DOCSLIB.ORG

Mallia Miljkovic Speare

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Mallia Miljkovic Speare Music of Katarina Miljkovic, Jed Speare, and This organization is supported in part by the Massachusetts Cultural Council, a state agency, John Mallia and by a grant from the Boston Cultural Council, a local agency funded by the Massachusetts Cultural Council with and administrated by the Mayor’s Office of Arts, Tourism, and Special Events.. Christopher Watford, bassoon Morgan Evans-Weiler, violin Unauthorized use of cameras and tape recorders is not allowed in Jordan Hall. Aaron Likness, piano Please switch off cellular phones, pagers, and watch alarms. John Mallia, Katarina Miljkovic, electronics Assistive Listening Devices are available for Jordan Hall concerts at the coatroom, or by contacting the Head Usher or House Manager on duty. necmusic.edu/cloud Connect with NEC and our music on Facebook, Twitter, and beyond, and sign up for e-mail news bulletins. Monday, February 29, 2016 7:30 p.m. NEC’s Jordan Hall necmusic.edu/concerts Upcoming Concerts at NEC –continued PROGRAM FACULTY RECITAL : RUSSELL SHERMAN , piano Schoenberg Three Pieces for Piano, op. 11; Beethoven Sonata for Piano No. 21 ____________________ in C Major, op.53 “Waldstein”; Debussy excerpts from Préludes, book 2; Liszt excerpts from Transcendental Etudes for Piano, S. 139 The first two pieces will be diffused without pause. Sunday, April 3, 2016 at 8:00 p.m., Jordan Hall John Mallia Anastasis (2002) FIRST MONDAY AT JORDAN HALL Program includes Beethoven Trio for Piano, Clarinet and Cello No. 4 in B-flat Transference (2016) Major, op. 11; Schubert Der Hirt auf dem Felsen; Debussy Prélude à l’après-midi World premiere d’un faune; Fauré Quartet for Piano and Strings No. 1 in C Minor, op. 15 John Mallia, electronics Performers include Jacqueline Stucker, soprano; Richard Stoltzman, clarinet; Joanna Kurkowicz, violin; Cathy Basrak, viola, Laurence Lesser, cello; Bruce Brubaker, Gloria Chien, Ran Blake, piano Monday, April 4, 2016 at 7:30 p.m., Jordan Hall Jed Speare Untitled (Cove) for violin and electronics (2016) TUESDAY NIGHT NEW MUSIC New music by NEC student composers, performed by their peers Morgan Evans-Weiler, violin Tuesday, April 5, 2016 at 8:00 p.m., Williams Hall Jed Speare, laptop LIEDERABEND XXX, Cameron Stowe and Tanya Blaich, coordinators An evening of songs featuring student performers from NEC’s voice and Brief intermission collaborative piano departments Wednesday, April 6, 2016 at 6:30 p.m., Williams Hall Katarina Miljkovic Forest Four (2014) NEC SYMPHONY , Hugh Wolff, conductor Copland Appalachian Spring; Ives Symphony No. 2; Chen It Ripples Aaron Likness, piano Wednesday, April 6, 2016 at 7:30 p.m., Jordan Katarina Miljkovic, electronics NEC JAZZ COMPOSERS ENSEMBLE , Ken Schaphorst, director Drop, version ii (2008-2016) Thursday, April 7, 2016 at 8:00 p.m., Brown Hall Christopher Watford, bassoon NEC PERCUSSION ENSEMBLE , Frank Epstein, director Katarina Miljkov ic, electronics Huang Orphan San Mao Sunday, April 10, 2016 at 8:00 p.m., Jordan Hall Upcoming Concerts at NEC Mallia Anastasis (2002) –continued Anastasis is a five channel composition realized in the Studios of the Institut International de Musique Electroacoustique de Bourges (IMEB). The work is LIEDERABEND XXIX , Cameron Stowe and Tanya Blaich, coordinators programmatic in its representation of Christ's descent into Limbo, a An evening of songs featuring student performers from NEC’s voice and frequently treated subject in medieval art. The majority of sounds used are collaborative piano departments derived from concrete sources, some of which carry conceptual weight. For Wednesday, March 9, 2016 at 6:30 p.m., Williams Hall example, the recurring sound of wax being scraped away from the metal surface of the candle trays at Bourges ' Cathedral St. Étienne: the residue of NEC PHILHARMONIA , Jeffrey Kahane, guest conductor and piano soloist prayer – its removal, a daily chore (or performance ritual) captured