Lists of Members 1996
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Complexity Through Interaction
Complexity Through Interaction An investigation into the spontaneous development of collective musical ideas from simple thematic materials Nicholas Tasman Haywood M.Music Performance, The University of Melbourne (Victorian College of the Arts) Submitted in partial fulfilment of the degree of Doctor of Philosophy University of Tasmania Hobart (June 2014) ii DECLARATION This exegesis contains the results of research carried out at the University of Tasmania, Conservatorium of Music between 2010 and 2013. It contains no material that, to my knowledge, has been accepted for a degree or diploma by the University or any other institution, except by way of background information that is duly acknowledged in the exegesis. I declare that this exegesis is my own work and contains no material previously published or written by another person except where clear acknowledgement or reference has been made in the text. This exegesis may be made available for loan and limited copying in accordance with the Copyright Act 1968. Nicholas Tasman Haywood Date ii Table of Contents Acknowledgements ................................................................................................. iv List of Figures ............................................................................................................ v Abstract ................................................................................................................... vi Chapter 1 ................................................................................................................. -
BOB SEDERGREEN: the INTERVIEW by Adrian Jackson*
BOB SEDERGREEN: THE INTERVIEW by Adrian Jackson* _______________________________________________________ [This interview appeared in the December 1981 edition of Jazz Magazine] ver the last decade, I have had the pleasure of hearing pianist Bob Sedergreen play on many occasions: with vibist Alan Lee, with a succession of bands led O by Brian Brown, as the focal point of the Ted Vining Trio, with Onaje, as the wild card in Peter Gaudion’s Blues Express, providing fairly heroic support to visiting stars Jimmy Witherspoon, Phil Woods, Richie Cole and Milt Jackson, even solo. I have always enjoyed and admired his playing for its unflagging swing and qualities of joy, resourcefulness and commitment, and his determination to take chances at all times in search of inspiration, which he seems to find more frequently than most. He has long impressed me as a jazz musician who often plays ‘above himself’ because he has the courage to do just that. Bob Sedergreen: the sum total of his music is pure Sedergreen… In the last few years, he has continued to increase the scope and depth of his playing, and his confidence in it, to the point where he is obviously one of the best musicians in Australia. We have too few others who can so consistently be so exciting, original, inventive, surprising and enjoyable. __________________________________________________________ *In 1981 when this was published, Adrian Jackson was a freelance writer, who had been jazz critic with the Melbourne Age since 1978. 1 I won’t try to describe his playing. As with any really good jazz artist, his playing is a reflection of his listening and playing experiences, and his own personality. -
Jonathan Summers B) CATEGORY: Opera Singer / Baritone C) POSITION: Freelance
1a) NAME: Jonathan Summers b) CATEGORY: Opera singer / baritone c) POSITION: Freelance 2a) PERSONAL DETAILS: date of birth / place / country 2nd October, 1946; Melbourne; Australia b) MARITAL STATUS: date of marriage / name of spouse / number of children 29th March 1969, Melbourne Australia; Lesley; 3 children 3) PREVIOUS OCCUPATIONS: dates / occupation 1965-1974 Freelance singer/concert artist 1970-1974 Technical operator/recording engineer Australian Broadcasting Commission, Melbourne 4) EDUCATION: dates / institution / city / teacher Secondary : Melbourne; Macleod High School Tertiary : Melbourne; Prahran Technical College (Art