Inheritance Libretto by M a T T D O N O V a N
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The Night Vigil of Shen Zhou
Glossator: Practice and Theory of the Commentary 3 (2010) THE NIGHT VIGIL OF SHEN ZHOU J. H. Prynne On a cold night sleep is very sweet. I woke in the middle of the night, my mind clear and untroubled, and as I was unable to go to sleep again, I put on my clothes and sat facing my flickering lamp. On the table were a few folders of books. I chose a volume at random and began to read, but tiring I put down the book and sat calmly doing nothing [shushou weizuo]. A long rain had newly cleared, and a pale moon was shining through the window. All around was silence. Then after a long time absorbing the fresh brightness, I gradually became aware of sounds. Listening to the rustling of the wind stirring the bamboo gave one the feeling of going bravely and unwaveringly onward. Hearing the harsh snarling of dogs gave feelings of barring out evil, of opposing marauders. Hearing the sound of drums, large and small—the small ones thin, and the far ones clear and deep and uninterrupted—stirred restless thoughts that were lonely and sad. The official drum was very close, from three beats, to four and then five, gradually faster, hastening the dawn. Suddenly in the northeast the sound of a bell, a bell pure and clean through rain-cleared air, and hearing it came thoughts of waiting for the dawn, rising and doing. It was inevitable. My nature is such as to enjoy sitting in the night [yezuo]. So I often spread a book under the lamp going back and forth over it, usually stopping at the second watch. -
A New World Tragedy $13.95
... - Joumey to Nowhere A NEW WORLD TRAGEDY $13.95 Rarely does a book come along which so transcends its apparent subject that the reader is ultimately given something larger, richer, and more revealing than he might initially have imagined. Already published in Eng land to overwhelming acclaim (see back of jacket), Shiva Naipaul’s Journey to Nowhere is such a book — a “power ful, lucid, and beautifully written book” (The Spectator) that is destined to be one of the most controversial works of 1981. In it, this major writer takes us far beyond the events and surface details surrounding the tragedy of Jones town and the People’s Temple —and gives us his remark able, unique perspective on the deadly drama of ideas, environments, and unholy alliances that shaped those events both in Guyana and, even more significantly, in America. Journey to Nowhere is, on one level, a “brilliantly edgy safari” (New Statesman) inside the Third World itself—a place of increasing importance in our lives—and on another, a book about America, about the corrupt and corrupting ideologies and chi-chi politics of the past twenty years that enabled the Reverend Jim Jones and the Temple to flourish and grow powerful in California and Guyana. Drawing on interviews —with former members of the Temple, various officials, and such people as Buckmin ster Fuller, Huey Newton, Clark Kerr, and others —on documents, and most importantly, on his own strong, clear reactions to what he observed, Naipaul examines the Guyana of Forbes Bumham, the CIA stooge turned Third World socialist leader, whose stated ideals of socialism, racial brotherhood, and cooperative agricul tural enterprise coincided so neatly, we learn for the first time, with those of the People’s Temple — ideals that led all too easily to violence and death. -
Jazz Drums Thelonious Monk Institute of Jazz Online Jazz Handbook
Jazz Drums Thelonious Monk Institute of Jazz Online Jazz Handbook welcome to the drums chapter of the Thelonious Monk Institute of Jazz’s Online Jazz Handbook! When learning jazz, there is no substitute for listening to the classic recordings and understanding the lineage. Please refer often to the albums listed at the end of this chapter for great examples of the material listed below. Don’t forget to practice with a metronome: This is important for drummers at all levels when learning new styles and ideas! Introduction: The drums can be heard in almost every style of music, and just like every instrument, the style helps dictate the specific roll of the instrument. For example, in traditional Afro-Cuban ensembles, the many drummers and percussionists create the main body of music that the bass, guitar, vocals, and other instruments float above. On the opposite side of that, you might hear an orchestra in which the only job of the percussionists is to create interesting sounds and colors on top of a the string section. In jazz, the drummer plays both a crucial part in creating a strong foundation, and helping add color and shape to the music. The first step is creating that strong foundation with the ride cymbal! Getting Started with the Ride Cymbal: Since the 1930’s and the beginning of the be-bop era, the main focal point on a jazz drum kit has been the ride cymbal. The phrasing of the ride cymbal is based around the quarter note, however instead of thinking in eighth notes (like most rock music on the radio today), we want to think in eighth note triplets. -
