Noexit Sep 2018 Program View-2
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Noexit Jan 2017 Program Print
NoExit New Music Ensemble from left to right; James Praznik, James Rhodes, Luke Rinderknecht, Eric Gonzalez, Timothy Beyer, Nicholas Underhill, Sean Gabriel, Nick Diodore and Cara Tweed. Since it’s inception, the idea behind NoExit has been to serve as an outlet for the commission and performance of contemporary avant-garde concert music. Now in our eighth season and with well over sixty commissions to date, NoExit is going strong in our efforts to promote the music of living composers and to be an impetus for the creation of new works. We have strived to create exciting, meaningful and thought-provoking programs; always with the philosophy of bringing the concert hall to the community (not the other way around) and by presenting our programs in a manner which allows for our audience to really connect with the experience......... free and open to the public in every sense. For NoExit’s 2016-2017 concert season we’ve expanded our programming to include more than twice the number of concerts than in previous years! We will continue to participate in the NeoSonicFest and produce our successful series of exchange concerts with the St.Paul, Minnesota based new music ensemble Zeitgeist, who we will be performing with in Cleveland this January. And of course, unveiled before your very eyes, more newly commissioned pieces will see their world premiere this season than you can shake a stick at. NoExit is grateful to have such an enthusiastic and engaged audience. We have so many extraordinary things in store for you, so keep listening! Thank you for your support. -
Bush Artist Fellows
Bush Artist Fellows AY_i 1/14/03 10:05 AM Page i Bush Artist Fellows AY 1-55 1/14/03 10:07 AM Page 1 AY 1-55 1/14/03 10:07 AM Page 2 Bush Artist Fellows CHOREOGRAPHY MULTIMEDIA PERFORMANCE ART STORYTELLING M. Cochise Anderson Ananya Chatterjea Ceil Anne Clement Aparna Ramaswamy James Sewell Kristin Van Loon and Arwen Wilder VISUAL ARTS: THREE DIMENSIONAL Davora Lindner Charles Matson Lume VISUAL ARTS: TWO DIMENSIONAL Arthur Amiotte Bounxou Chanthraphone David Lefkowitz Jeff Millikan Melba Price Paul Shambroom Carolyn Swiszcz 2 AY 1-55 1/14/03 10:07 AM Page 3 Bush Artist Fellowships stablished in 1976, the purpose of the Bush Artist Fellowships is to provide artists with significant E financial support that enables them to further their work and their contributions to their communi- ties. An artist may use the fellowship in many ways: to engage in solitary work or reflection, for collabo- rative or community projects, or for travel or research. No two fellowships are exactly alike. Eligible artists reside in Minnesota, North and South Dakota, and western Wisconsin. Artists may apply in any of these categories: VISUAL ARTS: TWO DIMENSIONAL VISUAL ARTS: THREE DIMENSIONAL LITERATURE Poetry, Fiction, Creative Nonfiction CHOREOGRAPHY • MULTIMEDIA PERFORMANCE ART/STORYTELLING SCRIPTWORKS Playwriting and Screenwriting MUSIC COMPOSITION FILM • VIDEO Applications for all disciplines will be considered in alternating years. 3 AY 1-55 1/14/03 10:07 AM Page 4 Panels PRELIMINARY PANEL Annette DiMeo Carlozzi Catherine Wagner CHOREOGRAPHY Curator of -
JAMES RODHES “Instrumental”
JAMES RODHES “Instrumental” James Rhodes, el enfant terrible de la música clásica. “En mis conciertos hablo de las piezas que interpreto, cuento por qué las he elegido, qué importancia tienen para mí y en qué contexto se compusieron”. Así explica James Rhodes como son sus recitales en el prólogo de su libro Instrumental. Memorias de música, medicina y locura (7ª edición, más de 75.000 ejemplares vendidos), con el que ha obtenido un enorme e inesperado éxito en todo el mundo. Además de tocar y contextualizar las obras que interpreta, el pianista británico también cuenta sobre el escenario, entre piezas de Bach, Chopin, Rachmaninov, Schubert o Beethoven, la historia de su vida y como la música le ha ayudado a superar los numerosos obstáculos que