DOCSLIB.ORG

Musical Identities, Roles, Participation, and Inclusion at Dartington International Summer School

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Musical Identities, Roles, Participation, and Inclusion at Dartington International Summer School Taking part and playing parts: Musical identities, roles, participation, and inclusion at Dartington International Summer School Hermione Ruck Keene Institute of Education, University College London Submitted in fulfilment of the degree of Doctor of Philosophy I, Hermione Katharine Mary Ruck Keene, 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 in the thesis. Acknowledgements First and foremost, I would like to thank everyone who participated in my research; the time, support and interest I have received from Dartington staff and participants at every stage of this project have been invaluable, and I hope to have done you all justice in my writing. I would particularly like to thank Andrew Ward for taking the time to read my thesis prior to submission. Equally importantly, I would like to thank my supervisor, Lucy Green. I am so lucky to have been one of the many doctoral students to have benefitted from her immeasurable wisdom, support and guidance, and am profoundly grateful for the opportunity to learn from her how to be the kind of academic that is needed in this troubled world. I would like also to thank my writing partners; Jon, Nicola, and Alex – thank you for your kindness, interest and willingness to collaborate in studying. Lorna and Hector – thank you for providing a beautiful space in which to work. My colleagues and students at the University of Exeter have been an invaluable source of support and endlessly patient in giving me time to complete this thesis; I would particularly like to thank my colleagues in the Primary PGCE team, Kerry Chappell for her understanding and tolerance, Lindsay Hetherington for helping me through the final weeks of writing, and Nigel Skinner for his gentle encouragement. Finally, I would like to thank the many people who have taken an interest in my doctoral work, in particular Chris, whose identification of ‘PhD gold’ was most helpful, Barney, who wanted to read extracts of my thesis in bed, which meant I knew he was the one for me, and my family, especially Zoe, Benjamin, John and Anna – you are the future, and I love you more than all the words in this thesis put together. This thesis is dedicated to the memory of my father, Ben Ruck Keene, who used to call me the ‘great brain’, and throughout my life has given me the courage to do what I thought mattered, which is the greatest gift. Abstract Dartington International Summer School of Music (DISS) is an annual residential summer festival of predominantly classical musical learning and performance. Open since 1948 to amateurs, aspiring and established professionals, it represents an unusually diverse and multi-generational musical community. This study explores this Utopian vision of inclusive music-making through a qualitative ethnographic case study, utilizing unstructured interviews, observations, participant diaries and field notes. It addresses the following research foci: residents’ musical identities in relation to their musical background, expectations, and aspirations; playing roles at DISS; relationships with the act of making music and musical participation; and concepts of musical inclusion in the DISS context and beyond. Framed by conceptions of Utopia and the carnivalesque, and drawing on the sociology of work and leisure as well as theorisations of musical and dialogic identity, the study finds that DISS plays a significant role in the development and possible disruption of musical identity, allowing for creative risk-taking and the emergence of a ‘DISS identity’. Playing different musical roles – learner, teacher, performer, ensemble member, audience member - opens up the possibility of new, fluid, relationships with musical behaviours, as well as re-imagining and interrogating conceptions of musical talent. A ‘DISS pedagogy’ is discussed, which at its best draws on principles of dialogic teaching to include a diverse range of learners, whilst also presenting challenges in relation to teaching this mixed community. DISS is considered as a site for alternative performance practice in terms of audience-performer relationships, tutors as performers, and amateur-professional collaborations. Tensions between musical process and product, participation and ‘standards’ are revealed, as well as subtle hierarchies of socio-economic status and longevity of attendance. The potential of DISS as a site for musical inclusion is revealed to be richest in terms of inter-generational music-making possibilities. 1 Impact statement This findings of this research serve to illuminate an important and developing area of musical participation: collaboration between groups of musicians that are in some way ‘different’ to one another. This might apply in the context of amateur-professional music-making, tuition, or performances, in virtual and physical capacities. It might equally apply to inter-generational music-making in care homes or other settings. The insights gathered from researching a residential summer school shed light on the potential barriers to musical participation that might occur in such contexts. Aspiring professional musicians stand in particular to benefit from the research findings, since they are increasingly required to diverse and community settings. Furthermore, the analysis of teaching and learning at DISS gives valuable insight into adult and lifelong learning communities and relationships; the ‘DISS pedagogy’ identified would seem to be transferable to other musical – and non-musical – settings. Audience development is another area in which the findings of this study