DOCSLIB.ORG

Listening Program Script I

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Non-Directed Music Listening Program Series I Non-Directed Music Listening Program Script Series I Week 1 Composer: Manuel de Falla (1876 – 1946) Composition: “Ritual Fire Dance” from “El Amor Brujo” Performance: Philadelphia Orchestra, Eugene Ormandy Recording: “Greatest Hits of The Ballet, Vol. 1” CBS XMT 45658 Day 1: This week’s listening selection is titled “Ritual Fire Dance”. It was composed by Manuel de Falla. Manuel de Falla was a Spanish musician who used ideas from folk stories and folk music in his compositions. The “Ritual Fire Dance” is from a ballet called “Bewitched By Love” and describes in musical images how the heroine tries to chase away an evil spirit which has been bothering her. Day 2: This week’s feature selection is “Ritual Fire Dance” composed by the Spanish writer Manuel de Falla. In this piece of music, de Falla has used the effects of repetition, gradual crescendo, and ostinato rhythms to create this very exciting composition. Crescendo is a musical term which means the music gets gradually louder. Listen to the “Ritual Fire Dance” this time to see how the effect of the ‘crescendo’ helps give a feeling of excitement to the piece. Day 3: This week’s featured selection, “Ritual Fire Dance”, was written by the Spanish composer Manuel de Falla in 1915. Yesterday we mentioned how the composer made use of the effect of gradually getting louder to help create excitement. Do you remember the musical term for the effect of gradually increasing the volume? If you were thinking of the word ‘crescendo’ you are correct. Day 4: “Ritual Fire Dance”, this week’s featured composition, was composed by the Spanish writer Manuel de Falla. Non-Directed Music Listening Program Script Series I In this piece the composer uses a number of effects to make the music sound exciting. One of the effects is the use of a gradual crescendo to cause more tension in the music. De Falla also uses a great deal of repetition to make the music have more tension. Listen today for repeated rhythms and melodies in the music. Day 5: This week’s feature selection is “Ritual Fire Dance”. It was written by a Spanish musician. Do you remember his name? If you were thinking of Manuel de Falla, you are right. Can you name two of the effects which the composer used to make the “Ritual Fire Dance” so exciting. If you were able to identify both “crescendo” and repetition as contributing factors, you have done very well. Let’s now enjoy the “Ritual Fire Dance” for the final time. Non-Directed Music Listening Program Script Series I Week 2 Composer: Ardashir Farah Composition: “Gypsy Earrings” Performance: Jorge Strunz and Ardashir Farah Recording: “Strunz and Farah – Americas”, Mesa RZ 79041 Day 1: This week’s featured selection is “Gypsy Earrings” by the contemporary composer and performer, Ardashir Farah. “Gypsy Earrings” is a selection performed by the guitar duo, Strunz and Farah. Although there are other instruments in the performance, the music is strongly oriented to the style of the acoustic guitar and draws heavily on the Latin American and Spanish background of one of the performers – Jorge Strunz. Day2: This week’s selection, written by the contemporary guitarist, Ardashir Farah, is entitled “Gypsy Earrings”. Ardashir Farah is an Iranian guitarist whose style and technique are a perfect complement to the talents of his performance partner, the Costa Rican born Jorge Strunz. In this selection you hear the style of the flamenco guitar and the rhythms of Latin America combined with instruments associated with jazz and popular music. This unique combination of the diverse styles of classical guitar, folk rhythms and melodies, and jazz improvisation provides us with an exciting new medium of musical expression. Day 3: This week’s feature composition is entitled “Gypsy Earrings”. It was written by the Iranian born guitarist, Ardashir Farah. Non-Directed Music Listening Program Script Series I This selection combines the style of Spanish flamenco guitar with the folk music of Latin America. Flamenco, the dance and music of the Spanish gypsies, is characterized by fanciful and colourful costumes, alluring movements, stamping of the feet, clapping of the hands, and skilful use of the castanets. Although this piece was originally written for two acoustic guitars, the open nature of its form provides a unique opportunity for freedom of musical expression in an improvisational form. The improvised, or invented, solos in the middle of the piece are supported by the small jazz combo (keyboards, bass and percussion) which accompanies the guitars. Day 4: The Iranian born composer, Ardashir Farah, wrote this week’s featured listening selection entitled, “Gypsy Earrings”. Do you remember for which group of instruments the piece was written? It was written for a guitar duo supported by