEWIS, Jr. -
HOW BODY IMAGE INFLUENCES VOCAL PERFORMANCE in COLLEGIATE WOMEN SINGERS by Kirsten Shippert Brown Disser
MY BODY, MY INSTRUMENT: HOW BODY IMAGE INFLUENCES VOCAL PERFORMANCE IN COLLEGIATE WOMEN SINGERS by Kirsten Shippert Brown Dissertation Committee: Professor Randall Everett Allsup, Sponsor Professor Jeanne Goffi-Fynn Approved by the Committee on the Degree of Doctor of Education Date: May 19, 2021 Submitted in partial fulfillment of the requirements for the degree of Doctor of Education in Teachers College, Columbia University 2021 ABSTRACT This dissertation is about the influence of body image on classical vocal performance in collegiate women singers. Those trained in classical singing are familiar with the phrase, “your body is your instrument.” A focus on the physical body is apparent in the vocal pedagogical literature, as is attention to singers’ mental and emotional states. But the intersection of emotions and the body—how one thinks and feels about their body, or body image—is largely absent from the vocal pedagogical literature. As voice teachers continue to necessarily address their students’ instruments (bodies), the field has not adequately considered how each singer’s relationship with their instrument (their body) might affect them, as singers and as people. This initial foray sought answers to just two of the myriad unanswered questions surrounding this topic: Does a singer’s body image influence her singing? If so, when and how? It employed a feminist methodological framework that would provide for consciousness-raising as both a method and aim of the study. Four collegiate women singers served as co-researchers, and data collection took place in three parts: a focus group, audio diaries, and interviews. The focus group was specifically geared towards consciousness-raising in order to provide co-researchers with the awareness necessary for examining their body image. -
Lawrence Today, Volume 91, Number 1, Fall 2010 Lawrence University
Lawrence University Lux Lawrence Today 10-1-2010 Lawrence Today, Volume 91, Number 1, Fall 2010 Lawrence University Follow this and additional works at: http://lux.lawrence.edu/lawrencetoday © Copyright is owned by the author of this document. Recommended Citation Lawrence University, "Lawrence Today, Volume 91, Number 1, Fall 2010" (2010). Lawrence Today. Book 3. http://lux.lawrence.edu/lawrencetoday/3 This Book is brought to you for free and open access by Lux. It has been accepted for inclusion in Lawrence Today by an authorized administrator of Lux. For more information, please contact [email protected]. From the President Dear Lawrentians, Much like the students who graduate from Lawrence University the fore the remarkable achievements of Lawrence University, its each year, this institution, too, is on a path of continuous students and faculty. transformation. The core remains unchanged — an abiding commitment to the ideals of liberal learning — and our mission In 2010, we are very proud that considerable progress has been statement and educational philosophy are the anchors to the made in the past five years and that our work is producing university’s traditions and reason for being, providing guidance to distinguished results. We have significant momentum on our side the administration and faculty as we move into the second decade as we welcome the Class of 2014. of the millennium. Because transformation is an unending process, not a task to be Lawrence today, however, is not your grandfather’s (or grandmother’s) checked off a list when completed, it is safe to say we are eager Lawrence University and it should not be so. -
The Vocal Works of Charles Lloyd, Jr.: a Performer's Guide to Selected Dramatic Works, Art Songs, and Spiritual Art Songs
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2011 The vocal works of Charles Lloyd, Jr.: a performer's guide to selected dramatic works, art songs, and spiritual art songs Charis Kelly Hudson Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Hudson, Charis Kelly, "The ocalv works of Charles Lloyd, Jr.: a performer's guide to selected dramatic works, art songs, and spiritual art songs" (2011). LSU Doctoral Dissertations. 3469. https://digitalcommons.lsu.edu/gradschool_dissertations/3469 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. THE VOCAL WORKS OF CHARLES LLOYD, JR.: A PERFORMER‟S GUIDE TO SELECTED DRAMATIC WORKS, ART SONGS, AND SPIRITUAL ART SONGS A Written Document Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College In partial fulfillment of the Requirements for the degree of Doctor of Musical Arts In The School of Music By Charis Kelly Hudson B.M., University of Tennessee at Martin M.M., Louisiana State University December, 2011 Acknowledgements It is with great pleasure that I show my gratitude to the many who were involved in the process of my composing this document. First, I would like to thank God for the opportunity to fulfill the purpose He has for me. -
