AMS Newsletter August 2006
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On Diversity*
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Tennessee, Knoxville: Trace ON DIVERSITY* AMY CIMINI AND JAIRO MORENO DIVERSE: to “turn apart” (ME & OFr < L diversus, pp. of divertere, to turn aside < dis-, apart + vertere, to turn). he word “diverse,” etymology informs us, appears in the thirteenth century, perhaps in T analogy with a term used in geometry, “transverse.” Roughly four and a half centuries later, the word’s meaning becomes more or less fixed: an adjective signifying “different in char- acter or quality.” Late in the 1930s, “diverse” emerges as a verb to designate a new imperative in U.S. economics: to diversify, meaning the careful quantitative distribution of various invest- ments. By 1978, in a landmark United States Supreme Court ruling on university admissions, the word “diversity,” now a noun, comes to inscribe both a qualitative distinction of ethno-cultural groups and their quantitative distribution in institutions of higher education. Although the balance between quality and quantity, as well as their definition, was subject of much legal dispute, the notion became widely accepted that diversity of representation of various groups was fundamental to the educational mission of the university and the well-being of the social field. Whenever we speak of diversity in the U.S., we invoke the spirit of the Supreme Court’s definition. * The authors would like to thank Ana María Ochoa for comments on a draft of this article, and Clara Latham for expert research assistance. Jairo Moreno also thanks Philip Ewell and Frederick Bashour for the invitation to participate in the 2007 Society for Music Theory diversity panel in Baltimore. -
Between Liminality and Transgression: Experimental Voice in Avant-Garde Performance
BETWEEN LIMINALITY AND TRANSGRESSION: EXPERIMENTAL VOICE IN AVANT-GARDE PERFORMANCE _________________________________________________________________ A thesis submitted in partial fulfilment of the requirements for the Degree of Doctor of Philosophy in Theatre and Film Studies in the University of Canterbury by Emma Johnston ______________________ University of Canterbury 2014 ii Abstract This thesis explores the notion of ‘experimental voice’ in avant-garde performance, in the way it transgresses conventional forms of vocal expression as a means of both extending and enhancing the expressive capabilities of the voice, and reframing the social and political contexts in which these voices are heard. I examine these avant-garde voices in relation to three different liminal contexts in which the voice plays a central role: in ritual vocal expressions, such as Greek lament and Māori karanga, where the voice forms a bridge between the living and the dead; in electroacoustic music and film, where the voice is dissociated from its source body and can be heard to resound somewhere between human and machine; and from a psychoanalytic perspective, where the voice may bring to consciousness the repressed fears and desires of the unconscious. The liminal phase of ritual performance is a time of inherent possibility, where the usual social structures are inverted or subverted, but the liminal is ultimately temporary and conservative. Victor Turner suggests the concept of the ‘liminoid’ as a more transgressive alternative to the liminal, allowing for permanent and lasting social change. It may be in the liminoid realm of avant-garde performance that voices can be reimagined inside the frame of performance, as a means of exploring new forms of expression in life. -
A Perspective of New Simplicity in Contemporary Composition: Song of Songs As a Case Study Isabel Maria Pereira Barata Da Rocha