jazz combo keyboards, bass, and percussion. The composer used the style of the classical flamenco guitar and intertwined it with the wonderful rhythms of Latin American music to give it a strong Latin American feel. As you listen today, try to concentrate on the rhythms and sounds of the instruments which accompany the melody. Day 5: This week’s feature composer is the Iranian performer, Ardashir Farah. This week’s listening selection is his composition, “Gypsy Earrings”, performed by the guitar duo of Jorge Strunz and Ardashir Farah. “Gypsy Earrings” is heavily oriented to the styles and techniques of the acoustic guitar. Yesterday you listened carefully to the instruments and rhythms which support the guitar duo. Today, try to listen to all aspects of the piece and see if you can hear the influence of the Spanish flamenco guitar, the folk-like rhythms of Latin America and passages which are improvised, or invented, as the piece is performed. Week 3 Non-Directed Music Listening Program Script Series I Composer: Antonio Vivaldi (1678 – 1741) Composition: “Autumn” from the “Four Seasons,” “Allegro” Concerto in F Major, R. 293 Performance:New York Philharmonic, Leonard Bernstein, &“The Best of the Canadian Brass”, CBS FMT 45744 Special Note Two recordings of this selection have been recorded on the tape. The first (the orchestral version) is to be used to coincide with the dialogue for days 1, 2, and 4. The second (brass quintet version – Canadian Brass) is to be used with the dialogue for days 3 and 5. Day 1: This week’s listening selection is the “Allegro” from “Autumn” composed by Antonio Vivaldi. The composer wrote this selection as part of a longer piece of music titled “The Four Seasons”. Before we hear the musical excerpt it will be helpful to know that in this piece he is describing hunters setting out at dawn in chase of a fox. You will hear the hunting horns and the horses giving chase and you will hear the music Vivaldi wrote to describe the terrified fox trying to avoid the hunters. Day 2: This week’s feature selection is “Autumn” from “The Four Seasons” written by Antonio Vivaldi. “Autumn” was written for a string orchestra and if you listen carefully you will notice there are only violins, violas, cellos and string basses playing. You may also notice that the violin, the stringed instrument with the highest voice, often plays by itself. It was over two hundred years ago that Vivaldi chose the violin to lead the orchestra in describing one of the activities of “Autumn”. Non-Directed Music Listening Program Script Series I Day 3: This week’s feature selection, “Autumn” from “The Four Seasons” was written by Antonio Vivaldi in 1725. For the past two days we have heard “Autumn” performed by a string orchestra as it was originally written. Today we will hear the same piece of music played by a famous Canadian group called the “Canadian Brass”. In order to perform this piece they had to re-arrange the music of Vivaldi so that the parts played by the stringed instruments could be played by brass instruments. You will hear how the arrangement for brass instruments sounds quite different although all of the melodies are the same. Day 4: Today we again listen to “Autumn” from “The Four Seasons” composed by Antonio Vivaldi. The version we will hear today is the original composition written for string orchestra. As you listen, take note of the effects created by the strings imitating the hunting horns, the galloping horses, and the fox trying to escape from the hunters. Listen to the violin as it leads the orchestra so that when you listen to the arrangement for brass ensemble tomorrow, you will be able to determine which instrument has the dominant role. Day 5: This week’s featured selection, “Autumn” from “The Four Seasons”, was written by Antonio Vivaldi in 1725. Today we will listen to “Autumn” performed as an arrangement written for the internationally acclaimed “Canadian Brass”. This group consists of two trumpets, one French horn, one trombone and one tuba. As you listen, try to decide which instrument has the leading role which was played by the violin in the arrangement for string orchestra we heard yesterday. Non-Directed Music Listening Program Script Series I Week 4 Composer: Serge Prokofiev (1891 – 1953) Composition: “Peter and the Wolf” Performance: Philadelphia Orchestra, Eugene Ormandy Recording: “Prokofiev: Peter and the Wolf”, Columbia Odyssey YT 34616 Special Note In order that students may hear the entire story of “Peter and the Wolf”, the work has been divided and recorded in five sections. The recording for each successive day continues from the point where the piece ended on the previous day. Do not rewind the tape each day as the next section of the work is announced and recorded in sequential order.
Recommended publications
  • NEW ORLEANS NOSTALGIA Remembering New Orleans History, Culture and Traditions by Ned Hémard

