Born in 1962, an only child, brought up in London, attended a Roman Catholic school, had traumatic treatment at the hands of his father, losing his mother to cancer in 1977, when he were just 15, by which time he’d already commenced serious painting sold through private galleries, moved to Devon with his volatile father, ran a confectionary shop, experienced bankruptcy, yet all the while yearning to creatively express himself.
Instead of the expectations of his teachers for a highly gifted student to embark on a professional career in the arts, palaeontology or veterinary medicine, profound setbacks and circumstances blighted his academic advance: instead he mopped hospital floors but went on to qualify as a registered nurse for people with learning disabilities. After marrying at 21 to his wife in Devon, they both moved from Southampton to the opposite end of the UK, the Isle of Skye to give free reign to his creative vitality and verve.
This document contains advertisements and design work for various clients, including TripAdvisor, Vans, Blue Sky Beverage Company, Type Directors Club, Austin Underground Film Festival, The Public Theater, Miami Book Fair International, The Raveonettes, Texas State University, Amnesty International, United State Clothing, Kru Contemporary Japanese Cuisine, Holy Cacao, Palm, John Cage, George Saunders, and the World's Longest Yard Sale. There are logos, posters, packaging, app screenshots, a magazine ad, billboards, and a mailer presented in the document.
This document provides an interview with Romanian artist Alex Mirutziu. Some key points:
- Mirutziu grew up in Sibiu, Romania and has exhibited widely internationally while continuing to live and work in Romania.
- His work often deals with themes of identity, marginalization, and resisting closure through concepts like "neverness".
- He founded a collective called "The Artist and Himself at 29" which questions how mass and reality are constructed.
- Mirutziu prefers a task-driven work process and sees his tasks as creating meaningful discourse over time.
- He has shown his work at important galleries and institutions while continuing to collaborate with the Sabot gallery in Romania.
This document contains a letter sharing the importance of music during difficult times. It discusses how music unites people from different backgrounds and releases feelings of pleasure in our brain. The letter provides a long list of music videos from various genres and languages to bring feelings of love, hope, joy and peace. It aims to entertain and unite people through music. The list includes popular songs, children's songs, Greek songs, Orthodox hymns and more. The letter concludes by wishing everyone a blessed Easter filled with health and safety.
Jacques Derrida interviews - Ornette Coleman 1997guacho22
This document is an interview between jazz musician Ornette Coleman and philosopher Jacques Derrida. In the interview, Coleman discusses his views on composition, improvisation, language and racism. He explains that he writes music for groups to interpret, allowing for improvisation within a framework. Both Coleman and Derrida discuss not having a clear language of origin and feeling influenced by an unknown linguistic heritage. They find parallels in their experiences of not fully belonging to the languages and cultures they were born into.
The article profiles the experimental jazz/electronic band Portico, formerly a quartet but now a trio. Lead saxophonist Jack Wyllie discusses how the band has evolved from playing live instrumental jazz to incorporating more electronic sounds and vocalists on their recordings. Wyllie explains how this change has allowed him to express himself more freely on saxophone outside of its strong jazz connotations. The band is currently writing a new album that will integrate live-generated electronic ideas while retaining a core live element to their music.
The document provides information about various aspects of theater, including definitions of key terms like theater, elements of theater, purposes of theater, and personnel involved in theater like producers, directors, performers, designers, and others. It also provides brief definitions and background on dance, cinema/motion pictures. Theater is described as a place for plays to be performed and also as an art form involving actors performing for an audience. Key elements include the actor, audience, written or improvised text, costumes, scenery, lights, sound, and props. Theater can entertain, instruct, motivate and more, depending on the interaction with the audience.
This document contains advertisements and design work for various clients, including TripAdvisor, Vans, Blue Sky Beverage Company, Type Directors Club, Austin Underground Film Festival, The Public Theater, Miami Book Fair International, The Raveonettes, Texas State University, Amnesty International, United State Clothing, Kru Contemporary Japanese Cuisine, Holy Cacao, Palm, John Cage, George Saunders, and the World's Longest Yard Sale. There are logos, posters, packaging, app screenshots, a magazine ad, billboards, and a mailer presented in the document.
