Recent Publications in Music 2009

Total Page:16

File Type:pdf, Size:1020Kb

Recent Publications in Music 2009 Fontes Artis Musicae, Vol. 56/4 (2009) RECENT PUBLICATIONS IN MUSIC R1 RECENT PUBLICATIONS IN MUSIC 2009 On behalf of the International Association of Music Libraries Archives and Documentation Centres / Pour le compte l'Association Internationale des Bibliothèques, Archives et Centres de Documentation Musicaux / Im Auftrag der Die Internationale Vereinigung der Musikbibliotheken, Musikarchive und Musikdokumentationszentren This list contains citations to literature about music in print and other media, emphasizing reference materials and works of research interest that appeared in 2008. Reporters who contribute regularly provide citations mainly or only from the year preceding the year this list is published in the IAML journal Fontes Artis Musicae. However, reporters may also submit retrospective lists cumulating publications from up to the previous five years. In the hope that geographic coverage of this list can be expanded, the compiler welcomes inquiries from bibliographers in countries not presently represented. Compiled and edited by Geraldine E. Ostrove Reporters: Austria: Thomas Leibnitz Canada: Marlene Wehrle China, Hong Kong, Taiwan: Katie Lai Croatia: Zdravko Blaţeković Czech Republic: Pavel Kordík Estonia: Katre Rissalu Finland: Ulla Ikaheimo, Tuomas Tyyri France: Cécile Reynaud Germany: Wolfgang Ritschel Ghana: Santie De Jongh Greece: Alexandros Charkiolakis Hungary: Szepesi Zsuzsanna Iceland: Bryndis Vilbergsdóttir Ireland: Roy Stanley Italy: Federica Biancheri Japan: Sekine Toshiko Namibia: Santie De Jongh The Netherlands: Joost van Gemert New Zealand: Marilyn Portman Russia: Lyudmila Dedyukina South Africa: Santie De Jongh Spain: José Ignacio Cano, Maria José González Ribot Sweden Turkey: Paul Alister Whitehead, Senem Acar United States: Karen Little, Liza Vick. With thanks for assistance with translations and transcriptions to Kersti Blumenthal, D. Lucas Graves, Irina Kirchik, Everett Larsen, and Thompson A. Yee. © 2009 IAML and Fontes Artis Musicae Fontes Artis Musicae, Vol. 56/4 (2009) RECENT PUBLICATIONS IN MUSIC R2 AUSTRIA Bruckner-Privatuniversität für Musik, Schauspiel und Tanz, 1). ISBN 978-3-85499-375-9. 100 Jahre Musik- und Gesangverein St. Andrä- Master‟s theses published together (Anton- Wördern, 1908Ŕ2008. St. Andrä-Wördern: Musik- Bruckner-Privatuniv. für Musik, Schauspiel und und Gesangverein St. Andrä-Wördern, 2008. 51 p. Tanz, 2006). Benedikt, Erich; Michael Jahn. Die historischen Glanz, Christian. Hanns Eisler: Werk und Leben. Musikalien der Pfarrkirche Fischbach. Wien: Verl. Wien: Steinbauer, 2008. 167 p. (Neue Der Apfel, 2008. 83 p. (Veröffentlichungen des Musikportraits, 4). ISBN 978-3-902494-30-6. RISM-Österreich. Reihe A, 8). ISBN 978-3-85450- Gorischek, Thussy. Die klassischen Wiener 208-1. Romantiker: Franz Schubert & sein Freundeskreis, Blasmusik in Vorarlberg.Walter Fehle (Hrsg.). Unter Anton Bruckner, Johannes Brahms. Graz: Studio- Mitarb. von Fritz Jurmann, Red. Ed. 2. Hohenems: Ed., 2008. 268 p. (Künstlermenschen). ISBN 978-3- Bucher, 2008. 399 p. ISBN 978-3-902612-35-9. 902522-09-2. Brusatti, Otto. Ausgesuchtes-Geschriebenes: Gorischek, Thussy. Richard Wagner und seine Erben: (“mystisch, bukolisch, gelangweilt”). Mit einer Bayreuther Festspiele: Richard & Cosima Wagner, Einbegleitung von Franz Schuh. Wien: Böhlau, 2008. Siegfried & Winifred Wagner, Wieland & Wolfgang 336 p. ISBN 978-3-205-77763-2. Wagner & die “Brut.” Graz: Studio-Ed., 2008. 