School) 1964-1974 Melbourne; Bettine McCaughan, voice teacher 1972-1973 Melbourne;National Theatre Opera School 1974-1980 London; Otakar Kraus, voice teacher 5) PROFESSIONAL DEBUT: date / opera company / role / opera / cast Nov 1975; Kent Opera; title role in Verdi's Rigoletto; Congress Theater, Eastbourne, UK; producer: Jonathan Miller; conductor: Roger Norrington; David Hillman (Duke), Meryl Drower (Gilda), Sarah Walker (Maddalena), Malcolm King (Sparafucile) 6) EARLY CAREER WITH BRIEF RESUME: dates / opera house or company / role / opera Feb 1976; University College London Opera; title role in Macbeth (orig. 1847 version); producer: John Moody; conductor: George Badachoni Sep 1976; Glyndebourne Touring Opera; title role in Falstaff; producer: Jean-Pierre Ponnelle; conductor: Kenneth Montgomery Oct 1976; joined the Royal Opera House, Covent Garden, London, as a company principal Nov 1976; English National Opera -
Nutcracker – the Story of Clara the AUSTRALIAN BALLET EDUCATION
TEACHER’S RESOURCE KIT SECONDARY SCHOOLS Nutcracker – The Story of Clara THE AUSTRALIAN BALLET EDUCATION Contents 05/ Synopsis 08/ The Creatives 10/ Spotlight on Nutcracker – The Story of Clara with Artistic Director David McAllister 11/ The Music 12/ Invitation to the Dance: Graeme Murphy on the origins of his Nutcracker 15/ Curricular activities TEACHER RESOURCE KIT | NUTCRACKER - STORY OF CLARA | 2 THE AUSTRALIAN BALLET EDUCATION Leanne Stojmenov. Photography Justin Ridler. Nutcracker – The Story of Clara Choreography Graeme Murphy Creative associate Janet Vernon Concept Graeme Murphy and Kristian Fredrikson Music Piotr Ilyich Tchaikovsky Set and costume design Kristian Fredrikson Original lighting design John Drummond Montgomery recreated by Francis Croese Film collage Philippe Charluet TEACHER RESOURCE KIT | NUTCRACKER - STORY OF CLARA | 3 THE AUSTRALIAN BALLET EDUCATION Leanne Stojmenov and Kevin Jackson. Photography Justin Ridler TEACHER RESOURCE KIT | NUTCRACKER - STORY OF CLARA | 4 THE AUSTRALIAN BALLET EDUCATION Nutcracker – The Story of Clara Amelia Soh, Natasha Kusen and artists of the Australian Ballet. Photography Daniel Boud SYNOPSIS ACT I During a sweltering Christmas Eve in Melbourne in the late During a troubled sleep Clara descends into hallucination. 1950s, the ageing Clara, once a famous Russian ballerina, She dreams that she encounters herself as a child and once struggles home through the scorching heat with her meagre again is terrified by shadows in the night. Then, as the clock shopping. All she can afford is a few provisions and a tiny strikes midnight on this final Christmas, she witnesses the death Christmas tree, which she places on a table. The music of of the man she loved and is caught in the destructive chaos of Tchaikovsky’s The Nutcracker from her radio fills her with the Russian Revolution. -
Moving to Research Partnerships in Developing Countries Anthony Costello, Alimuddin Zumla
Education and debate Moving to research partnerships in developing countries Anthony Costello, Alimuddin Zumla What should be the principles behind investment in Centre for research in developing countries? Does current International Child Summary points Health, Institute of practice overemphasise the results of research and Child Health, ignore issues like ownership, sustainability, and University College, Much foreign-led research in developing London development of national research capacity? We believe countries remains semicolonial in nature and may WC1N 1EH that the research model supported by many funding have negative effects on partner countries Anthony Costello agencies remains semicolonial in nature. Foreign professor of domination in setting research priorities and project international child “Annexed site” research led by expatriates should health management may have negative consequences which be phased out and replaced by a partnership Centre for outweigh the apparent benefits of the research model in which nationals lead research projects, Infectious Diseases findings. National academic leaders and institutions with only technical support from outsiders and International need to be involved if research is to be translated into Health, Royal Free and University practice. The deterioration in academic infrastructure Research funded through national academics and College Medical in many developing countries needs to be reversed as School, Windeyer institutions improves the chances of findings Institute of Medical part of -
