Music Commons^™

Risd Cabaret 1987-2000 Retrospective Program, Agnieszka Taborska, Bill Newkirk, Risd Archives

RISD Cabaret 1987-2000 Retrospective

No abstract provided.

Junior Recital: Joshua Stefans, Baritone; March 19, 2016, Joshua Stefans Baritone

School of Music Programs

Kemp Recital Hall
March 19, 2016
Sunday Afternoon
2:00 p.m.

Graduate Recital: Christine Cicha, Cello; March 19, 2016, Christine Cicha Cello

School of Music Programs

Kemp Recital Hall
March 19, 2016
Saturday Evening
7:00 p.m.

Junior Recital: Megan Arntzen, Soprano; March 19, 2016, Megan Arntzen Soprano

School of Music Programs

Kemp Recital Hall
March 19, 2016
Saturday Afternoon
1:00 p.m.

Risd Cabaret 1987-2000 Retrospective Poster, Agnieszka Taborska, Bill Newkirk, Risd Archives

RISD Cabaret 1987-2000 Retrospective

No abstract provided.

2015-2016 Philharmonia No. 5, Lynn University Philharmonia, Guillermo Figueroa, Rebecca Robinson, Yordan Tenev

Philharmonia

Concert Date & Time: March 19, 2016 at 7:30PM | March 20, 2016 at 4:00 PM

Program

• Rákóczi March from La damnation de Faust (The Hungarian March from the Damnation of Faust), op. 24 / Hector Berlioz
• Les Nuits d'été, op. 7 / Hector Berlioz
• Danse Macabre, op. 40 / Camille Saint-Saëns
• Daphnis et Chloé Suite No. 2 / Maurice Ravel

Senior Recital: Alex Foote, Viola; March 19, 2016, Alex Foote Viola

School of Music Programs

Kemp Recital Hall
March 19, 2016
Sunday Afternoon
3:00 p.m.

Junior Recital: Monica Silva, Cello; March 19, 2016, Monica Silva Cello

School of Music Programs

Kemp Recital Hall
March 19, 2016
Saturday Evening
6:00 p.m.

Senior Recital - Miekan Stonhill, Miekan Stonhill

All Music Department Programs

No abstract provided.

La Liberazione Di Ruggiero Dall'isola D'Alcina (The Rescue Of Ruggiero From The Island Of Alcina) - Francesca Caccini, Students Of The Caine College Of The Arts Performance Practice Institute, Dmitri Carter, Craig Trompeter, David Walker, Suzanne G. Cusick, Alexa Sand, Christopher M. Scheer

All Music Department Programs

The Performance Practice Institute (PPI) at the Caine College of the Arts embodies a project-based approach to the study of the history of performance, which enriches the intellectual and artistic life of the students involved while making accessible to Utah audiences exciting concerts of lesser known repertoires, especially chose from the pre-1750 period. Events in this series are held in the spring, with a yearly alternation between larger projects and more modest events that build upon the previous year's activities.

2015-2016 Master Of Music Recital - Sean Colbert (Viola), Sean Colbert, Sheng Yuan Kuan

Master of Music Recitals

No abstract provided.

Music Around Noon, Heather Moore, Ethan Reed, Michael Seaman

Printed Performance Programs (PDF Format)

No abstract provided.

Junior Recital, Taylor Darrow, Jared Jamias

Printed Performance Programs (PDF Format)

No abstract provided.

2015-2016 Performance Forum - March 17, 2016, Alla Sorokoleova, Tatiana Lokhina, Jared Harrison, Sheng Yuan Kuan, Julia Jakkel, Marija Trajkovska, Alberto Zilbertstein, Patricia Cova, Olga Kim

Performance Forum

No abstract provided.

2015-2016 The Four B'S: Bach, Beethoven, Brahms, And Bartok, Carol Cole, Sheng Yuan Kuan

Faculty Recitals

No abstract provided.