    NEW ORLEANS NOSTALGIA Remembering New Orleans History, Culture and Traditions by Ned Hémard

    NEW ORLEANS NOSTALGIA Remembering New Orleans History, Culture and Traditions By Ned Hémard Shall We Dance Dancing has been an essential part of New Orleans’ psyche almost since its very beginning. Pierre François de Rigaud, Marquis de Vaudreuil-Cavagnal replaced Bienville, the city’s founder, as Governor of Louisiana. He set the standards high with his polished manners, frequently sponsoring balls, dinners, and other elegant social soirées. Serving from 1743 to 1753, he even provided the colony with a Parisian dancing master named Baby. Below are numerous quotes through the ages about the Crescent City’s special love affair with dancing: There were balls, with court dress de rigueur, where gaily uniformed officers danced with bejeweled women. This was the beginning of fashionable life in the colony. - LYLE SAXON, writing of “de Vaudreuil’s régime” in Old Louisiana The eccentricities of Baby's mind, as well as those of his physical organization had made him famous in the colony, and the doleful mien with which he used to give his lessons, had gained him the appellation of the Don Quixote of dancing. -Louisiana Historian CHARLES GAYARRÉ on Baby, the Dancing Master The female Creoles being in general without education, can possess no taste for reading music or drawing, but they are passionately fond of dancing … passing whole nights in succession in this exercise. - PIERRE-LOUIS BERQUIN-DUVALLON, Travels in Louisiana and the Floridas in the Year 1802, Giving the Correct Picture of Those Countries It’s the land where they dance more than any other. - LOUIS-NARCISSE BAUDRY DES LOZIÈRES, Second Voyage à la Louisiane, 1803 Upon my arrival at New Orleans, I found the people very Solicitous to maintain their Public Ball establishment, and to convince them that the American Government felt no disposition to break in upon their amusements … - GOVERNOR W.
  • Traversing Boundaries in Gottschalk's the Banjo

    Traversing Boundaries in Gottschalk's the Banjo

    Merrimack College Merrimack ScholarWorks Visual & Performing Arts Faculty Publications Visual & Performing Arts 5-2017 Porch and Playhouse, Parlor and Performance Hall: Traversing Boundaries in Gottschalk's The Banjo Laura Moore Pruett Merrimack College, [email protected] Follow this and additional works at: https://scholarworks.merrimack.edu/vpa_facpub Part of the Music Performance Commons This is a pre-publication author manuscript of the final, published article. Repository Citation Pruett, L. M. (2017). Porch and Playhouse, Parlor and Performance Hall: Traversing Boundaries in Gottschalk's The Banjo. Journal of the Society for American Music, 11(2), 155-183. Available at: https://scholarworks.merrimack.edu/vpa_facpub/5 This Article - Open Access is brought to you for free and open access by the Visual & Performing Arts at Merrimack ScholarWorks. It has been accepted for inclusion in Visual & Performing Arts Faculty Publications by an authorized administrator of Merrimack ScholarWorks. For more information, please contact [email protected]. Porch and Playhouse, Parlor and Performance Hall: Traversing Boundaries in Gottschalk’s The Banjo LAURA MOORE PRUETT ABSTRACT This article reconsiders the cultural significance and historical impact of the well-known virtuosic piano composition The Banjo by Louis Moreau Gottschalk. Throughout the early nineteenth century, the banjo and the piano inhabited very specific and highly contrasting performance circumstances: black folk entertainment and minstrel shows for the former, white
  • The Dance in Place Congo. I. Congo Square