se ha ido encontrando por el camino. James Rhodes es un enamorado de la música clásica. Carismático, visceral y muy talentoso, Rhodes asegura que Bach (y especialmente “Las variaciones Goldberg”) le han salvado la vida. Y no exagera. A sus 40 años se ha convertido en uno de los principales divulgadores de la música clásica en el mundo, gracias a sus giras y conciertos en todo tipo de festivales y salas, y varios documentales sobre su figura filmados con la complicidad de cadenas de televisión británicas. James Rhodes, ofrece un enfoque diferente al abordar la música clásica sobre el escenario, interactuando con el público, compartiendo emociones y opiniones sobre la música y sobre los grandes compositores que interpreta. Reverenciado por la crítica británica por su particular estilo de stand up, Rhodes aporta un toque muy personal a cada una de sus actuaciones. -
The Causes of the Civil War
THE CAUSES OF THE CIVIL WAR: A NEWSPAPER ANALYSIS by DIANNE M. BRAGG WM. DAVID SLOAN, COMMITTEE CHAIR GEORGE RABLE MEG LAMME KARLA K. GOWER CHRIS ROBERTS A DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the College of Communication and Information Sciences in the Graduate School of The University of Alabama TUSCALOOSA, ALABAMA 2013 Copyright Dianne Marie Bragg 2013 ALL RIGHTS RESERVED ABSTRACT This dissertation examines antebellum newspaper content in an attempt to add to the historical understanding of the causes of the Civil War. Numerous historians have studied the Civil War and its causes, but this study will use only newspapers to examine what they can show about the causes that eventually led the country to war. Newspapers have long chronicled events in American history, and they offer valuable information about the issues and concerns of their communities. This study begins with an overview of the newspaper coverage of the tariff and territorial issues that began to divide the country in the early decades of the 1800s. The study then moves from the Wilmot Proviso in 1846 to Lincoln’s election in 1860, a period in which sectionalism and disunion increasingly appeared on newspaper pages and the lines of disagreement between the North and the South hardened. The primary sources used in this study were a diverse sampling of articles from newspapers around the country and includes representation from both southern and northern newspapers. Studying these antebellum newspapers offers insight into the political, social, and economic concerns of the day, which can give an indication of how the sectional differences in these areas became so divisive. -
Hear Me Now: the Implication and Significance of the Female Composer’S Voice As Sound Source in Her Electroacoustic Music
Hear Me Now: the implication and significance of the female composer’s voice as sound source in her electroacoustic music Elizabeth Hinkle-Turner Computing and Information Technology Center, University of North Texas [email protected] This subject also interests me as I am myself a composer Abstract of primarily text-based electroacoustic music and video works. In several instances I am the recorded female voice In her writings about the role of the female voice in on the tape. After reading Bosma’s research which is readily electroacoustic music, noted Dutch researcher Hannah available on her website, I began to think about how I had Bosma has identified a variety of issues surrounding the used my own voice in my music and also why I had done compositional choices of those utilizing spoken and sung so. The reasons range from the practical to the symbolic and text in their work and illustrated the differences of use in will be discussed later in this paper. A question from an relationship to the chosen vocalist’s gender. Bosma article reviewer about the music of Alice Shields (which I exclusively focuses upon the musical works of men in her have researched extensively) got me thinking about other studies. This paper explores how women utilize the voice in women who use their own voice in the creation of their electroacoustic music and more specifically whether their music. The result is Hear Me Now, a discussion of a very treatment of the female voice in any way differs from the small number of the many women who use their voice as the treatment of the female voice by their male counterparts. -