This document provides an interview with Romanian artist Alex Mirutziu. Some key points:
- Mirutziu grew up in Sibiu, Romania and has exhibited widely internationally while continuing to live and work in Romania.
- His work often deals with themes of identity, marginalization, and resisting closure through concepts like "neverness".
- He founded a collective called "The Artist and Himself at 29" which questions how mass and reality are constructed.
- Mirutziu prefers a task-driven work process and sees his tasks as creating meaningful discourse over time.
- He has shown his work at important galleries and institutions while continuing to collaborate with the Sabot gallery in Romania.
This document contains a letter sharing the importance of music during difficult times. It discusses how music unites people from different backgrounds and releases feelings of pleasure in our brain. The letter provides a long list of music videos from various genres and languages to bring feelings of love, hope, joy and peace. It aims to entertain and unite people through music. The list includes popular songs, children's songs, Greek songs, Orthodox hymns and more. The letter concludes by wishing everyone a blessed Easter filled with health and safety.
Jacques Derrida interviews - Ornette Coleman 1997guacho22
This document is an interview between jazz musician Ornette Coleman and philosopher Jacques Derrida. In the interview, Coleman discusses his views on composition, improvisation, language and racism. He explains that he writes music for groups to interpret, allowing for improvisation within a framework. Both Coleman and Derrida discuss not having a clear language of origin and feeling influenced by an unknown linguistic heritage. They find parallels in their experiences of not fully belonging to the languages and cultures they were born into.
The article profiles the experimental jazz/electronic band Portico, formerly a quartet but now a trio. Lead saxophonist Jack Wyllie discusses how the band has evolved from playing live instrumental jazz to incorporating more electronic sounds and vocalists on their recordings. Wyllie explains how this change has allowed him to express himself more freely on saxophone outside of its strong jazz connotations. The band is currently writing a new album that will integrate live-generated electronic ideas while retaining a core live element to their music.
The document provides information about various aspects of theater, including definitions of key terms like theater, elements of theater, purposes of theater, and personnel involved in theater like producers, directors, performers, designers, and others. It also provides brief definitions and background on dance, cinema/motion pictures. Theater is described as a place for plays to be performed and also as an art form involving actors performing for an audience. Key elements include the actor, audience, written or improvised text, costumes, scenery, lights, sound, and props. Theater can entertain, instruct, motivate and more, depending on the interaction with the audience.
The document provides details about a Squonk Opera performance titled "Mayhem and Majesty" that took place in Pittsburgh, PA on April 1, 2011. It describes the diverse range of music, dancing, costumes, lighting, and multimedia elements incorporated into the unique post-industrial style production. The performance pushed boundaries and explored what music looks like through constantly transforming scenery and mesmerizing projections that transported the audience to different atmospheres.
The essay discusses Kabir Kala Manch, a cultural group formed in India after the 2002 Gujarat riots. Through songs and street plays, the group raises awareness about social issues like economic inequality and caste discrimination. Some of their performances have been cancelled due to claims that they threaten national security by criticizing government policies. Members of the group have faced imprisonment, including founder Sheetal Sathe who was arrested while pregnant on charges of being a Maoist. The essay examines the group's impact and the challenges they have faced in using performance as a medium for social commentary.
The document provides an overview of the Squonk Opera performance "Mayhem and Majesty" that took place on April 1, 2011 in Pittsburgh, PA. It describes the diverse mix of music, dance, technology, and staging incorporated in the performance and reflects on the sensory experiences it provided through sights, sounds, and feelings. The performance pushed boundaries and asked the question "What does music look like?" through mesmerizing projections and constantly transforming scenery.
Portland Opera provides opera education programs for schools. This document includes background information for teachers on opera, including a brief history of opera and descriptions of influential opera composers from the Baroque era to the 20th century. It also provides an overview of the opera Elixir of Love by Gaetano Donizetti, which is the focus of their classroom presentation. The letter encourages teachers to incorporate opera into their classrooms and provides lesson plans and materials to do so.
CONCERT CRITIQUE GUIDELINES
Questions for a Concert
What kinds of musical concerts are NOT acceptable for this paper?