    The Dance in Place Congo. I. Congo Square

    THE DANCE IN PLACE CONGO. I. CONGO SQUARE. HOEVER has been to New Orleans with eyes not totally abandoned to buying and selling will, of course, remember St. Louis Cathedral, looking south-eastward — riverward — across quaint Jackson Square, the old Place W d'Armes. And if he has any feeling for flowers, he has not forgotten the little garden behind the cathedral, so antique and unexpected, named for the beloved old priest Père Antoine. The old Rue Royale lies across the sleeping garden's foot. On the street's farther side another street lets away at right angles, north-westward, straight, and imperceptibly downward from the cathedral and garden toward the rear of the city. It is lined mostly with humble ground-floor-and-garret houses of stuccoed brick, their wooden doorsteps on the brick sidewalks. This is Orleans street, so named when the city was founded. Its rugged round-stone pavement is at times nearly as sunny and silent as the landward side of a coral reef. Thus for about half a mile; and then Rampart street, where the palisade wall of the town used to run in Spanish days, crosses it, and a public square just beyond draws a grateful canopy of oak and sycamore boughs. That is the place. One may shut his buff umbrella there, wipe the beading sweat from the brow, and fan himself with his hat. Many's the bull-fight has taken place on that spot Sunday afternoons of the old time. That is Congo Square. The trees are modern. So are the buildings about the four sides, for all their aged looks.
  • African Drumming in Drum Circles by Robert J

    African Drumming in Drum Circles by Robert J

    African Drumming in Drum Circles By Robert J. Damm Although there is a clear distinction between African drum ensembles that learn a repertoire of traditional dance rhythms of West Africa and a drum circle that plays primarily freestyle, in-the-moment music, there are times when it might be valuable to share African drumming concepts in a drum circle. In his 2011 Percussive Notes article “Interactive Drumming: Using the power of rhythm to unite and inspire,” Kalani defined drum circles, drum ensembles, and drum classes. Drum circles are “improvisational experiences, aimed at having fun in an inclusive setting. They don’t require of the participants any specific musical knowledge or skills, and the music is co-created in the moment. The main idea is that anyone is free to join and express himself or herself in any way that positively contributes to the music.” By contrast, drum classes are “a means to learn musical skills. The goal is to develop one’s drumming skills in order to enhance one’s enjoyment and appreciation of music. Students often start with classes and then move on to join ensembles, thereby further developing their skills.” Drum ensembles are “often organized around specific musical genres, such as contemporary or folkloric music of a specific culture” (Kalani, p. 72). Robert Damm: It may be beneficial for a drum circle facilitator to introduce elements of African music for the sake of enhancing the musical skills, cultural knowledge, and social experience of the participants. PERCUSSIVE NOTES 8 JULY 2017 PERCUSSIVE NOTES 9 JULY 2017 cknowledging these distinctions, it may be beneficial for a drum circle facilitator to introduce elements of African music (culturally specific rhythms, processes, and concepts) for the sake of enhancing the musi- cal skills, cultural knowledge, and social experience Aof the participants in a drum circle.
  • Sponsor Dance Will Speak on Campus Mercyhurst's Senior Class Will Sponsor a Pre-Lenten Mixer, Sat­ Urday, February 27

    Sponsor Dance Will Speak on Campus Mercyhurst's Senior Class Will Sponsor a Pre-Lenten Mixer, Sat­ Urday, February 27

    7k MERC1AD Vol XXXI. No. 5 MERCYHURST COLLEGE, ERIE, PENNA, Februray 26, 1960 European Personalities] Upperciassmen Sponsor Dance Will Speak On Campus Mercyhurst's Senior Class will sponsor a pre-Lenten mixer, Sat­ urday, February 27. A get- February 28, March 16 acquainted hour is planned for Padraic Colum 8 till 9 in the main lounge of Mc- "Poetry As an Oral Art " is the Auley Hall, while the dance will subject^ of Padraic Colum's lec­ be held in 1 the gym from 9 till Lolly Lockhart, Kathy^Reid, and Lillian Egnot seem to find scene ture to be presented in Mercy- 12. hurst's Little Theatre, Sunday, planning an enjoyable assignment. They are preparing for produc­ tion of their one-act plays. February 28, at 8:15 p.m. In place off the usual refresh­ - Born and raised in Ireland, Mr. ments, a cookie sale is scheduled Colum's interest in literature be­ for the evening; the cookies to Seniors' Direction Class gan as a youth at the fireside in be baked by members of the his grandmother's cottage. As he senior class. Music for the dance grew i he retained these impres­ will be provided by the Moder- To|Present Short Plays sions of legends and traditions naires. handed I down from generation to Sunday, March 20 is the "evening of drama" in the Little Theatre generation. Connie Frank, chairman of the of Mercyhurst. Three \ one act plays directed toy Lillian Egnot, Lolly At the age of 21, Padraic Colum project, announced that invita­ Lockhart, and Kathy Reid will feature members of the Drama Society, had his first play, Broken Soil, tions have been extended to The direction and production of a one act play is an assignment produced, followed!shortly after­ area schools including Gannon, for the play direction class under the guidance of Miss Helen Kelly.
  • Volume 24, Number 04 (April 1906) Winton J