Michael Wollny & Vincent Peirani
Michael Wollny & Vincent Peirani Tandem ACT 98 25-2 German release date: 30.09.2016 Impromptu meetings can have far-reaching consequences. These two much-lauded, and exceedingly busy musicians German pianist Michael Wollny and French accordionist Vincent finally found some time together during which they could let Peirani quite literally got to know each other on stage during the their musical paths coincide. In “Tandem” they are to be heard ACT20 Jubilee Night at the “New Morning” club in Paris in 2012. exploring and expoiting all the sound possibilities of their instruments. Before performing together that night, they had exchanged little more “I hear Vincent's playing less and less as an accordion, and more as than a peremptory handshake. However, those who heard their first an orchestra with thousands of possibilities,” says Wollny. And Peirani spontaneous jam as a duo certainly won’t have forgotten the sheer loves the impressive freedom this duo provides. With a gleam in his excitement, and it has certainly stayed in the minds of both of the eyes he says: “Michael can text on his mobile and play the piano at the musicians. “It was like we used to play for decades together! No need same time. Everything is possible with him. The sky is the limit for to talk, no need to look at each other, we just breathed together…” Michael!” Wollny is also full of praise for his colleague: “With Vincent you can roam freely across a whole gamut of styles and moods, and nothing For their rehearsal time at Schloss Elmau , both of them had gets in the way. -
FMP FREE MUSIC PRODUCTION Distribution & Communication Markgraf-Albrecht-Str
Mary Oliver w ww.oliverheggen.com Mary Oliver (violin, viola, hardanger fiddle) was born in La Jolla, California, and studied at San Francisco State University (Bachelor of Music), Mills College (Master of Fine Arts) and the University of California, San Diego where she received her Ph.D in 1993 for her research in the theory and practice of improvised music. Her work as a soloist encompasses both composed and improvised contemporary music; she has premiered works by among others,Richard Barrett, John Cage, Chaya Czernowin, Brian Ferneyhough, Joëlle Léandre Liza Lim, George E. Lewis , Richard Teitelbaum and Iannis Xenakis . Oliver has worked alongside improvising musicians such as Han Bennink, Mark Dresser, Cor Fuhler, Jean-Charles François, Tristan Honsinger, Joëlle Léandre, George E. Lewis, Nicole Mitchell, Andy Moor, Misha Mengelberg Evan Parker, and Anthony Pateras. As a soloist and ensemble player she has performed in numerous international festivals including the Darmstädter Ferienkurse für Neue Musik ,Donaueschinger Musiktage 2002, Bimhuis October Meeting, Vancouver and Toronto Jazz Festivals, Ars Electronica , Ars Musica, London Musicians Collective Festival, Münchner Biennale, Salzburger Festspiele and MaerzMusik Festival in Berlin. In 1994, she was an artist in residence at Akademie Schloss Solitude in Stuttgart where she added, through their generosity, the hardinger fiddle to her instrumentarium. For the past twelve years she has been based in Amsterdam where she has worked locally and internationally with various ensembles such as Instant Composer’s Pool (ICP) Orchestra, Magpie Music and Dance Company, AACM Black Earth Ensemble, Scapino Ballet , Elision Ensemble, MAE, Het National Ballet and Xenakis Ensemble. Currently she teaches at the Hogeschol voor Kunst, Media en Technology and a member of ICP Orchestra, Ammü (with Han Bennink, Johanna Varner, cello and Christofer Varner – trombone) and Magpie Music Dance Company. -
Alabama Summer Bedding Plant Performance in 1997
AV 4F 47 '1 A~ ~/ -~ ~' CONTENTS GREENHOUSE CROPS Effects of Foliar Application of Growth Regulators on Coreopsis rosea ............ ........ ................... 2 BA Application Promotes Offset Formation in Hosta Cultivars ............ .... .... ........................ 3 Presence of Offsets Reduces Hosta's Response to Benzyladenine ............................... 4 Plant Growth Retardants Affect Growth and Flowering of Achillea x 'Coronation Gold' in 6-inch Pots.......... 5 Plant Growth Retardants Reduce Peduncle Elongation of Achillea x 'Coronation Gold' in 4-inch Pots .......... 6 Using Plant Growth Retardants to Produce Coreopsis verticillata 'Moonbean' as a Greenhouse Pot Crop ...... 8 Application Timing of B-Nine and Cutless after Shearing Affects Growth and Flow ering of 'M oonbeam ' ................................................................................. ........... ............. 10 Shasta Daisy Response to Photoperiod and Vernalization ............................................ 12 Alabama Winter Bedding Plant Performance, 1996-97 .................................................... 14 Alabama Summer Bedding Plant Performance in 1997 ............................. ..................... 16 Herbaceous Perennial Variety Trials in Central Alabama, 1996-97 .............................. 18 1997 Poinsettia Cultivar Evaluations for Gulf Coast Greenhouse Conditions ............................................ 23 INSECT, DISEASE, AND WEED CONTROL Reduced Herbicide Use with Recycled Paper ........................................................... -