108 p. Buchbinder, Rudolf. Da capo. Aufgezeichnet von (Künstler-Menschen). ISBN 978-3-902522-08-5. Michaela Schlögl. Mit einem Vorw. von Joachim “Sonderaufl. zum 125. Todesjahr Richard Kaiser. Wien: Styria-Verl., 2008 287 p. ISBN 978-3- Wagners” 222-13248-3. Earlier edition published under title: Im Geiste Bühnen der Politik: Die Oper in europäischen Richard Wagners. (Graz: Studio Edition, 2001) Gesellschaften im 19. und 20. Jahrhundert. Hrsg. Havas, Harald. Das Austropop-Sammelsurium. Wien: von Sven Oliver Müller. Wien: Oldenbourg, 2008. Ueberreuter, 2008. 153 p. ISBN 978-3-8000-7368-9. 225 p. (Die Gesellschaft der Oper, 2). ISBN 978-3- Heinel, Norbert. Philosophie des musikalischen 7029-0562-0. Kunstwerks: Gesammelte Beiträge. Wien: Praesens- Buxtehude jenseits der Orgel. Akademie für Alte Verl., 2008. 208 p. ISBN 978-3-7069-0414-8. Musik. Hrsg. von Michael Zywietz. Graz: Akad. Herbert von Karajan. Photogr. von Erich Lessing. Text Druck-und Verl.-Anst., 2008. 165 p. ISBN 978-3-201- von Rainer Bischof. Wien: Böhlau, 2008. 1 v. (228 p.) 01897-5. + 2 CDs. ISBN 978-3-205-77730-4. Catucci, Stefano. Die Geschichte der Musik: Epochen, CD insert has title: The Karajan Collection. Komponisten, Instrumente. Ill. von Manuela Herbert von Karajan an der Wiener Staatsoper. Cappon. Übers.: Elisabeth Schöberl. Wien Betz, Konzept und Gesamtred.: Dramturgie der Wiener 2008. 123 p. ISBN 978-3-219-11373-0. Staatsoper, Ballett-Dramaturgie. Wien: Wiener Translation of: La storia della musica: Suoni, Staatsoper, 2008. 60 p. (Edition Wiener Staatsoper, strumenti, protagonisti (Roma: La Biblioteca, 2001) 3) Cullin, Michel; Primavera Driessen Gruber. Douce Hofbauer, Peter; Wolfgang Moser. Words: Die Poesie France?: Musik-Exil in Frankreich, 1933Ŕ 1945. der Pop-Musik. Wien: Amalthea, 2008. 1 v. (288 p.) + Wien: Böhlau 2008. 508 p. ISBN 978-3-205-77773-1. 1 CD. ISBN 978-3-85002-668-0. Includes contributions in French. CD published by Universal Ed. Dobner, Walter. Unser Haydn: Große Interpreten im Horcicka, Georg. Betrachtungen zu ausgewählten Gespräch. Wien: Böhlau, 2008. 112 p. ISBN 978-3- Opernszenen Mozarts. Klagenfurt: Eigenverl. G. 205-78201-8. Horcicka, 2008. 170 p. ISBN 978-3-200-01288-2. Eberhartinger, Klaus. Sex, Lachs & Rock‟n„Roll: Wen„s Kaspar, Peter Paul. Klangrede: Musik als Sprache. interessiert. Aufgez. von Andrea Fehringer & Wien: Styria-Verl., 2008. 127 p. ISBN 978-3-222- Thomas Köpf. Wien: Ueberreuter, 2008. 222 p. ISBN 13244-5. 978-3-8000-7353-5. Knaus, Herwig; Wilhelm Sinkovicz. Alban Berg: Fridolin Dallinger. Georgina Szeless. Linz: Trauner, Zeitumstände, Lebenslinien. St. Pölten: Residenz- 2008. 95 p. (OÖ Publikationen). ISBN 978-3-85499- Verl., 2008. 453 p. ISBN 978-3-7017-3109-1. 305-6. Korak, Karl. Franz Edler und sein original Edler-Trio Fröhlich-Koppensteiner, Heidrun. Drei berühmte (1945Ŕ1961): Eine Studie zur volkstümlichen Gitarristinnen und ihre Zeit. Carolin Schwenzer. Die Spielpraxis in der Obersteiermark. 3., erw. Aufl. St. Feldenkraismethode und ihre Pankraz: JBL-Literaturverl., 2008. 44 p. ISBN 3- Anwendungsmöglichkeiten im Violinunterricht. 902159-14-6. Linz: Trauner 2008. 100 p. (Master; Anton- © 2009 IAML and Fontes Artis Musicae IPM3 INTERNATAIONAL PUBLICATIONS IN MUSIC Fontes Artis Musicae, Vol. 56/4 (2009) Luisi, Fabio. Erst der halbe Weg. Aufgezeichnet von (Hg.). Wien: Böhlau, 2008. 609 p. (Wiener Walter Dobner. Wien: Böhlau, 2008. 146 p. ISBN Veröffentlichungen zur Musikgeschichte, 7). ISBN 978-3-205-77737-3. 978-3-205-99491-6. Autobiography. List of Schiske‟s works: p. [527]-560. Discography: p. 123-133. Panek, Bernhard Walter. Tonabnehmersysteme für Mayer, Anton. Joseph Haydn: Das Genie und seine Saiteninstrumente: Übersicht, akustische Gitarren, Zeit. Wien: Amalthea, 2008. 