High school or other children's performances/recitals, outdoor festival
performances, any type of pop, rock, rap, Latin, country, or reggae, for example,
are not appropriate for this paper. If you're not sure about your choice, ask me.
Print out and take with you so you can be thinking of the questions as you
watch the show.
1. Program Notes - most performances have a printed program with printed
notes. Read this before the performance begins and save it for reference
when you write your paper.
2. Head your paper with your first and last name, the name of the show and
where and when you saw it.
3. List the performers and/or the name of the group and the instruments
included in the concert. List all the pieces that were played (see program
notes for the concert), the name of the person who composed and/or
arranged each piece, and the date each work was completed (if possible).
Example:
The Turtle Island String Quartet includes Joe Bloe, first violin; Sarah Marah,
second violin; Topsy Turvy, viola; S. Popping, cello.
Their program:
Still so Cheerful by Sarah Marah, composed in 2001
Getting up Late by S. Popping, composed in 1998
Saturday Night by Berry Berry, composed in 2004
What to Write About:
1. Below are some things you can write about, but the most important is the
MUSIC. You don't have to write about every piece on the program. Do write
about how the sounds affected you, which voices, selections, or instruments
touched you most, what you learned of interest about the composer(s), the
performing group, and the compositions.
2. Ambience - Every gathering of people has a feeling tone, a mood: This is the
ambience. Notice the people as they come in, find their seats, see what kinds
of clothes they are wearing. Look around the theatre; notice the lighting in
the room, the stage area. If you have some particular feeling about how you
fit in, how you feel being a part of it you might make a comment in your
paper.
3. You will understand and appreciate a concert more, and write about it best
if you do a little research. It's easy to research on the Internet. Type in the
name of the group and a list of web sites will pop up. The same is true for
many composers. If the pieces were written in another century find out what
you can about the type of composition, something about the composer.
4. Music is the most illusive art form. Like the dance, music happens in
real-time: It's gone as soon as you hear it, and impressions are difficult to
recall. Program notes give you information that is helpful when you think
back on a performance. Program notes give you information about the
composers, the music, and in voice concerts you may have translations into
English of the words in a song.
5. Each composer had a concept, an idea, and chose specific instruments or
...
James Carter had a musical upbringing in Detroit that fostered his love of jazz, though he initially considered other career paths; a pivotal mentor helped sustain Carter's musical passion and taught him multiple instruments, influencing his approach of experimenting across genres. As a proponent of musical cross-pollination, Carter draws from diverse influences and styles to continually reinvent his work and find new inspiration in revisiting pieces over many performances.
CONCERT CRITIQUE GUIDELINESQuestions for a Concert What .docxdonnajames55
CONCERT CRITIQUE GUIDELINES
Questions for a Concert
What kinds of musical concerts are NOT acceptable for this paper?
High school or other children's performances/recitals, outdoor festival performances, any type of pop, rock, rap, Latin, country, or reggae, for example, are not appropriate for this paper. If you're not sure about your choice, ask me.
Print out and take with you so you can be thinking of the questions as you watch the show.
1. Program Notes - most performances have a printed program with printed notes. Read this before the performance begins and save it for reference when you write your paper.
2. Head your paper with your first and last name, the name of the show and where and when you saw it.
3. List the performers and/or the name of the group and the instruments included in the concert. List all the pieces that were played (see program notes for the concert), the name of the person who composed and/or arranged each piece, and the date each work was completed (if possible).
Example:
The Turtle Island String Quartet includes Joe Bloe, first violin; Sarah Marah, second violin; Topsy Turvy, viola; S. Popping, cello.
Their program:
Still so Cheerful by Sarah Marah, composed in 2001
Getting up Late by S. Popping, composed in 1998
Saturday Night by Berry Berry, composed in 2004
What to Write About:
1. Below are some things you can write about, but the most important is the MUSIC. You don't have to write about every piece on the program. Do write about how the sounds affected you, which voices, selections, or instruments touched you most, what you learned of interest about the composer(s), the performing group, and the compositions.