in Ravel Concerto for Piano in G Major; Adès Three Studies for Chamber Orchestra sound. Also, the emergence of a field recording of windmills at the work's from Couperin; Elgar Symphony No. 1 in A-flat Major, op. 55 close: transformation, by man, of nature's breath into energy as a storm Wednesday, March 9, 2016 at 7:30 p.m., Jordan Hall blows in on the mountainside. The piece itself is a stormy, transformative descent. Sounds of friction [NEC ]SHIVAREE , Stephen Drury, artistic director and resistance represent the interpenetration of spheres of existence. Long Wednesday, March 9, 2016 at 8:00 p.m., Brown Hall intense strokes of sound such as the dragging of wood along wood, glass on glass, and the grinding and scraping of metal against metal are fractured by FACULTY RECITAL : BOB NIESKE , jazz bass and the Bob Nieske 4 abrupt, pointed declamations which lead, ultimately, to a representation of Dave Tronzo, guitar and gizmos ; Phil Grenadier, trumpet; Jon Hazilla, the breaking of the gates of hell. The only purely electronic sounds used in percussion the composition are dense, bristling textures that occur as interruptions of Sunday, March 13, 2016 at 3:00 p.m., Pierce Hall the long descent. They represent the accumulation of a mysterious, electrical energy in the empty tomb above — static glimpses of that middle FACULTY RECITAL : EDEN MAC ADAM -SOMER , contemporary improvisation sphere. Monday, March 14, 2016 at 7:30 p.m., Jordan Hall Mallia Transference (2016) NEC PHILHARMONIA , Hugh Wolff, conductor In my recent work utilizing electronic processing, I have experimented with Kernis Whisper, Echo, A Cry; Shostakovich Symphony No. 5 in D Minor, op. 47; techniques of extreme reduction and subsequent enrichment of sound Elgar Concerto for Cello in E Minor, op. 85, Jonah Ellsworth, cello sources. Another area of inquiry has been the remapping of essences mined Wednesday, March 16, 2016 at 7:30 p.m., Jordan Hall from one source to another. In the case of Transference , which is being premiered tonight, many sounds are abstracted (spectrally reduced, HONORS ENSEMBLE : JAZZ AND WILD CARD (Jayu Quartet) durationally altered, and distorted) from speech sounds taken from Tuesday, March 29, 2016 at 7:30 p.m., Jordan Hall Pentecostal channelings, or ‘speaking in tongues,’ and mundane arguments aired on daytime television soap operas. The spectral profiles of these PURCELL : DIDO AND AENEAS sources are absorbed into unifying chorale-like harmonies and ‘ghost’ Performed by the NEC Undergraduate Opera Studio, Michael Meraw, resonances that are pushed up to the surface — a kind afterglow. director – John Mallia Friday, April 1, 2016, 8:00 p.m., Brown Hall Saturday, April 2, 2016 at 8:00 p.m., Brown Hall John Mallia lives and works in Boston, where he is a member of the Composition Faculty, and directs the Electronic Music Studio, at New England Conservatory. His compositional process is informed by spatial Upcoming Concerts at NEC constructs and concepts, and a fascination with presence, ritual, and the Visit necmusic.edu for complete and updated concert information thresholds standing between states of existence or awareness. In addition to composing chamber music and works combining acoustic instruments NEC SYMPHONY , CONCERT CHOIR , CHAMBER SINGERS , David Loebel, with electronics, he creates fixed media compositions, and collaborates with Erica Washburn, conductors visual artists on multimedia works, including installation. Berlioz Le Corsaire Overture, op. 21; Debussy Nocturnes ; Duruflé Requiem His music has been performed throughout the U.S. and internationally Wednesday, March 2, 2016 at 7:30 p.m., Jordan Hall by organizations such as Musicacoustica (Beijing, China), MediaMix (Monterrey, Mexico), the National Gallery of Art (Washington, D.C.), L.A. PERKIN OPERA SCENES Freewaves (CA), ZeroOne New Media festival (CA), Gaudeamus (The Performances by graduate opera majors Netherlands), International Computer Music Association (Huddersfield, Sunday, March 6, 2016 at 