University of California Santa Cruz
UNIVERSITY OF CALIFORNIA SANTA CRUZ EXTENDED FROM WHAT?: TRACING THE CONSTRUCTION, FLEXIBLE MEANING, AND CULTURAL DISCOURSES OF “EXTENDED VOCAL TECHNIQUES” A dissertation submitted in partial satisfaction of the requirements for the degree of DOCTOR OF PHILOSOPHY in MUSIC by Charissa Noble March 2019 The Dissertation of Charissa Noble is approved: Professor Leta Miller, chair Professor Amy C. Beal Professor Larry Polansky Lori Kletzer Vice Provost and Dean of Graduate Studies Copyright © by Charissa Noble 2019 TABLE OF CONTENTS List of Figures v Abstract vi Acknowledgements and Dedications viii Introduction to Extended Vocal Techniques: Concepts and Practices 1 Chapter One: Reading the Trace-History of “Extended Vocal Techniques” Introduction 13 The State of EVT 16 Before EVT: A Brief Note 18 History of a Construct: In Search of EVT 20 Ted Szántó (1977): EVT in the Experimental Tradition 21 István Anhalt’s Alternative Voices (1984): Collecting and Codifying EVT 28evt in Vocal Taxonomies: EVT Diversification 32 EVT in Journalism: From the Musical Fringe to the Mainstream 42 EVT and the Classical Music Framework 51 Chapter Two: Vocal Virtuosity and Score-Based EVT Composition: Cathy Berberian, Bethany Beardslee, and EVT in the Conservatory-Oriented Prestige Economy Introduction: EVT and the “Voice-as-Instrument” Concept 53 Formalism, Voice-as-Instrument, and Prestige: Understanding EVT in Avant- Garde Music 58 Cathy Berberian and Luciano Berio 62 Bethany Beardslee and Milton Babbitt 81 Conclusion: The Plight of EVT Singers in the Avant-Garde -
Sangeet Mela 2017
SANGEET MELA 2017 4th Annual Indian Classical Music & Dance Festival Saturday 2nd September Queensland Multicultural Centre Brisbane, Australia Programme From the Festival Organisers Festival Director Afternoon Session: 2:30pm to 4:00pm Shen Flindell (EthnoSuperLounge) Well here we are at the 4th annual Sangeet Mela in Brisbane. It is an pleasure to bring 1. SANGEET PREMI RISING STAR AWARD WINNERS: together this amazing variety of artists presenting the very best kind of music and dance: Indian classical! From Hindustani to Carnatic, dance, vocal, instrumental and percussion a) KATHAK DANCE – Ku Sheena Rinky Bala with live ensemble solo, the breadth and depth of this genre is just unmatched around the world. b) VOCAL (Carnatic) – Ku Madhuvanthi Muralidharan (Sydney) Every year Sangeet Mela presents young talent under 25 through the Sangeet Premi Rising Star Awards. Looking back at some of our past winners - Our inaugural winner in Hindustani vocal, Senjuti Maitra, is currently spending 2. TABLA SOLO – Sri Simranjit Singh (Golden Temple, Amritsar) most of the year in Kolkata learning from Pt Ajoy Chakraborty. And our first Kathak dance winner, Dr Helena Joshi, is fast becoming established as one of Australia’s premiere Kathak performers and teachers through her Infinity Kathak Dance Company. I’m very excited about her plans to bring her guru-ji Smt Prerana Deshpande to perform here in early November. Bringing people together in an event like Sangeet Mela creates a magical experience. Many thanks to this year’s platinum sponsor Yoga King who has not only given a generous financial ~ Interval: Tea ~ contribution but has assisted directly with staff for some of the graphic design and marketing work, as well as being a hands on volunteer at our programme launch event in May. -
FOR IMMEDIATE RELEASE “Song of Wonder”