2014 Annual Report
2014 Annual Report SOLD Five sell-out seasons,including Bellini’s Norma, new OUT Australian opera The Riders, Sondheim’s Into the Woods, children’s production Hansel and Gretel and youth opera The Play of Herod. In partnership with Arts Centre Melbourne, Victorian Opera staged the first ‘relaxed performance’ for children with disabilities attempted in Victoria with children’s production Hansel and Gretel. Two new works staged: Iain Grandage and Alison Croggon’s The Riders, co-produced with Malthouse Theatre, and Richard Mills’ The Play of Herod. Children’s production Hansel and Gretel was staged in a special performance at The Royal Children’s Hospital. Aspiring singers from across Melbourne and regional Victoria joined Victorian Opera and Orchestra Victoria to perform in The Big Sing at Hamer Hall. Regional community choir workshops and masterclasses conducted in Mildura, Wodonga, Stawell, Bendigo and Warragul. The Riders received critical acclaim and two Green Room Awards including ‘New Australian Opera’. The second intake of the National Graduate Opera Program, including seven opera singers and a répétiteur, commenced their Master of Music (Opera Performance) delivered in partnership between Victorian Opera and Melbourne Conservatorium of Music, The University of Melbourne. Victorian Opera launches Australia’s first year-round youth Opera Chorus VOYCE (Victorian Opera Youth Chorus Ensemble). [Image credit: The Riders (cover) photograph by Jeff Busby.] Contents Company Profile 2 Mission 2 Chairman’s Report 3 Artistic Director’s Report 5 Managing Director’s Report 7 Education and Community Engagement Report 9 Activities 2014 11 Artists & Creatives 2014 19 Individual Giving 21 Partners 23 Victorian Opera Board, Staff & Developing Artists 24 Financial Report 27 1 / Victorian Opera Annual Report // 2014 2 Company Mission Profile Victorian Opera: Uniquely Victorian, Victorian Opera aspires to present Uniquely Australian. -
Ellsworth American : December 1, 1920
The Thursday club will meet this LOCAL AFFAIRS week with Mrs. C, It. Burrill. Liberty National Bank The Ellsworth festival chorus will meet to-morrow with NEW evening Mrs. OF ELLSWORTH ADVERTISEMENTS. Allon P. Royal. Mrs. Kate Burnham leaves J. A. Haynes. Doyle to-morrow for where she M. L. Adams. Portland, will spend the winter. > YOUR Legal Notices. BUSINESS—and the Banks Mrs. Alma U STATE OF MAINE Dirlgo theatre. R. Whittemore and her [J ‘ niece, Miss Elizabeth other Union Trust Co. Silsby, returned ness™ bus'lLes"' to The1 bank"handles other O. W. Tapley Co. to-day Cambridge, Mass., for the people s moneypeoples valuables, winter. 5 1-2 Per Cent. Soldier’s documents, securities notes Central Maine Power Co. Coupon drafts, etc., and in numerous ways represents' nthpr Classified Advertisements. James W. Porter of people advises as to credit and Reading, investment Miss who has tion, gives advice and informa- Elizabeth Googins, nurse. Mass., been the guest of Bonus Fund Bonds help when financial trouble,, S. n ^ Williams’ Lunch Room, Bluehill Harry Parker, has returned to Bos- Th'8 18 Wby a ban* lu°te'yrreHnableSO "*«■» be abso! ton university. Dated Dec. 1, 1920. Maturing Dec. 1, 1921-1930. The young of the That absolute reliability is the aim of people Unitarian the Liberty Na- SCHEDULE OF MAILS. society will meet at the home of Mr. ~ -* evlde°c®d by the personnel of its DENOMINATION, $1,000. I U°n^ u h6?,1 manage- and Mrs. Martin L. Adams men‘—1lt» of directors and Ellsworth this eve- officers—and by the Postofflce. -
Short Takes Jazz News Festival Reviews Jazz Stories Interviews Columns
