DOCSLIB.ORG

Stitching: Orality, Literacy, and Music

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Stitching: Orality, Literacy, and Music Stitching: Orality, Literacy, and Music Sarah Anne O’Halloran Tralee, Ireland B.A. Mus., University College Cork, 2004 M.Phil., University College Cork, 2007 M.A., Queens University Belfast, 2007 P.G. Cert. University College Cork, 2009 A Dissertation presented to the Graduate Faculty of the University of Virginia in Candidacy for the Degree of Doctor of Philosophy McIntire Department of Music University of Virginia August 2015 Abstract( ! Early!writings!about!the!phonograph!show!a!longing!for!the!intimacy!and!presence! associated!with!orality.!But!the!longing!for!orality!is!not!simply!a!historical! phenomenon,!recent!writings!about!literature!show!an!interest!in!immediate,! communal!outward:looking!verbal!art.!In!recent!decades!audio!books!have!become! big!business,!live!storytelling!events!take!place!at!venues!around!the!country,!and! narrative!radio!is!undergoing!a!renaissance.!Twentieth!and!twenty:first!century! composers!have!engaged!deeply!with!the!creative!possibility!of!speech,!combining!it! with!music!to!create!innovative!and!compelling!verbal!art,!that!takes!place!in!time! and!acoustic!space,!rather!than!on!the!silent!printed!page.!! In!this!dissertation!I!explore!the!combination!of!music!and!words!through! composition.!And!I!use!Walter!J.!Ong’s!theories!of!orality!and!literacy!to!reflect!on! my!work,!and!to!analyze!music!by!Frederic!Rzewski,!Shelley!Hirsch,!Meira!Asher,! and!myself.!! ! ! ! Table of Contents Acknowledgements Introduction 1 Sound and Presence 4 Primary Orality 8 Literacy 9 Secondary Orality 15 Secondary Orality and Avant Garde Music 20 Chapter 1. Squaring and Non Sequiturs: Music by Frederic Rzewski 32 Coming Together 33 The Waves 40 Lost and Found and De Profundis 48 Conclusion 54 Chapter 2. How do you remember? Shelley Hirsch’s Storytelling 56 Listening to Stories 57 Speaking, Writing, and Creativity 59 Memory 66 Inter’textual’ References 77 Conclusion 84 Chapter 3. Uneasy Listening: Voices of Conflict in Meira Asher’s Music 86 Infantry and the Creative Potential of Lists 88 Face_WSLOT and Verbatim Theater 95 Autobiographical Performance, Testimony, And Trauma 98 Conclusion 114 Chapter 4: Stitching: My Work with Words and Music 118 Strained Conversations 119 linger…figure…flutter 121 Cat House 124 Ciúnas agus Dúil 126 Stitching 130 Adaptation 133 Storytelling Techniques 138 Text on Screen 139 Live Speech and Recorded Speech 141 The Chorus 143 Memory 147 Conclusion 152 Conclusion 153 Appendix 1. Description of Frederick Rzewski’s Squaring process in Coming Together. 160 Appendix 2. Stories from linger…figure…flutter 171 Appendix 3. Score: Strained Conversations 175 Appendix 4. Score: Ciúnas agus Dúil 197 Appendix 5. Score: Stitching 242 Bibliography 358 Acknowledgements I would like to thank my advisor Matthew Burtner and the members of my dissertation committee: Judith Shatin, Michael Rasbury, and Luke Dahl. Thanks also to Ted Coffey. I would also like to thank my friend and collaborator Margaret Schedel for her all of the guidance and creative opportunities she has shared with me over the years. I am grateful to my family for their constant support of my creative work. I am especially thankful to husband B.J. who gave me so much encouragement throughout this process. He was also a very helpful proof reader. Thanks to Colin Bell for working with me on Stitching. And to our Edinburgh performers Jenny Hulse, Suzanne Dance, Tom Freeman, and Liz Strange. The GWU Department of Music hosted me as Artist in Residence while working on Stitching. I am grateful to Douglas Boyce and Robert Baker for their support for the project and regular feedback on the work. Thank you to the GWU performers who worked on the Stitching workshop performance: Neil Weston, Lori Barnet, Allen Schult, Emily Goggin, Ariel Nathanson, Rachel Weinstein, Danielle Santilli, Grace Srinivasan, Michael Adam, Robert Baker, Kevin Frey, and John Vagas. And to Michaela Stanch who created some of the knitwear for the performance. A special thank you goes to Meira Asher and Shelley Hirsch for their generosity and openness in taking part in interviews, our conversations were interesting and inspiring. Introduction To be heard, poetry needs to be sounded… Unsounded poetry remains inert marks on a page, waiting to be called into use by saying, or hearing, the words aloud.’1 Relationships between language, literature, sound, and music have fascinated me for many years. Research in these areas has helped me to develop as a composer. This research has given me deeper insight into my creative work, pushed my work in new directions, and shed light on the music that influences my practice. My dissertation is both a creative exploration of the combination of words and music through composition, and a set of case studies of music in which words play a key role. In my first chapter I discuss music by Frederic Rzewski; in my second I examine the work of Shelley Hirsch; in my third chapter I consider pieces by Meira