7:00 p.m., Brown Hall UK), Society for Electro-Acoustic Music in the United States, Hua xia Monday, March 7, 2016 at 7:00 p.m., Brown Hall Ensemble (Alice Tully Hall at Lincoln Center), Zeppelin Festival of Sound Art (Barcelona, Spain), Festival Synthèse (Bourges, France), Interensemble’s BORROMEO STRING QUARTET GUEST ARTIST CONCERT Computer Arts Festival (Padova, Italy), Yo-Yo Ma (Barbican Centre, Shostakovich Piano Quintet in G Minor, op. 57; Brahms String Sextet No. 2 in G London), Society for New Music (New York), CyberArts, and Major, op. 36 with 2016 winners Isabelle David, piano; Kate Arndt, violin; Medi@terra`s Travelling Mikromuseum (Greece, Bulgaria, Germany, Marthe Husum, viola; Ye Lin Stella Cho, cello Slovenia). Sunday, March 6, 2016 at 8:00 p.m., Jordan Hall He was a Visiting Assistant Professor at the Center for Experimental Music and Intermedia (CEMI) at the University of North Texas (2004-5) and FIRST MONDAY AT JORDAN HALL was composer-in-residence at the Institut de Musique Electroacoustique Kodály Serenade for Two Violins and Viola, op. 12 ; Bartók String Quartet No. 4 (Bourges, France; 1993, 2002). Additionally, he has taught composition, and Rhapsody No. 1 ; Hungarian folk music from Transylvania electroacoustic music, and sound art at the Vermont College of Fine Arts, Performed by Yoojin Jang, Mari Lee, violin ; Dimitri Murrath, viola ; Franklin Pierce College, Northeastern University, the School of the Museum Laurence Lesser, cello; Jayoung Kim, piano; the members of the of Fine Arts Boston, College of the Holy Cross, Clark University, and Borromeo String Quartet: Nicholas Kitchen, Kristopher Tong, violin ; Brandeis University. https://soundcloud.com/jmallia Mai Motobuchi, viola ; Yeesun Kim, cello ; and Beth Bahia Cohen, hegedű ; Áron Székely, kontra ; Ildikó Nagy, bögös, ütőgardon Speare Untitled (Cove) Monday, March 7, 2016 at 7:30 p.m., Jordan Hall At the time of this writing, I am working on solving the question of whether the solo violin can hold its own amidst the scale and density of this SONATA NIGHT XIV, Pei-Shan Lee, coordinator particular four-channel electroacoustic sound environment – no matter, the Sonatas by Mozart, Brahms, and Clarke disparate sources.
Load more

Recommended publications
  • MUZSIKÁS Simon Broughton Gives the Low-Down on Hungary’S Premier String Band Who Have Brought Transylvanian Music to an International Audience
    BEGINNER’S GUIDE SA Á LA K É B MUZSIKÁS Simon Broughton gives the low-down on Hungary’s premier string band who have brought Transylvanian music to an international audience f you’ve got the slightest interest in not have the ‘in-yer-face’ boldness of Balkan neighbours and have their own distinctive traditional Hungarian music, then brass, but has more subtlety and depth. Its language and music. Muzsikás (pronounced ‘mu-zhi-kash’) lithe and sinewy energy comes from the In the spring of 1973, three musicians of is where you need to start. They’ve sawing bass, chugging offbeat string chords the Bartók Folk Dance Ensemble won the been on the scene now for 35 years. Forming and beautiful violin melodies. It’s one of the Népművészet Ifjú Mestere (Young Master of Iat the moment the folk scene in Hungary musical treasures of Europe. Muzikás’ lead Folk Arts) competition – Mihály Sipos (fiddle), took off, they bring the music alive in sweaty fiddler Mihály Sipos learned from some of Sándor Csoóri (kontra or accompanying dance houses in Budapest and concert halls Transylvania’s masterful traditional players. fiddle) and Dániel Hamar (double-bass). They around the world. But why should you be Like other states in Eastern Europe, were invited to play for Hungarian radio that interested in traditional Hungarian music? Hungary promoted its folk music with summer as ‘Sipos Mihály és Kisegyűttese’ Muzsikás’ music comes largely from large state ensembles and choreographed (Mihály Sipos and his chamber group) because Transylvania, the area of north-west dancing. But by the 70s, Hungary was the they had no name.
