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Document generated on 09/27/2021 7:30 p.m. Circuit Musiques contemporaines Catalogue des oeuvres commandées par la smcq Solenn Hellégouarch Souvenirs du futur : pour les 50 ans de la smcq Volume 27, Number 2, 2017 URI: https://id.erudit.org/iderudit/1040877ar DOI: https://doi.org/10.7202/1040877ar See table of contents Publisher(s) Circuit, musiques contemporaines ISSN 1183-1693 (print) 1488-9692 (digital) Explore this journal Cite this document Hellégouarch, S. (2017). Catalogue des oeuvres commandées par la smcq. Circuit, 27(2), 53–66. https://doi.org/10.7202/1040877ar Tous droits réservés © Circuit, musiques contemporaines, 2017 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ Catalogue des œuvres commandées par la smcq Solenn Hellégouarch Ce catalogue présente les œuvres commandées (ou co-commandées) par la Société de musique contemporaine du Québec (smcq) entre 1968 et 2017. Les œuvres sont classées par année de création, puis par date de création1. La 1. Dès lors, seules les œuvres créées présence d’un astérisque indique que la commande a reçu l’aide du Conseil ont été retenues dans le présent catalogue. des arts du Canada (cac). 1968 § *Gilles Tremblay, Souffles (Champs II) (1968), 2 flûtes (et piccolo), hautbois, clari- nette, cor, 2 trompettes en si bémol (et trompettes en do), 2 trombones, piano, 2 per- cussions et contrebasse. -
Download Snow in Summer
About Snow in Summer Snow in Summer is the second in a series of concerts in Nicole Ge Li and Corey Hamm’s Snow in Summer erhu and piano project (PEP). Look for many more World Premieres at the next PEP concerts at the Sound of Dragon Festival (May 9-14, 2014 Roundhouse), May 24, 2014 (UBC Barnett Hall), and for the PEP double-CD release concert (Fall 2014), and tours of China and North America (2014/2015). Over forty Canadian and Chinese composers have already agreed to write works for erhu and piano to be premiered, recorded, and toured in both Canada and China. To date, the list of composers includes James Harley, Brian Cherney, Hope Lee, David Eagle, Douglas Finch, Daniel Marshall, Elizabeth Raum, Dai Fujikura, Alexis Renault, Michael Park, John Oliver, Scott Godin, Stephen Chatman, Keith Hamel, Bob Pritchard, Jordan Nobles, Jocelyn PEP Morlock, Gabriel Dharmoo, Paul Steenhuisen, Marc Mellits, Remy Siu, Dorothy Chang, Edward Top, Chris Gainey, Dubravko Pajalic, Jared Miller, Martin Ritter, Alyssa Aska, Alfredo Piano and Erhu Project Santa Ana, Francois Houle, Owen Underhill, Vivian Fung, Hope Lee, Jian Qiang Xu, Yuan Qing Li, Ying Jiang, Joshua Chan, Si Ang Chen, I Yu Wang, Laura Pettigrew, Laurie Radford, Chan Kan Nin, Alice Ho, Emily Doolittle. Nicole Ge Li erhu Corey Hamm piano Thank you! For all their support, PEP would like to thank: The Canada Council for the Arts, Canadian Jenny Lu poetry reader Music Centre, Fairchild Media Group, Lahoo, New Leaf Weekly, World Journal, UBC School of Music, Redshift Records, Consulate General -
UBC High Notes
UBC High Notes 2009-2010 Season UBC High Notes The newsletter of the School of Music at the University of British Columbia I am delighted to welcome you to the eleventh edition of High Notes, in which we celebrate the recent activities and major achievements of faculty, staff and students in the UBC School of Music. I hope you enjoy this snapshot, which captures the diversity, quality, and impact of our activities and contributions — we are a vibrant community of creators, performers, and scholars! I warmly invite you to read about the School of Music in these pages, and to attend many of our performances in the coming months and years. The 2009-10 year is a significant anniversary for the School. UBC established its Department of Music in 1947 under the leadership of Harry Adaskin, and initially offered B.A. degrees with a major in Music. The Bachelor of Music degree was then developed with the first students entering in September 1959 (by which time the faculty