Now in Its Third Year, This Unique Event Seeks to Cultivate Appreciation and Support of Contemporary Art Music
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Contemporary Romanian Music for Unaccompanied
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by KU ScholarWorks CONTEMPORARY ROMANIAN MUSIC FOR UNACCOMPANIED CLARINET BY 2009 Cosmin Teodor Hărşian Submitted to the graduate program in the Department of Music and Dance and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Musical Arts. ________________________ Chairperson Committee Members ________________________ ________________________ ________________________ ________________________ Date defended 04. 21. 2009 The Document Committee for Cosmin Teodor Hărşian certifies that this is the approved version of the following dissertation: CONTEMPORARY ROMANIAN MUSIC FOR UNACCOMPANIED CLARINET Committee: ________________________ Chairperson ________________________ Advisor Date approved 04. 21. 2009 ii ABSTRACT Hărșian, Cosmin Teodor, Contemporary Romanian Music for Unaccompanied Clarinet. Doctor of Musical Arts (Performance), May 2009. Romanian music during the second half of the twentieth century was influenced by the socio-politic environment. During the Communist era, composers struggled among the official ideology, synchronizing with Western compositional trends of the time, and following their own natural style. With the appearance of great instrumentalists like clarinetist Aurelian Octav Popa, composers began writing valuable works that increased the quality and the quantity of the repertoire for this instrument. Works written for clarinet during the second half of the twentieth century represent a wide variety of styles, mixing elements from Western traditions with local elements of concert and folk music. While the four works discussed in this document are demanding upon one’s interpretative abilities and technically challenging, they are also musically rewarding. iii I wish to thank Ioana Hărșian, Voicu Hărșian, Roxana Oberșterescu, Ilie Oberșterescu and Michele Abbott for their patience and support. -
Dolci Melodie Di Capodanno - Programma Musicale ♫
♫ DOLCI MELODIE DI CAPODANNO - PROGRAMMA MUSICALE ♫ William Robinson My God Norman Gibel e Arhur Altman (English Lyric) Jacques Plate (Original Lyric); J.W.Stole e Del Roma I Will Follow Him Irving Berlin - White Christmas Haven Gillespie - Santa Claus Is Coming’to Town Jay Johnson and Bill Hayes: Blue Christmas Sister Act: Traditional Hail Holy Queen Sammy Cahn; Jule Styne: Let It Snow! Let It Snow! Let It Snow! Charles Adam - Cantique de Noël (Minuit Chrétien) Isaac Watts; Lowell Mason, based on G. F. Händel - Joy To The World Sammy Cahn; Sammy Fain: Walt Disney’s Peter Pan You Can Fly! You Can Fly! You Can Fly! Giuseppe Giacosa e Luigi Illica; Giacomo Puccini: Bohème: Quando me n’ vò Noa; Nicola Piovani: La vita è bella Life Is Beautiful Hammerstein II e Otto Harbach; George Gershwin e Herbert Stothart: Vodka Francesco "Franco" Migliacci; Domenico Modugno: Nel blu dipinto di blu Edith Piaf; Louiguy (Louis Gugliemi) La vie en rose Oh, Kay: Do, Do, Do Irving Caesar; Vincent Millie Youmans dal musical No, No, Nanette: Tea for Two Giancarlo Golzi; Carlo Marrale: Vacanze Romane Dominique Bonnaud and Numa Blès; Erik Satie: La Diva de l'Empire Irving Berlin: Cheek to Cheek Ogden Nash; Kurt Weil dal musical One Touch of Venus I'm A Stranger Here Myself Kurt Weill: Berlin im Licht-Lied Mel Leven da Walt Disney’s 101 Dalmatians: Cruella De Vil Fred Ebb; John Kander: Dall’omonimo film New York, New York Hal David; Burt Bacharach: Magic Moments Ira e George Gershwin: By Strauss Francesco Maria Piave; Giuseppe Verdi: La Traviata - Libiam ne’ lieti calici . -
The Rai Studio Di Fonologia (1954–83)
