Children's Concert Series an INTERACTIVE CONCERT WITH
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Children's Concert Series an INTERACTIVE CONCERT WITH
Children’s Concert Series 2020–2021 AN INTERACTIVE CONCERT WITH MUSIC, DANCE, AND NARRATION Saturday, March 13, 2021 | 6:00 pm Virtual Family Concert 1 ver fifty years ago, a brave American man stepped out of a landing craft onto the surface Gerard Schwarz of the moon and made history. With the help of Conductor O the Demetrius Klein Dance Company and four exciting pieces of all-American music, Palm Beach Symphony Brenda Alford brings that indelible moment of Milky Way magic to the Narrator stage through an interactive concert in which students will literally take part in exploring such scientific concepts as Demetrius Klein Dance Company (DKDC) the Earth’s rotation, gravity and telescope viewing. All this choreography and dance while thrilling to a powerful Copland fanfare, the soaring themes of Star Wars and sharing the adventures of a very special resident of Earth’s satellite, Rocky de Luna, an Saturday, March 13, 2021 | 6:00 pm inquisitive moon rock. Virtual Family Concert With a special narrative accompanied by the music of Copland’s Lincoln Portrait, students will meet Rocky as she hitches a ride with two friendly NASA astronauts on the Program Apollo 11 lunar module en route back to Aaron Copland – Fanfare for the Common Man planet Earth. Neil Armstrong and Buzz Aldrin show Rocky some out-of-this-world John Williams – Princess Leia’s Theme from Star Wars views of the moon, help define the moon’s John Williams – The Imperial March (Darth Vader’s Theme) from Star Wars place in the solar system, describe how the moon Aaron Copland – Selections from Lincoln Portrait affects all life on Earth .. -
A Selection of Contemporary Fanfares for Multiple Trumpets Demonstrating Evolutionary Processes in the Fanfare Form
MODERN FORMS OF AN ANCIENT ART: A SELECTION OF CONTEMPORARY FANFARES FOR MULTIPLE TRUMPETS DEMONSTRATING EVOLUTIONARY PROCESSES IN THE FANFARE FORM Paul J. Florek, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2015 APPROVED: Keith Johnson, Major Professor Eugene Corporon, Committee Member John Holt, Committee Member and Chair of the Department of Instrumental Studies Benjamin Brand, Director of Graduate Studies in Music James C. Scott, Dean of the College of Music Costas Tsatsoulis, Interim Dean of the Toulouse Graduate School Florek, Paul J. Modern Forms of an Ancient Art: A Selection of Contemporary Fanfares for Multiple Trumpets Demonstrating Evolutionary Processes in the Fanfare Form. Doctor of Musical Arts (Performance), May 2015, 73 pp., 1 table, 26 figures, references, 96 titles. The pieces discussed throughout this dissertation provide evidence of the evolution of the fanfare and the ability of the fanfare, as a form, to accept modern compositional techniques. While Britten’s Fanfare for St. Edmundsbury maintains the harmonic series, it does so by choice rather than by the necessity in earlier music played by the baroque trumpet. Stravinsky’s Fanfare from Agon applies set theory, modal harmonies, and open chords to blend modern techniques with medieval sounds. Satie’s Sonnerie makes use of counterpoint and a rather unusual, new characteristic for fanfares, soft dynamics. Ginastera’s Fanfare for Four Trumpets in C utilizes atonality and jazz harmonies while Stravinsky’s Fanfare for a New Theatre strictly coheres to twelve-tone serialism. McTee’s Fanfare for Trumpets applies half-step dissonance and ostinato patterns while Tower’s Fanfare for the Uncommon Woman demonstrates a multi-section work with chromaticism and tritones. -
Finding Aid for Bolender Collection