MESTRADO COMPOSIÇÃO E TEORIA MUSICAL A perspective of New Simplicity in contemporary composition: Song of Songs as a case study Isabel Maria Pereira Barata da Rocha 06/2017 A perspective of New Simplicity in contemporary composition: Song of Songs as a case study. Isabel Maria Pereira Barata da Rocha MESTRADO M COMPOSIÇÃO E TEORIA MUSICAL A perspective of New Simplicity in contemporary composition: Song of Songs as a case study Isabel Maria Pereira Barata da Rocha Dissertação apresentada à Escola Superior de Música e Artes do Espetáculo como requisito parcial para obtenção do grau de Mestre em Composição e Teoria Musical Professor Orientador Professor Doutor Eugénio Amorim Professora Coorientadora Professora Doutora Daniela Coimbra 06/2017 A perspective of New Simplicity in contemporary composition: Song of Songs as a case study. Isabel Maria Pereira Barata da Rocha Dedico este trabalho a todos os homens e todas as mulheres de boa vontade. A perspective of New Simplicity in contemporary composition: Song of Songs as a case study. Isabel Maria Pereira Barata da Rocha A perspective of New Simplicity in contemporary composition: Song of Songs as a case study. Isabel Maria Pereira Barata da Rocha Agradecimentos À minha filha Luz, que me dá a felicidade de ser sua mãe, pelo incentivo. Aos meus pais Ana e Luís, pelo apoio incondicional. A Ermelinda de Jesus, pela ajuda sempre disponível. À Fátima, à Joana e à Mariana, pela amizade profunda. Ao José Bernardo e aos avós Teresa e António José, pelo auxílio. Ao Pedro Fesch, pela compreensão e pela aposta na formação dos professores em quem confia. -
Annual Report 2020 1
ACLS Annual Report 2020 1 AMERICAN COUNCIL OF LEARNED SOCIETIES Annual Report 2020 2 ACLS Annual Report 2020 Table of Contents Mission and Purpose 1 Message from the President 2 Who We Are 6 Year in Review 12 President’s Report to the Council 18 What We Do 23 Supporting Our Work 70 Financial Statements 84 ACLS Annual Report 2020 1 Mission and Purpose The American Council of Learned Societies supports the creation and circulation of knowledge that advances understanding of humanity and human endeavors in the past, present, and future, with a view toward improving human experience. SUPPORT CONNECT AMPLIFY RENEW We support humanistic knowledge by making resources available to scholars and by strengthening the infrastructure for scholarship at the level of the individual scholar, the department, the institution, the learned society, and the national and international network. We work in collaboration with member societies, institutions of higher education, scholars, students, foundations, and the public. We seek out and support new and emerging organizations that share our mission. We commit to expanding the forms, content, and flow of scholarly knowledge because we value diversity of identity and experience, the free play of intellectual curiosity, and the spirit of exploration—and above all, because we view humanistic understanding as crucially necessary to prototyping better futures for humanity. It is a public good that should serve the interests of a diverse public. We see humanistic knowledge in paradoxical circumstances: at once central to human flourishing while also fighting for greater recognition in the public eye and, increasingly, in institutions of higher education. -
Chapter Three Minimal Music
72 Chapter Three Minimal music This chapter begins with a brief outline of minimal music in the United States, Europe and Australia. Focusing on composers and stylistic characteristics of their music, plus aspects of minimal music pertinent to this study, it helps the reader situate the compositions, composers and events referred to throughout the thesis. The chapter then outlines reasons for engaging students aged 9 to 18 years in composing activities drawn from projects with minimalist characteristics, reasons often related to compositional or historical aspects of minimal music since the late 1960s. A number of these reasons are educational, concerned with minimalism as an accessible teaching resource that draws on students’ current musical knowledge and offers a bridge from which to explore musics of other cultures and other contemporary art musics. Other reasons are concerned with the performance capabilities of students, with the opportunity to introduce students to a contemporary aesthetic, to different structural possibilities and collaboration and subject integration opportunities. There is also an educational need for a study investigating student composing activities to focus on these activities in relation to contemporary art music. There are social reasons for engaging students in minimalist projects concerned with introducing students to contemporary arts practice through ‘the new tonality’, involving students with a contemporary music which is often controversial, and engaging students with minimalism at a time of particular activity and expansion in the United States and in Australia. 3.1 Minimalism Minimalism is an aesthetic found across a number of different art forms – architecture, dance, visual art, theatre, design and music - and at the beginning of the twenty-first century, it is still strongly influential on many contemporary artists. -