INTERPRETING ART SONG USING EDWARD T. CONE's the COMPOSER's VOICE: a PRACTICAL GUIDE for SINGERS by ELISABETH ANNE SLATE
INTERPRETING ART SONG USING EDWARD T. CONE’S THE COMPOSER’S VOICE: A PRACTICAL GUIDE FOR SINGERS by ELISABETH ANNE SLATEN (Under the Direction of Emily Gertsch and Frederick Burchinal) ABSTRACT Art song, as a genre, presents significant interpretative problems for the singer. While musical intuition is, by far, the most important interpretative tool, singers can benefit from Edward T. Cone's idea of the persona from The Composer's Voice, since analysis using this theory can lead to fresh and musically supported interpretations. This project will contain three components: 1) a thorough examination of Edward T. Cone's idea of the persona as it applies to art song; 2) a practical guide for singers that explains how to identify and analyze the different personas of songs, and 3) sample analyses that utilize this practical guide using standard undergraduate song repertoire. It is my hope that, through this project, singers may gain an analytical tool that allows them to synthesize analysis and interpretation in order to create compelling performances of art song. INDEX WORDS: art song, music theory, analysis, interpretation, Edward T. Cone INTERPRETING ART SONG USING EDWARD T. CONE'S THE COMPOSER'S VOICE: A PRACTICAL GUIDE FOR SINGERS by ELISABETH ANNE SLATEN B.M., Mercer University, 2010 M.M., The Peabody Institute of the Johns Hopkins University, 2012 A Document and Lecture Submitted to the Graduate Faculty of The University of Georgia in Partial Fulfillment of the Requirements for the Degree DOCTOR OF MUSICAL ARTS ATHENS, GEORGIA 2015 © 2015 Elisabeth Anne Slaten All Rights Reserved INTERPRETING ART SONG USING EDWARD T. -
A Performer's Guide to the American Theater Songs of Kurt Weill
A Performer's Guide to the American Musical Theater Songs of Kurt Weill (1900-1950) Item Type text; Electronic Dissertation Authors Morales, Robin Lee 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 30/09/2021 16:09:05 Link to Item http://hdl.handle.net/10150/194115 A PERFORMER’S GUIDE TO THE AMERICAN MUSICAL THEATER SONGS OF KURT WEILL (1900-1950) by Robin Lee Morales ________________________________ A Document Submitted to the Faculty of the SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2 0 0 8 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As member of the Document Committee, we certify that we have read document prepared by Robin Lee Morales entitled A Performer’s Guide to the American Musical Theater Songs of Kurt Weill (1900-1950) and recommend that it be accepted as fulfilling the document requirement for the Degree of Doctor of Musical Arts. Faye L. Robinson_________________________ Date: May 5, 2008 Edmund V. Grayson Hirst__________________ Date: May 5, 2008 John T. Brobeck _________________________ Date: May 5, 2008 Final approval and acceptance of this document is contingent upon the candidate’s submission of the final copies of the document to the Graduate College. I hereby certify that I have read this document prepared under my direction and recommend that it be accepted as fulfilling the document requirement. -
The Power 100
SPECIAL FEATURE | the PoweR 100 THE POWER 100 The brains behind the poltical players that shape our nation, the media minds that shape our opinions, the developers who revitalize our region, and the business leaders and philanthropists that are always pushing the envelope ... power, above all, is influence he Washington socialite-hostess gathers the ripe fruit of These things by their very nature cannot remain static – political, economic, and cultural orchards and serves it and therefore our list changes with the times. Tup as one fabulous cherry bombe at a charity fundraiser Power in Washington is different than in other big cities. or a private soirée with Cabinet secretaries and other major Unlike New York, where wealth-centric power glitters with political players. Two men shake hands in the U.S. Senate and the subtlety of old gold, wealth doesn’t automatically confer a bill passes – or doesn’t. The influence to effect change, be it power; in Washington, rather, it depends on how one uses it. in the minds or actions of one’s fellow man, is simultaneously Washington’s power is fundamentally colored by its the most ephemeral quantity (how does one qualify or rate proximity to politics, and in this presidential season, even it?) and the biggest driving force on our planet. more so. This year, reading the tea leaves, we gave a larger nod In Washington, the most obvious source of power is to the power behind the candidates: foreign policy advisors, S È political. However, we’ve omitted the names of those who fundraisers, lobbyists, think tanks that house cabinets-in- draw government paychecks here, figuring that it would waiting, and influential party leaders. -