Asher; and in the fourth chapter I reflect on my own compositions. The works I discuss are quite contrasting in terms of the musical styles and compositional methodologies they reflect and their relationships to language. In each chapter I address some or all of the following questions: What is involved in composing, improvising, adapting, or finding words for combination with music? What is the relationship between the words and music? Do they operate on parallel or intersecting planes? What kind of story can words and music tell together? What can words and music do together besides tell a story? How does the use of audio technologies affect the combination of words and music in the work studied? The thread that binds these questions together is my application of Walter J. Ong’s theory of orality and literacy. !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 1 Charles Bernstein, Close Listening: Poetry and the Performed Word (Oxford: Oxford University Press, 1998), Kindle edition. ! 1! Early writings about the phonograph and talking book records show a longing for the immediacy and presence of orality. Edison, for example, hoped that his technology could overcome 'the “mediating” practice of reading'2 by allowing listeners to have (almost) direct contact with the writer through recordings of his voice.3 This longing for orality is not merely a historical phenomenon. Recent writings about literature show a similar interest in an immediate, communal, outward-looking verbal art. For example, in the 1998 collection Close Listening Charles Bernstein proposes that sounded poetry: ‘… provides special possibilities for the listener, from direct response to the work, ranging from laughter to derision; to the pleasure of getting lost in language that surges forward, allowing the mind to wander in the presence of words. ’ 4 Poetry is not the only area in which the longing for orality can be see though. In recent decades audiobooks have become big business and acquiring more and more credibility; as Matthew Rubery points out, even the president of the United States is now an audiobook narrator.5 Live storytelling has undergone a great revival and today storytelling events like story slams are taking place across the country and feature in radio shows like The Moth Radio Hour. For many years, the performance of autobiography has featured prominently in the work of feminist, queer (and other) theater practitioners and performance artists. Narrative radio seems to be undergoing a renaissance thanks to the influence of productions like This American Life and the ease of distribution offered by podcasting. But we do not only crave orality in the artwork we consume; we even want our domestic !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 2 Jason Camlot, 'Early Talking Books: Spoken Recordings and Recitation Anthologies, 1880-1920,' in Book History, 6 (2003), 147-173, 147. 3 Ibid., 148. 4 Bernstein, Close Listening. 5 Matthew Rubery, ‘Introduction,’ in Matthew Rubery ed., Audiobooks, Literature, and Sound Studies (New York and London: Taylor and Francis, 2011), Kindle Edition. ! 2! appliances and portable devices to talk to us. Many of us can easily recognize and name the voices of artificial intelligences like Siri and Cortana. They are marketed to us as helpful friends who are always available. While there has been a resurgence of interest in listening to words in literature since the development of the phonograph that interest was always present in the world of music. Words have probably been combined with music for as long as they both have existed. In the last century musicians have expanded into many new territories in their exploration of words and voices. In popular music, for example, rap artists developed a contemporary form of oral poetry, which combines rhythmic, stylized speech with sung melodies, beat boxing, sampled music, and original musical material for acoustic and electronic instruments. On the internet the Gregory Brothers and many Youtubers like them create extremely popular comic music by sampling and autotuning speech from news broadcasts, political speeches and viral videos.6 In avant-garde music composers and performers like Luciano Berio,7 Peter Maxwell Davies,8 Cathy Berbarian9 and Joan La Barbara10 have explored a massive range of vocal sounds with and without the use of words. Creative uses of spoken words can be in the work of composers including Laurie Anderson,11 Tom Johnson,12 John Cage,13 and Eve Belgarian.14 My music and the music I !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 6 Jenna Wortham, ‘From Viral Video to Billboard 100,’ in New York Times, 09/05/2010 http://www.nytimes.com/2010/09/06/business/media/06tune.html?_r=0 7 For example Luciano Berio, Sequenza III (Universal Edition, 1966). 8 For example Peter Maxwell Davies, Eight Songs For a Mad King (Boosey and Hawkes, 1969) 9 For example Cathy Berberian, Stripsody (Edition peters, 1966). Cathy Berbarian, MagnifiCathy – The Many Voices of Cathy Berberian (Wergo, 1977). 10 For example Joan La Barbara, Sound Paintings (Lovely Music, 1990).