are of value; classical music in the 21st century is constantly looking for ways to re-invent itself and engage new audiences, and aspects of the fluid audience-performer-social relationships emerging from DISS could inform innovative future practice. The findings of this research have already been disseminated via presentations at several conferences, including the ISME World Conference and the Reflective Conservatoire Conference. Aspects have also been explored in a published chapter in the Oxford Handbook of Music and Leisure. Further dissemination within the academic community is intended with the publication of future journal articles investigating aspects of the research, and future presentations at academic conferences; I also intend to write a book based on this study. Building on existing professional links with those working with aspiring professional musicians, opportunities to work directly or indirectly with this user group will be explored. Similar opportunities with arts organisations and community music practitioners will also be investigated. Beyond the academic community, findings will be shared with the DISS community through a public interview and presentation of the research. 2 Contents Abstract ............................................................................................................................. 1 Impact statement .............................................................................................................. 2 Chapter 1: Rationale and research context ...................................................................... 8 Introduction .................................................................................................................. 8 Rationale and research foci........................................................................................... 9 Research context ......................................................................................................... 13 Amateurs and professionals in classical music: defining the terms ....................... 13 The evolution of the amateur-professional relationship ........................................ 15 Dartington Hall: Utopia, social justice and the arts ................................................ 19 Overview of chapters .................................................................................................. 26 Chapter 2: Methodology, data collection and data analysis .......................................... 28 Research paradigm ...................................................................................................... 28 Discipline and theoretical framework ......................................................................... 29 Researcher positionality .............................................................................................. 33 Case study ................................................................................................................... 37 Ethics statement ......................................................................................................... 38 Data collection ............................................................................................................ 39 Fieldnotes ................................................................................................................ 41 Interviews ................................................................................................................ 42 Sampling .................................................................................................................. 43 Diaries ...................................................................................................................... 45 Observations ........................................................................................................... 46 Transcription ..........................................................................................................
Load more

Recommended publications
  • “Music-Making in a Joyous Sense”: Democratization, Modernity, and Community at Benjamin Britten's Aldeburgh Festival of Music and the Arts
    “Music-making in a Joyous Sense”: Democratization, Modernity, and Community at Benjamin Britten's Aldeburgh Festival of Music and the Arts Daniel Hautzinger Candidate for Senior Honors in History Oberlin College Thesis Advisor: Annemarie Sammartino Spring 2016 Hautzinger ii Table of Contents 1. Introduction 1 2. Historiography and the Origin of the Festival 9 a. Historiography 9 b. The Origin of the Festival 14 3. The Democratization of Music 19 4. Technology, Modernity, and Their Dangers 31 5. The Festival as Community 39 6. Conclusion 53 7. Bibliography 57 a. Primary Sources 57 b. Secondary Sources 58 Hautzinger iii Acknowledgements This thesis would never have come together without the help and support of several people. First, endless gratitude to Annemarie Sammartino. Her incredible intellect, voracious curiosity, outstanding ability for drawing together disparate strands, and unceasing drive to learn more and know more have been an inspiring example over the past four years. This thesis owes much of its existence to her and her comments, recommendations, edits, and support. Thank you also to Ellen Wurtzel for guiding me through my first large-scale research paper in my third year at Oberlin, and for encouraging me to pursue honors. Shelley Lee has been an invaluable resource and advisor in the daunting process of putting together a fifty-some page research paper, while my fellow History honors candidates have been supportive, helpful in their advice, and great to commiserate with. Thank you to Steven Plank and everyone else who has listened to me discuss Britten and the Aldeburgh Festival and kindly offered suggestions.
