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The Journal the Music Academy
ISSN. 0970-3101 THE JOURNAL OF THE MUSIC ACADEMY DEVOTED TO THE ADVANCEMENT OF THE SCIENCE AND ART OF MUSIC Vol. LX 1989 *ra im rfra era faw ifa s i r ? ii ''I dwell not,in Vaikuntha, nor in the hearts of Yogins nor in the Sun; (but) where my bhaktas sing, there be I, Narada!" Edited by: T. S. PARTHASARATHY The Music Academy Madras 306, T. T. K. Road, Madras-600014 Annual Subscription — Inland Rs. 20 : Foreign $ 3-00 OURSELVES This Journal is published as an Annual. All correspondence relating to the Journal should be addressed and all books etc., intended for it should be sent to The Editor, Journal of the Music Academy, 306, T. T. K. Road, Madras-600 014. Articles on music and dance are accepted for publication on the understanding that they are contributed solely to the Journal of the Music Academy. Manuscripts should be legibly written or, preferably, type written (double-spaced and on one side of the paper only) and should be signed by the writter (giving his or her address in full). The Editor of the Journal is not responsible for the views expressed by contributors in their articles. CONTENTS Pages The 62nd Madras Music Conference - Official Report 1-64 The Bhakta and External Worship (Sri Tyagaraja’s Utsava Sampradaya Songs) Dr. William J. Jackson 65-91 Rhythmic Analysis of Some Selected Tiruppugazh Songs Prof. Trichy Sankaran (Canada) 92-102 Saugita Lakshana Prachina Paddhati 7. S. Parthasarathy & P. K. Rajagopa/a Iyer 103-124 Indian Music on the March 7. S. -
January 19, 2018
in concert with MEREDITH MONK Performing works by ZORN MONK RZEWSKI BYRON FUNG BROWN Jan 19, 2018 at the San Francisco Conservatory of Music in the LABORATORY Series San Francisco Contemporary Music Players San Francisco Contemporary Music Players (SFCMP), a 24-member, unionized ensemble of highly skilled musicians, performs innovative, large-ensemble, contemporary classical music with a spotlight on California composers. SFCMP aims to nourish the creation and dissemination of new works through high-quality musical performances, commissions, education and community outreach. SFCMP promotes the music of composers from across cultures and stylistic traditions who are creating a vast and vital 21st-century musical language. SFCMP seeks to share these experiences with as many people as possible, both in and outside of traditional concert settings. Tonight’s event is part of SFCMP’s In the Laboratory Series, where you will experience contemporary classical works that have pushed the boundaries of the concert format through experimentation and exploration. WE DEDICATE our 2017-18 season to our artistic director STEVEN SCHICK, in gratitude for his 7 years of dedication to SFCMP. Thank you, Steve! Steven Schick Solo Performance SAT, MAR 24, 2018 at Z Space 5:30 pm Steven Schick Celebration Reception and Toast 7:00 pm CONCERT Artistic Director and percussionist Steven Schick, who celebrates his final season with SFCMP, will perform in a special Saturday evening solo concert made for this occasion. On the program: Iannis XENAKIS’s Psappha; Kurt -
John Zorn. the Gift; Songs from the Hermetic Theatre (2001). Chimeras; Masada Guitars (2003)
Brigham Young University BYU ScholarsArchive Faculty Publications 2008-01-01 John Zorn. The Gift; Songs from the Hermetic Theatre (2001). Chimeras; Masada Guitars (2003). Masada Recital; Magick (2004). Rituals (2005). Astronome; Masada Rock; Moonchild Christian T. Asplund [email protected] Follow this and additional works at: https://scholarsarchive.byu.edu/facpub Part of the Music Commons BYU ScholarsArchive Citation Asplund, Christian T., "John Zorn. The Gift; Songs from the Hermetic Theatre (2001). Chimeras; Masada Guitars (2003). Masada Recital; Magick (2004). Rituals (2005). Astronome; Masada Rock; Moonchild" (2008). Faculty Publications. 