    Volume 24, Number 04 (April 1906) Winton J

    Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 4-1-1906 Volume 24, Number 04 (April 1906) Winton J. Baltzell Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Ethnomusicology Commons, Fine Arts Commons, History Commons, Liturgy and Worship Commons, Music Education Commons, Musicology Commons, Music Pedagogy Commons, Music Performance Commons, Music Practice Commons, and the Music Theory Commons Recommended Citation Baltzell, Winton J.. "Volume 24, Number 04 (April 1906)." , (1906). https://digitalcommons.gardner-webb.edu/etude/513 This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. APRIL, 1906 ISO PER YEAR ‘TF'TnTT^ PRICE 15 CENTS 180.5 THE ETUDE 209 MODERN SIX-HAND^ LU1T 1 I1 3 Instruction Books PIANO MUSIC “THE ETUDE” - April, 1906 Some Recent Publications Musical Life in New Orleans.. .Alice Graham 217 FOR. THE PIANOFORTE OF «OHE following ensemb Humor in Music. F.S.Law 218 IT styles, and are usi caching purposes t The American Composer. C. von Sternberg 219 CLAYTON F. SUMMY CO. _la- 1 „ net rtf th ’ standard foreign co Experiences of a Music Student in Germany in The following works for beginners at the piano are id some of the lat 1905...... Clarence V. Rawson 220 220 Wabash Avenue, Chicago.
  • The Sam Eskin Collection, 1939-1969, AFC 1999/004

    The Sam Eskin Collection, 1939-1969, AFC 1999/004

    The Sam Eskin Collection, 1939 – 1969 AFC 1999/004 Prepared by Sondra Smolek, Patricia K. Baughman, T. Chris Aplin, Judy Ng, and Mari Isaacs August 2004 Library of Congress American Folklife Center Washington, D. C. Table of Contents Collection Summary Collection Concordance by Format Administrative Information Provenance Processing History Location of Materials Access Restrictions Related Collections Preferred Citation The Collector Key Subjects Subjects Corporate Subjects Music Genres Media Formats Recording Locations Field Recording Performers Correspondents Collectors Scope and Content Note Collection Inventory and Description SERIES I: MANUSCRIPT MATERIAL SERIES II: SOUND RECORDINGS SERIES III: GRAPHIC IMAGES SERIES IV: ELECTRONIC MEDIA Appendices Appendix A: Complete listing of recording locations Appendix B: Complete listing of performers Appendix C: Concordance listing original field recordings, corresponding AFS reference copies, and identification numbers Appendix D: Complete listing of commercial recordings transferred to the Motion Picture, Broadcast, and Recorded Sound Division, Library of Congress 1 Collection Summary Call Number: AFC 1999/004 Creator: Eskin, Sam, 1898-1974 Title: The Sam Eskin Collection, 1938-1969 Contents: 469 containers; 56.5 linear feet; 16,568 items (15,795 manuscripts, 715 sound recordings, and 57 graphic materials) Repository: Archive of Folk Culture, American Folklife Center, Library of Congress, Washington, D.C. Summary: This collection consists of materials gathered and arranged by Sam Eskin, an ethnomusicologist who recorded and transcribed folk music he encountered on his travels across the United States and abroad. From 1938 to 1952, the majority of Eskin’s manuscripts and field recordings document his growing interest in the American folk music revival. From 1953 to 1969, the scope of his audio collection expands to include musical and cultural traditions from Latin America, the British Isles, the Middle East, the Caribbean, and East Asia.
  • Philharmonic Au Dito R 1 U M