ELECTRONIC MUSIC HISTORY THROUGH THE EVERYDAY: THE RAI STUDIO DI FONOLOGIA (1954–83) Joanna Evelyn Helms A dissertation submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music. Chapel Hill 2020 Approved by: Andrea F. Bohlman Mark Evan Bonds Tim Carter Mark Katz Lee Weisert © 2020 Joanna Evelyn Helms ALL RIGHTS RESERVED ii ABSTRACT Joanna Evelyn Helms: Electronic Music History through the Everyday: The RAI Studio di Fonologia (1954–83) (Under the direction of Andrea F. Bohlman) My dissertation analyzes cultural production at the Studio di Fonologia (SdF), an electronic music studio operated by Italian state media network Radiotelevisione Italiana (RAI) in Milan from 1955 to 1983. At the SdF, composers produced music and sound effects for radio dramas, television documentaries, stage and film operas, and musical works for concert audiences. Much research on the SdF centers on the art-music outputs of a select group of internationally prestigious Italian composers (namely Luciano Berio, Bruno Maderna, and Luigi Nono), offering limited windows into the social life, technological everyday, and collaborative discourse that characterized the institution during its nearly three decades of continuous operation. This preference reflects a larger trend within postwar electronic music histories to emphasize the production of a core group of intellectuals—mostly art-music composers—at a few key sites such as Paris, Cologne, and New York. Through close archival reading, I reconstruct the social conditions of work in the SdF, as well as ways in which changes in its output over time reflected changes in institutional priorities at RAI. -
Edition 2 | 2019-2020
WHAT’S INSIDE CONCERTS Masterworks Pops 41 Bach’s Brandenburg 46 From Russians with Love 50 Conrad Tao Plays Brahms 62 Ranky Tanky with the CSO 57 Scheherazade 65 Mendelssohn’s Scottish Symphony 75 Charleston and the New World Chamber Special Events 73 All Roads Lead to Vienna 55 Magnetic South Charleston Symphony Youth Orchestras 70 Side by Side Concert with the Charleston Symphony 4 House Notes 19 From the Orchestra 8 Musicians 20 CSO Chorus 10 Musician Roster 23 Membership Benefits 11 Guest Musician Sponsors 24 Donor Recognition 12 Board of Directors 27 In Honor/In Memory 13 Administration 30 Letter from President 15 Letter from Executive Director 34 Educational Programs 16 Music Director 80 Guest Musician Hosts/ 18 Principal Pops Conductor In-Kind Gifts ADVERTISING: Onstage Publications This playbill program template is published in association with Onstage Publications, 1612 Prosser 937-424-0529 | 866-503-1966 Avenue, Dayton, Ohio 45409. This playbill program template may not be reproduced in whole or in part without written permission from the publisher. Onstage Publications is a division of Just Business!, e-mail: [email protected] Inc. Contents © 2020. All rights reserved. Printed in the U.S.A. www.onstagepublications.com CharlestonSymphony.org 3 HOUSE NOTES Thank you for attending this performance of the Charleston Symphony. Here are some tips and suggestions to enhance the concert experience for everyone. TICKET INFORMATION STUDENT DISCOUNTS Students ages 6-22 may take advantage of the following discounts. Some concerts are excluded INDIVIDUAL CONCERT TICKETS or have special pricing noted on the Charleston Online: Symphony website. -
Roger Sessions: a Biography
ROGER SESSIONS: A BIOGRAPHY Recognized as the primary American symphonist of the twentieth century, Roger Sessions (1896–1985) is one of the leading representatives of high modernism. His stature among American composers rivals Charles Ives, Aaron Copland, and Elliott Carter. Influenced by both Stravinsky and Schoenberg, Sessions developed a unique style marked by rich orchestration, long melodic phrases, and dense polyphony. In addition, Sessions was among the most influential teachers of composition in the United States, teaching at Princeton, the University of California at Berkeley, and The Juilliard School. His students included John Harbison, David Diamond, Milton Babbitt, Frederic Rzewski, David Del Tredici, Conlon Nancarrow, Peter Maxwell Davies, George Tson- takis, Ellen Taaffe Zwilich, and many others. Roger Sessions: A Biography brings together considerable previously unpublished arch- ival material, such as letters, lectures, interviews, and articles, to shed light on the life and music of this major American composer. Andrea Olmstead, a teaching colleague of Sessions at Juilliard and the leading scholar on his music, has written a complete bio- graphy charting five touchstone areas through Sessions’s eighty-eight years: music, religion, politics, money, and sexuality. Andrea Olmstead, the author of Juilliard: A History, has published three books on Roger Sessions: Roger Sessions and His Music, Conversations with Roger Sessions, and The Correspondence of Roger Sessions. The author of numerous articles, reviews, program and liner notes, she is also a CD producer. This page intentionally left blank ROGER SESSIONS: A BIOGRAPHY Andrea Olmstead First published 2008 by Routledge 711 Third Avenue, New York, NY, 10017, USA Simultaneously published in the UK by Routledge 2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN Routledge is an imprint of the Taylor & Francis Group, an informa business © 2008 Andrea Olmstead Typeset in Garamond 3 by RefineCatch Limited, Bungay, Suffolk All rights reserved. -
UTM Clarinet Handbook Spring 2018
UTM Clarinet Handbook Spring 2018 For MUAP 161/162/164/362/363/364: Clarinet Lessons MUAP 395/495: Clarinet Recitals Dr. Liz Aleksander Associate Professor of Clarinet [email protected] Cell: 419.346.8624 Office: 731.881.7413 University of Tennessee at Martin Department of Music Table of Contents Table of Contents Welcome ....................................................................................................................................................... 4 General Information ................................................................................................................................. 6 Faculty Contact Information ......................................................................................................................... 6 Communication Policy.................................................................................................................................... 6 Required Equipment & Maintenance ......................................................................................................... 6 Required & Suggested Texts ......................................................................................................................... 7 Borrowed Items ................................................................................................................................................. 8 Ensemble Auditions ......................................................................................................................................... 8 Auxiliary -
2012 02 20 Programme Booklet FIN
COMPOSITION - EXPERIMENT - TRADITION: An experimental tradition. A compositional experiment. A traditional composition. An experimental composition. A traditional experiment. A compositional tradition. Orpheus Research Centre in Music [ORCiM] 22-23 February 2012, Orpheus Institute, Ghent Belgium The fourth International ORCiM Seminar organised at the Orpheus Institute offers an opportunity for an international group of contributors to explore specific aspects of ORCiM's research focus: Artistic Experimentation in Music. The theme of the conference is: Composition – Experiment – Tradition. This two-day international seminar aims at exploring the complex role of experimentation in the context of compositional practice and the artistic possibilities that its different approaches yield for practitioners and audiences. How these practices inform, or are informed by, historical, cultural, material and geographical contexts will be a recurring theme of this seminar. The seminar is particularly directed at composers and music practitioners working in areas of research linked to artistic experimentation. Organising Committee ORCiM Seminar 2012: William Brooks (U.K.), Kathleen Coessens (Belgium), Stefan Östersjö (Sweden), Juan Parra (Chile/Belgium) Orpheus Research Centre in Music [ORCiM] The Orpheus Research Centre in Music is based at the Orpheus Institute in Ghent, Belgium. ORCiM's mission is to produce and promote the highest quality research into music, and in particular into the processes of music- making and our understanding of them. ORCiM -
The Ten String Quartets of Ben Johnston, Written Between 1951 and 1995, Constitute No Less Than an Attempt to Revolutionize the Medium