A Liturgy for Maundy Thursday
A Liturgy for Maundy Thursday Entrance Song to Athene Sir John Tavener Penitential Order Officiant Blessed be the God of our salvation: People Who bears our burdens and forgives our sins. Officiant Since we have a great high priest who has passed through the heavens, Jesus, the Son of God, let us with confidence draw near to the throne of grace, that we may receive mercy and find grace to help in time of need. Hebrews 4:14,16 Confession The Deacon then says Let us confess our sins against God and our neighbor. Silence may be kept. All God of all mercy, we confess that we have sinned against you, opposing your will in our lives. We have denied your goodness in each other, in ourselves, and in the world you have created. We repent of the evil that enslaves us, the evil we have done, and the evil done on our behalf. Forgive, restore, and strengthen us through our Savior Jesus Christ, that we may abide in your love and serve only your will. Amen. The Priest says Almighty God have mercy on you, forgive you all your sins through our Lord Jesus Christ, strengthen you in all goodness, and by the power of the Holy Spirit keep you in eternal life. Amen. The Trisagion (Sung three times) Cantor Holy God, Holy and Mighty, Holy Immortal One, All Have mercy upon us. Interlude Trisagion Sir John Tavener Collect of the Day BCP 274 Celebrant Hear our cry, O God! People And listen to our prayer. Celebrant Let us pray. -
The American Stravinsky
0/-*/&4637&: *ODPMMBCPSBUJPOXJUI6OHMVFJU XFIBWFTFUVQBTVSWFZ POMZUFORVFTUJPOT UP MFBSONPSFBCPVUIPXPQFOBDDFTTFCPPLTBSFEJTDPWFSFEBOEVTFE 8FSFBMMZWBMVFZPVSQBSUJDJQBUJPOQMFBTFUBLFQBSU $-*$,)&3& "OFMFDUSPOJDWFSTJPOPGUIJTCPPLJTGSFFMZBWBJMBCMF UIBOLTUP UIFTVQQPSUPGMJCSBSJFTXPSLJOHXJUI,OPXMFEHF6OMBUDIFE ,6JTBDPMMBCPSBUJWFJOJUJBUJWFEFTJHOFEUPNBLFIJHIRVBMJUZ CPPLT0QFO"DDFTTGPSUIFQVCMJDHPPE THE AMERICAN STRAVINSKY THE AMERICAN STRAVINSKY The Style and Aesthetics of Copland’s New American Music, the Early Works, 1921–1938 Gayle Murchison THE UNIVERSITY OF MICHIGAN PRESS :: ANN ARBOR TO THE MEMORY OF MY MOTHERS :: Beulah McQueen Murchison and Earnestine Arnette Copyright © by the University of Michigan 2012 All rights reserved This book may not be reproduced, in whole or in part, including illustrations, in any form (beyond that copying permitted by Sections 107 and 108 of the U.S. Copyright Law and except by reviewers for the public press), without written permission from the publisher. Published in the United States of America by The University of Michigan Press Manufactured in the United States of America ϱ Printed on acid-free paper 2015 2014 2013 2012 4321 A CIP catalog record for this book is available from the British Library. ISBN 978-0-472-09984-9 Publication of this book was supported by a grant from the H. Earle Johnson Fund of the Society for American Music. “Excellence in all endeavors” “Smile in the face of adversity . and never give up!” Acknowledgments Hoc opus, hic labor est. I stand on the shoulders of those who have come before. Over the past forty years family, friends, professors, teachers, colleagues, eminent scholars, students, and just plain folk have taught me much of what you read in these pages. And the Creator has given me the wherewithal to ex- ecute what is now before you. First, I could not have completed research without the assistance of the staff at various libraries. -
Newsletter a Publication of the Society for Music Theory