THE INDEPENDENT JOURNAL OF CREATIVE IMPROVISED MUSIC SHORT TAKES JAZZ NEWS FESTIVAL REVIEWS JAZZAMANCA 2020 JAZZ STORIES PATTY WATERS INTERVIEWS PETER BRÖTZMANN BILL CROW CHAD LEFOWITZ-BROWN COLUMNS NEW ISSUES - REISSUES PAPATAMUS - CD REVIEWS OBITURARIES Volume 46 Number 2 April May June Edition 2020 Ed Schuller (bassist, composer) on GM Recordings My name is Eddy I play the bass A kind of music For the human race And with beauty and grace Let's stay on the case As we look ahead To an uncertain space Peace, Music Love and Life" More info, please visit: www.gmrecordings.com Email: [email protected] GM Recordings, Inc. P.O. Box 894 Wingdale, NY 12594 3 | CADENCE MAGAZINE | APRIL MAY JUNE 2016 L with Wolfgang Köhler In the Land of Irene Kral & Alan Broadbent Live at A-Trane Berlin “The result is so close, so real, so beautiful – we are hooked!” (Barbara) “I came across this unique jazz singer in Berlin. His live record transforms the deeply moving old pieces into the present.” (Album tip in Guido) “As a custodian of tradition, Leuthäuser surprises above all with his flawless intonation – and that even in a live recording!” (Frankfurter Allgemeine Zeitung) “Leuthäuser captivates the audience with his adorable, youthful velvet voice.” (JazzThing) distributed by www.monsrecords.de presents Kądziela/Dąbrowski/Kasper Tom Release date: 20th March 2020 For more information please visit our shop: sklep.audiocave.pl or contact us at [email protected] The latest piano trio jazz from Quadrangle Music Jeff Fuller & Friends Round & Round Jeff Fuller, bass • Darren Litzie, piano • Ben Bilello, drums On their 4th CD since 2014, Jeff Fuller & Friends provide engaging original jazz compositions in an intimate trio setting. -
Build Sustainable Financing and Partnerships for Girls and Women
POLICY BRIEF Build Sustainable Financing and Partnerships for Girls and Women Facts, Solutions, Cases, and Calls to Action Building sustainable financing and partnerships for girls and women is linked to OVERVIEW the achievement of the Donor and national investments targeting gender equality and girls’ and women’s health, rights, and Sustainable Development wellbeing remain insufficient to achieve the ambitious targets set for gender equality in the Sustainable Goals (SDGs) and targets, Development Goals (SDGs).1 More work and commitments are needed to improve the lives of girls and including: women, thus enabling communities and nations to unlock their full potential. Under the sustainable development agenda, development actors from across the spectrum have an opportunity to abandon SDG 1: End poverty in all its traditionally siloed approaches and work together to positively impact girls’ and women’s lives through forms everywhere financial investment and strengthened multi-sectoral partnerships that deliver on an integrated agenda. This policy brief identifies interventions that can propel sustainable progress. • 1.a Ensure significant mobilization of resources SECTION 1: FRAMING THE ISSUE from a variety of sources, Despite the needs and challenges that girls and women face in accessing healthcare, education, including through enhanced resources, and equal opportunities in the workforce and political arena, investments to empower, development cooperation, engage, and open access for girls and women remain insufficient. While it is encouraging -
Written Evidence Submitted by Professor Anthony Costello and UCL Colleagues (FRC0001)
Written evidence submitted by Professor Anthony Costello and UCL colleagues (FRC0001) Thank you for the opportunity to submit written evidence to the Committee in response to the questions you have sent to me. We have not attempted to address every point comprehensively but have provided brief responses to your questions below based on my views and this of UCL colleagues. I would be pleased to discuss any of these further. This submission has been developed with input from UCL colleagues including: Professor Di Gibb, Dr Lu Gram, Professor Ilan Kelman, Dr Alexis Palfreyman, Professor Audrey Prost, Professor Max Parmar, Dr Sarah Petts, Dr Ed Fottrell, Sarah Chaytor and Dr Naomi Saville. 