914. https://scholarsarchive.byu.edu/facpub/914 This Peer-Reviewed Article is brought to you for free and open access by BYU ScholarsArchive. It has been accepted for inclusion in Faculty Publications by an authorized administrator of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. RecordingReviews 129 JohnZorn. TheGift; Songs from the Hermetic Theatre (2001). Chimeras;Mas- ada Guitars(2003). Masada Recital;Magick (2004). Rituals (2005). Astronome; MasadaRock; Moonchild (2006). Each of these recordings appears on John Zorn'sown label,Tzadik. Once the unrulyupstart, John Zorn is now a MacArthurfellow, whose formi- dable catalogdivides easily intoearly, middle, and late periods.The earlyperiod dates fromthe mid-1970s to themid-1980s, when Zorn pioneeredthe practice of "comprovisation,"a termused to describe"the making of new compositionsfrom recordingsof improvised material/'1 Ultimately, Zorn's comprovisationblurs the lines between active listenerand composer,since both createnew works when theyimpose structureon foundsonic material.His earlystructuralist-modernist approach to comprovisationproduced esoteric,often severely pointillist music, and evolved into thegame pieces of the late 1970s and early 1980s,culminating in themasterpiece of strategy,Cobra (1984), the last early-periodwork. -
John Zorn Marathon Royce Triple Threat Featuring Abraxas, Secret Chiefs 3 & Bladerunner & the Hermetic Organ
John Zorn Marathon Royce Triple Threat featuring Abraxas, Secret Chiefs 3 & Bladerunner & The Hermetic Organ Sat, May 2 ROYCE TRIPLE THREAT 8pm – Abraxas: Psychomagia Royce Triple Threat Aram Bajakian Guitar Royce Hall Eyal Maoz Guitar 8pm Kenny Grohowski Drums RUNNING TIME: Shanir Blumenkranz Gimbri Approximately 3 hours; Two intermissions Intermission The Hermetic Organ 9pm – Secret Chiefs 3: Masada Book Two Royce Hall Trey Spruance Guitar Midnight Eyvind Kang Violin Ches Smith Drums RUNNING TIME: Approximately 45 minutes; Jason Schimmel Guitar No intermission Matt Lebofsky Keyboards Toby Driver Bass PRE-SHOW TERRACE EVENT: Round-Robin Duets: Intermission A Musical Improvisation 6:30 pm 10pm – Bladerunner Inspired by John Zorn’s improvisational John Zorn Sax techniques, a group of UCLA student Bill Laswell Bass musicians play a round-robin of s Dave Lombardo Drums pontaneous duets, culminating in a group imrov-jam session. THE HERMETIC ORGAN John Zorn Solo Organ Improvisations CAP UCLA SPONSOR: Supported in part by the Andrew W. Mellon Foundation ABOUT THE PROGRAM Although organ was Zorn’s first instrument (he often credits Lon Chaney MEDIA SPONSOR: in The Phantom of the Opera as a primal influence), in 2011 the saxophone great surprised even his hardcore fans by initiating a new series of solo organ concerts in churches around the world. The music is breathtaking, and distinguished by a spiritual mood that only a huge pipe organ like Royce Hall’s Skinner can create. A perfect outlet for Zorn’s dramatic sense of color and contrast, this performance reveals the composer’s mind at work in all its permutations. -
John Cage, Cornelius Cardew
El Centro de Estudios y Documentación del MACBA está destinado a potenciar el desarrollo del Museo, extendiendo su ámbito de actividad para actuar como centro de investigación, estructura de diálogo y mediación, y espacio social y de difusión. Consta de los siguientes ámbitos: la Biblioteca, que reúne los fondos de la biblioteca del MACBA y los del Centro de Documentación Alexandre Cirici de la Generalitat de Catalunya; el Archivo, que acoge fondos documentales de artistas, creadores y colectivos artísticos, además de libros de artista y otro tipo de documentación relativa al arte contemporáneo; una serie de aulas para la programación estable de talleres, cursos y seminarios del MACBA y, por último, el espacio expositivo de la planta baja. Plaça dels Àngels, 8 Robert Ashley, Eugènia Balcells, Llorenç Barber, 08001 Barcelona Tel. 93 4813366 David Behrman, Peter Bosch & Simone Simons, Jens Fax 93 4124602 www.macba.es Brand, Joan Brossa, John Cage, Cornelius Cardew, Horarios de exposición Morton Feldman, Richard Garet & Wolfgang von De lunes a sábado, de 10 a 20 h Domingo, de 10 a 15 h Stürmer, Yolande Harris, Juan Hidalgo, Brenda Horario de la Biblioteca Hutchinson & Ann Chamberlain, Tom Johnson, De lunes a viernes, de 10 a 19 h Del 1 al 24 de agosto, la Biblioteca Takehisa Kosugi, Annea Lockwood, Alvin Lucier, permanecerá cerrada Matthew Marble, Walter Marchetti, Phill Niblock, Pauline Oliveros, Yoko Ono, Adam Overton, Lee Ranaldo, Alyce Santoro, Michael Schumacher, Leah Singer, Tanja Smit, Yûji Takahashi, James Tenney, Yasunao Tone, Christopher Williams, Christian Wolff Plaça dels Àngels 1 - 08001 Barcelona Tel. 93 4120810 · Fax 93 4124602 · www.macba.es Del 16 de junio al 5 de octubre de 2008 Con la colaboración de Posibilidad de acción. -