2. Ambience - Every gathering of people has a feeling tone, a mood: This is the ambience. Notice the people as they come in, find their seats, see what kinds of clothes they are wearing. Look around the theatre; notice the lighting in the room, the stage area. If you have some particular feeling about how you fit in, how you feel being a part of it you might make a comment in your paper.
3. You will understand and appreciate a concert more, and write about it best if you do a little research. It's easy to research on the Internet. Type in the name of the group and a list of web sites will pop up. The same is true for many composers. If the pieces were written in another century find out what you can about the type of composition, something about the composer.
4. Music is the most illusive art form. Like the dance, music happens in real-time: It's gone as soon as you hear it, and impressions are difficult to recall. Program notes give you information that is helpful when you think back on a performance. Program notes give you information about the composers, the music, and in voice concerts you may have translations into English of the words in a song.
5. Each composer had a concept, an idea, and chose specific instruments or voices (types of singers) because of the sounds they make. Listen to ho.
Experiences in music - northwestern presentationiknowithink
This course on experiences in music will explore diverse musical genres and styles from around the world. Students will develop skills in analyzing, performing, and creating music, as well as broadening their historical and cultural understanding of music. The goal is to equip students with the necessary knowledge and skills to become lifelong, passionate consumers and thinkers about music.
Pablo Sáinz Villegas is a renowned classical guitarist who is appearing with the Oregon Symphony from October 25-27, 2014. He was inspired to take up the guitar after seeing Andrés Segovia perform as a child. Villegas has toured over 30 countries, winning awards for his performances. He founded the non-profit Music Without Borders Legacy in 2007 to share classical music with children, hoping to inspire positive values. For his upcoming performances with the Oregon Symphony, Villegas looks forward to collaborating with music director Carlos Kalmar and sharing his Spanish musical heritage.
This is the famous performance Wicked that I attended last year in Pittsburgh. It is Aesthetically eye capturing, and something that I would recommend to anyone. It is a performance I will never forget. It is a wondering work of art.
The document discusses modern dance and who defines what dance is. It notes that over the decades, dancers and artists have pushed boundaries on what is considered dance, with some changing the setting of dances and others altering movement or incorporating new elements. The piece references Alwin Nikolais and how artists have questioned definitions of dance. It aims to examine what modern dance is and who gets to determine what dance encompasses.
Access, Advocacy, Inclusivity: Campus Roles in Building Musical CommunityChristopher Smith
Dr Christopher J Smith (associate professor & Chair of Musicology and director of the Vernacular Music Center at Texas Tech University); keynote address Jan 27 2011 at Texas Association of Music Schools Annual Convention
Music Appreciation Research Paper
My Favorite Music Essay
Music : My Perception Of Music
Personal Narrative: Music Appreciation Class
Descriptive Essay On Music
Music Appreciation Course Analysis
Descriptive Essay About Music
Music Appreciation Essay
Music Appreciation
Reflective Essay About Music
Music Appreciation
Music Appreciation Letter
Music Appreciation Essay
Essay on Music Appreciate Study Guide
Essay: Music Appreciation
Music Appreciation: Music Concert Review
Music Appreciation Essay
Claude Debussy: Music Appreciation
Classical Music Appreciation Essay
Jo-Michael Scheibe talks about the mysterious relationship that music has in our lives. He also discusses some possible evolutionary purposes for this powerful medium, as well as the meaning it holds.
Sample essay on influences of conformity and obedience. Social psychology paper conformity theory essay. Conformity essay psychology - copywritingname.web.fc2.com.
Defining Music Essay
Descriptive Essay About Music
Personal Narrative
Written Music Essay
Descriptive Essay On Music
Music Therapy
The Power of Music Essay
Essay On A Music Concert
My Favorite Music Essay
The Healing Power of Music Essay
Piano Music Essay
Descriptive Essay About Music
Essay Outline on Music
Essay on Music is the Only Universal Language
Life is Music Essay
My Love Of Music
Music Admission Essay
Essay On A Music Concert
Benefits of Music Essay
Descriptive Essay About Music
Sarah Kay performs a spoken word poetry piece in her TED Talk titled "If I Should Have a Daughter". She examines her journey into spoken word poetry, discussing how she started, how she helps others start, and realizing she was meant to be a spoken word poet. At the end, she performs one last poem providing background about her life and poetry. The talk flows consistently while keeping the audience engaged through stories and jokes, showing Sarah Kay's passion for spoken word poetry.