Faculty Recital: Andy Rummel, Tuba; March 17, 2016, Andy Rummel Tuba

School of Music Programs

Kemp Recital Hall
March 17, 2016
Thursday Evening
8:00 p.m.

Tarian Perdamaian: Enacting Alternative Hindu/Christian Identity Discourses Through "Secular" Balinese Performing Arts, Dustin D. Wiebe

Yale Journal of Music & Religion

This article examines the nature of interreligious relations between Protestants of the Bali Church and Hindus as enacted through dramatic forms of Balinese music and dance. Particular attention is paid to the influence of mass tourism as a contributing factor in this process. Since the early twentieth century these arts have formed a central component of a pan-Balinese identity discourse known as" kebalian." The first Balinese converted to Christianity during the 1930s and were subsequently excommunicated from their ancestral villages for refusing to participate in local customary practices (including the ritualistic use of gamelan music). For this reason, Balinese …

Chorale For One: Personal Expression In Nineteenth-Century Chorale Topic, Eileen Watabe

Yale Journal of Music & Religion

Chorale as a genre originated in the application of the term to sixteenth-century Lutheran worship music, but chorales and chorale style did not really enter the vocabulary of secular concert music as a musical topic until the eighteenth century, as a semiotic code for ideas and feelings associated with chorales. Chorales by definition are congregational, identifying and expressing the sentiments of a group, and their most common associations are of purity, archaism, and spirituality.

When chorales are used topically, the range of their expressive perspectives broadens considerably, and varies widely depending on the context. Chorale topic can express a religious …

Whitefield's Music: Moorfields Tabernacle, The Divine Musical Miscellany (1754), And The Fashioning Of Early Evangelical Sacred Song, Stephen A. Marini

Yale Journal of Music & Religion

Evangelical hymnody was the most significant form of popular sacred song in eighteenth-century Anglo-America. John and Charles Wesley built their Methodist movement on it, but little is known about the music of their great collaborator and eventual rival, George Whitefield (1714-1770). The essential sources of Whitefield's music are the development of ritual song at his Moorfields Tabernacle in London, his Collection of Hymns for Social Worship (1753) prepared for that congregation, and a little-known tunebook called The Divine Musical Miscellany (1754) that contains the first and definitive repertory of music known to be sung at Moorfields. This essay recovers Whitefield's …

Aesthetic Meaning In The Congregational Masses Of James Macmillan, Stephen Kingsbury

Yale Journal of Music & Religion

Examines the interconnetions between MacMillan’s congregational masses and other works by the composer. The compositional and philosophical commonalities between paired compositions deepens the philosophical and aesthetic meaning of both works. An understanding of these parallels and the manner in which they are worked out in practice provides an important insight into the composer’s intentions, making the performance of the masses within the context of the worship service more relevant to the spiritual experience of the congregant and provides insight into the interconnectivity of MacMillan’s compositional output.

Psalms, Islam, And Music: Dialogues And Divergence About David In Christian-Muslim Encounters Of The Seventeenth Century, David R. M. Irving

Yale Journal of Music & Religion

David (Daud) is revered in the Abrahamic faiths of Judaism, Christianity, and Islam variously as a king, prophet, and musician, providing the inspiration for what can be called the “Davidic tradition,” expressed in text, sound, ideology, and image. The scriptures associated with David are central to this tradition: within Judaism and Christianity they are the Psalms, human praises or entreaties to God; within Islam, the Zabūr is revered as a divine prophecy revealed to the prophet Daud, according to the Qurʾān. David’s musicianship and the identity of his instruments are understood differently in Jewish-Christian and Islamic traditions, and are interpreted …

“And Can It Be”: Analysing The Words, Music, And Contexts Of An Iconic Methodist Hymn, Martin V. Clarke