In the COMMUNITY Series in the LABORATORY Series MASTERCLASS Series at the CROSSROADS Series How Music Is Made ONLINE 50Th Anniv
DUDLEY SOREY LIM Z SHAW WILSON FURE REID ADAMS ATLADOTTIR 50th Anniversary Season SFCMP.org ABOUT SAN FRANCISCO CONTEMPORARY MUSIC PLAYERS San Francisco Contemporary Music Players is the West Coast’s most longstanding and largest new music ensemble, comprised of twenty-two highly skilled musicians. For 50 years, the San Francisco Contemporary Music Players have created innovative and artistically excellent music and are one of the most active ensembles in the United States dedicated to contemporary music. Holding an important role in the regional and national cultural landscape, the Contemporary Music Players are a 2018 awardee of the esteemed Fromm Foundation Ensemble Prize, and a ten-time winner of the CMA/ASCAP Award for Adventurous Programming. WELCOME TO OUR 2020-21 SEASON ERIC DUDLEY, ARTISTIC DIRECTOR The Lineup THE CONTEMPORARY PLAYERS View Bios Tod Brody, flute Meredith Clark, harp Kyle Bruckmann, oboe Kate Campbell, piano Sarah Rathke, oboe David Tanenbaum, guitar Jeff Anderle, clarinet Hrabba Atladottir, violin Peter Josheff, clarinet Susan Freier, violin Adam Luftman, trumpet Roy Malan, violin Brendan Lai-Tong, trombone Meena Bhasin, viola Peter Wahrhaftig, tuba Nanci Severance, viola Chris Froh, percussion Hannah Addario-Berry, cello Haruka Fujii, percussion Stephen Harrison, cello Loren Mach, percussion Richard Worn, contrabass William Winant, percussion GUEST ARTISTS Allegra Chapman, piano Alicia Telford, horn Shawn Jones, bassoon Pamela Z, voice Jamael Smith, bassoon FEATURING THE WORK OF Aaron Jay Kernis John Adams Amadeus -
UC Santa Cruz's Pacific Rim Music Festival: a History
UC Santa Cruz’s Pacific Rim Music Festival: A History Leta E. Miller, Professor of Music Emerita, UCSC The high-profile Pacific Rim Music Festival, sponsored by the Music Department of the University of California, Santa Cruz (UCSC) and led by composer and professor Hi Kyung Kim, has taken place six times since 1996. During its twenty-year history, the festival has presented the works of 131 composers, introduced more than a hundred world premieres, brought well-known contemporary performance groups to campus, and promoted the creation of compositions that bridge culturally diverse musical expressions and unite performers and composers from around the world. The Pacific Rim Music Festival arose as an outgrowth and, ultimately, an extension of the UCSC Music Department’s annual salute to new music, called April in Santa Cruz (AISC). Dating back to the mid-1980s and continuing to the present day, AISC typically presents four concerts of contemporary music each spring. Responsibility for organizing its events rotates among the UCSC composition faculty and the concert schedule has often included guest ensembles from around the country. A consistent component of AISC has been the presentation of new works by UCSC faculty members and graduate students. Financing for the concerts has traditionally come from the Music Department, the Arts Division, and various campus granting agencies, such as the Arts Research Institute. The 1996 Festival In 1996, when it was her turn to run the AISC festival, Professor Kim envisioned focusing the annual event around a unified theme. Kim had grown up in Korea and had come to the United States for doctoral study at the University of California, Berkeley (UCB) in 1982. -
The Darius Milhaud Society Newsletter, Vol. 18, Spring/Summer/ Fall 2002