Load more

Recommended publications
  • Voice Phenomenon Electronic
    Praised by Morton Feldman, courted by John Cage, bombarded with sound waves by Alvin Lucier: the unique voice of singer and composer Joan La Barbara has brought her adventures on American contemporary music’s wildest frontiers, while her own compositions and shamanistic ‘sound paintings’ place the soprano voice at the outer limits of human experience. By Julian Cowley. Photography by Mark Mahaney Electronic Joan La Barbara has been widely recognised as a so particularly identifiable with me, although they still peerless interpreter of music by major contemporary want to utilise my expertise. That’s OK. I’m willing to composers including Morton Feldman, John Cage, share my vocabulary, but I’m also willing to approach a Earle Brown, Alvin Lucier, Robert Ashley and her new idea and try to bring my knowledge and curiosity husband, Morton Subotnick. And she has developed to that situation, to help the composer realise herself into a genuinely distinctive composer, what she or he wants to do. In return, I’ve learnt translating rigorous explorations in the outer reaches compositional tools by apprenticing, essentially, with of the human voice into dramatic and evocative each of the composers I’ve worked with.” music. In conversation she is strikingly self-assured, Curiosity has played a consistently important role communicating something of the commitment and in La Barbara’s musical life. She was formally trained intensity of vision that have enabled her not only as a classical singer with conventional operatic roles to give definitive voice to the music of others, in view, but at the end of the 1960s her imagination but equally to establish a strong compositional was captured by unorthodox sounds emanating from identity owing no obvious debt to anyone.
    [Show full text]
  • Broadcasting the Bedroom: Intimate Musical Practices and Collapsing Contexts on Youtube
    Broadcasting the bedroom: Intimate musical practices and collapsing contexts on YouTube Maarten Michielse In an era of social media and online participation, uploading a personal video to a platform such as YouTube appears to be an easy and natural activity for large groups of users.i Various discourses on online narcissism and exhibitionism (Balance, 2012; Keen, 2007, 2012; Twenge and Campbell, 2010) give the impression that current generations have become extremely comfortable (perhaps even too comfortable) with the online possibilities of self-exposure and self-representation (Mallan, 2009). As I will argue in this chapter, however, this is largely a misrepresentation of the everyday struggles and experiences of online participants. For many, posting a video on YouTube is a rather ambivalent activity: joyful and fun at times, but also scary and accompanied by feelings of insecurity, especially when the content is relatively delicate. This shows itself perhaps most clearly in a particular genre of online videos: the ‘musical bedroom performance’. On YouTube, this genre has become a popular trope in the last couple of years. In these videos, a person sings and/or plays a musical instrument in front of the camera from the private sphere of the home. As Jean Burgess (2008) argues, the musical bedroom performance ‘draws on the long traditions of vernacular creativity articulated to ‘privatised’ media use’ (p. 107).ii Historically, the bedroom has functioned as a crucial site for cultural expression and experimentation. This is especially true for teenagers and young adults, for whom the bedroom is, as Sian Lincoln (2005) writes, a domain ‘in which they are able to exert some control, be creative and make that space their own’ (p.