also included other Canadian musical trailblazers like Jean Coulthard and Bar- bara Pentland). These 50 years have witnessed an impressive expansion in our degree programs, so that we now offer Bachelor’s, Master’s, and Doctoral programs in performance, music education, composition, music theory, musicology, and ethnomusicology. What started with a few dozen students has grown into a dynamic and diverse community of over 300 undergraduates and 130 graduate students. Music is thriving at UBC, and we continue to witness exciting increases in the size, quality, and scope of our programs. Our 50th Anniversary year is an opportunity to reflect with gratitude on the generous support the School has received from many donors, and with admiration on the countless contributions to musical performance and education that scores of faculty and thousands of alumni have made over the past five decades — throughout BC, across Canada, and around the world. -
Maureen Batt, Soprano: Biography – May 2014 Noted by Opera Canada
Maureen Batt, soprano: Biography – May 2014 Noted by Opera Canada as a “young, lovely and captivating soprano,” and by the Halifax Herald as being “enthusiastically at home on stage” and having an “endlessly energetic and animated interpretation,” Maureen Batt is an accomplished concert and opera artist. Maureen’s opera credits include Belinda, Dido and Aeneas (Purcell), Silvia, L’isola disabitata (Haydn), Lauretta, Gianni Schicchi (Puccini), Rosa, Il campanello (Donizetti), Polly, The Threepenny Opera/Die Dreigroschenoper (Weill), Morgana, Alcina (Händel), Nina, Chérubin (Massenet), Susanna, Le nozze di Figaro (Mozart), Eusebia, Die Freunde von Salamanka (Schubert), Jenny, La Dame Blanche (Boieldieu), Papagena, Die ZauberFlöte (Mozart), Zerlina, Don Giovanni (Mozart), Annina, La Traviata (Verdi), Despina, Così Fan tutte (Mozart), Laetitia, The Old Maid and the ThieF (Menotti), Serpina, The Maid Mistress (Pergolesi), Limonia, Ten Belles Without a Ring (Von Suppe), Miss Silverpeal, The Impresario (Mozart). As an actor, she has appeared in Theatre St. Thomas University’s productions of Measure For Measure, Oh, What a Lovely War, and Caucasian Chalk Circle. She filmed a TV pilot for a series called Oznaberg, which premiered in the 2011 Silverwave Film Festival, and has since aired on Rogers Television. Her selected concert and oratorio credits include Handel’s Messiah and Esther, Mozart’s Vesperae solennes de ConFessore and Exsultate Jubilate, Bach’s BWV 187 Es wartet alles auF dich, BWV 4 Christ lag in Todes Banden, and BWV 245 St. John Passion. Maureen’s formal training includes a Master of Music from the University of Toronto, a Bachelor of Music from Dalhousie University, and a Bachelor of Arts from St. -
Fall 2012 Volume 39, No
ILLINOIS CHAPTER OF THE AMERICAN CHORAL DIRECTORS ASSOCIATION Fall 2012 Volume 39, No. 1 PODIUM techniques, ideas, song titles....IL- President’s Message ILLINOIS ACDA EXECUTIVE BOARD ACDA works well not just because of our guest clinicians, but because we have so many generous experts President in our own organization who are Beth Best HOT TIME IN THE OLD TOWN! willing to share with the rest of us. Hill Middle School [email protected] Thank you to all who attended and Dr. Karyl Carlson is putting the Past President helped with the Summer ReTreat 2013 Re-treat together, and has some exciting headliners and ses- Brett Goad in June! It was definitely a "hot time" in more ways than one! Our sions planned! Watch for her arti- Hinsdale South High School—retired director's chorus guest conductor, cles in the winter and spring issues [email protected] Dr. Josh Habermann, gave us a lot of The Podium. Also, please read President-Elect to think about in preparing and ex- Karyl Carlson pressing the varied music he chose Continued on page 2 Illinois State University for us. He was a joy to work with. Laura Farnell shared many of her [email protected] ideas for working with younger In this issue Treasurer voices. A highlight of her sessions Leslie Manfredo was the work she did with Deb President’s Message p. 1 Save the Date—ReTreat 2012 p. 2 Illinois State University Aurelius-Muir's boys, and practical Commissioning New Music p. 3 Just thinking...Why we do what p. 8 [email protected] tips for teaching the changing voice. -