FOR IMMEDIATE RELEASE Media contact: David Jordan Harris 651.227.2583 WHO: Voices of Sepharad, Nirmala Rajasekar, David Jordan Harris WHAT: Song of Wonder WHERE: Rochester Civic Theatre (20 Civic Center Drive SE, Rochester) WHEN: Saturday, March 5, 7 pm PRICES: $22 general admission; group discount available; children under 12 admitted free BOX OFFICE: (507) 282-8481 “Song of Wonder” Concert reaches across Indian and Sephardic Jewish musical traditions Minneapolis, MN (January 12, 2016)—In a world where unfamiliar beliefs and musical expressions are seen as strange and unapproachable, two Minnesota-based musicians are using their traditional art forms to find common ground and promote understanding. Nirmala Rajasekar and David Jordan Harris have co-created Song of Wonder, a concert of music which explores the theme of wonder through the music, folktales, and poetry of South Indian and Judeo-Spanish traditions. Inspired by the rich, imagistic poetry and evocative music of more than a thousand years in each tradition, the concert probes the many facets of wonder as gateways to an illumined and impassioned life. Nirmala and David are joined by a trio of distinguished instrumentalists: Carnatic percussion master Thanjavur Muruga Boopathi, percussionist Mick LaBriola, and ‘ud player David Burk. Highlights of Song of Wonder include excerpts from the oldest extant piece of notated Jewish music; improvisational performances by Nirmala on the veena in both familiar and rare ragas (the melodic soundscapes of Indian music); ancient Tamil Sangam poetry; plangent Judeo-Spanish and Hebrew chants from traditional Jewish communities in Bosnia, Turkey, and Morocco; and new musical arrangements flowing from the cross-cultural collaboration. -
LEI LIANG: a THOUSAND MOUNTAINS, a MILLION STREAMS LEI LIANG B
LEI LIANG: A THOUSAND MOUNTAINS, A MILLION STREAMS LEI LIANG b. 1972 [1] XIAOXIANG CONCERTO FOR ALTO SAXOPHONE AND ORCHESTRA (2009, rev. 2014) 10:39 Chien-Kwan Lin, alto saxophone XIAOXIANG FIVE SEASONS (2010, rev. 2014) [2] I. Dew-Drop 3:39 FIVE SEASONS [3] II. Water-Play 2:55 [4] III. Cicada Chorus 2:59 A THOUSAND MOUNTAINS, A MILLION STREAMS [5] IV. Leaves-Fall 2:39 [6] V. Drumming 3:58 Gao Hong, pipa GAO HONG pipa A THOUSAND MOUNTAINS, A MILLION STREAMS (2017) CHIEN-KWAN LIN saxophone [7] Mountains in Darkness [14] Ethereal Lights and and the Piercing Light 3:32 Distant Mountains 0:32 BOSTON MODERN ORCHESTRA PROJECT [8] Mountains Gradually [15] Mountains Breathing 0:34 Draw Closer 2:39 Gil Rose, conductor [16] Mountains in Motion 0:23 [ ] 9 A Song Emerges 1:16 [17] Mountains Take Flight 0:48 [ ] 10 Flying Clouds 1:02 [18] The Shredding of [11] Admonition: the Breaking Down Landscapes 2:04 of Landscapes 2:22 [19] Healing Rain Drops/Part I 3:17 [ ] 12 Opening the Inner Eyes 2:40 [20] Healing Rain Drops/Part II 2:12 [ ] 13 Vibration and Pulsations 1:09 [21] Landscape’s Heartbeat Returns 5:46 TOTAL 57:06 COMMENT By Lei Liang I always wanted to create music as if painting with a sonic brush. I think in terms of curves and lines, light and shadows, distances, the speed of the brush, textures, gestures, move- ments and stillness, layering, blurring, coloring, the inter-penetration of ink, brushstrokes, energy, breath, spatial resonance, spiritual vitality, void and emptiness. -
NO EXIT New Music Ensemble
edwin wade design noexitnewmusic Sept 2019 noexitnewmusic.com le ic ensemb us m w ne NoExit New Music Ensemble from left to right; James Rhodes, Nicholas Underhill, Sean Gabriel, James Praznik, Nick Diodore, Edwin Wade, Cara Tweed, Timothy Beyer, Gunnar Owen Hirthe and Luke Rinderknecht. Since its inception, the idea behind noexit has been to serve as an outlet for the commission and performance of contemporary avant-garde concert music. Now in our 11th season and with over 140 commissions to date, NoExit is going strong in our efforts to promote the music of living composers and to be an impetus for the creation of new works. We have strived to create exciting, meaningful and thought-provoking programs; always with the philosophy of bringing the concert hall to the community (not the other way around) and by presenting our programs in a manner which allows for our audience to really connect with the experience......... free and open to the public in every sense. For our 2019-2020 season, NoExit will be welcoming a very special