    [Show full text]
  • A Kontra Mint Kísérőhangszer a 20. Századi Erdélyi Vonós Népzenében
    Liszt Ferenc Zeneművészeti Egyetem 28-as számú művészet- és művelődéstörténeti besorolású doktori iskola A KONTRA MINT KÍSÉRŐHANGSZER A 20. SZÁZADI ERDÉLYI VONÓS NÉPZENÉBEN ÁRENDÁS PÉTER DLA DOKTORI ÉRTEKEZÉS 2017 Árendás Péter: A kontra mint kísérőhangszer a 20. századi erdélyi vonós népzenében I. Tartalom I. Tartalom .................................................................................................................... 1 II. Bevezetés ................................................................................................................. 3 1. A vonósbandák és a kontra történeti előzményei ................................................. 6 2. A kontra típusú hangszerek fajtái ....................................................................... 12 2.1. Hegedű-kontra ............................................................................................. 13 2.2. Prímkontra vagy „kiskontra” ....................................................................... 14 2.3. Háromhúros brácsa ...................................................................................... 16 2.4. Klasszikus négyhúros brácsa ....................................................................... 18 2.5. Sajó menti négyhúros brácsa ....................................................................... 19 3. Hangszertartás, vonókezelés ............................................................................... 21 3.1. Népzenei kísérettípusok, kontraritmus ........................................................ 23 3.2. Vonókezelés
    [Show full text]
  • Working Tambura Bands and the Construction of the In- Between in Croatia and Its Intimates
    From the Center in the Middle: Working Tambura Bands and the Construction of the In­ Between in Croatia and its Intimates Ian MacMillen Prelude: Miroslav Skoro's Twentieth Anniversary Concert In November 2009, Croatian pop singer Miroslav Skoro performed in front of some twenty thousand fans at Arena Zagreb, the capital city's much lauded new sports hall. This was the second largest audience drawn by a Croatian act since the hall's opening the previous December, I a testament to Skoro's continuing status as one of Croatia's most popular patriotic performers (as well as television star and, in recent years, politician and record mogul). Aside from the notably large attendance, the concert in Zagreb was of particular significance to Skoro for its timing: held on the twentieth day of November, his performance celebrated twenty years' work in the music industry as a professional singer and songwriter. Accompanied by his band (on backup vocals, tenor saxophone, acoustic and electric guitars, keyboard, drums, and electric bass) and a number of guest musicians from past projects and from his family, Skoro performed repertoire from throughout his career and thereby commemorated his twenty years of hit songs and his many musical collaborations with these and other musicians. Skoro spoke to those of us in the audience about the significance of several of these individuals to his life and career, drawing particular atten­ tion to one who, although unable to attend, loomed large over the event: legendary Pittsburgh-born player oftraditional tambura chordophones, Jerry Grcevich. This longtime musical collaborator of Skoro's had arranged most of the singer's early hits and had singly performed the accompaniment (of overdubbed melody and rhythm tamburas) to each of the songs on Skoro's first and third albums.
    [Show full text]
  • Acoustical Studies on the Flat-Backed and Round- Backed Double Bass
    Acoustical Studies on the Flat-backed and Round- backed Double Bass Dissertation zur Erlangung des Doktorats der Philosophie eingereicht an der Universität für Musik und darstellende Kunst Wien von Mag. Andrew William Brown Betreuer: O. Prof. Mag. Gregor Widholm emer. O. Univ.-Prof. Mag. Dr. Franz Födermayr Wien, April 2004 “Nearer confidences of the gods did Sisyphus covet; his work was his reward” i Table of Contents List of Figures iii List of Tables ix Forward x 1 The Back Plate of the Double Bass 1 1.1 Introduction 1 1.2 The Form of the Double Bass 2 1.3 The Form of Other Bowed Instruments 4 2 Surveys and Literature on the Flat-backed and Round-backed Double Bass 12 2.1 Surveys of Instrument Makers 12 2.2 Surveys Among Musicians 20 2.3 Literature on the Acoustics of the Flat-backed Bass and 25 the Round-Backed Double Bass 3 Experimental Techniques in Bowed Instrument Research 31 3.1 Frequency Response Curves of Radiated Sound 32 3.2 Near-Field Acoustical Holography 33 3.3 Input Admittance 34 3.4 Modal Analysis 36 3.5 Finite Element Analysis 38 3.6 Laser Optical Methods 39 3.7 Combined Methods 41 3.8 Summary 42 ii 4 The Double Bass Under Acoustical Study 46 4.1 The Double Bass as a Static Structure 48 4.2 The Double Bass as a Sound Source 53 5 Experiments 56 5.1 Test Instruments 56 5.2 Setup of Frequency Response Measurements 58 5.3 Setup of Input Admittance Measurements 66 5.4 Setup of Laser Vibrometry Measurements 68 5.5 Setup of Listening Tests 69 6 Results 73 6.1 Results of Radiated Frequency Response Measurements 73 6.2 Results of Input Admittance Measurements 79 6.3 Results of Laser Vibrometry Measurements.