    [Show full text]
  • The Latest Newsletter. We Do Hope You Can Attend the AGM and the Holst Birthday Concert, Both in Cheltenham on Saturday 29Th September
    SEPTEMBER 2018 Welcome to the latest newsletter. We do hope you can attend the AGM and the Holst Birthday Concert, both in Cheltenham on Saturday 29th September. AGM Sunday 23rd September at 2.30pm, Malvern Theatres, Malvern. Welcome to the latest newsletter. This month, we celebrate the Holst A Moorside Suite. 144th anniversary of the birth of Holst. The annual Holst Birthday Concert will take place in St Andrew’s URC, Sunday 23rd September at 3pm, St Mary Magdalene Church, th Montpellier Street, Cheltenham at 7.30pm on Saturday 29 Hucknall, Nottingham. Holst Choral Hymns from the Rig Veda. September. If you plan to be in Cheltenham that evening, why rd not make it a day’s visit by including the Society’s first AGM Sunday 23 September at 7.30pm, Wigmore Hall, London. which will be held at St Andrew’s URC that afternoon, at 4pm. Holst The Heart Worships. At the conclusion of the AGM, Angela Applegate will present a th PowerPoint illustrated celebration of Holst, entitled “Music, Saturday 29 September at 7.30pm, Ely Cathedral. Holst The Friendship and the Cotswold Hills: The Life of Gustav Holst”. Planets and The Cotswold Symphony. th We hope to finish events by 5.30pm, which should give a little Sunday 30 September at 3pm, Great Witley Church, time for a bite to eat, prior to the evening’s concert. Worcestershire. Holst The Moorside Suite. nd Please also note that we will be providing refreshments at the Tuesday 2 October at 7.30pm, St John’s Smith Square, AGM including hot drinks, biscuits and cake.
    [Show full text]
  • What Makes Me Feel Drawn to KROKE Music Is Spiritual Reality of the Musicians, This Means Honesty and Authenticity of the Music
    What makes me feel drawn to KROKE music is spiritual reality of the musicians, this means honesty and authenticity of the music. Nigel Kennedy The music is too dark to really represent traditional klezmer. At times, it is almost as if the Velvet Underground have been reborn as a klezmer band. Ari Davidov KROKE live are a hair-raisingly brilliant, unforgettable experience. John Lusk At times they sound jazzy, at times contemporary, at times classical. Their music is at once passionate and danceable. Dominic Raui KROKE (which means Kraków in Yiddish) was formed in 1992 by three friends and graduates of the Kraków Academy of Music: Jerzy Bawoł (accordion), Tomasz Kukurba (viola) and Tomasz Lato (double bass). The members of the group completed all stages of standard music education, including contemporary music. KROKE began by playing klezmer music, which is deeply set in Jewish tradition, and adding a strong influence of Balkan music. Currently, they draw inspiration from a variety of ethnic music from around the world, combining it with elements of jazz and improvisation, creating their own distinctive style. Initially, KROKE performed only in clubs and galleries situated in Kazimierz, a former Jewish district of Kraków. There, for the first time, one could listen to KROKE's songs. They later recorded their first cassette released at their own expense in 1993. While performing at the Ariel gallery, they came to the attention of Steven Spielberg, who was shooting Schindler's List in Kraków at the time. Spielberg invited them to Jerusalem, where he was shooting the final scenes. The group performed a concert at the Survivors' Reunion for those of Oskar Schindler's list who made it through the war.
    [Show full text]
  • Trance As Artefact: De-Othering Transformative States with Reference to Examples from Contemporary Dance in Canada
    Trance as Artefact: De-Othering transformative states with reference to examples from contemporary dance in Canada Submitted in fulfilment of the requirements of the Degree of Doctor of Philosophy Department of Dance Studies, University of Surrey August 1st, 2007 Bridget E. Cauthery © by Bridget E. Cauthery (2007) ABSTRACT Reflecting on his fieldwork among the Malagasy speakers of Mayotte in the Indian Ocean, Canadian anthropologist Michael Lambek questions why the West has a “blind spot” when it comes to the human activity of trance. Immersed in his subject’s trance practices, he questions why such a fundamental aspect of the Malagasy culture, and many other cultures he has studied around the world, is absent from his own. This research addresses the West’s preoccupation with trance in ethnographic research and simultaneous disinclination to attribute or situate trance within its own indigenous dance practices. From a Western perspective, the practice and application of research suggests a paradigm that locates trance according to an imperialist West/non-West agenda. If the accumulated knowledge and data about trance is a by-product of the colonialist project, then trance may be perceived as an attribute or characteristic of the Other. As a means of investigating this imbalance, I propose that trance could be reconceived as an attribute or characteristic of the Self, as exemplified by dancers engaged in Western dance practices within traditional anthropology’s “own backyard.” In doing so, I examine the degree to which trance can be a meaningful construct within the cultural analysis of contemporary dance creation and performance. Through case studies with four dancer/choreographers active in Canada, Margie Gillis, Zab Maboungou, Brian Webb and Vincent Sekwati Mantsoe, this research explores the cultural parameters and framing of transformative states in contemporary dance.