1 Press Release MASTERVOICES PRESENTS WORLD PREMIERE
Press Release MASTERVOICES PRESENTS WORLD PREMIERE OF NEW ADAPTATION OF LADY IN THE DARK APRIL 25-27, AS PART OF NEW YORK CITY CENTER’S 75TH-ANNIVERSARY SEASON VICTORIA CLARK HEADS UP CAST IN PRODUCTION THAT FEATURES COSTUMES BY ZAC POSEN, MARCHESA, AND THOM BROWNE Tickets Now Available for Newly-Added Third Performance on April 27 New York, NY, March 25, 2019 – MasterVoices will conclude its 2018-19 season with the world premiere of a new adaptation of the legendary Kurt Weill, Ira Gershwin, Moss Hart musical Lady in the Dark. Presented as part of New York City Center’s 75th–anniversary season, it is directed and conducted by MasterVoices Artistic Director Ted Sperling, and choreographed by Doug Varone. The musical will star Tony Award winner Victoria Clark in the lead role of Liza Elliott. In addition to the previously announced performances on April 25 and 26, because of high-ticket demand, a matinee has been added for April 27. Opening on Broadway in 1941, Lady in the Dark was groundbreaking in its unusual subject matter— psychoanalysis—and unconventional structure. It has not been seen in New York in 25 years, since it was presented as part of the inaugural Encores! season at New York City Center in 1994. Lady in the Dark will feature MasterVoices’ 120 singers, Orchestra of St. Luke’s, and Doug Varone and Dancers. Varone’s new choreography makes dance an integral element in Liza’s story, as dancers act out her thoughts sung by the chorus. In addition to Miss Clark, the cast of eight includes Tony Nominees Montego Glover, Ashley Park, and Ron Raines; Ben Davis, Christopher Innvar, and David Pittu; and Golden Globe Award and Academy Award Nominee Amy Irving. -
Nadia Boulanger and Her World
NADIA BOULANGER AND HER WORLD Program Eight Boulanger the Curator Saturday, August 14, 2021 LUMA Theater 1 pm Program Nine Remembering Ethel Smyth and Boulanger’s Circle at Home and Abroad BARD MUSIC FESTIVAL Saturday, August 14, 2021 REDISCOVERIES Sosnoff Theater 5 pm Fisher Center The Fisher Center develops, produces, and presents performing arts across disciplines through new productions and context-rich programs that challenge and inspire. As a premier professional performing arts center and a hub for research and education, the Fisher Center supports artists, students, and audiences in the development and examination of artistic ideas, offering perspectives from the past and present, as well as visions of the future. The Fisher Center demonstrates Bard’s commitment to the performing arts as a cultural and educational necessity. Home is the Fisher Center for the Performing Arts, designed by Frank Gehry and located on the campus of Bard College in New York’s Hudson Valley. The Fisher Center offers outstanding programs to many communities, including the students and faculty of Bard College, and audiences in the Hudson Valley, New York City, across the country, and around the world. The Center presents more than 200 world-class events and welcomes 50,000 visitors each year. The Fisher Center supports artists at all stages of their careers and employs more than 300 professional artists annually. The Fisher Center is a powerful catalyst of art-making regionally, nationally, and worldwide. Every year it produces eight to 10 major new works in various disciplines. Over the past five years, its commissioned productions have been seen in more than 100 communities around the world. -
Sanf Focus Winter 07