    [Show full text]
  • Zoltán Kodály's Sonata for Unaccompanied Cello, Op. 8
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2013 Zoltán Kodály's Sonata for Unaccompanied Cello, Op. 8 : one cellist's path to performance Celeste Power Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Power, Celeste, "Zoltán Kodály's Sonata for Unaccompanied Cello, Op. 8 : one cellist's path to performance" (2013). LSU Doctoral Dissertations. 917. https://digitalcommons.lsu.edu/gradschool_dissertations/917 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. ZOLTÁN KODÁLY’S SONATA FOR UNACCOMPANIED CELLO, OP. 8: ONE CELLIST’S PATH TO PERFORMANCE A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in The School of Music by Celeste Power B.M., University of New Mexico, 2005 M.M., University of Oklahoma, 2007 May 2013 Acknowledgements I would first like to thank my professor, Dennis Parker, for all of his help over the past four years. Thank you for your guidance, patience, and honesty. Thank you for listening to me play and talk about Kodály for much longer than I am sure you wanted to hear it. I would also like to thank my committee members Dr.
    [Show full text]
  • Popular Music and Narratives of Identity in Croatia Since 1991
    Popular music and narratives of identity in Croatia since 1991 Catherine Baker UCL I, Catherine Baker, confirm that the work presented in this thesis is my own. Where information has been derived from other sources, I confirm that this has been indicated / the thesis. UMI Number: U592565 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. Dissertation Publishing UMI U592565 Published by ProQuest LLC 2013. Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 2 Abstract This thesis employs historical, literary and anthropological methods to show how narratives of identity have been expressed in Croatia since 1991 (when Croatia declared independence from Yugoslavia) through popular music and through talking about popular music. Since the beginning of the war in Croatia (1991-95) when the state media stimulated the production of popular music conveying appropriate narratives of national identity, Croatian popular music has been a site for the articulation of explicit national narratives of identity. The practice has continued into the present day, reflecting political and social change in Croatia (e.g. the growth of the war veterans lobby and protests against the Hague Tribunal).
    [Show full text]
  • Performance Practice in Hungarian Folk Music and Its Relationship to the Style Hongrois
    Edith Cowan University Research Online Theses: Doctorates and Masters Theses 2019 Performance practice in Hungarian folk music and its relationship to the Style Hongrois Teresa Vinci Edith Cowan University Follow this and additional works at: https://ro.ecu.edu.au/theses Part of the Music Practice Commons, and the Other Music Commons "Never Far Away" [CD] can be purchased through [email protected] Recommended Citation Vinci, T. (2019). Performance practice in Hungarian folk music and its relationship to the Style Hongrois. https://ro.ecu.edu.au/theses/2265 This Thesis is posted at Research Online. https://ro.ecu.edu.au/theses/2265 Edith Cowan University Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorize you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. You are reminded of the following: Copyright owners are entitled to take legal action against persons who infringe their copyright. A reproduction of material that is protected by copyright may be a copyright infringement. Where the reproduction of such material is done without attribution of authorship, with false attribution of authorship or the authorship is treated in a derogatory manner, this may be a breach of the author’s moral rights contained in Part IX of the Copyright Act 1968 (Cth). Courts have the power to impose a wide range of civil and criminal sanctions for infringement of copyright, infringement of moral rights and other offences under the Copyright Act 1968 (Cth).