San Diego Public Library
San Diego Public Library FOR IMMEDIATE RELEASE CONTACT: Vic Cardell Monday, August 25, 2008 619-236-5810 Päivikki Nykter, Anna Savvas-Katkov, and Cecilia Kim to Perform at Central Library Concert Will Feature Works by Haydn, Fauré, and Falla SAN DIEGO – The third concert in the City of San Diego Public Library fall concert series will be held on Sunday, September 28, 2008 at 2:30 p.m. The program will feature a recital by Päivikki Nykter, violin; Anna Savvas-Katkov, piano; and Cecilia Kim, cello. The performance will be held in the third floor auditorium of the Central Library, located at 820 E Street in downtown San Diego. The program will include Joseph Haydn’s spirited Trio No. 39 in G Major, “Gypsy” (1795); Gabriel Fauré’s lovely Sonata in A Major for violin and piano, op. 13 (1877); and Manuel de Falla’s Suite populaire espagnole, for violin and piano (1914), arranged from a collection of seven popular Spanish songs. Violinist Päivikki Nykter, a native of Finland, is a graduate of the Sibelius Academy in Helsinki. She has held positions in many orchestras including the Helsinki Philharmonic Orchestra. Ms.Nykter was a founding member of the Finnish contemporary ensemble AVANTI! and has maintained her passion for new music, premiering numerous works written for her. She has worked with such notable composers as Brian Ferneyough, Roger Reynolds, Will Ogdon, Rand Steiger, Yoji Yuasa, Chaya Czernowin, Kaija Saariaho, Jonathan Harvey and David Burge. She has appeared as a guest artist in several festivals, including Giacinto Scelsi Festival in New York City, Darmstadt New Music Festival in Germany and International Mountain View Festival of Chamber Music and Song in Calgary, Canada. -
UNIVERSITY of CALIFORNIA, SAN DIEGO Dreams of a Young Piano a Dissertation Submitted in Partial Satisfaction of the Requirements
UNIVERSITY OF CALIFORNIA, SAN DIEGO Dreams of a Young Piano A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Music by Yiheng Yvonne Wu Committee in charge: Professor Katharina Rosenberger, Chair Professor Anthony Burr Professor Mark Dresser Professor Rand Steiger Professor Shahrokh Yadegari 2016 Copyright Yiheng Yvonne Wu, 2016 All rights reserved. The Dissertation of Yiheng Yvonne Wu is approved, and it is acceptable in quality and form for publication on microfilm and electronically: Chair University of California, San Diego 2016 iii TABLE OF CONTENTS Signature Page ................................................................................................................ iii Table of Contents ............................................................................................................ iv List of Supplemental Sound Recordings ...........................................................................v List of Examples ............................................................................................................. vi Vita ................................................................................................................................. vii Abstract of the Dissertation .......................................................................................... xiv Introduction .......................................................................................................................1 Dreams of a Young Piano ...............................................................................................22 -
How to Read a Poem by Julie Patterson
Share: Tweet 2 Share: Tweet 2 How to Read a Poem by Julie Patterson Quick Links Readers and writers have strong - and disparate - opinions about the "right" way to read a poem. Worse yet, there's wide disagreement among accomplished and highly educated poets, too. There's really only one point we all agree on - poems are meant to be read aloud. Beyond that, it gets dicey, but here are some things to consider. Former poet laureate Billy Collins says, "Obviously, poems come in lines, but pausing at the end of every line will create a choppy effect and interrupt the flow of the poem's sense. Readers should pause only where there is punctuation, just as you would when reading prose, only more slowly." Look at the text of his poem "You, Reader" (at left) as you listen to him read it, and you'll see what he means. Julie Patterson is associate director and writer-in-residence at the Indiana Partnership for Young Writers. Her poems, essays and articles have appeared in literary journals, magazines and newspapers throughout the U.S. She has a Master of Fine Arts degree in creative writing from Lesley University. Billy Collins reads "You, Reader" You, Reader by Billy Collins Yet poet Georgia Heard says, "...after every single line, my voice is going to stop a little-because in poetry, blank I wonder how you are going to feel space means silence" (For the Good of the Earth and when you find out Sun). that I wrote this instead of you, that it was I who got up early Clearly other poets agree with Heard. -