    Philharmonic Au Dito R 1 U M

    LUBOSHUTZ and NEMENOFF April 4, 1948 DRAPER and ADLER April 10, 1948 ARTUR RUBINSTEIN April 27, 1948 MENUHIN April 29, 1948 NELSON EDDY May 1, 1948 PHILHARMONIC AU DITO R 1 U M VOL. XLIV TENTH ISSUE Nos. 68 to 72 RUDOLF f No S® Beethoven: S°"^„passionala") Minor, Op. S’ ’e( MM.71l -SSsr0*“” « >"c Beethoven. h6tique") B1DÛ SAYÂO o»a>a°;'h"!™ »no. Celeb'“’ed °P” CoW»b» _ ------------------------- RUOOtf bKch . St«» --------------THE pWUde'Pw»®rc’^®®?ra Iren* W°s’ „„a olh.r,„. sr.oi «■ o'--d s,°3"' RUDOLF SERKIN >. among the scores of great artists who choose to record exclusively for COLUMBIA RECORDS Page One 1948 MEET THE ARTISTS 1949 /leJ'Uj.m&n, DeLuxe Selective Course Your Choice of 12 out of 18 $10 - $17 - $22 - $27 plus Tax (Subject to Change) HOROWITZ DEC. 7 HEIFETZ JAN. 11 SPECIAL EVENT SPECIAL EVENT 1. ORICINAL DON COSSACK CHORUS & DANCERS, Jaroff, Director Tues. Nov. 1 6 2. ICOR CORIN, A Baritone with a thrilling voice and dynamic personality . Tues. Nov. 23 3. To be Announced Later 4. PATRICE MUNSEL......................................................................................................... Tues. Jan. IS Will again enchant us-by her beautiful voice and great personal charm. 5. MIKLOS GAFNI, Sensational Hungarian Tenor...................................................... Tues. Jan. 25 6. To be Announced Later 7. ROBERT CASADESUS, Master Pianist . Always a “Must”...............................Tues. Feb. 8 8. BLANCHE THEBOM, Voice . Beauty . Personality....................................Tues. Feb. 15 9. MARIAN ANDERSON, America’s Greatest Contralto................................. Sun. Mat. Feb. 27 10. RUDOLF FIRKUSNY..................................................................................................Tues. March 1 Whose most sensational success on Feb. 29 last, seated him firmly, according to verdict of audience and critics alike, among the few Master Pianists now living.
  • Mango Suite Program Pages

    Mango Suite Program Pages

    PRINCETON SYMPHONY ORCHESTRA ROSSEN MILANOV, MUSIC DIRECTOR 2018–2019 Sunday May 19, 2019, 4pm Richardson Auditorium DEREK BERMEL’S MANGO SUITE Rossen Milanov, conductor Paulina Villarreal, mezzo-soprano Griset Damas-Roche, flamenco dancer Derek Bermel Mango Suite* (World Premiere) Lyrics by 1. A House of My Own Sandra Cisneros 2. Cathy Queen of Cats 3. Darius and the Clouds 4. Four Skinny Trees 5. One Longing 6. Mango Says Goodbye Sometimes *Princeton Symphony Orchestra Co-Commission The Mango Suite Project is made possible in part through an award from the National Endowment for the Arts. INTERMISSION Be sure to admire the visual art and writing in the lobby created by area middle school students in response to composer Missy Mazzoli’s Sinfonia (for Orbiting Spheres), performed by the PSO in March 2019. The students are participants in this season’s PSO BRAVO! Listen Up! program. Manuel de Falla El amor brujo Introducción y escena (Introduction and Scene) En la cueva (In the Cave) Canción del amor dolido (Song of Love’s Sorrow) El Aparecido (The Apparition) Danza del terror (Dance of Terror) El círculo mágico (The Magic Circle) A medianoche (Midnight) Danza ritual del fuego (Ritual Fire Dance) Escena (Scene) Canción del fuego fatuo (Song of the Will-o’-the-Wisp) Pantomima (Pantomime) Danza del juego de amor (Dance of the Game of Love) Final (Finale) El sombrero de tres picos (The Three-Cornered Hat), Suite No. 1 Introduction—Afternoon Dance of the Miller’s Wife (Fandango) The Corregidor The Grapes La vida breve, Spanish Dance No. 1 This concert is made possible in part through the support of Yvonne Marcuse.
  • Spring Dance Concert 2021