Filumena and the Canadian Identity a Research Into the Essence of Canadian Opera
Filumena and The Canadian Identity A Research into the Essence of Canadian Opera Alexandria Scout Parks Final thesis for the Bmus-program Icelandic Academy of the Arts Music department May 2020 Filumena and The Canadian Identity A Research into the Essence of Canadian Opera Alexandria Scout Parks Final Thesis for the Bmus-program Supervisor: Atli Ingólfsson Music Department May 2020 This thesis is a 6 ECTS final thesis for the B.Mus program. You may not copy this thesis in any way without consent from the author. Abstract In this thesis I sought to identify the essence of Canadian opera and to explore how the opera Filumena exemplifies that essence. My goal was to first establish what is unique about Canadian opera. To do this, I started by looking into the history of opera composition and performance in Canada. By tracing these two interlocking histories, I was able to gather a sense of the major bodies of work within the Canadian opera repertoire. I was, as well, able to deeper understand the evolution, and at some points, stagnation of Canadian opera by examining major contributing factors within this history. My next steps were to identify trends that arose within the history of opera composition in Canada. A closer look at many of the major works allowed me to see the similarities in terms of things such as subject matter. An important trend that I intend to explain further is the use of Canadian subject matter as the basis of the operas’ narratives. This telling of Canadian stories is one aspect unique to Canadian opera. -
Expanding Horizons: the International Avant-Garde, 1962-75
452 ROBYNN STILWELL Joplin, Janis. 'Me and Bobby McGee' (Columbia, 1971) i_ /Mercedes Benz' (Columbia, 1971) 17- Llttle Richard. 'Lucille' (Specialty, 1957) 'Tutti Frutti' (Specialty, 1955) Lynn, Loretta. 'The Pili' (MCA, 1975) Expanding horizons: the International 'You Ain't Woman Enough to Take My Man' (MCA, 1966) avant-garde, 1962-75 'Your Squaw Is On the Warpath' (Decca, 1969) The Marvelettes. 'Picase Mr. Postman' (Motown, 1961) RICHARD TOOP Matchbox Twenty. 'Damn' (Atlantic, 1996) Nelson, Ricky. 'Helio, Mary Lou' (Imperial, 1958) 'Traveling Man' (Imperial, 1959) Phair, Liz. 'Happy'(live, 1996) Darmstadt after Steinecke Pickett, Wilson. 'In the Midnight Hour' (Atlantic, 1965) Presley, Elvis. 'Hound Dog' (RCA, 1956) When Wolfgang Steinecke - the originator of the Darmstadt Ferienkurse - The Ravens. 'Rock All Night Long' (Mercury, 1948) died at the end of 1961, much of the increasingly fragüe spirit of collegial- Redding, Otis. 'Dock of the Bay' (Stax, 1968) ity within the Cologne/Darmstadt-centred avant-garde died with him. Boulez 'Mr. Pitiful' (Stax, 1964) and Stockhausen in particular were already fiercely competitive, and when in 'Respect'(Stax, 1965) 1960 Steinecke had assigned direction of the Darmstadt composition course Simón and Garfunkel. 'A Simple Desultory Philippic' (Columbia, 1967) to Boulez, Stockhausen had pointedly stayed away.1 Cage's work and sig- Sinatra, Frank. In the Wee SmallHoun (Capítol, 1954) Songsfor Swinging Lovers (Capítol, 1955) nificance was a constant source of acrimonious debate, and Nono's bitter Surfaris. 'Wipe Out' (Decca, 1963) opposition to himz was one reason for the Italian composer being marginal- The Temptations. 'Papa Was a Rolling Stone' (Motown, 1972) ized by the Cologne inner circle as a structuralist reactionary. -
The André Prévost Fonds the ANDRÉ PRÉVOST FONDS