Yale Journal of Music & Religion

This paper interrogates the iconic status of Charles Wesley's hymn "And can it be" within British Methodism. It examines words, music and context, arguing that it is the combination of these that is crucial to understanding the hymn's status, and that such an approach may be more widely useful in hymnology. Through examination of the literary characteristics of the text, the musical settings associated with it throughout its history, and the ways in which it has been used within British Methodism, it reflects upon the hymn's peculiar place in the spiritual life of the denomination, and how this reflects upon …

Music In The South African Anglican Diocese Of Cape Town From 1900 To The Present: Toward A History Of Anglican Music In The Anglican Church Of Southern Africa, Andrew-John Bethke

Yale Journal of Music & Religion

This article provides a succinct history of Anglican cathedral and parish music in the Western Cape Province and the city of Cape Town. Within these parameters the author explores the musical trends in different strands of Anglicanism (Anglo-Catholic, Broad Church and Evangelical), documents the development of choirs and music groups and gauges the musical consciousness of South African Anglicans. The article begins at the turn of the twentieth century and extends to 2010. The earliest history (from 1750 - 1900) has been documented in a previous article by the same author.

Paul Yamada Interview, Bryan Nolte

Asian American Art Oral History Project

BIO: Independent scholar and cultural critic Paul Yamada has spent forty years in different areas of the music business, in the midwest and the east. A founding editor of the pioneering rock zine Terminal Zone (1976-78), Paul has written on blues, rock, soul, jazz, and avant garde music. In addition, Yamada has written on cinema, art, and theater for a wide variety of local publications in Chicago, St. Louis and Washington DC. He has consulted for National Public Radio, the Library of Congress and the Smithsonian Institution, as well as the Washington DC Performing Arts Society and Chicago area (name …

2015-2016 Sanctuary Series March 16, 2016, Lynn University, Sebastian Castellanos, Alla Sorokoletova, Cameron Hewes, John Weisberg, Mileidy Gonzalez, Chance Israel, Mark Luttio, Jeff Morgan, Jon Pickering, Karen Casey, Vincent Shkreli, Gioia Sacco, Gigi Freeman

Snyder Sanctuary Series

Watch video of the performance here.

Ua94/6 Gemini 15 Memories, Karen Mahaffey

Student/Alumni Personal Papers

Answers given by Karen Mahaffey to WKU Gemini jazz bands questionnaire in spring of 2016. See Gemini Jazz Bands online exhibit for more information.

2015-2016 Senior Recital - Hugo A. Valverde (French Horn), Hugo Valverde Villalobos, Sheng Yuan Kuan

Junior and Senior Recitals

No abstract provided.

2015-2016 Ppc Recital - Mileidy Gonzalez, Mileidy Gonzales

PPC/PSDP Recitals

No abstract provided.

Concert Recording 2016-03-15, Catalina Ortega, Miroslava Panayotova

Concert Recordings & Programs

[00:00]. Joueurs de flûte op. 27. Pan ; Tityre ; Krishna ; Mr de la Péjaudie / Albert Roussel -- [09:34]. Sonate pour flûte et piano. Andantino con moto ; Scherzo-vivace ; Adagio ; Finale-moderato / Mel Bonis -- [27:31]. Fantasia andina / César Vivanco Sánchez -- [33:07]. Histoire du tango for flûte et piano. Bordel-1900 ; Café-1930, part 1 ; Café-1930, part 2 ; Nightclub-1960 / Astor Piazzolla.

Concert Recording 2016-03-14, Kristine Mezines

Concert Recordings & Programs

[00:00]. Ballade no. 4 op. 52 / Frederic Chopin -- [10:28]. Images 2ème série. Cloches à travers les feuilles ; Et la lune descend sur le temple qui fut ; Poissons d'or / Claude Debussy -- [22:55]. Barcarolle no. 8 in D flat major ; Nocturne in B major, op. 33, no. 2 / Gabriel Faure -- [33:07]. Piano sonata. Choral et variations / Henri Dutilleux.