    [Show full text]
  • Festival of New Music
    Feb rua ry 29 ESTIVA , F L O 20 F 12 , t N h e E L A W B M U S I C M A R C H Je 1 w i - sh 2 C -3 om , 2 mu 0 ni 12 ty Cen ter o f San Francisco 1 MUSICAL ADVENTURE CHARLESTON,TOUR SC MAY 31 - JUNE 4, 2012 PHILIP GLASS JOHN CAGE SPOLETO GUO WENJING Experience the Spoleto USA Festival with Other Minds in a musical adventure tour from May 31-June 4 in Charleston, SC. Attend in prime seating American premiere performances of two operas, Feng Yi Ting by Guo OTHER MINDS Wenjing and Kepler by Philip Glass, and a concert Orchestra Uncaged, featur- ing Radiohead’s Jonny Greenwood and a US premiere of John Cage’s orches- tral trilogy, Twenty-Six, Twenty-Eight, and Twenty-Nine. The tour also includes: artist talks with Other Minds Artistic Director Charles Amirkhanian, Spoleto Festival USA conductor John Kennedy, & Festival Director Nigel Redden special appearance of Philip Glass discussing his work exclusive receptions at the festival day tours to Fort Sumter and an historic local plantation Tour partiticpants will stay in luxurious time to explore charming neighborhood homes & shopping boutiques accommodations at the Renaissance throughout Charleston Hotel in the heart of downtown Charleston, within walking distance to shops and JUNE 1 JUNE 3 restaurants. FENG YI TING ORCHESTRA UNCAGED American premiere John Kennedy, conductor CHARLESTON, SC Composed by Guo Wenjing Spoleto Festival USA Orchestra Directed by Atom Egoyan The Spoleto Festival USA Orchestra, led An empire at stake; two powerful men in by Resident Conductor John Kennedy, love with the same exquisite, inscrutable presents a special program of music of woman; and a plot that will change the our time.
    [Show full text]
  • PROGRAM NOTES the Expanded Sonic Potential of the Voice
    ABOUT THE ARTISTS Joan La Barbara La Barbara is a composer, performer, sound artist and actor renowned for developing a unique vocabulary of experimental and extended vocal techniques (multiphonics, circular singing, ululation and glottal clicks; her “signature sounds”), influencing generations of other composers and singers. Awards, prizes and fellowships include The Foundation for Contemporary Arts John Cage Award (2016); Premio Internazionale Demetrio Stratos; DAAD-Berlin and Civitella Ranieri Artist-in-Residencies; Guggenheim Fellowship in Music Composition; seven National Endowment for the Arts awards (Music Composition, Opera/Music Theater, Inter-Arts, Recording, Solo Recital, Visual Arts), and numerous commissions for multiple voices, chamber ensembles, theatre, orchestra, interactive technology, and soundscores for dance, video and film. Her multi-layered textural compositions were presented at Brisbane Biennial, Festival d’Automne à Paris, Warsaw Autumn, MaerzMusik Berlin and Lincoln Center, among other international venues. She has collaborated with visual artists Matthew Barney, Judy Chicago, Ed Emshwiller, Kenneth Goldsmith, Bruce Nauman, Steina, Woody Vasulka and Lawrence Weiner, and has premiered landmark compositions composed for her, including Morton Feldman’s Three Voices; Morton Subotnick’s chamber opera Jacob’s Room and his Hungers and Intimate Immensity; the title role in Robert Ashley’s opera Now Eleanor’s Idea and his Dust; Philip Glass and Robert Wilson’s Einstein on the Beach; Steve Reich’s Drumming; and John Cage’s Eight Whiskus and Solo for Voice 45 from Song Books. Recordings of her works include ShamanSong (New World), Sound Ellen Rietbrock Paintings and her seminal works from Voice is the Original Instrument (1970, Lovely Music). In addition to her internationally acclaimed discs of Feldman and Cage, she has recorded for A&M Horizon, Centaur, Deutsche Grammophon, Nonesuch, Mode, Music & Arts, MusicMasters, Musical Heritage, Newport Classic, Sony, Virgin, Voyager and Wergo.