The author attended a performance of Mozart's Requiem by the Seattle Symphony, though they had little interest in Mozart's works previously. During the performance, the author found themselves deeply moved by the music, realizing it conveyed profound emotion despite their preconceptions. The Requiem left the author with a new appreciation for Mozart's compositional genius and how his music can transcend expectations.
This brochure presents the origins and work with the WHOLE VOICE which I learned as a student of ROY HART in London in the 1970's. It is a work of reclaiming the world of vocal sound that we possessed as infants but which was largely socialised out of us. Yet without this resource, which is vocal sound, there would be neither speaking nor singing. We forget that they are totally reliant on a more ancient capacity for sounding, which we share with many other creatures on planet earth.
It is often an exilarating, life-giving, cathartic, moving and sometimes provocative experience to rediscover your whole voice, and realise how much of it - and thereby of you - has been locked away.
Noah Pikes is a voice artist and teacher who believes that the human voice is capable of much more expression than is typically allowed. He conducts individual sessions and workshops to help people access the full potential of their voices and make discoveries about themselves. Pikes' work with the voice is intended to bridge the mind, body, and spirit, and to overcome limitations. His performances demonstrate the wide range of expression possible through the voice. Pikes was influenced by Alfred Wolfsohn and Roy Hart, pioneers in exploring the creative and therapeutic aspects of the human voice.
Everything You Need to Know About IPTV Ireland.pdfXtreame HDTV
The way we consume television has evolved dramatically over the past decade. Internet Protocol Television (IPTV) has emerged as a popular alternative to traditional cable and satellite TV, offering a wide range of channels and on-demand content via the internet. In Ireland, IPTV is rapidly gaining traction, with Xtreame HDTV being one of the prominent providers in the market. This comprehensive guide will delve into everything you need to know about IPTV Ireland, focusing on Xtreame HDTV, its features, benefits, and how it is revolutionizing TV viewing for Irish audiences.
The document provides details about a Squonk Opera performance titled "Mayhem and Majesty" that took place in Pittsburgh, PA on April 1, 2011. It describes the diverse range of music, dancing, costumes, lighting, and multimedia elements incorporated into the unique post-industrial style production. The performance pushed boundaries and explored what music looks like through constantly transforming scenery and mesmerizing projections that transported the audience to different atmospheres.
The essay discusses Kabir Kala Manch, a cultural group formed in India after the 2002 Gujarat riots. Through songs and street plays, the group raises awareness about social issues like economic inequality and caste discrimination. Some of their performances have been cancelled due to claims that they threaten national security by criticizing government policies. Members of the group have faced imprisonment, including founder Sheetal Sathe who was arrested while pregnant on charges of being a Maoist. The essay examines the group's impact and the challenges they have faced in using performance as a medium for social commentary.
The document provides an overview of the Squonk Opera performance "Mayhem and Majesty" that took place on April 1, 2011 in Pittsburgh, PA. It describes the diverse mix of music, dance, technology, and staging incorporated in the performance and reflects on the sensory experiences it provided through sights, sounds, and feelings. The performance pushed boundaries and asked the question "What does music look like?" through mesmerizing projections and constantly transforming scenery.
Portland Opera provides opera education programs for schools. This document includes background information for teachers on opera, including a brief history of opera and descriptions of influential opera composers from the Baroque era to the 20th century. It also provides an overview of the opera Elixir of Love by Gaetano Donizetti, which is the focus of their classroom presentation. The letter encourages teachers to incorporate opera into their classrooms and provides lesson plans and materials to do so.
CONCERT CRITIQUE GUIDELINES
Questions for a Concert
What kinds of musical concerts are NOT acceptable for this paper?
High school or other children's performances/recitals, outdoor festival
performances, any type of pop, rock, rap, Latin, country, or reggae, for example,
are not appropriate for this paper. If you're not sure about your choice, ask me.
Print out and take with you so you can be thinking of the questions as you
watch the show.