308 p. ISBN 978-3- Elektrogitarren, Elektrobassgitarren: 85002-651-2. Mikrofonabnahme, elektromagnetische Mozart, Leopold. The Art of the Violin. Published by Tonabnehmer, elektrodynamische Tonabnehmer, Matthias Michael Beckmann. Translated by hexaphonische Tonabnehmer, Piezotonabnehmer. Elisabeth Kaplan. Salzburg: Polzer, 2008. 1 v. (319 Wien: Facultas, 2008. 80 leaves. ISBN 978-90-429- p.) + music supplement. ISBN 978-3-9501388-7-0. 7010-6. Translation of: Gründliche Violinschule; first Prossnitz, Gisela. The Salzburg Festival 1945Ŕ1960: impression of the 2nd ed., 1769, in modern type and An Illustrated Chronicle. Translated by Alexa orthography. Nieschlag. Salzburg: Jung und Jung, 2008. 240 p. Mozarts literarische Spuren: Werk und Leben des ISBN 978-3-902497-43-7. Komponisten im literarischen Diskurs vom späten Translation of: Salzburger Festspiele, 1945Ŕ1960: 18. Jahrhundert bis zur Gegenwart. Ergebnisse des Eine Chronik in Zeugnissen und Bildern (Salzburg: Symposiums in Wroclaw/Breslau 20.Ŕ23. November Jung und Jung, 2007) 2006. Lucjan Puchalski (Hrsg.). Wien: Praesens- Schachiner, Memo G. Politik und Systematik: Wiener Verl., 2008. 384 p. ISBN 978-3-7069-0454-4. Musikwissenschaft im Wandel der Zeiten. Red. von Musiktheater der Gegenwart: Text und Komposition, Ines Fernando-Bolt. Wien: MC Publ., 2008- . v. 1- . Rezeption und Kanonbildung. Mit einem Vol. 2: Die Ära Guido Adler (1898Ŕ1927). ISBN Schwerpunkt: die Salzburger Ur- und 978-3-9502348-2-4. Erstaufführungen in Theater und Musiktheater; Schwenzer, Carolin. See Fröhlich-Koppensteiner, Vorträge des Salzburger Symposions 2006. Hrsg. von Heidrun. Jürgen Kühnel, Ulrich Müller und Oswald Panagl. Springer, Christian. Giuseppe Verdi, “Simon Unter Mitw. von Peter Csobádi. Anif: Mueller- Boccanegra”: Dokumente, Materialien, Texte: zur Speiser, 2008. 643 p. (Wort und Musik, 67). ISBN Entstehung und Rezeption der beiden Fassungen. 978-3-902537-11-9. Wien: Praesens-Verl., 2008. 719 p. ISBN 978-3-7069- Includes contributions in German and English. 0432-2. Oesterreichisches Musiklexikon: OeML. Includes contributions in German, Italian, and Österreichische Akademie der Wissenschaften, Spanish. Philosophisch-Historische Klasse. Hrsg. von Rudolf Svanholm war wieder himmlisch. Michael Jahn Flotzinger. Wien: Verlag der Österreichische (Hrsg.). Wien: Verl. Der Apfel, 2008. 241 p. Akademie der Wissenschaften,
Recommended publications
  • The Recording Industry in Japan 2016 Contents
    RIAJ YEARBOOK 2016 Statistics Trends The Recording Industry in Japan 2016 Contents Overview of Production of Recordings and Digital Music Sales in 2015 ........................... 1 Statistics by Format (Unit Basis — Value Basis) ........................................................................ 4 1. Total Recorded Music — Production on Unit Basis.................................................................... 4 2. Total Audio Recordings — Production on Unit Basis .................................................................. 4 3. Total CDs — Production on Unit Basis ...................................................................................... 4 4. Total Recorded Music — Production on Value Basis ................................................................. 5 5. Total Audio Recordings — Production on Value Basis ............................................................... 5 6. Total CDs — Production on Value Basis .................................................................................... 5 7. CD Singles — Production on Unit Basis .................................................................................... 6 8. 5" CD Albums — Production on Unit Basis ............................................................................... 6 9. Music Videos — Production on Unit Basis ................................................................................ 6 10. CD Singles — Production on Value Basis .................................................................................. 7 11. 5" CD