1. What regions or countries in the developing world are best equipped to manage a major outbreak of COVID-19? What regions or countries are most at risk, and why? The approach of many African countries seems to have slowed the development of coronavirus. This includes: shutting borders, testing new arrivals, use of quarantine, and contact track and trace. This is supplemented by clear guidelines and briefing documents. Some countries may benefit from prior experience of managing other pandemics (for example Ebola outbreaks in Uganda, HIV, and TB). Whilst some African countries have initiated lockdowns, these are unlikely to be sustained for long given the significant economic hardship, especially for the most vulnerable, and impact on food and essential medicine supply (including for HIV). Nonetheless the World Health Organization is now forecasting that 250 million people in sub-Saharan Africa will be infected with coronavirus in the next year. -
Dame Margaret Scott AC DBE
Having trouble viewing this email? You can view it online. Like | @LivePerfAust | Follow | Forward VALE Dame Margaret Scott AC DBE LPA was very saddened to hear of the passing of Dame Margaret Scott AC DBE who died last week in Melbourne at the age of 96. Margaret or "Maggie" as she perferred to be called was a pioneer of Australian dance. She had been involved in most, if not all, of the major developments in dance education in Australia since the mid 1960s, including the establishment of the country’s dance organisation, Ausdance and The Australian Ballet Foundation. In 1964 she was appointed Founding Director of The Australian Ballet School and continued this role until 1990. During her time as Director she transformed the school from humble beginnings to an internationally recognised training institution discovering and nurturing elite performers. Born in Johannesburg, South Africa, Maggie moved to London initially accepted into the Sadler's Wells Ballet School but joined the Sadler's Wells Ballet shortly after. Dissatisfied with her prospects she resigned and successfully auditioned for Ballet Rambert. She arrived in Australia in 1947 as part of Ballet Rambert's overseas tour and chose to stay. Passionate about dance and education she was an advocate for Australian dance and taught many dancers and choreographers including Graeme Murphy AO and Meryl Tankard. Maggie changed the landscape of dance in Australia and was awarded the Order of the British Empire in 1977 and made a Dame in 1981. Maggie received Live Performance Australia’s James Cassius Williamson Lifetime Achievement Award in 2007. -
Review 2011 1 Research
LONDON’S GLOBAL UNIVERSITY ReviewHighlights 2011 2011 Walking on Mars © Angeliki Kapoglou Over summer 2011, UCL Communications held a The winning entry was by Angeliki Kapoglou (UCL Space photography competition, open to all students, calling for & Climate Physics), who was selected to serve as a member images that demonstrated how UCL students contribute of an international crew on the Mars Desert Research Station, to society as global citizens. The term ‘education for global which simulates the Mars environment in the Utah desert. citizenship’ encapsulates all that UCL does to enable Researchers at the station work to develop key knowledge students to respond to the intellectual, social and personal needed to prepare for the human exploration of Mars. challenges that they will encounter throughout their future careers and lives. The runners-up and other images of UCL life can be seen at: www.flickr.com/uclnews Contents Research 2 Follow UCL news www.ucl.ac.uk Health 5 Insights: a fortnightly email summary Global 8 of news, comment and events: www.ucl.ac.uk/news/insights Teaching & Learning 11 Events calendar: Enterprise 14 www.events.ucl.ac.uk Highlights 2011 17 Twitter: @uclnews UCL Council White Paper 2011–2021 YouTube: UCLTV Community 21 In images: www.flickr.com/uclnews Finance & Investment 25 SoundCloud: Awards & Appointments 30 www.soundcloud.com/uclsound iTunes U: People 36 http://itunes.ucl.ac.uk Leadership 37 UCL – London’s Global University Our vision Our values • An outstanding institution, recognised as one of the world’s