Sounding the Last Mile: Music and Capital Punishment in the United States Since 1976
SOUNDING THE LAST MILE: MUSIC AND CAPITAL PUNISHMENT IN THE UNITED STATES SINCE 1976 BY MICHAEL SILETTI DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Musicology in the Graduate College of the University of Illinois at Urbana-Champaign, 2018 Urbana, Illinois Doctoral Committee: Professor Jeffrey Magee, Chair and Director of Research Professor Gayle Magee Professor Donna A. Buchanan Associate Professor Christina Bashford ABSTRACT Since the United States Supreme Court reaffirmed the legality of the death penalty in 1976, capital punishment has drastically waxed and waned in both implementation and popularity throughout much of the country. While studying opinion polls, quantitative data, and legislation can help make sense of this phenomenon, careful attention to the death penalty’s embeddedness in cultural, creative, and expressive discourses is needed to more fully understand its unique position in American history and social life. The first known scholarly study to do so, this dissertation examines how music and sound have responded to and helped shape shifting public attitudes toward capital punishment during this time. From a public square in Chicago to a prison in Georgia, many people have used their ears to understand, administer, and debate both actual and fictitious scenarios pertaining to the use of capital punishment in the United States. Across historical case studies, detailed analyses of depictions of the death penalty in popular music and in film, and acoustemological research centered on recordings of actual executions, this dissertation has two principal objectives. First, it aims to uncover what music and sound can teach us about the past, present, and future of the death penalty. -
ROGER REYNOLDS | CELEBRATION 80 February 3-5, 2015
ROGER REYNOLDS | CELEBRATION 80 February 3-5, 2015 ROGER REYNOLDS Photo credit: Malcolm Crowthers Photo credit: Joseph Kirkish b. 1934 ROGER REYNOLDS | CELEBRATION 80 February 3-5, 2015 Born in Detroit in 1934, Reynolds commands a reputation as a bold explorer of what he likes to describe as the multilayered character of experience. For example, his works are known for engaging listeners with the spatial dimension of music and with a revelatory, complexly theatrical approach to text and voice. An excellent example can be found with george WASHINGTON. At the beginning of its season in September 2013, the National Symphony Orchestra and Christoph Eschenbach gave the world premiere of george WASHINGTON, a work commissioned in conjunction with the recent opening of the Fred W. Smith National Library for the Study of George Washington. Collaborating with such colleagues as the intermedia artist Ross Karre and others, Reynolds designed george WASHINGTON as a continuous work in five interconnected sections that create a complex, nuanced portrait of the first president through an amalgam of musical score, narrators portraying Washington (in his own words) from three stages in his life, and continually morphing visuals projected onto three screens. The work dramatizes an ongoing and overlapping dialogue among different aspects of Washington’s personality over the course of his life, across time. Reynolds got a relatively late start on his career as a composer, having graduated with a degree in engineering physics and after working briefly in the -
N E W S L E T T
Harvard University Department of M usic MUSICnewsletter Vol. 21, No. 1 Winter 2021 Community Building and Social Justice Through Music Harvard University “This is my favorite way to Department of Music teach—and learn,” says Professor 3 Oxford Street of the Practice Claire Chase of her Cambridge, MA 02138 Freshman Seminar, Community Building and Social Justice through 617-495-2791 Music. “In my own music education, music.fas.harvard.edu the transformative moments for me always took place when an elder invited me to do work alongside them—not just for them—and when INSIDE they invited me into their practice, assuming that I would rise to the 3 Faculty News occasion. I wanted to invite these 4 Ask the Experts: How Ford, freshmen into the process of making Rockefeller, and the NEA work alongside some of the greatest artists of our time. They have more Changed American Music than risen to the occasion.” 5 BLM: an open letter from the Chase commissioned the Hous- Department of Music ton composer, percussionist, and 6 Alumni News sound artist Susie Ibarra to create an interactive, virtual musical score with 8 Spring Events: Laurie Anderson, the fifteen students in her seminar. Miranda Cuckson, Parker “Susie has done a number of 9 Library News virtual soundwalk projects—in the 10 Graduate Student News Philippines, New York and Pitts- burgh, to name a few—but never 11 Undergraduate Student News with students on a college campus. She completely embraced the notion that many of these students would be composing music for the first time.” The result: Digital Sanctuar- ies Harvard, a soundwalk app that We have a new YouTube chan- invites the public to take a virtual nel.