The ten string quartets of Ben Johnston, written between 1951 and 1995, constitute no less than an attempt to revolutionize the medium. Of them, only the First Quartet limits itself to conventional tuning. The others, climaxing in the astonishing Seventh Quartet of 1984, add in further microtones from the harmonic series to the point that the music seems to float in a free pitch space, unmoored from the grid of the common twelve-pitch scale. In a way, this is a return to an older conception of string quartet practice, since players used to (and often still do) intuitively adjust their tuning for maximum sonority while listening to each other’s intonation. But Johnston has extended this practice in two dimensions: Rather than leave intonation to the performer’s ear and intuition, he has developed his own way to specify it in notation; and he has moved beyond the intervals of normal musical practice to incorporate increasingly fine distinctions, up to the 11th, 13th, and even 31st partials in the harmonic series. This recording by the indomitable Kepler Quartet completes the series of Johnston’s quartets, finally all recorded at last for the first time. Volume One presented Quartets 2, 3, 4, and 9; Volume Two 1, 5, and 10; and here we have Nos. 6, 7, and 8, plus a small piece for narrator and quartet titled Quietness. As Timothy Ernest Johnson has documented in his exhaustive dissertation on Johnston’s Seventh Quartet, Johnston’s string quartets explore extended tunings in three phases.1 Skipping over the more conventional (though serialist) First Quartet, the Second and Third expand the pitch spectrum merely by adding in so-called five-limit intervals (thirds, fourths, and fifths) perfectly in tune (which means unlike the imperfect, compromised way we tune them on the modern piano). -
Expanding Horizons: the International Avant-Garde, 1962-75
452 ROBYNN STILWELL Joplin, Janis. 'Me and Bobby McGee' (Columbia, 1971) i_ /Mercedes Benz' (Columbia, 1971) 17- Llttle Richard. 'Lucille' (Specialty, 1957) 'Tutti Frutti' (Specialty, 1955) Lynn, Loretta. 'The Pili' (MCA, 1975) Expanding horizons: the International 'You Ain't Woman Enough to Take My Man' (MCA, 1966) avant-garde, 1962-75 'Your Squaw Is On the Warpath' (Decca, 1969) The Marvelettes. 'Picase Mr. Postman' (Motown, 1961) RICHARD TOOP Matchbox Twenty. 'Damn' (Atlantic, 1996) Nelson, Ricky. 'Helio, Mary Lou' (Imperial, 1958) 'Traveling Man' (Imperial, 1959) Phair, Liz. 'Happy'(live, 1996) Darmstadt after Steinecke Pickett, Wilson. 'In the Midnight Hour' (Atlantic, 1965) Presley, Elvis. 'Hound Dog' (RCA, 1956) When Wolfgang Steinecke - the originator of the Darmstadt Ferienkurse - The Ravens. 'Rock All Night Long' (Mercury, 1948) died at the end of 1961, much of the increasingly fragüe spirit of collegial- Redding, Otis. 'Dock of the Bay' (Stax, 1968) ity within the Cologne/Darmstadt-centred avant-garde died with him. Boulez 'Mr. Pitiful' (Stax, 1964) and Stockhausen in particular were already fiercely competitive, and when in 'Respect'(Stax, 1965) 1960 Steinecke had assigned direction of the Darmstadt composition course Simón and Garfunkel. 'A Simple Desultory Philippic' (Columbia, 1967) to Boulez, Stockhausen had pointedly stayed away.1 Cage's work and sig- Sinatra, Frank. In the Wee SmallHoun (Capítol, 1954) Songsfor Swinging Lovers (Capítol, 1955) nificance was a constant source of acrimonious debate, and Nono's bitter Surfaris. 'Wipe Out' (Decca, 1963) opposition to himz was one reason for the Italian composer being marginal- The Temptations. 'Papa Was a Rolling Stone' (Motown, 1972) ized by the Cologne inner circle as a structuralist reactionary. -
Repertorio Scaricabile In
