View IHCC-NY Calendar and Newsletter
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
The Taranta–Dance Ofthesacredspider
Annunziata Dellisanti THE TARANTA–DANCE OFTHESACREDSPIDER TARANTISM Tarantism is a widespread historical-religious phenomenon (‘rural’ according to De Martino) in Spain, Campania, Sardinia, Calabria and Puglia. It’s different forms shared an identical curative aim and by around the middle of the 19th century it had already begun to decline. Ever since the Middle Ages it had been thought that the victim of the bite of the tarantula (a large, non- poisonous spider) would be afflicted by an ailment with symptoms similar to those of epilepsy or hysteria. This ‘bite’ was also described as a mental disorder usually appearing at puberty, at the time of the summer solstice, and caused by the repression of physical desire, depression or unrequited love. In order to be freed from this illness, a particular ritual which included dance, music and the use of certain colours was performed. RITUAL DANCING The first written account of music as an antidote to the bite of the tarantula was given by the Jesuit scientist, Athanasius Kircher, who was also the first to notate the music and rhythm in his book Antidotum Tarantulæ in the 16th century. Among the instruments involved and used, the frame drum plays an important role together with the violin, the guitar or chitarra battente, a ten-string guitar used percussively, and the button accordion or organetto. This form of exorcism consisted in a ritual carried out in the home of the sick person and a religious ritual in the Church of San Paolo (Saint Paolo in Galatina (Lecce)) during the celebrations of the Saints Peter and Paul on the 28th June each year. -
2013-WHAT-Playbill-W
at The Julie Harris Stage WELLFLEET HARBOR ACTORS THEATER what.org 2013-2014 Season A Journey (with just a little mayhem) Theater Dance Opera Music Movies WHAT for Kids 2 what.org Wellfleet Harbor Actors Theater 2013-2014 3 at WHAT’s Inside... The Julie Harris Stage Theater.Dance.Opera.Music.Movies 2013 Summer Season WELLFLEET HARBOR ACTORS THEATER what.org Utility Monster ........................................................... 18 The Julie harris sTage 2357 route 6, Wellfleet, Ma This season marks the 29th anniversary of Wellfleet Summer Music Festival ............................................ 21 WhaT for Kids TenT Harbor Actors Theater. Founded in 1985, WHAT is the Six Characters in Search of an Author ..................... 22 2357 route 6, Wellfleet, Ma award-winning non-profit theater on Cape Cod that the WHAT for Kids .......................................................... 24 (508) 349-WhaT (9428) • what.org New York Times says brought “a new vigor for theater on the Cape” and the Boston Globe says “is a jewel in One Slight Hitch........................................................ 26 honorary Board Chair Board PresidenT eMeriTus Julie harris Carol green Massachusetts’ crown.” Boston Magazine named Lewis Black at WHAT ............................................... 28 18 PresidenT and Board Co-ChairMan WHAT the Best Theater in 2004 and the Boston Drama Bruce a. Bierhans, esquire August Special Events.............................................. 29 Critics Association has twice awarded WHAT its 22 21 Board Co-ChairMan prestigious Elliot Norton Award. UnHitched Cabaret John dubinsky Jazzical Fusion exeCuTive direCTor Andre Gregory: Before and After Dinner Jeffry george arTisTiC direCTor Cat on a Hot Tin Roof ............................................... 30 dan lombardo ProduCer/ProduCTion Manager Ted vitale Also inside: WhaT for Kids iMPresario stephen russell Letter from the President ........................................... -
The Role of Music in European Integration Discourses on Intellectual Europe
The Role of Music in European Integration Discourses on Intellectual Europe ALLEA ALLEuropean A cademies Published on behalf of ALLEA Series Editor: Günter Stock, President of ALLEA Volume 2 The Role of Music in European Integration Conciliating Eurocentrism and Multiculturalism Edited by Albrecht Riethmüller ISBN 978-3-11-047752-8 e-ISBN (PDF) 978-3-11-047959-1 e-ISBN (EPUB) 978-3-11-047755-9 ISSN 2364-1398 Library of Congress Cataloging-in-Publication Data A CIP catalog record for this book has been applied for at the Library of Congress. Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available in the Internet at http://dnb.dnb.de. © 2017 Walter de Gruyter GmbH, Berlin/Boston Cover: www.tagul.com Typesetting: Konvertus, Haarlem Printing: CPI books GmbH, Leck ♾ Printed on acid free paper Printed in Germany www.degruyter.com Foreword by the Series Editor There is a debate on the future of Europe that is currently in progress, and with it comes a perceived scepticism and lack of commitment towards the idea of European integration that increasingly manifests itself in politics, the media, culture and society. The question, however, remains as to what extent this report- ed scepticism truly reflects people’s opinions and feelings about Europe. We all consider it normal to cross borders within Europe, often while using the same money, as well as to take part in exchange programmes, invest in enterprises across Europe and appeal to European institutions if national regulations, for example, do not meet our expectations. -
“That's Not Italian Music!”