The André Prévost Fonds THE ANDRÉ PRÉVOST FONDS NUMERICAL LIST by STÉPHANE JEAN Ottawa 1997 Canadian Cataloguing in Publication Data National Library of Canada The André Prévost fonds : numerical list Issued also in French under title: Le fonds-André- Prévost, répertoire numérique. Includes index. ISBN 0-662-25324-8 CCG cat. no. SN3-316/1997E-IN 1. Prévost, André, 1934- --Archives--Catalogs. 2. National Library of Canada. Music Division--Archives-- Catalogs. I. Jean, Stéphane, 1964- II. Title. ML136.O88P945 1997 016.78’092 C97-900182-X Cover: Prélude pour deux pianos of André Prévost, D4,65 Cover design: Denis Schryburt © Her Majesty the Queen in Right of Canada (1997), as represented by the National Library of Canada. This publication may be reproduced without permission provided the source is fully acknowledged. However, reproduction of this publication, in whole or in part, for the purpose of resale or redistribution requires prior written permission from the National Library of Canada, Ottawa, Canada K1A 0N4. Cat. no. SN3-316/1997E-IN ISBN 0-662-25324-8 2 “...now men can only sing out their anguish and somehow sublimate it with hope; for they have acquired the certain knowledge that their sole salvation lies in acceptance and losing themselves in the world. They triumph over their condition by facing it.” (translation) André Prévost, Fantasmes, 1963. 3 4 TABLE OF CONTENTS Page INTRODUCTION 7 A TRIBUTE... 9 ABBREVIATIONS AND ACRONYMS 11 ABOUT THE FONDS 13 DESCRIPTION OF THE FONDS 17 MUS 264/A Correspondence 17 MUS 264/B Studies 24 -
Conducting Studies Conference 2016
Conducting Studies Conference 2016 24th – 26th June St Anne’s College University of Oxford Conducting Studies Conference 2016 24-26 June, St Anne’s College WELCOME It is with great pleasure that we welcome you to St Anne’s College and the Oxford Conducting Institute Conducting Studies Conference 2016. The conference brings together 44 speakers from around the globe presenting on a wide range of topics demonstrating the rich and multifaceted realm of conducting studies. The practice of conducting has significant impact on music-making across a wide variety of ensembles and musical contexts. While professional organizations and educational institutions have worked to develop the field through conducting masterclasses and conferences focused on professional development, and academic researchers have sought to explicate various aspects of conducting through focussed studies, there has yet to be a space where this knowledge has been brought together and explored as a cohesive topic. The OCI Conducting Studies Conference aims to redress this by bringing together practitioners and researchers into productive dialogue, promoting practice as research and raising awareness of the state of research in the field of conducting studies. We hope that this conference will provide a fruitful exchange of ideas and serve as a lightning rod for the further development of conducting studies research. The OCI Conducting Studies Conference Committee, Cayenna Ponchione-Bailey Dr John Traill Dr Benjamin Loeb Dr Anthony Gritten University of Oxford University of -
CALIFORNIA STATE UNIVERSITY, NORTHRIDGE CANADIAN MUSIC SINCE 1940: a QUESTION of NATIONALISM a Thesis Submitted in Partial Satis
CALIFORNIA STATE UNIVERSITY, NORTHRIDGE CANADIAN MUSIC SINCE 1940: A QUESTION OF NATIONALISM A Thesis submitted in partial satisfaction of the requirements for the degree of Master of Arts in Music by Ronald Frederick Erin August, 1983 J:lhe Thesis of Ronald Frederick Erin is approved: California StD. te Universi tJr, Northridge ii PREFACE This thesis represents a survey of Canadian music since 1940 within the conceptual framework of 'nationalism'. By this selec- tive approach, it does not represent a conclusive view of Canadian music nor does this paper wish to ascribe national priorities more importance than is due. However, Canada has a unique relationship to the question of nationalism. All the arts, including music, have shared in the convolutions of national identity. The rela- tionship between music and nationalism takes on great significance