    [Show full text]
  • The Music of the Roma in Hungary
    Data » Music » Countries » The music of the Roma in Hungary http://romani.uni-graz.at/rombase The music of the Roma in Hungary Katalin Kovalcsik Traditionally there are two kinds of music performed by the Roma: one is musical service rendered for non-Romani audiences, the other is music made within the Romani community. The music played for outsiders is labelled "Gypsy music" by Hungarian scientific literature having adopted its colloquial name, and the music they use among themselves is called "folk music". At the same time, the Roma began gradually to develop an ethnic music culture from the 1970s. The process of creating the institutional conditions for the practising, improvement and presentation of their own culture picked up momentum when after the great political turn they obtained national minority status. In the following, I first give a sketchy summary of the two traditional cultural modes, before listing the main tendencies asserted in today's Romani music life in Hungary. The table below shows the Romani ethnic groups in Hungary and their traditional occupations (after Kemény 1974). The major ethnic groupings of the Roma living in Hungary The name of the First language Proportion according to Traditional occupations grouping (in brackets their first language their own name) within the Romani population, in % Hungarian (romungro) Hungarian ca 71 music making in musician dynasties, metal-working, brick-making, agricultural labour etc. Vlach (vlašiko) Romani- Hungarian ca 21 metal-working, sieve-making, horse-dealing, trading etc. Boyash (băiaş) Romanian- Hungarian ca 8 wood-working (tubs, spoons, other wooden household utensils) Slovak (serviko) Romani- Hungarian No data.
    [Show full text]
  • The Gypsy in Violin Music: a Lecture Recital Featuring The
    //8/d THE GYPSY IN VIOLIN MUSIC: A LECTURE RECITAL FEATURING THE MUSIC OF KREISLER, RAVEL, AND SARASATE; TOGETHER WITH THREE RECITALS OF MUSIC BY BARTOK, BEETHOVEN, CHAUSSON, DVORAK, SCHOENBERG, SCHUBERT, SHOSTAKOVICH, AND TCHAIKOVSKY DISSERTATION Presented to the Graduate Council of the University of North Texas in Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS By John A. Thomson, L.R.S.M, B.M. (Perf)., M.M. Denton, Texas December, 1990 Thomson, John A., The Gypsy in Violin Music: A Lecture Recital Featuring the Music of Kreisler, Ravel, and Sarasate; Together with Three Recitals of Music by Bart6k, Beethoven, Chausson. DvQr"k Schoenberg, Schubert, Shostakovich. and Tchaikovsky. Doctor of Musical Arts (Violin Performance), December, 1990, 36 pp., 4 illustrations, bibliography, 46 titles. The lecture recital is an examination of Gypsies and their music with particular emphasis on violin repertoire. The lecture was followed by a performance of Kreisler's La Gitana, Sarasate's Zigeunerweisen, and Ravel's Tzigane. In addition to the lecture recital, three other public recitals were performed. The first, on April 18, 1988, included works of Tchaikovsky and Shostakovich. The second program, a solo recital on March 6, 1989 featured works by Beethoven, Chausson, and Bart6k. The third recital was performed on April 26, 1990 and included works by Schoenberg, Dvorak, and Schubert. ACKNOWLEDGMENTS My sincere thanks to my parents and to Ann Nicholson for their support and assistance iii TABLE OF CONTENTS Page RECITAL PROGRAMS . v . THE GYPSY IN VIOLIN MUSIC . ... 1 The Origin of the Gypsies Gypsy Music Music Originating from the Gypsies Popular Gypsy Music Musical Genres Gypsy Performers Western Music Written in Gypsy Style Three Violin Works Inspired by Gypsies REFERENCES ..
