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KSU Percussion Ensemble
Monday, May 2, 2016 at 8 p.m. Dr. Bobbie Bailey & Family Performance Center Morgan Hall One Hundred and Thirty-seventh Concert of the 2015-16 Concert Season Kennesaw State program University School of Music JOHN WESLEY DANKWA (Traditional) Kete Abofo/Ohene De Hene presents Percussion LYNN GLASSOCK (b. 1946) Ensemble Factions "Spring Concert" John Lawless, ERIC LOUIS RAMOS (b. 1995) Whispers Director Caty Mae Loomis Michael Berry TYRONE JACKSON (b. 1971) and JOHN LAWLESS (b. 1959) Crystal JOHN PSATHAS (b.1966) Kyoto Lindsay Rohskopf Josh Bouland Joe Donohue Eric Ramos Michael Ollman ELLIOT COLE (b. 1984) Postludes No. 5 Mary Madison Jones Caty Mae Loomis Joe Donohue Cooper Sewell JACOB REMINGTON (b.1986) Prelude to Paradise program notes Kete Abofo/Ohene De Hene | John Wesley Dankwa In 2013, we had the wonderful good fortune of John Wesley Dankwa, master drummer from Ghana, spending spring semester working with the KSU Percussion Ensemble. He arrived with a custom set of Kete drums made for our ensemble. These are the red and black drums that will be played on the first piece this evening. Here is what John Wesley had to say about Kete: “This music is commonly found in the royal courts of traditional Akan communities. In particular, the Ashanti perform this musical type in the courts of every chief whose status entitles him to be carried in a palanquin. Occasions on which this music would be heard include state durbars, funerals, and traditional festivals of the Akan.” Factions | Lynn Glassock This is not the first time that Factions has been performed here, but it IS the first time by non-music majors. -
Psaudio Copper
Issue 76 JANUARY 14TH, 2019 Welcome to Copper #76! ---here we are, halfway through January already, and I guess I'll find out if January actually exists without the mania of CES. I've attended since 1989, I'm done. My favorite newsflash so far has been that an autonomous car ran over an autonomous robot.... But we're here, and blessedly flu-free...so: Larry Schenbeck continues his look at musical storytellers---vocal ones, this time; we're revisiting Dan Schwartz's piece on Steve Reich; Richard Murison tries his hand at haiku---and some ku are hai-er than others; Jay Jay French brings us the second of two stories about meeting John & Yoko; Roy Hall tells his uncommonly-touching story of citizenship; Anne E. Johnson does double duty, with a look at lesser-known cuts from Richie Havens, as well as a Something Old/Something New review of new recordings of not one but two composers named Praetorius; Christian James Hand deconstructs REM's "It's the End of the World..."; and I obsess yet again about CES, and continue with a look at the audio segment of the amazing business empire of Sherman Fairchild. Industry News continues the never-ending story of---well, guess who. No, it's a different guess who than last issue's guess who. Sheesh! Our friend Fred Schwartz wonders what we'd hear in a certain situation; and we're pleased to have the first contribution from Jeremy Kipnis, writing about his illustrious ancestor, operatic bass Alexander Kipnis. Copper #76 wraps up with a scratchy sound from Charles Rodrigues, and a Parting Shot all the way from Argentina. -
The Shofar and Its Symbolism
83 The Shofar and its Symbolism Malcolm Miller Part I: The shofar's symbolism in biblical and historical sources There is a sense of expectation in the silence before the shofar sound, followed by unease evoked by the various blasts. Part of its mystery lies in the interplay of the silence, the piercing sound, and the hum of the people praying. On its most basic level, the shofar can be seen to express what we cannot find the right words to say. The blasts are the wordless cries of the People of Israel. The shofar is the instrument that sends those cries of pain and sorrow and longing hurtling across the vast distance towards the Other. (Michael Strassfeld)1 This very poetic description of the shofar in its ritual performance highlights both the particularly Jewish and the universal elements of the instrument. The emotional associations and the use of the instrument as a symbol of memory and identity may find resonances with many religious faiths. Its specifically Jewish connotations are especially poignant at the start of the twenty-first century, yet the symbolism of the shofar extends far beyond the "cries of pain and sorrow," reaching across history to its biblical origins, to evoke a plethora of associations. As I hope to illustrate in the present article, the shofar has generated a rich nexus of metaphorical tropes, those of supernatural power, joy, freedom, victory, deliverance, national identity, moral virtue, repentance, social justice, and many other topics, some of which have remained constant while others have changed. At the heart of the matter is the appreciation of the shofar as not merely a functional instrument, as often believed, but a "musical" one, whose propensity to evoke a profound aesthetic response has led to multiple interpretations of its symbolism. -
Noteswinter 2020 Dreams Coming True Distinguished Professors, Generous Gifts