    [Show full text]
  • The Psytrance Party
    THE PSYTRANCE PARTY C. DE LEDESMA M.Phil. 2011 THE PSYTRANCE PARTY CHARLES DE LEDESMA A thesis submitted in partial fulfilment of the requirements of the School of Humanities and Social Sciences, University of East London for the degree of Master of Philosophy August 2011 Abstract In my study, I explore a specific kind of Electronic Dance Music (EDM) event - the psytrance party to highlight the importance of social connectivity and the generation of a modern form of communitas (Turner, 1969, 1982). Since the early 90s psytrance, and a related earlier style, Goa trance, have been understood as hedonist music cultures where participants seek to get into a trance-like state through all night dancing and psychedelic drugs consumption. Authors (Cole and Hannan, 1997; D’Andrea, 2007; Partridge, 2004; St John 2010a and 2010b; Saldanha, 2007) conflate this electronic dance music with spirituality and indigene rituals. In addition, they locate psytrance in a neo-psychedelic countercultural continuum with roots stretching back to the 1960s. Others locate the trance party events, driven by fast, hypnotic, beat-driven, largely instrumental music, as post sub cultural and neo-tribal, representing symbolic resistance to capitalism and neo liberalism. My study is in partial agreement with these readings when applied to genre history, but questions their validity for contemporary practice. The data I collected at and around the 2008 Offworld festival demonstrates that participants found the psytrance experience enjoyable and enriching, despite an apparent lack of overt euphoria, spectacular transgression, or sustained hedonism. I suggest that my work adds to an existing body of literature on psytrance in its exploration of a dance music event as a liminal space, redolent with communitas, but one too which foregrounds mundane features, such as socialising and pleasure.
    [Show full text]
  • BRICUP Newsletter 68 September 2013
    BRICUP Newsletter 68 September 2013 www.bricup.org.uk [email protected] CONTENTS Kennedy, an enfant terrible of the classical music world , had not played at the Proms for years but P 1. Sound and fury at the Proms over took advantage of a radical mix of programmes this “apartheid” remark time to revisit the Four Seasons with a number of jazz musicians, his own largely Polish Orchestra of P 2. The PACBI Column Life and 17 players from the Palestine Strings wearing trademark keffiyehs. Aged between 12 and On the Academic Boycott Front: A 23, these protégées of the Edward Said National Pioneering Campaign Conservatory of Music demonstrated considerable artistry in one of the world’s greatest performance spaces. No wonder the Zionist reaction to their P 4. The turning of the screw mentor’s solidarity comment was so swift and strong. P 6. Hasbara arrives at the Edinburgh Within days the Jewish Chronicle announced with Fringe satisfaction that the BBC intended deleting Kennedy’s remark from its edited TV broadcast of the concert. Baroness Ruth Deech, a prominent P 7. Notices. Zionist and former BBC governor, had pronounced his words “offensive and untrue” and unfit to be **** heard during a Prom concert. The BBC, saying they Sound and fury at the Proms over did not “fall within the editorial remit of the proms as a classical music festival,” duly obliged. The “apartheid” remark critically-acclaimed concert went out on BBC4 on August 23 without the offending comments. Violinist Nigel Kennedy sent Israel’s apologists into a mighty spin during a Promenade concert in In the interim BRICUP chairman Jonathan London on August 8 when he used the word Rosenhead had joined supporters of Jews for “apartheid” to refer to the life circumstances of the Boycotting Israeli Goods, among them actress young Palestinian musicians with whom he was Miriam Margolyes and writer/comedian Alexei sharing the stage.