8 “That’s Not Italian Music!” My Musical Journey from New York to Italy and Back Again John T. La Barbera s a musician with many memorable experiences of a lifelong journey through Asouthern Italian traditional music that has taken me from New York to Italy and back again, I wish here to let my memory speak by sharing my musical auto- biography. How many times have I heard, after my performances of traditional music, “That’s not Italian music!”? I have engaged with this music for over thirty years, and it is time to explain why it is Italian music, why this music has been so misunderstood in America, and most of all, what it means to me. It all began with my first guitar, a fifteen-dollar “Stella” that my father bought for me one Friday night when I was about ten years old. I had merely wanted to play and sing some of the music I had heard around the house. I never expected then that I would be dedicating my entire life to this music, traveling because of it, and reconnecting to the land of my grandparents through it. They had all come from southern Italy by steamship during the period of mass migration in the early twentieth century (ca. 1904) to the lower east side of Manhattan—known today as the East Village. My paternal grandparents, Ciro and Francesca La Barbera, came from Bolognetta (formally known as Agghiasciu), near Palermo, Sicily. My maternal grandparents, Leonardo and Adrianna Mancini, came from Itri, south of Rome, in the region of Lazio. -
Music Migration in the Early Modern Age
Music Migration in the Early Modern Age Centres and Peripheries – People, Works, Styles, Paths of Dissemination and Influence Advisory Board Barbara Przybyszewska-Jarmińska, Alina Żórawska-Witkowska Published within the Project HERA (Humanities in the European Research Area) – JRP (Joint Research Programme) Music Migrations in the Early Modern Age: The Meeting of the European East, West, and South (MusMig) Music Migration in the Early Modern Age Centres and Peripheries – People, Works, Styles, Paths of Dissemination and Influence Jolanta Guzy-Pasiak, Aneta Markuszewska, Eds. Warsaw 2016 Liber Pro Arte English Language Editor Shane McMahon Cover and Layout Design Wojciech Markiewicz Typesetting Katarzyna Płońska Studio Perfectsoft ISBN 978-83-65631-06-0 Copyright by Liber Pro Arte Editor Liber Pro Arte ul. Długa 26/28 00-950 Warsaw CONTENTS Jolanta Guzy-Pasiak, Aneta Markuszewska Preface 7 Reinhard Strohm The Wanderings of Music through Space and Time 17 Alina Żórawska-Witkowska Eighteenth-Century Warsaw: Periphery, Keystone, (and) Centre of European Musical Culture 33 Harry White ‘Attending His Majesty’s State in Ireland’: English, German and Italian Musicians in Dublin, 1700–1762 53 Berthold Over Düsseldorf – Zweibrücken – Munich. Musicians’ Migrations in the Wittelsbach Dynasty 65 Gesa zur Nieden Music and the Establishment of French Huguenots in Northern Germany during the Eighteenth Century 87 Szymon Paczkowski Christoph August von Wackerbarth (1662–1734) and His ‘Cammer-Musique’ 109 Vjera Katalinić Giovanni Giornovichi / Ivan Jarnović in Stockholm: A Centre or a Periphery? 127 Katarina Trček Marušič Seventeenth- and Eighteenth-Century Migration Flows in the Territory of Today’s Slovenia 139 Maja Milošević From the Periphery to the Centre and Back: The Case of Giuseppe Raffaelli (1767–1843) from Hvar 151 Barbara Przybyszewska-Jarmińska Music Repertory in the Seventeenth-Century Commonwealth of Poland and Lithuania. -
International Opera Composition Course Giacomo Puccini Summer