KANSAS CITY BALLET ARCHIVES BOLENDER COLLECTION Bolender, Todd (1914-2006) Personal Collection, 1924-2006 44 linear feet 32 document boxes 9 oversize boxes (15”x19”x3”) 2 oversize boxes (17”x21”x3”) 1 oversize box (32”x19”x4”) 1 oversize box (32”x19”x6”) 8 storage boxes 2 storage tubes; 1 trunk lid; 1 garment bag Scope and Contents The Bolender Collection contains personal papers and artifacts of Todd Bolender, dancer, choreographer, teacher and ballet director. Bolender spent the final third of his 70-year career in Kansas City, as Artistic Director of the Kansas City Ballet 1981-1995 (Missouri State Ballet 1986- 2000) and Director Emeritus, 1996-2006. Bolender’s records constitute the first processed collection of the Kansas City Ballet Archives. The collection spans Bolender’s lifetime with the bulk of records dating after 1960. The Bolender material consists of the following: Artifacts and memorabilia Artwork Books Choreography Correspondence General files Kansas City Ballet (KCB) / State Ballet of Missouri (SBM) files Music scores Notebooks, calendars, address books Photographs Postcard collection Press clippings and articles Publications – dance journals, art catalogs, publicity materials Programs – dance and theatre Video and audio tapes LK/January 2018 Bolender Collection, KCB Archives (continued) Chronology 1914 Born February 27 in Canton, Ohio, son of Charles and Hazel Humphries Bolender 1931 Studied theatrical dance in New York City 1933 Moved to New York City 1936-44 Performed with American Ballet, founded by -
September 4, 2014 Kansas City Ballet New Artistic Staff and Company
Devon Carney, Artistic Director FOR IMMEDIATE RELEASE CONTACT: Ellen McDonald 816.444.0052 [email protected] For Tickets: 816.931.2232 or www.kcballet.org Kansas City Ballet Announces New Artistic Staff and Company Members Grace Holmes Appointed New School Director, Kristi Capps Joins KCB as New Ballet Master, and Anthony Krutzkamp is New Manager for KCB II Eleven Additions to Company, Four to KCB II and Creation of New Trainee Program with five members Company Now Stands at 29 Members KANSAS CITY, MO (Sept. 4, 2014) — Kansas City Ballet Artistic Director Devon Carney today announced the appointment of three new members of the artistic staff: Grace Holmes as the new Director of Kansas City Ballet School, Kristi Capps as the new Ballet Master and Anthony Krutzkamp as newly created position of Manager of KCB II. Carney also announced eleven new members of the Company, increasing the Company from 28 to 29 members for the 2014-2015 season. He also announced the appointment of four new KCB II dancers, which stands at six members. Carney also announced the creation of a Trainee Program with five students, two selected from Kansas City Ballet School. High resolution photos can be downloaded here. Carney stated, “With the support of the community, we were able to develop and grow the Company as well as expand the scope of our training programs. We are pleased to welcome these exceptional dancers to Kansas City Ballet and Kansas City. I know our audiences will enjoy the talent and diversity that these artists will add to our existing roster of highly professional world class performers that grace our stage throughout the season ahead. -
George Balanchine August Bournonville Sasha Janes Jerome Robbins
George Balanchine August Bournonville Sasha Janes THTHEAEATETERR 1716/1/187 Jerome Robbins FOR YOUR INFORMATION Do you want more information about upcoming events at the Jacobs School of Music? There are several ways to learn more about our recitals, concerts, lectures, and more! Events Online Visit our online events calendar at music.indiana.edu/events: an up-to-date and comprehensive listing of Jacobs School of Music performances and other events. Events to Your Inbox Subscribe to our weekly Upcoming Events email and several other electronic communications through music.indiana.edu/publicity. Stay “in the know” about the hundreds of events the Jacobs School of Music offers each year, most of which are free! In the News Visit our website for news releases, links to recent reviews, and articles about the Jacobs School of Music: music.indiana.edu/news. Musical Arts Center The Musical Arts Center (MAC) Box Office is open Monday – Friday, 11:30 a.m. – 5:30 p.m. Call 812-855-7433 for information and ticket sales. Tickets are also available at the box office three hours before any ticketed performance. In addition, tickets can be ordered online at music.indiana.edu/boxoffice. Entrance: The MAC lobby opens for all events one hour before the performance. The MAC auditorium opens one half hour before each performance. Late Seating: Patrons arriving late will be seated at the discretion of the management. Parking Valid IU Permit Holders access to IU Garages EM-P Permit: Free access to garages at all times. Other permit holders: Free access if entering after 5 p.m. -