    [Show full text]
  • Jon Lord June 9 1941 – July 16 2012
    Jon Lord June 9 1941 – July 16 2012 Founder member of Deep Purple, Jon Lord was born in Leicester. He began playing piano aged 6, studying classical music until leaving school at 17 to become a Solicitor’s clerk. Initially leaning towards the theatre, Jon moved to London in 1960 and trained at the Central School of Speech and Drama, winning a scholarship, and paying for food and lodgings by performing in pubs. In 1963 he broke away from the school with a group of teachers and other students to form the pioneering London Drama Centre. A year later, Jon “found himself“ in an R and B band called The Artwoods (fronted by Ronnie Wood’s brother, Art) where he remained until the summer of 1967. During this period, Jon became a much sought after session musician recording with the likes of Elton John, John Mayall, David Bowie, Jeff Beck and The Kinks (eg 'You Really Got Me'). In December 1967, Jon met guitarist Richie Blackmore and by early 1968 the pair had formed Deep Purple. The band would pioneer hard rock and go on to sell more than 100 million albums, play live to more than 10 million people, and were recognized in 1972 by The Guinness Book of World Records as “the loudest group in the world”. Deep Purple’s debut LP “Shades of Deep Purple” (1968) generated the American Top 5 smash hit “Hush”. In 1969, singer Ian Gillan and bassist Roger Glover joined and the band’s sound became heaver and more aggressive on “Deep Purple in Rock” (1970), where Jon developed a groundbreaking new way of amplifying the sound of the Hammond organ to match the distinctive sound of the electric guitar.
    [Show full text]
  • Concert De Noël
    Concert de Noël MAÎTRISE DE RADIO FRANCE DIMANCHE 15 DÉCEMBRE 201916H © François Olislaeger IMOGEN HOLST Christmas Carols pour chœur féminin a capella : 1. Coventry carol – 2. A Virgin most pure – 3. Wassail Song (10 minutes environ) ALASTAIR PUTT Under the Giant Fern of Night (création française) 1. Dark Matter – 2. Girl with a Balloon - 3. Turning Nightward – 4. When You Wish Upon a Star – 5. Let There Always Be Light – 6. Notte di San Giovanni (20 minutes environ) GUSTAV HOLST Ave Maria H 49 opus 9b Choral Hymns from the Rig Veda H 99 opus 26 no3 (Troisième groupe) 1. Cantique à l’aube – 2. Cantique aux eaux – 3. Cantique à Vena – 4. Cantique des voyageurs (15 minutes environ) IMOGEN HOLST Christmas Carols pour chœur féminin a capella : 4. The Holly and the Ivy - 5. In the bleak mid-winter (10 minutes environ) BENJAMIN BRITTEN A Ceremony of Carols pour chœur d’enfants et harpe, opus 28 IRIS TOROSSIAN harpe (22 minutes environ) MAÎTRISE DE RADIO FRANCE SOFI JEANNIN direction IMOGEN HOLST 1907-1984 de plus de cinq cents habitants, ainsi que la destruction de la cathédrale Saint-Michel. Pour illustrer son reportage sur le désastre, la BBC diffusa Christmas Carols lors de son reportage la mélodie du Coventry Carol, connue de tous les Arrangements de noëls traditionnels effectués de 1940 à 1958. Britanniques. Un nouvel édifice sera reconstruit à côté des ruines et consa- cré en 1962 au son du War Requiem de Britten, dont Imogen Holst super- visera la publication. Fille du compositeur Gustav Holst et de la chanteuse Isobel Harrison, La première occurrence connue de l’hymne A Virgin most pure date de Imogen Holst est née le 12 avril 1907 à Londres.