OPEN LETTER TO THE MEMBERSHIP At a time when the pace of national and international events is unusually brisk and the implications broad and deep, many of us are asking ourselves what we, as individuals and as scholars in the field of music theory, can reasonably do— SSocietyM for Music TheoryT how we can make a difference. There are many ways to respond, some vocal and external, others ostensibly silent and internal. But as musicians know all too well, silence can be highly charged, a point of reflection and projection. It can be a critical place of contemplation and discernment, the roots of determi- nation and resolve. Newsletter Two things we can do as a Society are 1) reaffirm our values as members of a scholarly community that transcends disciplinary boundaries and national borders and 2) redouble our commitment to do what we do best—educate A Publication of the ourselves and foster the high-level exchange of ideas. To quote a recent statement approved by the SMT Executive Board, “The Society for Music Society for Music Theory Theory reaffirms its values of inclusivity and diversity, open and respect- ful dialogue, academic freedom, and scholarly integrity. We further support the principle that all in the music-theoretic community and beyond should have the opportunity to study, work, and engage in free inquiry across cul- News from the Society tural, linguistic, and other social boundaries. The free movement of schol- ars and sharing of ideas is essential to the progress of scholarship and to Open Letter to the Membership..........................1-2 the intellectual health of our field. -
Journal of the Conductors Guild
Journal of the Conductors Guild Volume 32 2015-2016 19350 Magnolia Grove Square, #301 Leesburg, VA 20176 Phone: (646) 335-2032 E-mail: [email protected] Website: www.conductorsguild.org Jan Wilson, Executive Director Officers John Farrer, President John Gordon Ross, Treasurer Erin Freeman, Vice-President David Leibowitz, Secretary Christopher Blair, President-Elect Gordon Johnson, Past President Board of Directors Ira Abrams Brian Dowdy Jon C. Mitchell Marc-André Bougie Thomas Gamboa Philip Morehead Wesley J. Broadnax Silas Nathaniel Huff Kevin Purcell Jonathan Caldwell David Itkin Dominique Royem Rubén Capriles John Koshak Markand Thakar Mark Crim Paul Manz Emily Threinen John Devlin Jeffery Meyer Julius Williams Advisory Council James Allen Anderson Adrian Gnam Larry Newland Pierre Boulez (in memoriam) Michael Griffith Harlan D. Parker Emily Freeman Brown Samuel Jones Donald Portnoy Michael Charry Tonu Kalam Barbara Schubert Sandra Dackow Wes Kenney Gunther Schuller (in memoriam) Harold Farberman Daniel Lewis Leonard Slatkin Max Rudolf Award Winners Herbert Blomstedt Gustav Meier Jonathan Sternberg David M. Epstein Otto-Werner Mueller Paul Vermel Donald Hunsberger Helmuth Rilling Daniel Lewis Gunther Schuller Thelma A. Robinson Award Winners Beatrice Jona Affron Carolyn Kuan Jamie Reeves Eric Bell Katherine Kilburn Laura Rexroth Miriam Burns Matilda Hofman Annunziata Tomaro Kevin Geraldi Octavio Más-Arocas Steven Martyn Zike Theodore Thomas Award Winners Claudio Abbado Frederick Fennell Robert Shaw Maurice Abravanel Bernard Haitink Leonard Slatkin Marin Alsop Margaret Hillis Esa-Pekka Salonen Leon Barzin James Levine Sir Georg Solti Leonard Bernstein Kurt Masur Michael Tilson Thomas Pierre Boulez Sir Simon Rattle David Zinman Sir Colin Davis Max Rudolf Journal of the Conductors Guild Volume 32 (2015-2016) Nathaniel F. -
Minimalism and New Complexity in Solo Flute Repertoire by Twila Dawn Bakker Bachelor of Arts, Univer
Two Responses to Modernism: Minimalism and New Complexity in Solo Flute Repertoire by Twila Dawn Bakker Bachelor of Arts, University of Alberta, 2008 A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of MASTER OF ARTS in the School of Music Twila Dawn Bakker, 2011 University of Victoria All rights reserved. This thesis may not be reproduced in whole or in part, by photocopy or other means, without the permission of the author. ii Supervisory Committee Two Responses to Modernism: Minimalism and New Complexity in Solo Flute Repertoire by Twila Dawn Bakker Bachelor of Arts, University of Alberta, 2008 Supervisory Committee Dr. Jonathan Goldman, School of Music Supervisor Dr. Michelle Fillion, School of Music Departmental Member iii Abstract Supervisory Committee Dr. Jonathan Goldman, School of Music Supervisor