Summer Seminar 2018 Lucca, Italy, July 2nd to 14th 2018 Come and study how to write opera in Lucca, the city of Giacomo Puccini Cluster – Associazione di compositori, Lucca and International Chamber Opera Festival - WEC With: Fondazione Giacomo Puccini Fondazione Banca del Monte di Lucca Teatro del Giglio Virtuoso e Belcanto Sconfinarte Edizioni Club Unesco - Lucca Present International Opera Composition Course “GIACOMO PUCCINI” Summer Seminar 2018 Lucca, July 2nd to 14th 2018 Come and study how to write opera in Lucca, the city of Giacomo Puccini PROJECT The International Opera Composition Course ‘Giacomo Puccini’ is addressed to composers (both with or without an academic degree) willing to investigate thoroughly all compositional techniques in use in Opera writing today, focusing both on the Italian tradition and on the genre’s contemporary international developments. The course’s aim is to hand down the great opera tradition, having as a target the creation of new operas, bridging the past and the future in a new and enthralling vision. COURSE GOALS Participants will get to a deeper understanding of the various aspects of composing for Opera theatre. - At the end of the course, each participant must submit a complete pre-project for a new chamber opera, writing a section of the full score for voice and piano (at least 20 minutes) - The best projects will be selected to be performed as mise-en-scene at the ‘Cluster season 2019’ in collaboration with Teatro del Giglio of Lucca - Remaining projects will be taken into consideration for -
ARC Music CATALOGUE
WELCOME TO THE ARC Music CATALOGUE Welcome to the latest ARC Music catalogue. Here you will find possibly the finest and largest collection of world & folk music and other related genres in the world. Covering music from Africa to Ireland, from Tahiti to Iceland, from Tierra del Fuego to Yakutia and from Tango, Salsa and Merengue to world music fusion and crossovers to mainstream - our repertoire is huge. Our label was established in 1976 and since then we have built up a considerable library of recordings which document the indig- enous lifestyles and traditions of cultures and peoples from all over the world. We strive to supply you with interesting and pleasing recordings of the highest quality and at the same time providing information about the artists/groups, the instruments and the music they play and any other information we think might interest you. An important note. You will see next to the titles of each album on each page a product number (EUCD then a number). This is our reference number for each album. If you should ever encounter any difficulties obtaining our CDs in record stores please contact us through the appropriate company for your country on the back page of this catalogue - we will help you to get our music. Enjoy the catalogue, please contact us at any time to order and enjoy wonderful music from around the world with ARC Music. Best wishes, the ARC Music team. SPECIAL NOTE Instrumental albums in TOP 10 Best-Selling RELEASES 2007/2008 our catalogue are marked with this symbol: 1. -
International Opera Composition Course Giacomo Puccini Summer
Summer Seminar 2019 Lucca, Italy, July 15 th to 27 th 2019 Come and study how to write opera in Lucca, the city of Giacomo Puccini Cluster – Compositori interpreti del presente in collaboration with: Fondazione Giacomo Puccini Fondazione Franco Zeffirelli Fondazione Luciano Pavarotti Fondazione Accademia di Belle Arti di Brera Fondazione Renata Tebaldi Fondazione Cassa di Risparmio di Lucca Fondazione Banca del Monte di Lucca Teatro del Giglio di Lucca Club UNESCO di Lucca EMA Vinci Produzioni discografiche (audio-video), editoriali ed artistiche. Present PUCCINI International Opera Composition Course Summer Seminar 2019 Lucca, Italy, July 15 th to 27 th 2019 Come and study how to write opera in Lucca, the city of Giacomo Puccini PROJECT The Puccini International Opera Composition Course is addressed to composers (both with or without an academic degree) willing to investigate thoroughly all compositional techniques in use in Opera writing today, focusing both on the Italian tradition and on the genre’s contemporary international developments. The course’s aim is to hand down the great opera tradition, having as a target the creation of new operas, bridging the past and the future in a new and enthralling vision. COURSE GOALS Participants will get to a deeper understanding of the various aspects of composing for Opera theatre. - At the end of the course, each participant must submit a complete pre-project for a new chamber opera, writing a section or a full score for voice and piano (at least 25 minutes) - The best projects will be selected -