BOOKS GUESTS Healing Musicians Discovering Debussy Monk and More! EASTMAN NOTESWINTER 2020 Dreams Coming True Distinguished professors, generous gifts. R WO R YOU RLD W LO ITH CO Music JUNE 29 - AUGUST 7, 2020 Residential music programs and camps for middle and high school students, week-long institutes for students and music teachers, and a Summers-Only Master’s degree in Music Education. summer.esm.rochester.edu | [email protected] (585) 274-1074 or toll-free (844) 820-3766 EASTMAN SCHOOL OF MUSIC • UNIVERSITY OF ROCHESTER { WINTER 2020 } Pomp and circumstance: University of Rochester President Sarah Mangelsdorf takes the Kodak Hall stage for her inauguration on October 4. 2 From the Dean 6 Discovering Debussy 3 An Eastman professor translates a classic biography into English. Brief Notes 4 8 Excited and Engaged Alumni on the Move Eastman’s new faculty members 18 on their visions for music education School News 10 Dreams Coming True 23 Michael Burritt is Eastman’s first Recordings Paul J. Burgett Distinguished Professor. 26 Advancement Notes Celebrating 12 “She Has Said It” 27 18 Women composers enliven Eastman this fall. Alumni Notes Community 14 The Healing Art 31 “Community” was a key word Eastman and URMC join forces In Memoriam at Meliora Weekend 2019, for Eastman Performing Arts Medicine. 32 as Eastman and the University Tributes 16 Thriving Careers and welcomed a new president. 34 Happy Homecomings Faculty Notes Eastman welcomes back two notable alumni. 35 ON THE COVER: Michael Burritt displayed his percussion chops, and his recently-bestowed Student Notes Distinguished Professor medallion, during a recital in Kilbourn Hall. -
I'm Gonna Live Anyhow Until I
I’m Gonna Live Anyhow Until I Die Field recordings from Alan Lomax’s “Southern Journey” 1959 - 1960 SIDE ONE A1. Number 111. J.E. Mainer’s Mountaineers: J.E. Mainer, Jim Dillon, Glenn Mainer, Floyd Overcash. Concord, North Carolina. October 13, 1959. The handful of recordings of North Carolina’s J.E. Mainer and his band, the Mountaineers, were the last of Lomax’s 1959 trip and were not made under the most pleasant conditions. Alan had made an appointment to meet Mainer that evening, but he and Collins had met with engine trouble, bad weather, and a broken windshield-wiper on their long drive northwest from the Georgia Sea Islands. They finally arrived at eleven p.m. to a chilly reception from the band, who had been waiting for four hours, but who nevertheless ran through a solid set of breakdowns, old bal- lads (“Three Nights Drunk”) and some of more recent vintage (“Columbus Stockade Blues”), and this fine rendition of “Southern Number 111.” The Roane County Ramblers of East Tennessee were the first to record the train-imitation piece, in which Number 111 travels north from Knoxville to Danville, Kentucky. J.E. Mainer and the Moun- taineers first cut their version, in which 111 Alan Lomax recording the Pratcher brothers, departs Louisville for Raleigh and points south- Como, Mississippi. west, for Bluebird on Valentine’s Day, 1936. At woods on the rst day of fall, 1959, and ambled one in the morning, Mainer bid Lomax and Collins fi over to his neighbor Lonnie Young’s front porch a curt good night, leaving them to spend their in his overalls with a guitar in hand. -
Fall 2005 Curriculum
Fall 2005 Curriculum ART HISTORY AH 2231.01 History and Theory in Architecture Donald Sherefkin This course will be structured around extensive readings of the history and theory of architectural design practices. Three projects will be developed in response to the readings. These projects will be a combination of written essay and visual dialogues. The visual component may be developed in any media. Prerequisites: Submission of an image and a text to explain your interest. Submission is due on the first day of pre-registration. Credits: 4 Time: F 2pm - 5pm AH 4267.01 Ceramic History/Contemporary Visions Barry Bartlett This class will be based on research into the technical and aesthetic aspects of ancient and contemporary ceramic arts. The class will focus on events, directions and issues, which have influenced the making of ceramic objects over time. Students will work on preparation and presentation of 2 lectures as a way to develop research and teaching skills, as well as to acquire new knowledge of the history of medium and its forms. Along with this research, students will create a project that reflects their interest and research into their chosen subjects. The project should be ceramic based. This will help to build a stronger bridge to understanding the histories studied. Some books will be required to be purchased as text for this course. Class time will be split between lecture and studio work. Prerequisites: Permission of the instructor. Credits: 4 Time: T 2pm - 5pm - 1 - Fall 2005 Curriculum DANCE DAN 2102.01 Experiential Anatomy Peggy Florin Our skeletal structure provides us with our means of support and mobility. -
An Original Composition Rae Marie Donaldson Olivet Nazarene University, [email protected]
Olivet Nazarene University Digital Commons @ Olivet Honors Program Projects Honors Program 5-2012 Largo for Strings: An Original Composition Rae Marie Donaldson Olivet Nazarene University, [email protected] Follow this and additional works at: https://digitalcommons.olivet.edu/honr_proj Recommended Citation Donaldson, Rae Marie, "Largo for Strings: An Original Composition" (2012). Honors Program Projects. 19. https://digitalcommons.olivet.edu/honr_proj/19 This Article is brought to you for free and open access by the Honors Program at Digital Commons @ Olivet. It has been accepted for inclusion in Honors Program Projects by an authorized administrator of Digital Commons @ Olivet. For more information, please contact [email protected]. LARGO FOR STRINGS: AN ORGINAL COMPOSITION By Rae Marie Donaldson Honors Capstone Project Submitted to the Faculty of Olivet Nazarene University in partial fulfillment of the requirements for GRADUATION WITH UNIVERSITY HONORS May2012 BACHELOR OF ARTS in MUSIC /d('J h?J\ P>a tf {) ~ . I<tAu 4ta ll 3-/9-cl-b/J- Capstone Project Advisor (printed) Signature Date s""" c u: \~~ ~'"'--' ~<t,·~ Y- J ~- '0.<:!1~ Honors Council Chair (printed) Signature Date tf· J._o . I 2.. Date To those who are the music of my life, who sing the same tune that my heart does and have never given up: my dear friends and family. Donaldson [iii] ACKNOWLEDGEMENTS Thanks must first and foremost go to my faculty mentor, one of the greatest Christianwomen that I have ever had the privilege of knowing, Dr. Karen Ball. Without her patient guidance this project would not have ever gotten off the ground. I am indebted to the performers who generously gave of their time and musicianship to make this performance come alive: Chantalle Falconer, Ann Kincaid, Amanda Luby, and Ben Miller.