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Armenian Orchestral Music Tigran Arakelyan a Dissertation Submitted
Armenian Orchestral Music Tigran Arakelyan A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts University of Washington 2016 Reading Committee: David Alexander Rahbee, Chair JoAnn Taricani Timothy Salzman Program Authorized to Offer Degree: School of Music ©Copyright 2016 Tigran Arakelyan University of Washington Abstract Armenian Orchestral Music Tigran Arakelyan Chair of the Supervisory Committee: Dr. David Alexander Rahbee School of Music The goal of this dissertation is to make available all relevant information about orchestral music by Armenian composers—including composers of Armenian descent—as well as the history pertaining to these composers and their works. This dissertation will serve as a unifying element in bringing the Armenians in the diaspora and in the homeland together through the power of music. The information collected for each piece includes instrumentation, duration, publisher information, and other details. This research will be beneficial for music students, conductors, orchestra managers, festival organizers, cultural event planning and those studying the influences of Armenian folk music in orchestral writing. It is especially intended to be useful in searching for music by Armenian composers for thematic and cultural programing, as it should aid in the acquisition of parts from publishers. In the early part of the 20th century, Armenian people were oppressed by the Ottoman government and a mass genocide against Armenians occurred. Many Armenians fled -
VILLAGERS at WORK: ANATOLIAN SUITE II Hagop Ferit Dugmeciyan a THESIS-COMPOSITION SUBMITTED to the FACULTY of GRADUATE STUDIES I
VILLAGERS AT WORK: ANATOLIAN SUITE II Hagop Ferit Dugmeciyan A THESIS-COMPOSITION SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS GRADUATE PROGRAM IN MUSIC YORK UNIVERSITY TORONTO, ONTARIO February 2016 ©Hagop Ferit Dugmeciyan, 2016 ABSTRACT "Villagers At Work" is a suite for orchestra which paints a contemporary picture of the historic Armenian-Anatolian peasants working in the field. I am an Anatolian-Armenian and know that despite so many efforts of extermination, there still exists a huge invisible population of Armenians in Eastern Anatolia, hiding in disguise under an imposed culture. My composition is an experiment combining quartal harmony with folk music, applied to traditional western orchestra. In this composition I am trying to follow the paths established by Bela Bartok, Komitas and Margrit Prudyan. My music promotes the idea that tonal/modal systems with Quartal Harmony can produce different expressions than traditionally we are accustomed to hearing. It is also an addition to multicultural Canadian diversity from a native of Anatolia that would enrich Canadian music literature for symphonic orchestras. !ii ACKNOWLEDGEMENT I would like to express my sincere gratitude to: Prof. Michael Coghlan, my supervisor who was the primary supporter of this work. Prof. Alan Henderson, my instructor of Composition Seminar. Prof. Melissa Bilal who provided material for my research. Dr. Roger Bergs, my instructor of Composition and Orchestration. !iii TABLE OF CONTENTS ABSTRACT ii ACKNOWLEDGMENT iii TABLE OF CONTENTS iv LIST OF TABLES vi LIST OF FIGURES vii LIST OF ILLUSTRATIONS viii INTRODUCTION 1 CHAPTER I - HISTORICAL BACKGROUND 2 I.1. -
Adyslipper Music by Women Table of Contents