    [Show full text]
  • Contemporary Composer Vladimir Jovanović and His Role in the Renewal of Church Byzantine Music in Serbia from the 1990S Until Today
    Interdisciplinary Studies in Musicology 19, 2019 @PTPN Poznań 2019, DOI 10.14746/ism.2019.19.1 GORDANA BLAGOJEVIĆ https://orcid.org/0000–0001–7883–8071 Institute of Ethnography SASA, Belgrade Contemporary composer Vladimir Jovanović and his role in the renewal of church Byzantine music in Serbia from the 1990s until today ABSTRACT: This work focuses on the role of the composer Vladimir (Vlada) Jovanović in the rene- wal of church Byzantine music in Serbia from the 1990s until today. This multi-talented artist wor- ked and created art in his native Belgrade, with creativity that exceeded local frames. This research emphasizes Jovanović’s pedagogical and compositional work in the field of Byzantine music, which mostly took place through his activity in the St. John of Damascus choir in Belgrade. The author analyzes the problems in implementation of modal church Byzantine music, since the first students did not hear it in their surroundings, as well as the responses of the listeners. Special attention is paid to students’ narratives, which help us perceive the broad cultural and social impact of Jovanović’s creative work. KEYWORDS: composer Vladimir (Vlada) Jovanović, church Byzantine music, modal music, St. John of Damascus choir. Introduction This work was written in commemoration of a contemporary Serbian composer1 Vladimir Jovanović (1956–2016) with special reference to his role in the renewal of church Byzantine music in Serbia from the beginning of the 1990s until today.2 In the text we refer to Vladimir Jovanović as Vlada – a shortened form of his name, which relatives, friends, colleagues and students used most of- ten in communication with the composer, as an expression of sincere closeness.
    [Show full text]
  • Angel J. Storm, Ph.D
    Part of the “Life After Narcissism” Series | Angel J. Storm, Ph.D. 1 – You are my purpose and my dream and I live to help you fulfill yours. 2 I was traveling recently and was sitting in an airport when a friend’s husband called and told me an idea he had. “Why don’t you create a workbook of some kind that takes women through the steps of healing after a relationship with narcissism and then do a one day conference on the topic. You can travel around with these workbooks doing one day impartation sessions.” knew this was the next step and I immediately began brainstorming the content. I knew I wanted it to be customizable for each person who bought it. The reason this is in a binder is so that you can do just that. If you need to write more, add pages. If you’re not ready to work on a section, skip it or remove it altogether. If you want to go through this book more than once, you can keep your old notes and add new pages and reflect on your growth. If there are sections you want to do with a friend or a family member, I encourage you to do that and there’s space in here for all your notes and memories. This book is deeply personal. It is the fruit of a struggle that I went through to produce it. It wasn’t easy and I didn’t like it. In fact I hated years of it but I’m finally able to look back and say “it was worth it.” It was so worth it.