Winter 2007 TERRY SANFORD Duke University INSTITUTE OF Inside 2/Letter from the Director PUBLIC POLICY 7/Grading school nurse program 10/World Bank at Duke 12/Faculty news 14/Alumni news 16/Events calendar Focus Popular prof to lead Index ranks Sanford PhD faculty Robertson first in scholarly productivity Scholars he Sanford Institute of Public Policy’s “Since we are only now admitting our first The Sanford Institute will soon bid farewell PhD faculty rank first among their U.S. doctoral students, we can hardly claim to be to one of its best loved and highly respected T public policy peers, according to a new the top PhD program in public policy,” Mayer professors. Tony Brown, whose leadership measure of scholarly productivity. The Faculty said, “but the faculty ranking suggests some- thing about our potential. It’s a bit like being courses have inspired scores of Duke stu- Scholarly Productivity Index (FSPI), devel- oped by Lawrence B. Martin, graduate dean at ranked #1 in pre-season basketball polls—it’s dents to launch community service projects the State University of New York at Stony what you do when the season starts that counts. in Durham and elsewhere, will start a new Brook, rates annual faculty output by counting But I’m not surprised by the rankings. We have job as president of the Robertson Scholars the publications, awards, honors and grants of a terrific faculty.” Program in July. faculty members. The weight given to each Because it is based on measurable data, the “I tell everyone that I have the best job variable differs by academic discipline. -
Teaching the Law of Nonprofit Organizations: a Comparison of Materials
New York University School of Law National Center on Philanthropy and the Law TEACHING THE LAW OF NONPROFIT ORGANIZATIONS: A COMPARISON OF MATERIALS NEW YORK UNIVERSITY SCHOOL OF LAW National Center on Philanthropy and the Law TEACHING THE LAW OF NONPROFIT ORGANIZATIONS: A COMPARISON OF MATERIALS Kenneth Beehler Kristen LaTempa Jocelyn Lin Copyright © 2008 New York University School of Law, National Center on Philanthropy and the Law All rights reserved. TABLE OF CONTENTS ANALYSIS OF TEXTBOOK USAGE .................................................................. 1 LAW SCHOOL COURSES ............................................................................... 2 FISHMAN & SCHWARZ TEXTBOOKS NONPROFIT LAW ...........................................................................5 SELECTED PROBLEMS FROM FISHMAN & SCHWARZ ..........................10 GRAPH: SELECTED PROBLEMS .........................................................12 NONPROFIT TAXATION ..................................................................14 OTHER TEXTBOOKS NONPROFIT LAW ...........................................................................17 NON LAW SCHOOL COURSES ....................................................................... 21 COURSE SYLLABI ......................................................................................... 24 LAW SCHOOL COURSES................................................................................ 25 NONPROFIT ORGANIZATIONS Boyd, Koontz, Sidel: Nonprofit and Philanthropic Organizations..................................27 -
TWWW Press Kit.Indd
The World We Want New Dimensions in Philanthropy and Social Change by H. Peter Karoff Peter Karoff presents a collective vision of an ideal world, viewed from 10 perspectives. Sharing his experiences and through conversa- tions with about 40 social entrepreneurs, the book weaves together multi-sector, multidis- cipline strategies, but in large part it is about the power of human connection, reinforced by personal stories of motivation and the human capacity for caring. Published November 2007 $24.95 | Paperback $70.00 | Hardcover 280 pages, 6” x 9” 0-7591-1048-4 / 978-0-7591-1048-9 (Paperback) 0-7591-1047-6 / 978-0-7591-1047-2 (Hardcover) AltaMira Press Included in this Press Kit: Introduction Praise for the book Author biography Reader’s guide Press Release Additional Information Book Flyer this book is supported by literaryventuresfund investing in literature one book at a time www.literaryventuresfund.org www.tpi.org The World We Want New Dimensions in Philanthropy and Social Change by H. Peter Karoff Introduction In The World We Want, Peter Karoff invites his readers to take a jour- ney into the hearts of those who are dedicated to changing the world. The book presents a collective vision through conversations with an ex- traordinary group of practical visionaries - dreamers, realists, entrepre- neurs, activists, spiritualists, secularists, ethicists, critics, cynics and reluctant seers. Each was asked to consider these questions: • What is your vision of a better world? • What are the obstacles that need to be overcome to realize it? • What parts of the vision are realistic and what ideas, strategies, and plans can make it so? A Book for All Citizens of the World In a world that is precariously balanced between a disastrous down- ward spiral and the real potential for the resolution of social dilemmas, Karoff’s book brings hope that the sands are shifting - that there are new forces with the potential to make this era one of monumental so- cial change.