    [Show full text]
  • 25 July 2008 Page 1 of 8
    Radio 3 Listings for 19 – 25 July 2008 Page 1 of 8 SATURDAY 19 JULY 2008 Poulenc: Gloria Read a profile of this artist Britten Sinfonia http://www.bbc.co.uk/music/artist/rq8c/ SAT 01:00 Through the Night (b00cj7xc) Polyphony With John Shea. Stephen Layton (conductor) Choice no.5 (Verity): Methera Quartet: Jack's Alive! (John Dipper) (3.14) Including: Beethoven: Violin Concerto in D, Op 61 album: Methera Polish Chamber Orchestra Methera Records YAN001, Tr.3 Schumann, Robert (1810-1856): Cello Concerto in A minor Nigel Kennedy (violin/director). http://www.methera.co.uk/ Brahms, Johannes (1833-1897): Symphony No 2 http://www.myspace.com/methera Roman, Johan Helmich (1694-1758): Then Svenska Messan Couperin, Francois (1668-1733): Ordre No 8 in B minor SAT 12:15 Music Feature (b00clsyt) Bella Hardy: Three Maidens (Traditional) (3.25) (Pieces de clavecin) A Guide to Accomplishment Interview: Lucy Duran and Bella Hardy (3.21) Zemlinsky, Alexander von (1872-1942): Die Seejungfrau Bella Hardy: Down in Yon Forest (Traditional) (3.09) Chopin, Frederic (1810-1849), arr. Liszt: The Maiden's Wish Concentrating on the novels of Jane Austen, Fiona Talkington Interview: Lucy Duran with Bella Hardy and Chris Sherburne (Six Polish Songs) and Dr Jeanice Brooks of Southampton University present an (5.50) Raitio, Vaino (1891-1945): The Maidens on the Headlands insight into the world of the amateur musician in the late 18th Bella Hardy: Three Black Feathers (Bella Hardy) (3.56) Granados, Enrique (1867-1916): La maja y el ruisenor century, looking at society's attitudes to them and the notion of Bella Hardy (voice/fiddle); Chris Sherburne (concertina) (Goyescas) female 'accomplishment'.
    [Show full text]
  • The Perfect Fool (1923)
    The Perfect Fool (1923) Opera and Dramatic Oratorio on Lyrita An OPERA in ONE ACT For details visit https://www.wyastone.co.uk/all-labels/lyrita.html Libretto by the composer William Alwyn. Miss Julie SRCD 2218 Cast in order of appearance Granville Bantock. Omar Khayyám REAM 2128 The Wizard Richard Golding (bass) Lennox Berkeley. Nelson The Mother Pamela Bowden (contralto) SRCD 2392 Her son, The Fool speaking part Walter Plinge Geoffrey Bush. Lord Arthur Savile’s Crime REAM 1131 Three girls: Alison Hargan (soprano) Gordon Crosse. Purgatory SRCD 313 Barbara Platt (soprano) Lesley Rooke (soprano) Eugene Goossens. The Apocalypse SRCD 371 The Princess Margaret Neville (soprano) Michael Hurd. The Aspern Papers & The Night of the Wedding The Troubadour John Mitchinson (tenor) The Traveller David Read (bass) SRCD 2350 A Peasant speaking part Ronald Harvi Walter Leigh. Jolly Roger or The Admiral’s Daughter REAM 2116 Narrator George Hagan Elizabeth Maconchy. Héloïse and Abelard REAM 1138 BBC Northern Singers (chorus-master, Stephen Wilkinson) Thea Musgrave. Mary, Queen of Scots SRCD 2369 BBC Northern Symphony Orchestra (Leader, Reginald Stead) Conducted by Charles Groves Phyllis Tate. The Lodger REAM 2119 Produced by Lionel Salter Michael Tippett. The Midsummer Marriage SRCD 2217 A BBC studio recording, broadcast on 7 May 1967 Ralph Vaughan Williams. Sir John in Love REAM 2122 Cover image : English: Salamander- Bestiary, Royal MS 1200-1210 REAM 1143 2 REAM 1143 11 drowned in a surge of trombones. (Only an ex-addict of Wagner's operas could have 1 The WIZARD is performing a magic rite 0.21 written quite such a devastating parody as this.) The orchestration is brilliant throughout, 2 WIZARD ‘Spirit of the Earth’ 4.08 and in this performance Charles Groves manages to convey my father's sense of humour Dance of the Spirits of the Earth with complete understanding and infectious enjoyment.” 3 WIZARD.