    [Show full text]
  • Performing Shakespeare in Contemporary Taiwan
    Performing Shakespeare in Contemporary Taiwan by Ya-hui Huang A thesis submitted in partial fulfilment for the requirements of the degree of Doctor of Philosophy at the University of Central Lancashire Jan 2012 Abstract Since the 1980s, Taiwan has been subjected to heavy foreign and global influences, leading to a marked erosion of its traditional cultural forms. Indigenous traditions have had to struggle to hold their own and to strike out into new territory, adopt or adapt to Western models. For most theatres in Taiwan, Shakespeare has inevitably served as a model to be imitated and a touchstone of quality. Such Taiwanese Shakespeare performances prove to be much more than merely a combination of Shakespeare and Taiwan, constituting a new fusion which shows Taiwan as hospitable to foreign influences and unafraid to modify them for its own purposes. Nonetheless, Shakespeare performances in contemporary Taiwan are not only a demonstration of hybridity of Westernisation but also Sinification influences. Since the 1945 Kuomintang (Chinese Nationalist Party, or KMT) takeover of Taiwan, the KMT’s one-party state has established Chinese identity over a Taiwan identity by imposing cultural assimilation through such practices as the Mandarin-only policy during the Chinese Cultural Renaissance in Taiwan. Both Taiwan and Mainland China are on the margin of a “metropolitan bank of Shakespeare knowledge” (Orkin, 2005, p. 1), but it is this negotiation of identity that makes the Taiwanese interpretation of Shakespeare much different from that of a Mainlanders’ approach, while they share certain commonalities that inextricably link them. This study thus examines the interrelation between Taiwan and Mainland China operatic cultural forms and how negotiation of their different identities constitutes a singular different Taiwanese Shakespeare from Chinese Shakespeare.
    [Show full text]
  • Kirkus Reviews on Our Website by Logging in As a Subscriber
    Featuring 319 Industry-First Reviews of Fiction, Nonfiction, Children'sand YA books VOL.KIRKUS LXXXVIII, NO. 18 | 15 SEPTEMBER 2020 REVIEWS Laila Lalami The author confronts American inequities in Conditional Citizens p. 58 Also in this issue: Sigrid Nunez, Daniel Nayeri, and Amra Sabic-El-Rayess from the editor’s desk: The Way I Read Now Chairman BY TOM BEER HERBERT SIMON President & Publisher MARC WINKELMAN John Paraskevas # Among the many changes in my daily life this year—working from home, Chief Executive Officer wearing a mask in public, watching too much TV—my changing read- MEG LABORDE KUEHN ing habits register deeply. For one thing, I read on a Kindle now, with the [email protected] Editor-in-Chief exception of the rare galley sent to me at home and the books I’ve made TOM BEER a point of purchasing from local independent bookstores or ordering on [email protected] Vice President of Marketing Bookshop.org. The Kindle was borrowed—OK, confiscated—from my SARAH KALINA boyfriend at the beginning of the pandemic, when I left dozens of advance [email protected] reader copies behind at the office and accepted the reality that digital gal- Managing/Nonfiction Editor ERIC LIEBETRAU leys would be a practical necessity for the foreseeable future. I can’t say that I [email protected] love reading on my “new” Kindle—I’m still a sucker for physical books after Fiction Editor LAURIE MUCHNICK all these years—but I’ll admit that it fulfills its purpose efficiently. And I do [email protected] Tom Beer rather enjoy the instant gratification of going on NetGalley or Edelweiss Young Readers’ Editor VICKY SMITH and dispatching multiple books to my device in one fell swoop—a harmless [email protected] form of bingeing that affords a little dopamine rush.