Dr. Michelle Fillion, School of Music Departmental Member Wind repertoire, especially for flute, has received little focused attention in the musicological world especially when compared with other instruments. This gap in scholarship is further exacerbated when the scope of time is narrowed to the last quarter of the twentieth century. Although Minimalism and New Complexity are – at least superficially – highly divergent styles of composition, they both exhibit aspects of a response to modernism. An examination of emblematic examples from the repertoire for solo flute (or recorder), specifically focusing on: Louis Andriessen’s Ende (1981); James Dillon’s Sgothan (1984), Brian Ferneyhough’s Carceri d’Invenzione IIb (1984), Superscripto (1981), and Unity Capsule (1975); Philip Glass’s Arabesque in Memoriam (1988); Henryk Górecki’s Valentine Piece (1996); and Steve Reich’s Vermont Counterpoint (1982), allows for the similarities in both genre’s response to modernism to be highlighted. -
MISSA WELLENSIS MISSA WELLENSIS Duration, None Longer Than 25 Minutes
MISSA WELLENSIS MISSA WELLENSIS duration, none longer than 25 minutes. These JOHN TAVENER (1944-2013) late-flowering pieces marked a step away from Death came close to John Tavener in December the expansive gestures present in much Missa Wellensis * 2007. The composer, in Switzerland for the of his music of the early 2000s; they also 1 Kyrie [6.06] first performance of his Mass of the encompassed a refinement of Tavener’s 2 Gloria [5.42] Immaculate Conception, was struck by a heart universalist outlook, part of a personal quest 3 Sanctus and Benedictus [3.01] 4 Agnus Dei [2.15] attack that knocked him into a coma for Sophia perennis or the perennial wisdom and demanded emergency surgery. When he common to all religious traditions. 5 The Lord’s Prayer [2.19] regained consciousness, Tavener the convalescent 6 Love bade me welcome [6.02] discovered that the familiar fervour of his The works of Tavener’s final years, including 7 Preces and Responses Part One * [2.07] faith in God was no longer there; he had the Missa Wellensis and Preces and Responses Cantor: Iain MacLeod-Jones (tenor) also lost his desire to write music. Tavener’s for Wells Cathedral, were driven by an intention 8 Psalm 121: I Will Lift up Mine Eyes unto the Hills [5.17] long recovery at home, a trial endured for to recover the essence of sacred or spiritual Magnificat and Nunc dimittis ‘Collegium Regale’ three years, was marked by physical weakness texts, to renew their vitality and immediacy, 9 Magnificat [7.25] and extreme pain and their correlates, to connect with their deepest claims to truth. -
Program and Abstracts
American Musicological Society HOUSTON November 13 -16, 2003 Program and Abstracts Program and Abstracts of Papers Read at the American Musicological Society Sixty-Ninth Annual Meeting November –, Hyatt Regency Hotel, Houston, Texas AMS 2003 Annual Meeting Edited by Jann Pasler Chair, AMS Program Committee Local Arrangements Committee Howard Pollack, Chair, Paula Eisenstein Baker, Gregory Barnett, Matthew Dirst, Ann Fairbanks, Rhonda Furr, Larissa Jackson, Yvonne Kendall, Elizabeth Morrison, Jane Perkyns, John Snyder, Kathy Wallace AMS Performance Committee Julie Cumming, Chair, Don O. Franklin, Neal Zaslaw AMS Program Committee Jann Pasler, Chair, Susan Boynton, Elizabeth Hudson, Jeffrey Kallberg, Robert Kendrick, Michael Tusa The AMS gratefully acknowledges the support of Yamaha Corporation for their dona- tion of pianos used during the Annual Meeting, and the Moores School of Music, Uni- versity of Houston, for their administrative support in preparation for the meeting. Program and Abstracts of Papers Read (ISSN -) is published annually for the An- nual Meeting of the American Musicological Society, where one copy is distributed to attendees free of charge. Additional copies may be purchased from the Society for $. per copy ($. for non-members and institutions) plus $. postage and handling ($. overseas). Contact the Society at S. th St., Philadelphia, PA - (tel. /- , fax /-, e-mail [email protected]) to order. Copyright © by the American Musicological Society, Inc. All rights reserved. Contents 24 History as Myth 26 Voice and