HAMSA IRENE RINALDI Repertorio musicale (“AMO LA VITA, QUESTA MIA VITA PER LA MUSICA”L. Bernstein) ARIE D'OPERA Giovacchino Forzano; Giacomo Puccini Gianni Schicchi: O mio babbino caro - Lauretta Giuseppe Adami e Renato Simoni; Giacomo Puccini Turandot: Tu che di gel sei cinta; Ascolta Signore; Tanto amore segreto – Liù Giuseppe Adami; Giacomo Puccini La Rondine: Chi il bel sogno - Magda Giuseppe Giacosa e Luigi Illica; Giacomo Puccini Bohème: Quando me n’ vò - Musetta Donde lieta - Mimì Giuseppe Giacosa e Luigi Illica; Giacomo Puccini Madama Butterfly: Un bel dì vedremo - Cio Cio San Felice Romani; Vincenzo Bellini I Capuleti e I Montecchi: Eccomi in lieta vesta...Oh,Quante volte, oh quante volte - Giulietta Francesco Maria Piave; Giuseppe Verdi Rigoletto: Gualtiè Maldè!...Caro nome – Gilda Arrigo Boito; Giuseppe Verdi Falstaff: Ninfe! Elfi! Silfi! Doridi! Sirene!...Sul fil d’un soffio etesio - Nannetta Francesco Maria Piave; Giuseppe Verdi Il Corsaro: Egli non riede ancora - Medeora Francesco Maria Piave; Giuseppe Verdi La Forza del destino: La Vergine degli angeli - Leonora Francesco Maria Piave; Giuseppe Verdi La Traviata - Libiam ne’ lieti calici - Violetta Arturo Colautti; Francesco Cilea Adriana Lecouvreur: Io son l’umile ancella - Adriana Jules Barbier e Michel Carré; Charles Gounod Roméo et Juliette: Je veux vivre - Juliette Fernando Periquet Zuaznabar; Enrique Granados Goyescas: La Maya y el Ruisenor, Op.11 - Rosario Lorenzo Da Ponte; Wolfgang Amadeus Mozart Le nozze di Figaro (K492): E Susanna non vien...Dove sono i bei momenti -
Butlletí De Novetats Discogràfiques Gener - Març 2007
BUTLLETÍ DE NOVETATS DISCOGRÀFIQUES GENER - MARÇ 2007 Butlletí de novetats discogràfiques biblioteca Gener-Juny 2009 pública alicante ÍNDICE ÍNDICE DE AUTORES, TÍTULOS Y MATERIAS Índice 1 Música de tradiciones nacionales. Cantautores 2 Jazz 3 Rock, pop, música ligera 4 Música clásica 5 Música New Age 6 Música funcional. Bandas sonoras varias Índice de autores, títulos y materias PORTADA Música de tradiciones nacionales. Cantautores Música de tradiciones nacionales Cantautores ÍNDICE ÍNDICE DE AUTORES, TÍTULOS Y MATERIAS 1 Música de tradiciones nacionales. Cantautores 1 ÁLVAREZ, Javier Guerrero Álvarez [Grabación sonora] / Javier Álvarez, Pablo Guerrero. -- [S.l.] : Rosevil, 2009. -- 1 disco compacto (ca. 39 min.) : digital ; 12 cm + 1 folleto Letra de las canciones en el folleto Contiene: 1. Mesa de trabajo ; 2. Noche ; 3. Pero siempre te amo ; 4. Querido periodico ; 5. Pido las nubes que alientan mis poemas ; 6. Generoso sillon ; 7. Arde la tarde ; 8. Azar ; 9. El hombre que oculta su pasado ; 10. Mano ; 11. Botas de andar 1. Cantautores I. Título II. Guerrero, Pablo 064.7 ALV 1097022 ALI R.C.D. 6107 16 € Javier va a su ritmo y todo lo que implique presión no le interesa. Hace cuatro años de ‘Plan be’, que era un álbum doble, y ahora reaparece con un disco medio electrónico, medio rock, en el cual los textos, según dicen, son de Pablo Guerrero, que también recita en un par de ocasiones. No es un experimento: es comunión plena entre uno y otro. Javier se ha preocupado de interiorizar las letras y las ha dado un barniz personal hasta el extremo. Tanto, que no se reconoce a Pablo, lo que pretende ser un halago. -
Jazz Concert
Aritst Series presents: City of Tomorrow Woodind Quintet Wednesday, October 7, 2015 at 8 pm Lagerquist Concert Hall, Mary Baker Russell Music Center Pacific Lutheran University School of Arts and Communication / Department of Music present Artist Series presents: City of Tomorrow Woodwind Quintet Elise Blatchford, Flute Stuart Breczinski, Oboe Rane Moore, Clarinet Nanci Belmont, Bassoon Leander Star, Horn Wednesday, October 7, 2015, at 8 pm Lagerquist Concert Hall, Mary Baker Russell Music Center Welcome to Lagerquist Concert Hall. Please disable the audible signal on all watches, pagers and cellular phones for the duration of the concert. Use of cameras, recording equipment and all digital devices is not permitted in the concert hall. PROGRAM Rotary........................................................................................................... Karlheinz Stockhausen (1928-2007) Blow (1989) .............................................................................................................Franco Donatoni (1927-2000) INTERMISSION Daedalus ........................................................................................................................... John Aylward (b. 1980) East Wind ......................................................................................................................... Shulamit Ran (b. 1949) Elise Blatchford, flute Music for Breathing .............................................................................................................. Nat Evans (b. 1980) About the