    [Show full text]
  • Musical Conception, Para-Musical Events and Stage Performance in Jani Christou’S Strychnine Lady (1967)
    Musical conception, para-musical events and stage performance in Jani Christou’s Strychnine Lady (1967) Giorgos Sakallieros Department of Music Studies, Aristotle University of Thessaloniki, Greece [email protected] Konstantinos Kyriakos Department of Theatre Studies, University of Patras, Greece [email protected] Proceedings of the fourth Conference on Interdisciplinary Musicology (CIM08) Thessaloniki, Greece, 3-6 July 2008, http://web.auth.gr/cim08/ Background in music analysis. Jani Christou (1926-1970) was a eminent Greek avant-garde composer who expanded the traditional aesthetics of musical conception, as well as of concert and stage performance, to a whole new art-form that involved music, philosophy, psychology, mythical archetypes, and dramatic setting. His ideals and envisagements, constantly evolving from the late 1950s, are profoundly denoted in his late works, created between 1965-1968 (Mysterion, Anaparastasis I – III, Epicycle, Strychnine Lady). These works, originally conceived as ‘stage rituals’, include instrumental performance, singing, acting, dance, tape and visual effects, and thus combine musical and para-musical events and gestures. Background in theatre studies. From the early 1960s music theatre comprised a major field of avant-garde composition in which spectacle and dramatic impact were emphasized over purely musical factors. Avant-garde performance trends and media, such as Fluxus or happenings, had a significant impact on several post-war composers both in Europe and North America (i.e. Cage, Ligeti, Berio, Nono, Kagel, Henze, Stockhausen, Birtwistle and Maxwell Davies), which led to the establishment and flourish of the experimental music theatre during the 1960s and 1970s. The use of new dramatic and musical means combined elements of song, dance, mimic, acting, tape, video and visual effects which could be tailored to a wide range of performing spaces.
    [Show full text]
  • RIAJ Yearbook 2018 1 Overview of Production of Recordings and Digital Music Sales in 2017
    Statistics RIAJ YEARBOOK Trends 2018 The Recording Industry in Japan 2018 Contents Overview of Production of Recordings and Digital Music Sales in 2017 .................. 1 Statistics by Format (Unit Basis — Value Basis) .............................................................. 4 1. Total Recorded Music — Production on Unit Basis ............................................... 4 2. Total Audio Recordings — Production on Unit Basis ............................................ 4 3. Total CDs — Production on Unit Basis .................................................................... 4 4. Total Recorded Music — Production on Value Basis ............................................. 5 5. Total Audio Recordings — Production on Value Basis .......................................... 5 6. Total CDs — Production on Value Basis ................................................................. 5 7. CD Singles — Production on Unit Basis .................................................................. 6 8. 5" CD Albums — Production on Unit Basis ............................................................ 6 9. Music Videos — Production on Unit Basis ............................................................. 6 10. CD Singles — Production on Value Basis................................................................ 7 11. 5" CD Albums — Production on Value Basis.......................................................... 7 12. Music Videos — Production on Value Basis ........................................................... 7 13. Digital
    [Show full text]
  • Download Download
    Teresa de Lauretis Futurism: A Postmodern View* The importance of Modernism and of the artistic movements of the first twenty or so years of this century need not be stressed. It is now widely acknowledged that the "historical avant-garde" was the crucible for most of the art forms and theories of art that made up the contemporary esthetic climate. This is evidenced, more than by the recently coined academic terms "neoavanguardia" and "postmodernism," 1 by objective trends in the culture of the last two decades: the demand for closer ties between artistic perfor- mance and real-life interaction, which presupposes a view of art as social communicative behavior; the antitraditionalist thrust toward interdisciplinary or even non-disciplinary academic curri- cula; the experimental character of all artistic production; the increased awareness of the material qualities of art and its depen- dence on physical and technological possibilities, on the one hand; on the other, its dependence on social conventions or semiotic codes that can be exposed, broken, rearranged, transformed. I think we can agree that the multi-directional thrust of the arts and their expansion to the social and the pragmatic domain, the attempts to break down distinctions between highbrow and popular art, the widening of the esthetic sphere to encompass an unprecedented range of phenomena, the sense of fast, continual movement in the culture, of rapid obsolescence and a potential transformability of forms are issues characteristic of our time. Many were already implicit, often explicit, in the project of the historical avant-garde. But whereas this connection has been established and pursued for Surrealism and Dada, for example, Italian Futurism has remained rather peripheral in the current reassessment; indeed one could say that it has been marginalized and effectively ignored.