.....••_•____________•. • adyslipper Music by Women Table of Contents Ordering Information 2 Arabic * Middle Eastern 51 Order Blank 3 Jewish 52 About Ladyslipper 4 Alternative 53 Donor Discount Club * Musical Month Club 5 Rock * Pop 56 Readers' Comments 6 Folk * Traditional 58 Mailing List Info * Be A Slipper Supporter! 7 Country 65 Holiday 8 R&B * Rap * Dance 67 Calendars * Cards 11 Gospel 67 Classical 12 Jazz 68 Drumming * Percussion 14 Blues 69 Women's Spirituality * New Age 15 Spoken 70 Native American 26 Babyslipper Catalog 71 Women's Music * Feminist Music 27 "Mehn's Music" 73 Comedy 38 Videos 77 African Heritage 39 T-Shirts * Grab-Bags 82 Celtic * British Isles 41 Songbooks * Sheet Music 83 European 46 Books * Posters 84 Latin American . 47 Gift Order Blank * Gift Certificates 85 African 49 Free Gifts * Ladyslipper's Top 40 86 Asian * Pacific 50 Artist Index 87 MAIL: Ladyslipper, PO Box 3124, Durham, NC 27715 ORDERS: 800-634-6044 (Mon-Fri 9-8, Sat'11-5) Ordering Information INFORMATION: 919-683-1570 (same as above) FAX: 919-682-5601 (24 hours'7 days a week) PAYMENT: Orders can be prepaid or charged (we BACK-ORDERS AND ALTERNATIVES: If we are FORMAT: Each description states which formats are don't bill or ship C.O.D. except to stores, libraries and temporarily out of stock on a title, we will automati available. LP = record, CS = cassette, CD = com schools). Make check or money order payable to cally back-order it unless you include alternatives pact disc. Some recordings are available only on LP Ladyslipper, Inc. -
Area Studies
DOCUMENT RESUME ED 091 303 SO 007 520 AUTHOR Stone, Frank A. TITLE Armenian Studies for Secondary Students, A Curriculum Guide. INSTITUTION Connecticut Univ., Storrs. World Education Project. PUB DATE 74 NOTE 55p. EDRS PRICE MF-$0.75 HC-$3 15 PLUS POSTAGE DESCRIPTORS Annotated Bibographies; *Area Studies; Cultural Pluralism; *Culture; *Ethnic Studies; Evaluation; *Humanities; Immigrants; Instructional Materials; Interdisciplinary Approach; *Middle Eastern Studies; Minority Groups; Questioning Techniques; Resource Materials; Secondary Education; Teaching Methods IDENTIFIERS Armenians; *World Education Project ABSTRACT The guide outlines a two to six week course of study on Armenian history and culture for secondary level students. The unit will help students develop an understanding of the following: culture of the American citizens of Armenian origin; key events and major trends in Armenian history; Armenian architecture, folklore, literature and music as vehicles of culture; and characteristics of Armenian educational, political and religious institutions. Teaching strategies suggested include the use of print and non-print materials, questioning techniques, classroom discussion, art activities, field traps, and classroom visits by Armenian-Americans. The guide consists c)i the following seven units:(1) The Armenians in North America; (2) sk.,,tches of Armenian History;(3) Armenian Mythology; (4) lic)ices of Fiction and Poetry;(5) Armenian Christianity; (e) Armenian Fine Arts; and (7)Armenian Political Aims. InstrLF-ional and resource materials, background sources, teaching s...7atc,c !s, and questions to stimulate classroom discussion are prove.': :'fc,r each unit. (Author/RM) U S DEPARTMENT OF HEALTH. EDUCATION & WELFARE NATIONAL INSTITUTE OF EDUCATION THIS DOCUMENT HAS BEEN REPRO DUCED EXACTLY AS RECEIVED FROM THE PERSON OR ORGANIZATION ORIGIN ATING IT POINTS OF VIEW OR OPINIONS STATED DO NO1 NECESSARILY REPRE SENT OFF ICIAL NATIONAL INSTITUTE OF EDUCATION POSITION OR POLICY ARMENIAN STUDIES FOR SECONDARY STUDENTS P% A Curriculum Guide Prepared by Frank A. -
Official Festival Program 2019
The Garifuna Collective perform Sunday, September 22, in Humboldt Park as part of the Global Peace Picnic. JEREMYLEWIS The Reader’s guide to World Music Festival Chicago Its 18 free concerts, spread out over 17 venues, provide us with dozens of opportunities to get to know our neighbors better—both across the street and around the globe. ll SEPTEMBER - CHICAOREADER35 Ethiopian singer Mahmoud Ahmed (in white) performs at Pritzker Pavilion during the 2015 World Music Festival. PATRICKLPYSZKA he World Music Festival is Chica- shrinking since founder Michael Orlove and (they appear as part of a Millennium Park Of course, the World Music Festival can’t go’s best music festival. You can his sta were laid o in 2011. It declined from Latinx showcase called ¡Súbelo!, which can stop the federal government’s campaign of enjoy it without dealing with tens 52 shows to 41 in 2012, then dropped to 36 mean “enjoy!” or “turn it up!”). Other acts cruelty against immigrants, refugees, asy- of