Cleveland State University EngagedScholarship@CSU Darius Milhaud Society Newsletters Michael Schwartz Library 2002 The Darius Milhaud Society Newsletter, Vol. 18, Spring/Summer/ Fall 2002 Darius Milhaud Society Follow this and additional works at: https://engagedscholarship.csuohio.edu/milhaud_newsletters Part of the History Commons, and the Music Commons How does access to this work benefit ou?y Let us know! Recommended Citation Darius Milhaud Society, "The Darius Milhaud Society Newsletter, Vol. 18, Spring/Summer/Fall 2002" (2002). Darius Milhaud Society Newsletters. 10. https://engagedscholarship.csuohio.edu/milhaud_newsletters/10 This Book is brought to you for free and open access by the Michael Schwartz Library at EngagedScholarship@CSU. It has been accepted for inclusion in Darius Milhaud Society Newsletters by an authorized administrator of EngagedScholarship@CSU. For more information, please contact [email protected]. THE DARIUS MILHAUD SOCIETY NEWSLETTER Cleveland , Ohio Spring/ Summer/ Fall 2002 Vo l. 18, Nos. 1, 2, 3 Cezanne profoundly touclred something in me, but it has nothing or simply by looking at the blue horizons or the trunks of pines to do with my music. Cezanne, for me, represent s the in tlze shade, for it is only then that the interior color ofan object cormtryside of Aix, with which he is identified and which is also can be transmitted without the stimulation of luminous a part of myself I discovered Cezanne at a very early age, and I sunlight. However, as I said earlier, nothing h1 all that has have always retained an intense, consistent, unforgettable anything to do with my music. impression of him. -
University of Cincinnati
UNIVERSITY OF CINCINNATI Date: 16-Aug-2010 I, John Lane , hereby submit this original work as part of the requirements for the degree of: Doctor of Musical Arts in Percussion It is entitled: Abstracted Resonances: A Study of Performance Practices Reflecting the Influence of Indigenous American Percussive Traditions in the Music of Peter Garland Student Signature: John Lane This work and its defense approved by: Committee Chair: Allen Otte, MM Allen Otte, MM 8/18/2010 1,060 Abstracted Resonances: A Study of Performance Practices Reflecting the Influence of Indigenous American Percussive Traditions in the Music of Peter Garland A doctoral document submitted to the Division of Graduate Studies and Research of the University of Cincinnati In partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS in the Performance Studies Division of the College-Conservatory of Music by John Lane March 22, 2010 B.M., Stephen F. Austin State University, 2002 M.M., University of North Texas, 2004 Project Advisor: Allen Otte Abstract The history of purely American musical traditions—those not influenced by European ideals—has been largely unexplored by composers. One of the few composers to have created a new music in the search for a uniquely American identity is Peter Garland. Unlike the Euro- centric approach of George Gershwin, Aaron Copland, or William Grant Still, Garland attempts to create an American identity in music by utilizing the actual resonances—both physical and psychological—of indigenous cultures. The intent of this document is to shed light on Native American influences in the percussion music of Peter Garland and their realization through the most conscientious and sympathetic of performance practices. -
Pasic 2001 Marching Percussion Festival
TABLE OF CONTENTS 2 Welcome Messages 4 PASIC 2001 Planning Committee 5 Sponsors 8 Exhibitors by Name/Exhibitors by Booth Number 9 Exhibitors by Category 10 Exhibit Hall Map 12 Exhibitors 24 PASIC 2001 Map 26 PASIC 2001 Area Map 29 Wednesday, November 14/Schedule of Events 34 Thursday, November 15/Schedule of Events 43 Friday, November 16/Schedule of Events 52 Saturday, November 17/Schedule of Events 60 Artists and Clinicians 104 Percussive Arts Society History 2001 111 Special Thanks/PASIC 2001 Advertisers NASHVILLE NOVEMBER 14–17 2 PAS President’s Welcome It is a grim reminder of the chill- from this tragedy. However, in a happier world