    [Show full text]
  • Estonian National Symphony Orchestra
    Estonian National Symphony Orchestra Neeme Järvi Artistic Director and Principal Conductor Garrick Ohlsson / Piano Saturday Evening, February 3, 2018 at 8:00 Hill Auditorium Ann Arbor 57th Performance of the 139th Annual Season 139th Annual Choral Union Series This evening’s performance is supported by Bank of Ann Arbor, Anne and Paul Glendon, and Dody Viola. Media partnership provided by WGTE 91.3 FM, WRCJ 90.9 FM, and Ann Arbor’s 107one. The Steinway piano used in this evening’s concert is made possible by William and Mary Palmer. Special thanks to Tom Thompson of Tom Thompson Flowers, Ann Arbor, for his generous contribution of lobby floral art for this evening’s performance. Mr. Ohlsson and the Estonian National Symphony Orchestra appear by arrangement with Opus 3 Artists. The Estonian National Symphony Orchestra’s 2018 US tour is made possible through the support of Estonia’s centenary celebrations. In consideration of the artists and the audience, please refrain from the use of electronic devices during the performance. The photography, sound recording, or videotaping of this performance is prohibited. PROGRAM Heino Eller Five Pieces for String Orchestra (excerpt) Homeland Tune Johannes Brahms Piano Concerto No. 1 in d minor, Op. 15 Maestoso Adagio Rondo: Allegro non troppo Mr. Ohlsson Intermission Eduard Tubin Symphony No. 5 in b minor Allegro energico Andante Allegro assai 3 FIVE PIECES FOR STRING ORCHESTRA (EXCERPT) (1953) Heino Eller Born March 7, 1887 in Tartu, Estonia Died June 16, 1970 in Tallinn, Estonia UMS premiere: This piece has never been performed on a UMS concert. Snapshots of History…In 1953: • U-M alumnus Arthur Miller’s The Crucible opens on Broadway • The first Chevrolet Corvette is built in Flint, Michigan • The Korean War ends Heino Eller “was able to establish totally new standards in small Estonia, thereby laying the cornerstone of professionalism in music.” It was Eller’s most famous former pupil, Arvo Pärt, who praised his teacher (himself a student of Rimsky-Korsakov) in these words.
    [Show full text]
  • The Bear in Eurasian Plant Names
    Kolosova et al. Journal of Ethnobiology and Ethnomedicine (2017) 13:14 DOI 10.1186/s13002-016-0132-9 REVIEW Open Access The bear in Eurasian plant names: motivations and models Valeria Kolosova1*, Ingvar Svanberg2, Raivo Kalle3, Lisa Strecker4,Ayşe Mine Gençler Özkan5, Andrea Pieroni6, Kevin Cianfaglione7, Zsolt Molnár8, Nora Papp9, Łukasz Łuczaj10, Dessislava Dimitrova11, Daiva Šeškauskaitė12, Jonathan Roper13, Avni Hajdari14 and Renata Sõukand3 Abstract Ethnolinguistic studies are important for understanding an ethnic group’s ideas on the world, expressed in its language. Comparing corresponding aspects of such knowledge might help clarify problems of origin for certain concepts and words, e.g. whether they form common heritage, have an independent origin, are borrowings, or calques. The current study was conducted on the material in Slavonic, Baltic, Germanic, Romance, Finno-Ugrian, Turkic and Albanian languages. The bear was chosen as being a large, dangerous animal, important in traditional culture, whose name is widely reflected in folk plant names. The phytonyms for comparison were mostly obtained from dictionaries and other publications, and supplemented with data from databases, the co-authors’ field data, and archival sources (dialect and folklore materials). More than 1200 phytonym use records (combinations of a local name and a meaning) for 364 plant and fungal taxa were recorded to help find out the reasoning behind bear-nomination in various languages, as well as differences and similarities between the patterns among them. Among the most common taxa with bear-related phytonyms were Arctostaphylos uva-ursi (L.) Spreng., Heracleum sphondylium L., Acanthus mollis L., and Allium ursinum L., with Latin loan translation contributing a high proportion of the phytonyms.