thousands of people at once, in 2014. This year it consists of just 18, down carry forward antique traditions more or less lum seekers, and Black and Brown people in or being immobilized by a sweaty from 21 last year. But as the WMF has gotten undiluted: they include many performers at general. But because the WMF encourages Tshoulder- to-shoulder crowd. The WMF lasts smaller, it’s also weaned itself of a disappoint- Ragamala, the marathon of Indian classical curiosity, empathy, and connection, it stands 17 days, so you won’t miss it all if you get ing dependence on local acts that Chicagoans music that opens the festival, and the Yandong in symbolic opposition to a regime that po- sick on the wrong weekend. -
ARC Music CATALOGUE
WELCOME TO THE ARC Music CATALOGUE Welcome to the latest ARC Music catalogue. Here you will find possibly the finest and largest collection of world & folk music and other related genres in the world. Covering music from Africa to Ireland, from Tahiti to Iceland, from Tierra del Fuego to Yakutia and from Tango, Salsa and Merengue to world music fusion and crossovers to mainstream - our repertoire is huge. Our label was established in 1976 and since then we have built up a considerable library of recordings which document the indig- enous lifestyles and traditions of cultures and peoples from all over the world. We strive to supply you with interesting and pleasing recordings of the highest quality and at the same time providing information about the artists/groups, the instruments and the music they play and any other information we think might interest you. An important note. You will see next to the titles of each album on each page a product number (EUCD then a number). This is our reference number for each album. If you should ever encounter any difficulties obtaining our CDs in record stores please contact us through the appropriate company for your country on the back page of this catalogue - we will help you to get our music. Enjoy the catalogue, please contact us at any time to order and enjoy wonderful music from around the world with ARC Music. Best wishes, the ARC Music team. SPECIAL NOTE Instrumental albums in TOP 10 Best-Selling RELEASES 2007/2008 our catalogue are marked with this symbol: 1. -
Exploring Armenian Keyboard Music : Roots to Modern Times Marina Berberian Florida International University
Florida International University FIU Digital Commons FIU Electronic Theses and Dissertations University Graduate School 3-20-2010 Exploring Armenian keyboard music : roots to modern times Marina Berberian Florida International University DOI: 10.25148/etd.FI14051105 Follow this and additional works at: https://digitalcommons.fiu.edu/etd Part of the Music Commons Recommended Citation Berberian, Marina, "Exploring Armenian keyboard music : roots to modern times" (2010). FIU Electronic Theses and Dissertations. 1604. https://digitalcommons.fiu.edu/etd/1604 This work is brought to you for free and open access by the University Graduate School at FIU Digital Commons. It has been accepted for inclusion in FIU Electronic Theses and Dissertations by an authorized administrator of FIU Digital Commons. For more information, please contact [email protected]. FLORIDA INTERNATIONAL UNIVERSITY Miami, Florida EXPLORING ARMENIAN KEYBOARD MUSIC: ROOTS TO MODERN TIMES A thesis submitted in partial fulfillment of the requirements for the degree of MASTER OF MUSIC by Marina Berberian 2010 To: Acting Dean Brian Schriner College of Architecture and the Arts This thesis, written by Marina Berberian, and entitled Exploring Armenian Keyboard Music: Roots to Modern Times, having been approved in respect to style and intellectual content, is referred to you for judgment. We have read this thesis and recommend that it be approved. Joel Galand Jose Lopez Kemal Gekic, Major Professor Date of Defense: March 20, 2010 The thesis of Marina Berberian is approved. Acting Dean -
The Significance of Aram Khachaturian and His Piano Concerto