Fanfare for the 16Th Empire Flex
Fanfare for the 16th Empire For Concert Band, Grade 1.5 By Randall D. Standridge (ASCAP) Instrumentation 1 - Full Score 4 - Bb Trumpet 1 8 - Flute 4 - Bb Trumpet 2 2 - Oboe 6 - F Horn 5 - Bb Clarinet 1 8 - Tromb./Euph. B.C./Bassoon 5 - Bb Clarinet 2 2 - Euphonium T.C. 2 - Bb Bass Clarinet 4 - Tuba 8 - Eb Alto Saxophone 2 - Bb Tenor Saxophone 2 - Eb Baritone Saxophone 2 - Mallets 1: Bells 2 - Mallets 2: (optional) Chimes 2 - Timpani (3) 3 - Percussion 1&2: Snare Drum, Bass Drum/Wind Chimes 2 - Percussion 3: Crash Cymbals/Triangle/Suspended Cymbal Full Set - $60.00 Extra Conductor Score - $8.00 Extra Part - $4.00 Randall Standridge Music, LLC - 26 County Road 472 - Jonesboro, AR 72404 - 870-926-3479 www.randallstandridge.com - [email protected] Fanfare for the 16th Empire By Randall D. Standridge Program Notes For those of you that are unaware, I was a band director for twelve years. During my time in that occupation, I created many works that had specific educational goals, but would also fit into our concert repertoire as, what I hoped, would be engaging pieces for both the players and the audience. I always struggled to find music that introduced new concepts in achievable, yet meaningful, ways. Fanfare for the 16th Empire is a concert fanfare for young ensembles that serves many purposes. It is primarily intended as a tool to develop young players’ abilities to correctly time, articulate, and perform sixteenth notes. Secondly, it is intended to be an exciting work that makes the students run to rehearsal, slinging their bookbags across the room in their hurry to get their instruments out and get seated, ready to play. -
Slatkin Conducts Porgy & Bess
CONCERT PROGRAM Friday, November 11, 2016, 8:00pm Gemma New, conductor Leonard Slatkin, conductor ST. LOUIS SYMPHONY YOUTH ORCHESTRA COPLAND Fanfare for the Common Man (1942) (1900–1990) GRIEG Peer Gynt Suite No. 1, op. 46 (1875) (1843–1907) Morning Åse’s Death Anitra’s Dance In the Hall of the Mountain King WAGNER Prelude to Die Meistersinger von Nürnberg (1867) (1813–1883) Leonard Slatkin, conductor INTERMISSION BEETHOVEN Symphony No. 3 in E-flat major, op. 55, “Eroica” (1804) (1770–1827) Allegro con brio Marcia funebre: Adagio assai Scherzo: Allegro vivace Finale: Allegro molto This concert is sponsored by Whole Foods Market. The St. Louis Symphony Youth Orchestra is supported in part by the G.A., Jr. and Kathryn M. Buder Charitable Foundation. The St. Louis Symphony Youth Orchestra is supported in part by Esco Technologies Foundation. 23 AARON COPLAND Fanfare for the Common Man BY ELI MENNERICK, TROMBONE To many, the works of Aaron Copland embody the American musical sound. During the 1930s and 1940s especially, Copland deliberately composed “populist” music accessible to the general public. Unsurprisingly, his most widely- known works come from this period, includ- Born ing Appalachian Spring, Billy the Kid, Rodeo, and November 14, 1900, in Fanfare for the Common Man. These composi- Brooklyn tions are characterized by a lean, open sound, Died reflecting both American democratic ideals and December 2, 1990, in North the natural grandeur of the country. Fanfare for Tarrytown, New York the Common Man provides a particularly good First Performance example of this unique style. March 12, 1943, Eugene In 1942, during World War II, the conduc- Goossens conducting tor Eugene Goossens commissioned fanfares YO Premiere from multiple prominent American composers May 21, 2000, David Amado in order to encourage support for the war effort. -
Perception of Rhythmic Similarity Is Asymmetrical, and Is Influenced by Musical Training, Expressive Performance, and Musical Context