    [Show full text]
  • Downloaded At
    UC San Diego UC San Diego Electronic Theses and Dissertations Title Professionalizing Service Provision : The Field of Social Work in Urban China Permalink https://escholarship.org/uc/item/388729pv Author Han, Ling Publication Date 2015 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA, SAN DIEGO Professionalizing Service Provision: The Field of Social Work in Urban China A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Sociology by Ling Han Committee in charge: Professor Richard Madsen, Chair Professor Richard Biernacki Professor Kwai Ng Professor Paul Pickowicz Professor Nancy Postero Professor Christena Turner 2015 Copyright Ling Han, 2015 All rights reserved. The Dissertation of Ling Han is approved, and it is acceptable in quality and form for publication on microfilm and electronically: ________________________________________________________________ ________________________________________________________________ ________________________________________________________________ ________________________________________________________________ ________________________________________________________________ ________________________________________________________________ Chair University of California, San Diego 2015 iii DEDICATION For my parents iv TABLE OF CONTENTS Signature Page ..................................................................................................................
    [Show full text]
  • Hit-Recycling: Casting-Shows Un Die Wettbewerbsstrategie "Coverversion"
    HIT-RECYCLING: CASTING-SHOWS UND DIE WETTBEWERBSSTRATEGIE »COVERVERSION« Marc Pendzich 1. Einleitung Seit mittlerweile zehn Jahren bestimmen Coverversionen1 ganz wesentlich das Bild der internationalen und insbesondere der deutschen Single-Charts. Seit 1996 sind jährlich durchschnittlich 38 der 200 bestverkauften Titel Coverversionen. Der Anteil von Neuaufnahmen hat sich damit seit Mitte der 1980er Jahre mehr als verdreifacht. Alles in allem ist heute durchschnittlich jeder fünfte aktuelle Hit, der im Radio oder im Musikfernsehen gespielt wird, eine Coverversion (vgl. Pendzich 2004: 323). Die Flut von Neuauf- nahmen geht überwiegend von den Machern der Recycling-Musikstile HipHop und Techno/Dance aus, wird jedoch letztlich von Musikern aller Pop-Musik- stile getragen. Auch qualitativ sind Veränderungen nachzuweisen: Neuauf- nahmen von zuvor wenig bekannten Songs spielen im Gegensatz zu früher keine Rolle. Coverversionen sind heute in der Regel Secondhand-Hits. Ein wesentlicher Teil von heutigen Coverversionen beruht auf Crossover- Marketing-Produkten. Mit diesem Begriff werden hier Single-Veröffent- lichungen von singenden Schauspielern, Models, TV-Moderatoren und Soap- Stars umschrieben. Solche Produkte als Seitenprojekte von Nicht-Musikern werden oft aufgrund von Marketing-Erwägungen veröffentlicht: Die Pro- duzenten eines kurzfristig über ein TV-Format bekannt gewordenen Men- schen versuchen durch Veröffentlichung von Musik-CDs auf einem weiteren Medienfeld, dem Musikmarkt, Erfolg zu haben. Im aktuell letzten Entwick- lungschritt dieses Marketing-Bereichs ist die Tonträgerindustrie gemeinsam mit dem Privatfernsehen dazu übergegangen, die Präsentatoren ihrer Mar- 1 Definition: »Coverversionen sind neue Fassungen von zuvor auf Tonträger veröf- fentlichten Musikwerken, die i.d.R. von anderen Interpreten neu eingespielt und/oder live dargeboten werden. Obwohl der Grad der Veränderung dabei recht unterschiedlich ausfallen kann, bleiben die Originalwerke in ihren we- sentlichen Zügen erhalten« (Pendzich 2004: 22).
    [Show full text]