guest, cimbalom virtuoso Chester Englander, who will be performing with NoExit over the next two seasons as part of an ambitious project to commission and record 2 CD’s of all new work. As always, there will be more world premiere music than you can count on one hand (we have 10 new pieces planned for this season). We are particularly happy to be presenting the music of 5 very impressive and talented student composers from Northeast Ohio, representing various colleges from the area. As in past seasons, the ensemble will be participating in the NEOSonicFest, collaborating with Zeitgeist (our favorite co-consprirators) and so much more. -
Om8 Pro-1 Lorez.Pdf
Other Minds Inc., in association with the Djerassi Residents Artists Program & the Palace of Fine Arts Theatre presents: Other Minds Festival 8 Charles Amirkhanian Artistic Director Featured Composers Ellen Fullman Takashi Harada Lou Harrison Tania León Annea Lockwood Pauline Oliveros Artistic Director’s Welcome 2 Ricardo Tacuchian Manuscript Auction 3 Richard Teitelbaum Randy Weston Music Manuscripts: The Touch of Genius 4 Artist Forum & Concert I 5 Performers Concert I Program Notes 6 African Rhythms Artist Forum & Concert II 9 Thomas Buckner Linda Burman-Hall Concert II Program Notes 10 Sarah Cahill The Art of the Ondes Martenot 12 Circle Trio Demonstration/Discussion/Performance Continuum Concert III Geoffrey Gordon Concert III Program Notes 13 Harmida Piano Trio Masayuki Koga About Artistic Director Charles Amirkhanian 17 Web Radio: Unleashing ‘Sounds Like Tomorrow’ Kronos Quartet Eric Benzant-Feldra Festival 8 Featured Composers 22 & Michael Kudirka Festival 8 Performers 32 The Mexican Guitar Quartet The Other Minds Ensemble Festival Staff and Special Thanks 41 Hiroko Sakurazawa Festival Supporters 42 David Tanenbaum A Gathering of Other Minds Pamela Wunderlich © 2002 Other Minds Inc. All rights reserved. Untitled-3 2-3 2/24/2002, 3:37 PM Welcome to Other Minds Exhibition & Silent Auction “His epitaph could read that he composed music in others’ minds.” -New Yorker, 1992, following the death of composer John Cage. We are delighted to present these score pages by Other Minds he restless investigations of John Cage live on in the spirit of this year’s nine Other Minds 8 composers. We welcome composers, 2001-2002 Season: Tthem and all of you who form the Other Minds community that gathers annually in San Francisco for this celebration of unique compositional achievements. -
Now Would All Freudians Please Stand Aside Programme
now would all freudians please stand aside Programme BONUS CD Toccata, Adagio & Fugue in C major, BWV 564 J.S.Bach / F.Busoni (1866-1924) 1. Prelude [7.11] 1. Prelude No. 4 in E minor, Op. 28 F.Chopin (1810-1849) [2.41] 2. Intermezzo (Adagio) [6.58] 2. Etude No. 12 in C minor, Op. 25 F.Chopin (1810-1849) [2.40] 3. Fugue [5.29] Interview with James Rhodes Piano Sonata No. 30 in E major, Opus 109 L.V. Beethoven (1770-1827) 3. On the Toccata, Adagio & Fugue in C major [3.15] 4. Vivace ma non troppo: Adagio espressivo [4.34] 4. On the Piano Sonata No.30 in E major [4.04] 5. Prestissimo [2.23] 5. On the Partita No.6 in E minor * [3.20] 6. Gesangvoll, mit innigster Empfindung [14.57] 6. On the Adagio, from Concerto No.3 in D minor * [2.13] 7. On Recording [3.14] Partita No.6 in E minor, BWV 830 J.S.Bach (1685-1750) 7. Toccata [6.24] Total Timings [21.17] 8. Allemanda [3.12] 9. Corrente [4.41] Video - Live at the Roundhouse, London J.S.Bach / A.Marcello: Adagio [5.07] 10. Air [1.21] See page 11 for more information on playing the video 11. Sarabande [8.02] 12. Tempo di Gavotta [2.03] * Caution - Strong Language 13. Gigue [5.00] 14. Adagio, from Concerto No.3 in D minor, BWV 974 J.S.Bach / A.Marcello (1699-1747) [4.54] Total Timings [77.09] www.signumrecords.com Artist’s Note I feel particularly blessed to have been able to the summit of piano playing, Bach was theme and variations), it has been in my head choose to learn pieces of music for the simple the foundation of it and his respect and ever since I was a child.