in a country that has claimed cultural independence only in the last 40 years. Therefore, witnessed by Canadian critical res- ponse, the question of national identity in music has become an important factor. \ In utilizing a national focus, I have attempted to give a progressive, accumulative direction to the six chapters covered in this discussion. At the same time, I have attempted to make each chapter self-contained, in order to increase the paper's effective- ness as a reference tool. If the reader wishes to refer back to information on the CBC's CRI-SM record label or the Canadian League of Composers, this informati6n will be found in Chapter IV. Simi- larly, work employing Indian texts will be found in Chapter V. Therefore, a certain amount of redundancy is unavoidable when interconnecting various components. -
Slch Prog 2019-20 Ang F Nc Low.Pdf
T TABOUT US T Founded in 1904, the Schulich School of Music of McGill University is home to a diverse community of performers, composers, music theorists, educators, scientists, and researchers, and offers more than 45 undergraduate, graduate, and professional programs. In 2018, 513 undergraduate and 375 graduate students were enrolled at Schulich, with a third of that total coming from outside of Canada. This season, Schulich will present over 600 public events at a variety of venues within the School, throughout the City of Montreal, and elsewhere. S SSS S SCHULICH STUDENT POPULATION 63% 37% PERFORMANCE RESEARCH 34% 33% 33% FROM QUEBEC REST OF CANADA INTERNATIONAL S SSS S @schulichmusic INFORMATION S BOX OFFICE 514-398-4547 · mcgill.ca/music T TABLE OF CONTENTS T About Us ..........................................4 Musical Chairs Welcome Message ..........................5 Chamber Music Festival ...........25 McGill Symphony Orchestra........ 6-7 Schulich in Concert .................. 26-28 Opera McGill ................................ 8-9 Schulich in Your Neighbourhood ......28 Baroque Orchestra ........................10 McGill Noon-Hour Organ ..............29 Contemporary Music Ensemble .......11 Intermezzo .....................................29 McGill Choral Ensembles ........ 12-14 Musical 5 à 7 ..................................30 McGill Wind Orchestra ...................15 Schulich@COC ...............................31 McGill Jazz Ensembles ............ 16-17 Schulich@McCord .........................31 2019-2020 Competitions -
Jazz Concert
Aritst Series presents: City of Tomorrow Woodind Quintet Wednesday, October 7, 2015 at 8 pm Lagerquist Concert Hall, Mary Baker Russell Music Center Pacific Lutheran University School of Arts and Communication / Department of Music present Artist Series presents: City of Tomorrow Woodwind Quintet Elise Blatchford, Flute Stuart Breczinski, Oboe Rane Moore, Clarinet Nanci Belmont, Bassoon Leander Star, Horn Wednesday, October 7, 2015, at 8 pm Lagerquist Concert Hall, Mary Baker Russell Music Center Welcome to Lagerquist Concert Hall. Please disable the audible signal on all watches, pagers and cellular phones for the duration of the concert. Use of cameras, recording equipment and all digital devices is not permitted in the concert hall. PROGRAM Rotary........................................................................................................... Karlheinz Stockhausen (1928-2007) Blow (1989) .............................................................................................................Franco Donatoni (1927-2000) INTERMISSION Daedalus ........................................................................................................................... John Aylward (b. 1980) East Wind ......................................................................................................................... Shulamit Ran (b. 1949) Elise Blatchford, flute Music for Breathing .............................................................................................................. Nat Evans (b. 1980) About the