that lies ® ing events that shook the U.S. this land of diversity, we all deal ahead for all of us. on September 11. I am espe- with grief and healing in differ- cially grateful to all of our PAS ent ways. I’m in no way international members who sent trivializing this tragedy when I personal messages to me, tell you that I’m especially look- members of the Board of Direc- ing forward to seeing friends tors, and into the PAS office in and colleagues from around the www.pas.org Lawton, Oklahoma. Your out- globe at PASIC in Nashville. pouring of support and conso- Percussion is the passion that oday, as I sit to write my lation are deeply appreciated. binds us all and allows us to T“welcome to PASIC” I applaud those of you who come together in a common message, I realize that our have offered to use your re- place to see our friends, hear world has forever changed. -
Del 16 De Juny Al 5 D'octubre De 2008
El Centre d’Estudis i Documentació del MACBA està destinat a potenciar el desenvolupament del Museu, estenent el seu àmbit d’activitat per actuar com a centre d’investigació, estructura de diàleg i mediació, i espai social i de difusió. Consta dels següents àmbits: la Biblioteca, que reuneix els fons de la biblioteca del MACBA i els del Centre de Documentació Alexandre Cirici de la Generalitat de Catalunya; l’Arxiu, que acull fons documentals d’artistes, creadors i col·lectius artístics, a més de llibres d’artista i altre tipus de documentació relativa a l’art contemporani; una sèrie d’aules per a la programació estable de tallers, cursos i seminaris del MACBA i, per últim, l’espai expositiu de la planta baixa. Plaça dels Àngels, 8 Robert Ashley, Eugènia Balcells, Llorenç Barber, 08001 Barcelona Tel. 93 4813366 David Behrman, Peter Bosch & Simone Simons, Jens Fax 93 4124602 www.macba.es Brand, Joan Brossa, John Cage, Cornelius Cardew, Horari d’exposició Morton Feldman, Richard Garet & Wolfgang von De dilluns a dissabte, de 10 a 20 h Diumenge, de 10 a 15 h Stürmer, Yolande Harris, Juan Hidalgo, Brenda Horari de Biblioteca Hutchinson & Ann Chamberlain, Tom Johnson, De dilluns a divendres, de 10 a 19 h De l’1 al 24 d’agost, la biblioteca Takehisa Kosugi, Annea Lockwood, Alvin Lucier, romandrà tancada Matthew Marble, Walter Marchetti, Phill Niblock, Pauline Oliveros, Yoko Ono, Adam Overton, Lee Ranaldo, Alyce Santoro, Michael Schumacher, Leah Singer, Tanja Smit, Yûji Takahashi, James Tenney, Yasunao Tone, Christopher Williams, Christian Wolff Plaça dels Àngels 1 - 08001 Barcelona Tel. -
CE Final Draft
! Several Miles to Ramanujam A study in the application of Indian rhythmic concepts for western musicians Culminating experience refection paper ! ! ! ! ! ! ! ! ! M.T. Aditya Srinivasan Master of music in Contemporary Performance Berklee College of Music, Valencia Campus ! ! Project advisor: Professor Enrich Alberich ! ! ! ! ! Acknowledgements Matha. Pitha.Guru. Devam. My frst and foremost thanks are to the greatest parents in the world, who have sacrifced more than they have had at every stage for me in order for me to live my dream, for being the strongest support system one could ever ask for. To the best friends every person dreams of having, who made no demands of me over the past year and allowed me to give my musical growth priority over them and without ever holding it against me. To every single one of my fellow Berklee classmates, for being fantastic comrades in arms, for being constant sources of inspiration throughout what has defnitely been the best year of my life so far, in the knowledge that we have made relationships that will last a lifetime. ! To my guru, Pt.Yogesh Samsi, for any idea that I present in this project emerges out of the seeds that he has sown, through his visionary thinking and guidance in every aspect of music and life and in his pursuit of sadhana, showing us that it is possible to be a great performer, great human being and an even better teacher, all in one. To my guru, the living legend, Padma Vibushan Umayalpuram K.Sivaraman for inspiring me with the beauty of my own heritage, tradition and music.