Timing & Time Perception 5 (2017) 211–227 brill.com/time Perception of Rhythmic Similarity is Asymmetrical, and Is Influenced by Musical Training, Expressive Performance, and Musical Context Daniel Cameron1, Keith Potter2, Geraint Wiggins3 and Marcus Pearce3,* 1Brain and Mind Institute, University of Western Ontario, London, Canada 2Dept. of Music, Goldsmiths, University of London, UK 3School of Electronic Engineering and Computer Science, Queen Mary University of London, London E1 4NS, UK Received 21 June 2016; accepted 11 January 2017 Abstract Rhythm is an essential part of the structure, behaviour, and aesthetics of music. However, the cog- nitive processing that underlies the perception of musical rhythm is not fully understood. In this study, we tested whether rhythm perception is influenced by three factors: musical training, the presence of expressive performance cues in human-performed music, and the broader musical con- text. We compared musicians and nonmusicians’ similarity ratings for pairs of rhythms taken from Steve Reich’s Clapping Music. The rhythms were heard both in isolation and in musical context and both with and without expressive performance cues. The results revealed that rhythm perception is influenced by the experimental conditions: rhythms heard in musical context were rated as less similar than those heard in isolation; musicians’ ratings were unaffected by expressive performance, but nonmusicians rated expressively performed rhythms as less similar than those with exact tim- ing; and expressively-performed rhythms were rated as less similar compared to rhythms with exact timing when heard in isolation but not when heard in musical context. The results also showed asymmetrical perception: the order in which two rhythms were heard influenced their perceived similarity. -
Recording: Processing Audio and the Modern Recording Studio
Chapter 7. Meeting 7, Recording: Processing Audio and the Modern Recording Studio 7.1. Announcements • Quiz next Thursday • Numerous listenings assignments for next week 7.2. Processing Audio • Contemporary processors take many physical forms: effects units, stomp-boxes © source unknown. All rights reserved. This content is excluded from our Creative Commons license. For more information, see http://ocw.mit.edu/fairuse. 160 Photo courtesy of kernelslacker on Flickr. 161 Photo courtesy of michael morel on Flickr. Courtesy of George Massenburg Labs. Used with permission. 162 Original photo courtesy of eyeliam on Flickr; edited by Wikipedia User:Shoulder-synth. 163 • As software, most are implemented as plug-ins 164 © Avid Technology, Inc. All rights reserved. This content is excluded from our Creative Commons license. For more information, see http://ocw.mit.edu/fairuse. 165 © MOTU, Inc. All rights reserved. This content is excluded from our Creative Commons license. For more information, see http://ocw.mit.edu/fairuse. 7.3. Distortion • Pushing a signal beyond its dynamic range squares the waveform • Making round signals more square adds extra harmonics [demo/processorsDistortion.pd] 166 • Examples • Overdrive • Fuzz • Crunch 7.4. Dynamics Processors • Transform the amplitude of a signal in real-time • Amplitudes can be pushed down above or below a threshold to decrease or increase dynamic range • Examples 167 • Compressors and Limiters • Expanders and Gates 7.5. Dynamics Processors: Compression • Reduces a signal’s dynamic range • Makes the quiet sounds louder • Helps a track maintain its position in the mix • Two steps • Reduce dynamic range: turn amplitudes down if a above a specific level (the threshold) • Increase amplitude of entire signal so that new peaks are where the old were 168 To be compressed Uncompressed Peak Threshold Sound Energy Time Compression occurs Previous 0 VU Threshold Sound Energy Time 0 VU Sound Energy Boost overall level Time Figure by MIT OpenCourseWare. -
The Magic Flute), K
Firebird! – May 14, 2017 Overture to Wolfgang Amadeus Mozart Die Zauberflöte (The Magic Flute), K. 620 1756-1791 Public taste is fickle. By the late 1780s, Mozart’s star in Vienna was dimming rapidly. The change in popular musical taste, general economic decline and his own inability to manage his finances combined to make him emotionally frantic and scrambling for commissions. Since there was no more demand for Mozart’s Akademien (self-promoting subscription concerts), and his most successful librettist, Lorenzo da Ponte, had left Vienna, he turned for a joint operatic venture to one of the most colorful (and successful) dramatists and theater directors of the era, Emanuel Schikaneder. Mozart and Schikaneder knew each other both professionally and as