Mandolino Recorded in Sicily by the San Domenico Barbers of Taormina
WL 116 MANDOLINO WL 116 Tarantella guiseppina Tarantella A picciuttedda di la conga d'oru Pastorale siciliana COLUMBIA Si· t"u Jes voulais Serena ta Sciuri-Sciuri Mazzurca siciliana E vui durmiti ancora Malia Minuetto del hove Tarantella di amuri La cifalota Thais U sali se n'annou La muntagnola Recorded in Sicily by The San Domenico Barbers of Taormina Enchantment is the word for Sicily, lovely city of Palermo, especially in varied. There are a number of taran- chachos · La Polka du colonel · Java martienne · La cumparsita. "Lp" WL 106 the beguiling island that liel'> so close to the church of Giovanni degli Eremiti tellas, those spirited dances which Italy and is a part of that country which, as one writer has put it, is "all originally were considered sure cures MUSIC FROM THE FILMS-Michel Legrand and His Orchestra: Love theme from "La Strada" although it differs so markedly from emotion- a forgotten bit of the Orient for snake bites, there are songs by · Seascape-from "Lost Continent" · Battitura the mainland. Enchanting 1t is in all made for meditation." Tosti (Si tu les voulais and Malia) who -from "Lost Continent" · Theme from "Lovers and Lollipops" · La Complainte de la Butte- its aspects- its centuries-old history, Following the defeat of the Normans, was one of the most popular Italian from "French Can-Can" · Tant de vous-from its exquisite physical beauty, its art melodists of the last century, a minuet "Lola Montes" · Chanson de Gervaise-from the fortunes of Sicily alternated be- "Gervaise" · Friendly Persuasion-from (including its music which is well repre- tween the rule of the Spaniards, the by Haydn, a serenade by the_composer "Friendly Persuasion" · Serpent Dance-from sented in this delightful collection per- of Faust, Charles Gounod, and a famed "Empire of the Sun" · Sur le pave de Paris- House of Savoy and the Austrians until from "La Fete a Henriette" · Le Grisbi-from formed by Sicilian artists). -
Tradition, Exoticism, and Cosmopolitism in Italian Popular Music (1950S-1980S)
Differentia: Review of Italian Thought Number 2 Spring Article 15 1988 Tradition, Exoticism, and Cosmopolitism in Italian Popular Music (1950s-1980s) Paolo Prato Follow this and additional works at: https://commons.library.stonybrook.edu/differentia Recommended Citation Prato, Paolo (1988) "Tradition, Exoticism, and Cosmopolitism in Italian Popular Music (1950s-1980s)," Differentia: Review of Italian Thought: Vol. 2 , Article 15. Available at: https://commons.library.stonybrook.edu/differentia/vol2/iss1/15 This document is brought to you for free and open access by Academic Commons. It has been accepted for inclusion in Differentia: Review of Italian Thought by an authorized editor of Academic Commons. For more information, please contact [email protected], [email protected]. Tradition, Exoticism and Cosmopolitism in Italian Popular Music ( 1950s-1980s) Paolo Prato INTRODUCTION Richard Wolfe's ProfessionalFake Book (Columbia Pictures Pub lications, 1983), a compilation of over 1000 songs for the club pianist-Broadway's best, contemporary hits, folk songs, movie greats, classical themes, etc.-includes nine Italian pieces. There are Neapolitan evergreens (0 sole mio, Come Back to Sorrento and Malafemmena), one a love song (Santa Lucia), another a Sicilian folk song (Eh cumpari), another an opera highlight (La donna e mobile) and three "modern" songs (Volare, Ciao ciao bambina, Cara mia) from the 1950s. The list makes up an average package of what many people outside Italy consider to be Italian popular music. The songs are part of that "knowledge at hand" (Alfred Schutz) DIFFERENT/A 2 (Spring 1988) DIFFERENT/A 196 which is necessary to cope with what is strange within everyday life routines. -