    [Show full text]
  • Alvin Lucier's
    CHAMBERS This page intentionally left blank CHAMBERS Scores by ALVIN LUCIER Interviews with the composer by DOUGLAS SIMON Wesleyan University Press Middletown, Connecticut Scores copyright © 1980 by Alvin Lucier Interviews copyright © 1980 by Alvin Lucier and Douglas Simon Several of these scores and interviews have appeared in similar or different form in Arts in Society; Big Deal; The Painted Bride Quar- terly; Parachute; Pieces 3; The Something Else Yearbook; Source Magazine; and Individuals: Post-Movement Art in America, edited by Alan Sondheim (New York: E.P. Dutton, 1977). Typography by Jill Kroesen The authors gratefully acknowledge the support of a Wesleyan University Project Grant. Library of Congress Cataloging in Publication Data Lucier, Alvin. [Works. Selections] Chambers. Concrete music. Bibliography: p. Includes index. 1. Concrete music. 2. Chance compositions. 3. Lucier, Alvin. 4. Composers—United States- Interviews. I. Simon, Douglas, 1947- II. Title. M1470.L72S5 789.9'8 79-24870 ISBN 0-8195-5042-6 Distributed by Columbia University Press 136 South Broadway, Irvington, N.Y. Printed in the United States of America First edition For Ellen Parry and Wendy Stokes This page intentionally left blank CONTENTS Preface ix 1. Chambers 1 2. Vespers 15 3. "I Am Sitting in a Room" 29 4. (Hartford) Memory Space 41 5. Quasimodo the Great Lover 53 6. Music for Solo Performer 67 7. The Duke of York 79 8. The Queen of the South and Tyndall Orchestrations 93 9. Gentle Fire 109 10. Still and Moving Lines of Silence in Families of Hyperbolas 127 11. Outlines and Bird and Person Dyning 145 12.
    [Show full text]
  • 2011 – Cincinnati, OH
    Society for American Music Thirty-Seventh Annual Conference International Association for the Study of Popular Music, U.S. Branch Time Keeps On Slipping: Popular Music Histories Hosted by the College-Conservatory of Music University of Cincinnati Hilton Cincinnati Netherland Plaza 9–13 March 2011 Cincinnati, Ohio Mission of the Society for American Music he mission of the Society for American Music Tis to stimulate the appreciation, performance, creation, and study of American musics of all eras and in all their diversity, including the full range of activities and institutions associated with these musics throughout the world. ounded and first named in honor of Oscar Sonneck (1873–1928), early Chief of the Library of Congress Music Division and the F pioneer scholar of American music, the Society for American Music is a constituent member of the American Council of Learned Societies. It is designated as a tax-exempt organization, 501(c)(3), by the Internal Revenue Service. Conferences held each year in the early spring give members the opportunity to share information and ideas, to hear performances, and to enjoy the company of others with similar interests. The Society publishes three periodicals. The Journal of the Society for American Music, a quarterly journal, is published for the Society by Cambridge University Press. Contents are chosen through review by a distinguished editorial advisory board representing the many subjects and professions within the field of American music.The Society for American Music Bulletin is published three times yearly and provides a timely and informal means by which members communicate with each other. The annual Directory provides a list of members, their postal and email addresses, and telephone and fax numbers.
    [Show full text]
  • The Philip Glass Ensemble in Downtown New York, 1966-1976 David Allen Chapman Washington University in St
    Washington University in St. Louis Washington University Open Scholarship All Theses and Dissertations (ETDs) Spring 4-27-2013 Collaboration, Presence, and Community: The Philip Glass Ensemble in Downtown New York, 1966-1976 David Allen Chapman Washington University in St. Louis Follow this and additional works at: https://openscholarship.wustl.edu/etd Part of the Music Commons Recommended Citation Chapman, David Allen, "Collaboration, Presence, and Community: The hiP lip Glass Ensemble in Downtown New York, 1966-1976" (2013). All Theses and Dissertations (ETDs). 1098. https://openscholarship.wustl.edu/etd/1098 This Dissertation is brought to you for free and open access by Washington University Open Scholarship. It has been accepted for inclusion in All Theses and Dissertations (ETDs) by an authorized administrator of Washington University Open Scholarship. For more information, please contact [email protected]. WASHINGTON UNIVERSITY IN ST. LOUIS Department of Music Dissertation Examination Committee: Peter Schmelz, Chair Patrick Burke Pannill Camp Mary-Jean Cowell Craig Monson Paul Steinbeck Collaboration, Presence, and Community: The Philip Glass Ensemble in Downtown New York, 1966–1976 by David Allen Chapman, Jr. A dissertation presented to the Graduate School of Arts and Sciences of Washington University in partial fulfillment of the requirements for the degree of Doctor of Philosophy May 2013 St. Louis, Missouri © Copyright 2013 by David Allen Chapman, Jr. All rights reserved. CONTENTS LIST OF FIGURES ....................................................................................................................