Western University Scholarship@Western Electronic Thesis and Dissertation Repository 3-9-2018 12:45 PM The Significance of Aram Khachaturian and His Piano Concerto Sarah M. Dardarian, The University of Western Ontario Supervisor: Nolan, Catherine, The University of Western Ontario Co-Supervisor: Kinton, Leslie, The University of Western Ontario A thesis submitted in partial fulfillment of the equirr ements for the Doctor of Musical Arts degree in Music © Sarah M. Dardarian 2018 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Music Performance Commons Recommended Citation Dardarian, Sarah M., "The Significance of Aram Khachaturian and His Piano Concerto" (2018). Electronic Thesis and Dissertation Repository. 5269. https://ir.lib.uwo.ca/etd/5269 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. Abstract Aram Khachaturian, a Soviet-era Armenian composer, wrote his Piano Concerto in D♭ major in 1936. He was born in Tbilisi, Georgia to an Armenian family and moved to Moscow for his musical training at the age of nineteen. As a child, he was exposed to Eastern music of the Transcaucasus, which remained a lasting influence in his music. He created a unique musical sound that includes Eastern and Western elements. Khachaturian’s music achieved success early in his career. The Piano Concerto, written during his time as a post-graduate student under Myaskovsky, remains one of his best- known works. -
Komitas ‒ an Icon in Armenian Music
KOMITAS – AN ICON IN ARMENIAN MUSIC Ph.D. student, ÁGOTA BODURIAN ”Transilvania” University of Braşov, Faculty of Music Ágota BODURIAN is a graduate of the National Academy of Music ”Gheorghe Dima” of Cluj-Napoca (2001), the Music / Violin Pedagogy Department. She graduated the master studies at the same institution, specializing in Music Syntheses (2003). She is currently a PhD student at the ”Transilvania” University of Brașov, Faculty of Music. For 19 years she has worked as music teacher at the Dr. Palló Imre High School in Odorheiu Secuiesc, and since 2008 she has also been the music secretary of the Philharmonic in her hometown. She collaborated in the publication of several books on the Armenian culture in Transylvania, and is the author of numerous articles on Armenian culture and music, published in specialized journals. ABSTRACT Although the 150th anniversary of the birth of the great Armenian composer, Komitas – celebrated with great respect in Armenian communities everywhere – took place last year, we believe that the importance of the work of this icon in Armenian music deserves and must be mentioned in any period. The author of this study has been concerned with the issue of Armenian music for a long time. During the in-depth studies in the field, the conviction of the need to talk about Armenian music – very little known in Europe – and about its famous representatives, of which the most important was and still is Komitas, was strengthened. At the same time, studying the life and work of this outstanding composer, the similarity of his life and career with that of Bartók Béla, sometimes even surprising, arose several times, despite the great geographical distance that separated them. -
Ladyslipper Catalog Table of Contents
I ____. Ladyslipper Catalog Table of Contents Free Gifts 2 Country The New Spring Crop: New Titles 3 Alternative Rock 5g Celtic * British Isles 12 Rock * Pop 6i Women's Spirituality * New Age 16 R&B * Rap * Dance 64 Recovery 27 Gospel 64 Native American 28 Blues ' 04 Drumming * Percussion 30 Jazz • '. 65 African-American * African-Canadian 31 Classical 67 Women's Music * Feminist Music 33 Spoken .... 