This Is Not a Review
This Is Not a Review The 2015/16 New Year’s Eve Concerts in Italy and the Mortification of the South, of its Inhabitants and of its Music Esto no es una reseña Los conciertos de Año Nuevo 2015/2016 en Italia y la condena del sur, sus habitantes y su música Marcello Messina This Is Not a Review The 2015/16 New Year’s Eve Concerts in Italy and the Mortification of the South, of its Inhabitants and of its Music Marcello Messina In this article I examine some of the En este artículo examino algunos de los debates around the recent New Year’s debates generados alrededor de los Eve concerts in Bari, Catania, Palermo, recientes conciertos de Año Nuevo en Rome and Matera. However, this is not Bari, Catania, Palermo, Roma y Matera. a review of the concerts, as I am neither Sin embargo, esto no es una reseña de interested in what happened during the los conciertos: no estoy interesado en lo performances nor in the disparate que ocurrió durante las artistic merits of the works involved. I interpretaciones, y tampoco en los rather want to display how dispares méritos artísticos de los controversies, polemics and criticisms espectáculos. Más bien quiero mostrar were largely related to the connections cómo las polémicas y críticas están between the featuring artists Gigi ampliamente relacionadas con las D’Alessio, Tony Colombo, Eugenio conexiones entre los artistas que Bennato and Fiorella Mannoia, and the participaron –Gigi D’Alessio, Tony politics of Southern Italian identity. By Colombo, Eugenio Bennato y Fiorella drawing upon various debates around Mannoia– y las políticas de identidad these musicians, I want to denounce del sur de Italia. -
UNIVERSITY of CALIFORNIA Los Angeles Jews, Music-Making, And
UNIVERSITY OF CALIFORNIA Los Angeles Jews, Music-Making, and the Twentieth Century Maghrib A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in History by Christopher Benno Silver 2017 © Copyright by Christopher Benno Silver 2017 ABSTRACT OF THE DISSERTATION Jews, Music-Making, and the Twentieth Century Maghrib by Christopher Benno Silver Doctor of Philosophy in History University of California, Los Angeles, 2017 Professor Sarah Abrevaya Stein, Chair From the early twentieth century and through at least mid-century, indigenous North African Jews came to play an outsized role as music-makers and music-purveyors across the Maghrib. In Morocco, Algeria, and Tunisia, all under French rule until the middle of the twentieth century, Jewish vocalists and instrumentalists, record label artistic directors and concessionaires, commercial agents, and sonic impresarios utilized the phonograph and recording technology to safeguard and promote traditional music –– described alternately as “Arab,” “Muslim,” and “Andalusian” –– and to pioneer popular musical forms mixed in style and language (often blending Arabic with French). Those forms produced an emerging realm of popular culture between World War I and World War II. ii Jewish prominence in music was challenged during the interwar period. That challenge emanated from a set of French officials and Muslim elites, who were uneasy with minority overrepresentation in a heritage increasingly considered in national terms and increasingly understood as the exclusive domain of the majority. With the fall of the French Third Republic and the rise of the Vichy Regime during the Second World War, Maghribi Jewish musicians in North Africa and those in metropolitan France were further sidelined and silenced –– although never completely.