    [Show full text]
  • Understanding Music Past and Present
    Understanding Music Past and Present N. Alan Clark, PhD Thomas Heflin, DMA Jeffrey Kluball, EdD Elizabeth Kramer, PhD Understanding Music Past and Present N. Alan Clark, PhD Thomas Heflin, DMA Jeffrey Kluball, EdD Elizabeth Kramer, PhD Dahlonega, GA Understanding Music: Past and Present is licensed under a Creative Commons Attribu- tion-ShareAlike 4.0 International License. This license allows you to remix, tweak, and build upon this work, even commercially, as long as you credit this original source for the creation and license the new creation under identical terms. If you reuse this content elsewhere, in order to comply with the attribution requirements of the license please attribute the original source to the University System of Georgia. NOTE: The above copyright license which University System of Georgia uses for their original content does not extend to or include content which was accessed and incorpo- rated, and which is licensed under various other CC Licenses, such as ND licenses. Nor does it extend to or include any Special Permissions which were granted to us by the rightsholders for our use of their content. Image Disclaimer: All images and figures in this book are believed to be (after a rea- sonable investigation) either public domain or carry a compatible Creative Commons license. If you are the copyright owner of images in this book and you have not authorized the use of your work under these terms, please contact the University of North Georgia Press at [email protected] to have the content removed. ISBN: 978-1-940771-33-5 Produced by: University System of Georgia Published by: University of North Georgia Press Dahlonega, Georgia Cover Design and Layout Design: Corey Parson For more information, please visit http://ung.edu/university-press Or email [email protected] TABLE OF C ONTENTS MUSIC FUNDAMENTALS 1 N.
    [Show full text]
  • Downloads/9215D25f931f4d419461a88825f3f33f20160622021223/Cb7be6
    JOAN LA BARBARA’S EARLY EXPLORATIONS OF THE VOICE by Samara Ripley B.Mus., Mount Allison University, 2014 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in The Faculty of Graduate and Postdoctoral Studies (Music) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) August 2016 © Samara Ripley, 2016 Abstract Experimental composer and performer Joan La Barbara treats the voice as a musical instrument. Through improvisation, she has developed an array of signature sounds, or extended vocal techniques, that extend the voice beyond traditional conceptions of Western classical singing. At times, her signature sounds are primal and unfamiliar, drawing upon extreme vocal registers and multiple simultaneous pitches. In 2003, La Barbara released Voice is the Original Instrument, a two-part album that comprises a selection of her earliest works from 1974 – 1980. The compositions on this album reveal La Barbara’s experimental approach to using the voice. Voice Piece: One-Note Internal Resonance Investigation explores the timbral palette within a single pitch. Circular Song plays with the necessity of a singer’s breath by vocalizing, and therefore removing, all audible inhalations and exhalations. Hear What I Feel brings the sense of touch into an improvisatory composition and performance experience. In October Music: Star Showers and Extraterrestrials, La Barbara moves past experimentation and layers her different sounds into a cohesive piece of music. This thesis is a study of La Barbara’s treatment of the voice in these four early works. I will frame my discussion with theories of the acousmatic by Mladen Dolar and Brian Kane and will also draw comparisons with Helmut Lachnemann’s musique concrète instrumentale works.
    [Show full text]
  • The Stephen F. Austin State University Friday, February 20, 2009
    E V E N T S The Stephen F. Austin State University Friday, February 20, 2009 School of Music 5:00 p.m. – Registration – Room 152 is proud to host 7:00 p.m. – Concert I (Chamber Works) – Recital Hall Saturday, February 21, 2009 9:00 a.m. – Composition Symposium – Room 153 11:00 a.m. – Concert II (60x60) – Recital Hall The 2009 Conference 12:00 p.m. – NACUSA Membership Meeting – Room 152 2:00 p.m. – Concert III (Chamber Works) – Cole Concert Hall of the Texas Chapter of 4:00 p.m. – Keynote Address by Cindy McTee – Recital Hall The National Association of Composers, USA 7:00 p.m. – Concert IV (Band Works) – Cole Concert Hall N A C U S A T E X A S O F F I C E R S President: Dr. Wieslaw V. Rentowski Concert Coordinator: Dr. Dimitar Ninov Vice president: Dr. Nico Schüler Conference Coordinator: Dr. Stephen Lias In collaboration with: Secretary: Ms. Sunnie Oh Fundraising Coordinator: Dr. Michael Remson Treasurer: Mr. Alan Scott Student Coordinator: Mr. Anthony Suter The Center for the Promotion of Contemporary Music At Large: Dr. Michael Millett The International Society of Contemporary Music Vox Novus C O N F E R E N C E H O S T I N F O R M A T I O N All events will take place in the Tom & Peggy Wright Music Building on the campus of Stephen F. Austin State University, Nacogdoches, Texas. Conference registrants will find information about lodging, local restaurants, and driving directions in their conference packet or at http://www.icnm.org/NACUSATX/.