    [Show full text]
  • Teen Strings Don’T Miss Your Opportunity to Submit Your Application to Be Selected We Hope You Enjoy the Latest Issue of Teen As the 2009 Outstanding Student Chapter
    AMERICAN STRING TEACHER August 2008 | Volume 58 | Number 3 BACK-TO-SCHOOL ISSUE! August 2008 Guidelines for Successful Orchestra Auditions The Projected Career Plans of String Music Educators Challenging the Middle School Orchestra Musician PLUS: String Industry Council Directory 3 American String Teachers Association www.astaweb.com SAVE THE DATES! 2009 ASTA National Conference March 19-21, 2009 Atlanta, GA * Exhibits * National Orchestra Festival * National Solo Competition * Alternative Styles Awards 2010 ASTA National Conference February 17-20, 2010 Santa Clara, CA * Exhibits * National Orchestra Festival * National High School Honors Orchestra 2 | American String Teacher | August 2008 AMERICAN STRING TEACHER CONTENTS August 2008 | Volume 58 | Number 3 Features and Forums Using a Practice Diary to Promote Self-Regulated Instrumental 34 Practice As a studio violin teacher, I spend a lot of time teaching my students how to practice striving to follow in the footsteps of Ivan Galamian. by Susan J. Kim Challenging the Middle School Orchestra Musician 38 We want to challenge our students—but, to do what? What kinds of experiences make a lasting impact on a young person, and how can we help our students develop a feeling of ownership that leads to a commitment to music? by Gail V. Barnes Mastering the Unknown: Guidelines for Successful Orchestra 42 Auditions Orchestra auditions and recitals require differing methods of preparation. Read about the most important difference between auditions and recitals. by Garrett Fischbach The Projected Career Plans of String Music Educators: Implications 46 for the Profession Where do string teachers go when they leave the profession, and what are the implications on the profession as a whole? by Joshua Russell Master Class 64 There Are No Secrets—Thoughts on a Career in Music An Interview with Violinist David Nadien David Nadien’s name is known to many young violinists as “the man who recorded those great Suzuki CDs.” His affi liation with Dr.
    [Show full text]
  • The Dick Crum Collection, Date (Inclusive): 1950-1985 Collection Number: 2007.01 Extent: 42 Boxes Repository: University of California, Los Angeles
    http://oac.cdlib.org/findaid/ark:/13030/kt2r29q890 No online items Finding Aid for the The Dick Crum Collection 1950-1985 Processed by Ethnomusicology Archive Staff. Ethnomusicology Archive UCLA 1630 Schoenberg Music Building Box 951657 Los Angeles, CA 90095-1657 Phone: (310) 825-1695 Fax: (310) 206-4738 Email: [email protected] URL: http://www.ethnomusic.ucla.edu/Archive/ ©2009 The Regents of the University of California. All rights reserved. Finding Aid for the The Dick Crum 2007.01 1 Collection 1950-1985 Descriptive Summary Title: The Dick Crum Collection, Date (inclusive): 1950-1985 Collection number: 2007.01 Extent: 42 boxes Repository: University of California, Los Angeles. Library. Ethnomusicology Archive Los Angeles, California 90095-1490 Abstract: Dick Crum (1928-2005) was a teacher, dancer, and choreographer of European folk music and dance, but his expertise was in Balkan folk culture. Over the course of his lifetime, Crum amassed thousands of European folk music records. The UCLA Ethnomusicology Archive received part of Dick Crum's personal phonograph collection in 2007. This collection consists of more than 1,300 commercially-produced phonograph recordings (LPs, 78s, 45s) primarily from Eastern Europe. Many of these albums are no longer in print, or, are difficult to purchase. More information on Dick Crum can be found in the Winter 2007 edition of the EAR (Ethnomusicology Archive Report), found here: http://www.ethnomusic.ucla.edu/archive/EARvol7no2.html#deposit. Language of Material: Collection materials in English, Croatian, Bulgarian, Serbian, Greek Access Collection is open for research. Publication Rights Some materials in these collections may be protected by the U.S.
    [Show full text]
  • Performance Guide for Violinists to Selected Compositions of Isang Yun Ji Won Hwang
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2013 Performance Guide for Violinists to Selected Compositions of Isang Yun Ji Won Hwang Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC PERFORMANCE GUIDE FOR VIOLINISTS TO SELECTED COMPOSITIONS OF ISANG YUN By JI WON HWANG 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, 2013 Ji Won Hwang defended this treatise on April 1, 2013. The members of the supervisory committee were: Eliot Chapo Professor Directing Treatise Jane Clendinning University Representative Melanie Punter 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 This treatise is dedicated to my parents. Without their support and love, It would not have been possible. iii ACKNOWLEDGEMENTS I would like to express my profound gratitude and thanks to my major professor Eliot Chapo, whose warm heart and passion for teaching and great musicianship have always been there to truly inspire and encourage me to be a better violinist. I would also like to thank to my committee members, Dr. Jane Clendinning who guided my research and the editing of my treatise and Professor Melanie Punter for her encouragement and tremendous kindness. They always supported me in every step of my five years at Florida State University. I wish to specially thanks to Andrew Gades for providing assistance for this editing and proofreading for this treatise more recently.
    [Show full text]