    [Show full text]
  • My World Nigel Kennedy
    Oxford Philharmonic Orchestra …. a lot of the time I play music from other worlds …. welcome to my world Nigel Kennedy This new album of Nigel Kennedy in which he features his Cover Photo: Henryk Pietkiewic Printed and Manufactured in own compositions is at the same time the most intimate Germany by Optimal Media view of his world yet. He writes works inspired by his GmbH. All rights reserved. Unauthorized copying, mentors Yehudi Menuhin and Isaac Stern, or by artists like reproduction, hiring, lending, Stéphane Grappelli, Mark O’Connor and Jarek Smietana, public performance and broadcasting prohibited. while composing a whole new suite to Anton Chekhov’s P/© 2016 Edel Germany GmbH, play Three Sisters. In My World, Kennedy shows how string Neumühlen 17, 22763 Hamburg. orchestra, rock band and piano can work well together once you forget the stereotypes. Dedications 1 Dla Jarka (für Jarek Śmietana) 07:05 2 Fallen Forest (für Isaac Stern) 07:26 3 Melody in the Wind (für Stéphane Grappelli) 05:09 4 Solitude (für Yehudi Menuhin) 05:29 5 Gibb it (für Mark O’Connor) 06:35 Three Sisters 6 Intro - Tuzenbach - Solyony’s Prophecy - Masha’s Memory - Andrei Practising 04:51 7 Vershinin’s Idealism - Irena 04:03 8 Rode’s Pictures - Andrei’s Love - Vershinin’s View of Destiny - Solyony 04:13 9 Olga - Solyony’s Possessiveness - Outro 04:00 10 Link Acts 2 – 3 (Fire) - Chebutykin’s Despair - The Sisters’ Fate 07:22 11 Link Acts 3 – 4 03:10 12 Hymn 00:58 13 Masha 02:31 Jarek S´ mietana Isaac Stern My early days in Poland were Meine ersten Jahre in Polen waren In the world of classical music, In der klassischen Musikwelt war musically characterized by meeting musikalisch geprägt von der Begegnung Isaac Stern was a huge inspiration Isaac Stern eine große Inspiration für two great musical identities – Kroke mit zwei großen Musikern – Kroke to every violinist from the younger jeden Geiger der jüngeren Generation.
    [Show full text]
  • Seattle's Seafaring Siren: a Cultural Approach to the Branding Of
    Running Head: SEATTLE’S SEAFARING SIREN 1 Seattle’s Seafaring Siren: A Cultural Approach to the Branding of Starbucks Briana L. Kauffman Master of Arts in Media Communications March 24, 2013 SEATTLE’S SEAFARING SIREN 2 Thesis Committee Starbucks Starbucks Angela Widgeon, Ph.D, Chair Date Starbucks Starbucks Stuart Schwartz, Ph.D, Date Starbucks Starbucks Todd Smith, M.F.A, Date SEATTLE’S SEAFARING SIREN 3 Copyright © 2013 Briana L. Kauffman All Rights Reserved SEATTLE’S SEAFARING SIREN 4 Abstract Many corporate brands tend to be built on a strong foundation of culture, but very minimal research seems to indicate a thorough analysis of the role of an organizational’s culture in its entirety pertaining to large corporations. This study analyzed various facets of Starbucks Coffee Company through use of the cultural approach to organizations theory in order to determine if the founding principles of Starbucks are evident in their organizational culture. Howard Schultz’ book “Onward” was analyzed and documented as the key textual artifact in which these principles originated. Along with these principles, Starbucks’ Website, Facebook, Twitter and YouTube page were analyzed to determine how Starbucks’ culture was portrayed on these sites. The rhetorical analysis of Schultz’ book “Onward” conveyed that Starbucks’ culture is broken up into a professional portion and a personal portion, each overlapping one another in its principles. After sifting through various tweets, posts and videos, this study found that Starbucks has created a perfect balance of culture, which is fundamentally driven by their values and initiatives in coffee, ethics, relationships and storytelling. This study ultimately found that Starbucks’ organizational culture is not only carrying out their initiatives that they principally set out to perform, but they are also doing so across all platforms while engaging others to do the same.
    [Show full text]