    [Show full text]
  • EMU Today, November 13, 2012 Eastern Michigan University
    Eastern Michigan University DigitalCommons@EMU EMU Today EMU Today 11-13-2012 EMU Today, November 13, 2012 Eastern Michigan University Follow this and additional works at: http://commons.emich.edu/emu_today Recommended Citation "EMU Today, November 13, 2012." Eastern Michigan University Division of Communications. EMU Archives, Digital Commons @ EMU (http://commons.emich.edu/emu_today/45). This University Communication is brought to you for free and open access by the EMU Today at DigitalCommons@EMU. It has been accepted for inclusion in EMU Today by an authorized administrator of DigitalCommons@EMU. For more information, please contact [email protected]. Tuesday, November 13, 2012 SPECIAL NOTICES: ACADEMIC HUMAN RESOURCES WILL BE CLOSED: The Academic Human Resources Office located in 202 Boone will be closed on Wednesday, November 14, from 12:30 p.m. - 2:30 p.m. for staff to attend the Thanksgiving Luncheon. PLANNED COMPUTING SYSTEM DOWNTIME: Monthly maintenance of EMU's computing systems will be performed Friday, November 16, 6 p.m. to midnight. During this month's maintenance program, the following major computer systems will be unavailable: EMU Website (www.emich.edu) Banner My.emich (including self-service faculty, student and employee tabs) BOE EMS (Event Planning) Axiom Linguist List Library Card Catalog Library Research Database(s) Email child account and forward services only Red Lantern Resource 25 fsaATLAS Service Desk Express All other systems and services remain AVAILABLE including: • Wired and Wireless Internet Access (residence halls, offices, and classrooms) EMU-Online course management system (http://emuonline.edu) Online Hiring System (www.emujobs.com) EagleMail (mail.emich.edu) All planned maintenance for major EMU systems is scheduled in conjunction with the ERP-Business Operations Committee (BOC).
    [Show full text]
  • Climbing in Our Windows & Snatching Our Likenesses Up: Viral Videos
    NORTH CAROLINA JOURNAL OF LAW & TECHNOLOGY Volume 12 Article 3 Issue 3 Online Issue 10-1-2010 Climbing in Our Windows & Snatching Our Likenesses up: Viral Videos & the Scope of the Right of Publicity on the Internet Lorelle A. Babwah Follow this and additional works at: http://scholarship.law.unc.edu/ncjolt Part of the Law Commons Recommended Citation Lorelle A. Babwah, Climbing in Our Windows & Snatching Our Likenesses up: Viral Videos & the Scope of the Right of Publicity on the Internet, 12 N.C. J.L. & Tech. 57 (2010). Available at: http://scholarship.law.unc.edu/ncjolt/vol12/iss3/3 This Article is brought to you for free and open access by Carolina Law Scholarship Repository. It has been accepted for inclusion in North Carolina Journal of Law & Technology by an authorized administrator of Carolina Law Scholarship Repository. For more information, please contact [email protected]. NORTH CAROLINA JOURNAL OF LAW & TECHNOLOGY 12 N.C. J.L. & TECH. ON. 57 (2010) CLIMBING IN OUR WINDOWS & SNATCHING OUR LIKENESSES UP: VIRAL VIDEOS & THE SCOPE OF THE RIGHT OF PUBLICITY ON THE INTERNET Lorelle A. Babwah* Modern technologies, including digital cameras and media- sharing, Web sites have made it possible for anyone to upload anything at any time and rapidly transmit this content to a world- wide audience. This digital environment fosters the creation of instant Internet celebrities via viral videos. The stars of these videos, such as "Bed Intruder"'s Antoine Dodson, are often unwitting "actors" whose ability to control the use of their likenesses should be protected. This right varies by state and is typically addressed either under the right of publicity or an invasion of privacy by misappropriationof identity action.
    [Show full text]