1. Program Notes - most performances have a printed program with printed
notes. Read this before the performance begins and save it for reference
when you write your paper.
2. Head your paper with your first and last name, the name of the show and
where and when you saw it.
3. List the performers and/or the name of the group and the instruments
included in the concert. List all the pieces that were played (see program
notes for the concert), the name of the person who composed and/or
arranged each piece, and the date each work was completed (if possible).
Example:
The Turtle Island String Quartet includes Joe Bloe, first violin; Sarah Marah,
second violin; Topsy Turvy, viola; S. Popping, cello.
Their program:
Still so Cheerful by Sarah Marah, composed in 2001
Getting up Late by S. Popping, composed in 1998
Saturday Night by Berry Berry, composed in 2004
What to Write About:
1. Below are some things you can write about, but the most important is the
MUSIC. You don't have to write about every piece on the program. Do write
about how the sounds affected you, which voices, selections, or instruments
touched you most, what you learned of interest about the composer(s), the
performing group, and the compositions.
2. Ambience - Every gathering of people has a feeling tone, a mood: This is the
ambience. Notice the people as they come in, find their seats, see what kinds
of clothes they are wearing. Look around the theatre; notice the lighting in
the room, the stage area. If you have some particular feeling about how you
fit in, how you feel being a part of it you might make a comment in your
paper.
3. You will understand and appreciate a concert more, and write about it best
if you do a little research. It's easy to research on the Internet. Type in the
name of the group and a list of web sites will pop up. The same is true for
many composers. If the pieces were written in another century find out what
you can about the type of composition, something about the composer.
4. Music is the most illusive art form. Like the dance, music happens in
real-time: It's gone as soon as you hear it, and impressions are difficult to
recall. Program notes give you information that is helpful when you think
back on a performance. Program notes give you information about the
composers, the music, and in voice concerts you may have translations into
English of the words in a song.
5. Each composer had a concept, an idea, and chose specific instruments or
...
James Carter had a musical upbringing in Detroit that fostered his love of jazz, though he initially considered other career paths; a pivotal mentor helped sustain Carter's musical passion and taught him multiple instruments, influencing his approach of experimenting across genres. As a proponent of musical cross-pollination, Carter draws from diverse influences and styles to continually reinvent his work and find new inspiration in revisiting pieces over many performances.
CONCERT CRITIQUE GUIDELINESQuestions for a Concert What .docxdonnajames55
CONCERT CRITIQUE GUIDELINES
Questions for a Concert
What kinds of musical concerts are NOT acceptable for this paper?
High school or other children's performances/recitals, outdoor festival performances, any type of pop, rock, rap, Latin, country, or reggae, for example, are not appropriate for this paper. If you're not sure about your choice, ask me.
Print out and take with you so you can be thinking of the questions as you watch the show.
1. Program Notes - most performances have a printed program with printed notes. Read this before the performance begins and save it for reference when you write your paper.
2. Head your paper with your first and last name, the name of the show and where and when you saw it.
3. List the performers and/or the name of the group and the instruments included in the concert. List all the pieces that were played (see program notes for the concert), the name of the person who composed and/or arranged each piece, and the date each work was completed (if possible).
Example:
The Turtle Island String Quartet includes Joe Bloe, first violin; Sarah Marah, second violin; Topsy Turvy, viola; S. Popping, cello.
Their program:
Still so Cheerful by Sarah Marah, composed in 2001
Getting up Late by S. Popping, composed in 1998
Saturday Night by Berry Berry, composed in 2004
What to Write About:
1. Below are some things you can write about, but the most important is the MUSIC. You don't have to write about every piece on the program. Do write about how the sounds affected you, which voices, selections, or instruments touched you most, what you learned of interest about the composer(s), the performing group, and the compositions.
2. Ambience - Every gathering of people has a feeling tone, a mood: This is the ambience. Notice the people as they come in, find their seats, see what kinds of clothes they are wearing. Look around the theatre; notice the lighting in the room, the stage area. If you have some particular feeling about how you fit in, how you feel being a part of it you might make a comment in your paper.