fellow Freemasons. Schikaneder’s libretto contains many elements of the Freemason philosophy and ritual in its emphasis on human enlightenment. It promotes its high-minded ideology through a fairytale plot and characters, in addition to moments of incredible silliness. The Magic Flute is a dramatization of the battle between the forces of good (light) and evil (darkness), symbolized by the high priest of Isis, Sarastro, and the Queen of the Night. In order to win the hand of the Queen’s daughter, Pamina, whom Sarastro has abducted and detained “for her own good,” Prince Tamino must undergo trials by fire and water. He succeeds with the aid of a magic flute, while his companion, the comic bird-catcher Papageno, bungles through lower level trials to win himself a wife, Papagena. Most operatic overtures of this period contain no themes from the operas themselves. -
Dorathi Bock Pierre Dance Collection, 1929-1996
http://oac.cdlib.org/findaid/ark:/13030/c8pc33q9 No online items Finding Aid for the Dorathi Bock Pierre dance collection, 1929-1996 Processed by Megan Hahn Fraser and Jesse Erickson, March 2012, with assistance from Lindsay Chaney, May 2013; machine-readable finding aid created by Caroline Cubé. UCLA Library Special Collections Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA 90095-1575 Email: [email protected] URL: http://www.library.ucla.edu/libraries/special/scweb/ ©2013 The Regents of the University of California. All rights reserved. Finding Aid for the Dorathi Bock 1937 1 Pierre dance collection, 1929-1996 Descriptive Summary Title: Dorathi Bock Pierre dance collection Date (inclusive): 1929-1996 Collection number: 1937 Creator: Pierre, Dorathi Bock. Extent: 27 linear ft.(67 boxes) Abstract: Collection of photographs, performance programs, publicity information, and clippings related to dance, gathered by Dorathi Bock Pierre, a dance writer and publicist. Language: Finding aid is written in English. Language of the Material: Materials are in English. Repository: University of California, Los Angeles. Library Special Collections. Los Angeles, California 90095-1575 Physical location: Stored off-site at SRLF. Advance notice is required for access to the collection. Please contact UCLA Library Special Collections for paging information. Restrictions on Access Open for research. STORED OFF-SITE AT SRLF. Advance notice is required for access to the collection. Please contact UCLA Library Special Collections for paging information. Restrictions on Use and Reproduction Property rights to the physical object belong to the UC Regents. Literary rights, including copyright, are retained by the creators and their heirs. -
Rock Candy Magazine
MOSCOW MUSIC PEACE FESTIVAL STRICTLY OLD SCHOOL BADGES MÖTLEY CRÜE’S LAME CANCELLATION EXCUSE OLD SCHOOL BADGES MÖTLEY CRÜE’S LAME CANCELLATION STRICTLY FESTIVAL MUSIC PEACE MOSCOW COLLECTORS REMASTERED ISSUE EDITIONS & RELOADED 2 OUT NOW June–July 2017 £9.99 HARD, SWEET & STICKY LILLIAN AXE - ‘S/T’ LILLIAN AXE - ‘LOVE+WAR’ WARRANT - ‘CHERRY PIE’ WARRANT - ‘DIRTY ROTTEN FILTHY MOTHER’S FINEST - ‘IRON AGE’ STINKING RICH’ ROCK CANDY MAG ISSUE 2 JUNE – JULY 2017 ISSUE 2 JUNE – JULY MAG CANDY ROCK MAHOGANY RUSH - ‘LIVE’ FRANK MARINO - ‘WHAT’S NEXT’ FRANK MARINO FRANK MARINO - ‘JUGGERNAUT’ CREED - ‘S/T’ SURVIVOR ‘THE POWER OF ROCK AND ROLL’ ‘EYE OF THE TIGER’ KING KOBRA - ‘READY TO STRIKE’ KING KOBRA 707 - ‘S/T’ 707 - ‘THE SECOND ALBUM’ 707 - ‘MEGAFORCE’ OUTLAWS - ‘PLAYIN’ TO WIN’ ‘THRILL OF A LIFETIME’ “IT WAS LOUD – LIKE A FACTORY!” LOUD “IT WAS SAMMY HAGAR SALTY DOG TYKETTO - ‘DON’T COME EASY’ KICK AXE - ‘VICES’ KICK AXE KICK AXE - ‘ROCK THE WORLD’ ‘ALL NIGHT LONG’ ‘EVERY DOG HAS IT’S DAY’ ‘WELCOME TO THE CLUB’ NYMPHS -’S/T’ RTZ - ‘RETURN TO ZERO’ WARTHCHILD AMERICA GIRL - ‘SHEER GREED’ GIRL - ‘WASTED YOUTH’ LOVE/HATE ‘CLIMBIN’ THE WALLS’ ‘BLACKOUT IN THE RED ROOM’ MAIDEN ‘84 BEHIND THE SCENES ON THE LEGENDARY POLAND TOUR TARGET - ‘S/T’ TARGET - ‘CAPTURED’ MAYDAY - ‘S/T’ MAYDAY - ‘REVENGE’ BAD BOY - ‘THE BAND THAT BAD BOY - ‘BACK TO BACK’ MILWAUKEE MADE FAMOUS’ COMING SOON BAD ENGLISH - ‘S/T’ JETBOY - ‘FEEL THE SHAKE’ DOKKEN STONE FURY ALANNAH MILES - ‘S/T’ ‘BEAST FROM THE EAST’ ‘BURNS LIKE A STAR’ www.rockcandyrecords.com / [email protected]