68 Comedy 43 Babyslipper Catalog 70 Jewish 44 Mehn's Music 72 Latin American 45 Videos 75 Reggae * Caribbean 47 Songbooks * Sheet Music 80 European 47 Books 81 Arabic * Middle Eastern 49 Jewelry, Cards, T-Shirts, Grab-Bags, Posters 82 African 49 Ordering Information 84 Asian * Pacific 50 Order Blank 85 Folk * Traditional 51 Artist Index 86 Free Gifts We appreciate your support, and would like to say thank you by offering free bonus items with your order! (This offer is for Retail Customers only.) FMNKK ARMSTRONG AWmeuusic PIAYS SO GHMO Order 5 items: Get one Surprise Recording free! Our choice of title and format; order item #FR1000. Order 10 items: choose any 2 of the following free! Order 15 items: choose any 3 of the following free! Order 20 items: choose any 4 of the following free! Order 25 items: choose any 5 of the following free! Order 30 items: choose any 6 of the following free! Please use stock numbers below. #FR1000: Surprise Recording - From Our Grab Bag (our choice) #FR1100: blackgirls: Happy (cassette - p. 52) Credits #FR1300: Frankie Armstrong: ..Music Plays So Grand (cassette - p. 14) #FR1500: Heather Bishop: A Taste of the Blues (LP - p. -
Folk Songs" (1964)
University of Louisville ThinkIR: The University of Louisville's Institutional Repository Electronic Theses and Dissertations 5-2010 Transforming the past : Luciano Berio's appropriation of folk materials and idioms in "Folk Songs" (1964). Jamison Tyler Fritts University of Louisville Follow this and additional works at: https://ir.library.louisville.edu/etd Recommended Citation Fritts, Jamison Tyler, "Transforming the past : Luciano Berio's appropriation of folk materials and idioms in "Folk Songs" (1964)." (2010). Electronic Theses and Dissertations. Paper 463. https://doi.org/10.18297/etd/463 This Master's Thesis is brought to you for free and open access by ThinkIR: The University of Louisville's Institutional Repository. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of ThinkIR: The University of Louisville's Institutional Repository. This title appears here courtesy of the author, who has retained all other copyrights. For more information, please contact [email protected]. TRANSFORMING THE PAST: LUCIANO BERIO'S APPROPRIATION OF FOLK MATERIALS AND IDIOMS IN FOLK SONGS (1964) By Jamison Tyler Fritts B.A., Berea College, 2007 A Thesis Submitted to the Faculty of the School of Music of the University of Louisville in Partial Fulfillment of the Requirements for the Degree of Master of Music Department of Music History and Literature University of Louisville Louisville, Kentucky May 2010 TRANSFORMING THE PAST: LUCIANO BERIO'S APPROPRIATION OF FOLK MATERIALS AND IDIOMS IN FOLK SONGS (1964) By Jamison Tyler Fritts B.A., Berea College, 2007 A Thesis Approved on April 14, 2010 by the following Thesis Committee: Thesi; Director 11 DEDICATION This thesis is dedicated to my family and Dr. -
The Role of Folk Music, the Duduk, and Clarinet in the Works of Contemporary Armenian Composers Aram Khachaturian and Vache Sharafyan Anastasia Christofakis
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2015 The Music That Shaped a Nation: The Role of Folk Music, the Duduk, and Clarinet in the Works of Contemporary Armenian Composers Aram Khachaturian and Vache Sharafyan Anastasia Christofakis Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC THE MUSIC THAT SHAPED A NATION: THE ROLE OF FOLK MUSIC, THE DUDUK, AND CLARINET IN THE WORKS OF CONTEMPORARY ARMENIAN COMPOSERS ARAM KHACHATURIAN AND VACHE SHARAFYAN By ANASTASIA CHRISTOFAKIS A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Spring Semester, 2015 Anastasia Christofakis defended this treatise on April 14, 2015. The members of the supervisory committee were: Deborah Bish Professor Directing Treatise Frank Gunderson University Representative Alexander Jiménez Committee Member Eric Ohlsson Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the treatise has been approved in accordance with university requirements. ii To my Armenian friends. iii ACKNOWLEDGMENTS First and foremost, I would like to thank my parents for their continuous support and unyielding dedication to my success. Secondly, I would like to thank Dr. Bish, for tolerating my wry sense of humor and helping me to conquer all fears. To the members of my committee, Alexander Jiménez, Eric Ohlsson, and Frank Gunderson, for their time and advice throughout this entire process. To Vache Sharafyan for welcoming me into his home and his creative life, thank you for sharing your music and valuable insights with me.