    Spring Dance Concert 2021

    Randolph College Department of Dance presents The Annual Spring Dance Concert We welcome you to view our videotaped dance concert this year of extraordinary challenges. The dancers of Randolph College have faced the challenges of online dance classes and rehearsals with remarkable grace and aplomb. While this is perhaps to be expected of them, since they are dancers, their commitment has nonetheless profoundly moved me. I love and respect these student dancers and trust that they and their fellow classmates will do much to make this world a better place as we get through these difficult times. This concert belongs to these student dancers; this is truly their concert. However, I would be remiss if I did not acknowledge dancers and artists around the world who have persisted in their commitment to art and beauty, and the unique power that the arts have to simultaneously take us out of ourselves and bring us back to ourselves revealing our common humanity. - Pamela Risenhoover 1. BLUR ÉTUDE Choreography……………………………………………………………….…Brynt Beitman Music ………………………………………………………No Problem by Perfume Genius Costumes ……………………………………………………………………..Brynt Beitman Lighting……………………………………………………………………..Heather Sinclair Dancers…………………………………………….Emma Carrico and Samantha Landers BRYNT BEITMAN is from Dallas, Texas. He is a Presidential Scholar in the Arts Nominee and a graduate of The Juilliard School. His work has been performed internationally in Bulgaria, Costa Rica, Cuba, Canada, and throughout the United States. His performance credits include Bruce Wood Dance Project, TAKE Dance, Heidi Latsky Dance, Lydia Johnson Dance, and the New York Baroque Dance Company. He has been a Visiting Artist in Dance at Randolph College since 2015.
  • From Africa to the Americas

    From Africa to the Americas

    FROM AFRICA TO THE AMERICAS 1600s to 1700s AFRICAN DANCES IN THE NEW WORLD • In today’s class we will observe and discuss examples of dances brought to the New World during the height of the slave trade. COMMONALITIES: CIRCLE DANCES • Although the dances practiced during the slavery period in the Americas originated in diverse locations in Africa, they had commonalities. • Therefore, a similar aesthetic could be witnessed in the dances of the Senegambia region and other regions in West Africa, and the dances of West Central Africa. • One very common aesthetic is the circle dance. • Circle dances were witnessed by observers in what would be later called the US, in the Caribbean, and in South America. THE CALENDA • The Calenda was a circle dance performed in Haiti, the Barbados, and other islands in the Caribbean. • Pére Labat traveled to the Islands of the Americas in 1724. • He observed and documented the different dances that were performed by enslaved Africans, but he stated that the Calenda was one of the most popular. CALENDA PERFORMED • Labat believed that Calenda originated in the Kingdom of Arda. • Arda was a coastal kingdom in southern Benin. • According to Labat’s description, a large circle is formed for the spectators, the drummers, and dancers who became tired. • In the middle of the circle are two lines of dancers facing each other. CALENDA CONTINUED • Men are on one side and women are on the other. • A singer sings an improvised song that reflects the issues of the moment. • Everyone sings the chorus of the song in a call and response fashion.
  • Great Instrumental

    Great Instrumental

    I grew up during the heyday of pop instrumental music in the 1950s and the 1960s (there were 30 instrumental hits in the Top 40 in 1961), and I would listen to the radio faithfully for the 30 seconds before the hourly news when they would play instrumentals (however the first 45’s I bought were vocals: Bimbo by Jim Reeves in 1954, The Ballad of Davy Crockett with the flip side Farewell by Fess Parker in 1955, and Sixteen Tons by Tennessee Ernie Ford in 1956). I also listened to my Dad’s 78s, and my favorite song of those was Raymond Scott’s Powerhouse from 1937 (which was often heard in Warner Bros. cartoons). and to records that my friends had, and that their parents had - artists such as: (This is not meant to be a complete or definitive list of the music of these artists, or a definitive list of instrumental artists – rather it is just a list of many of the instrumental songs I heard and loved when I was growing up - therefore this list just goes up to the early 1970s): Floyd Cramer (Last Date and On the Rebound and Let’s Go and Hot Pepper and Flip Flop & Bob and The First Hurt and Fancy Pants and Shrum and All Keyed Up and San Antonio Rose and [These Are] The Young Years and What’d I Say and Java and How High the Moon), The Ventures (Walk Don't Run and Walk Don’t Run ‘64 and Perfidia and Ram-Bunk-Shush and Diamond Head and The Cruel Sea and Hawaii Five-O and Oh Pretty Woman and Go and Pedal Pusher and Tall Cool One and Slaughter on Tenth Avenue), Booker T.