3. You will understand and appreciate a concert more, and write about it best if you do a little research. It's easy to research on the Internet. Type in the name of the group and a list of web sites will pop up. The same is true for many composers. If the pieces were written in another century find out what you can about the type of composition, something about the composer.
4. Music is the most illusive art form. Like the dance, music happens in real-time: It's gone as soon as you hear it, and impressions are difficult to recall. Program notes give you information that is helpful when you think back on a performance. Program notes give you information about the composers, the music, and in voice concerts you may have translations into English of the words in a song.
5. Each composer had a concept, an idea, and chose specific instruments or voices (types of singers) because of the sounds they make. Listen to ho.
Experiences in music - northwestern presentationiknowithink
This course on experiences in music will explore diverse musical genres and styles from around the world. Students will develop skills in analyzing, performing, and creating music, as well as broadening their historical and cultural understanding of music. The goal is to equip students with the necessary knowledge and skills to become lifelong, passionate consumers and thinkers about music.
Pablo Sáinz Villegas is a renowned classical guitarist who is appearing with the Oregon Symphony from October 25-27, 2014. He was inspired to take up the guitar after seeing Andrés Segovia perform as a child. Villegas has toured over 30 countries, winning awards for his performances. He founded the non-profit Music Without Borders Legacy in 2007 to share classical music with children, hoping to inspire positive values. For his upcoming performances with the Oregon Symphony, Villegas looks forward to collaborating with music director Carlos Kalmar and sharing his Spanish musical heritage.
This is the famous performance Wicked that I attended last year in Pittsburgh. It is Aesthetically eye capturing, and something that I would recommend to anyone. It is a performance I will never forget. It is a wondering work of art.
The document discusses modern dance and who defines what dance is. It notes that over the decades, dancers and artists have pushed boundaries on what is considered dance, with some changing the setting of dances and others altering movement or incorporating new elements. The piece references Alwin Nikolais and how artists have questioned definitions of dance. It aims to examine what modern dance is and who gets to determine what dance encompasses.
Access, Advocacy, Inclusivity: Campus Roles in Building Musical CommunityChristopher Smith
Dr Christopher J Smith (associate professor & Chair of Musicology and director of the Vernacular Music Center at Texas Tech University); keynote address Jan 27 2011 at Texas Association of Music Schools Annual Convention
Music Appreciation Research Paper
My Favorite Music Essay
Music : My Perception Of Music
Personal Narrative: Music Appreciation Class
Descriptive Essay On Music
Music Appreciation Course Analysis
Descriptive Essay About Music
Music Appreciation Essay
Music Appreciation
Reflective Essay About Music
Music Appreciation
Music Appreciation Letter
Music Appreciation Essay
Essay on Music Appreciate Study Guide
Essay: Music Appreciation
Music Appreciation: Music Concert Review
Music Appreciation Essay
Claude Debussy: Music Appreciation
Classical Music Appreciation Essay
Jo-Michael Scheibe talks about the mysterious relationship that music has in our lives. He also discusses some possible evolutionary purposes for this powerful medium, as well as the meaning it holds.
Sample essay on influences of conformity and obedience. Social psychology paper conformity theory essay. Conformity essay psychology - copywritingname.web.fc2.com.
Defining Music Essay
Descriptive Essay About Music
Personal Narrative
Written Music Essay
Descriptive Essay On Music
Music Therapy
The Power of Music Essay
Essay On A Music Concert
My Favorite Music Essay
The Healing Power of Music Essay
Piano Music Essay
Descriptive Essay About Music
Essay Outline on Music
Essay on Music is the Only Universal Language
Life is Music Essay
My Love Of Music
Music Admission Essay
Essay On A Music Concert
Benefits of Music Essay
Descriptive Essay About Music
Sarah Kay performs a spoken word poetry piece in her TED Talk titled "If I Should Have a Daughter". She examines her journey into spoken word poetry, discussing how she started, how she helps others start, and realizing she was meant to be a spoken word poet. At the end, she performs one last poem providing background about her life and poetry. The talk flows consistently while keeping the audience engaged through stories and jokes, showing Sarah Kay's passion for spoken word poetry.
The author attended a performance of Mozart's Requiem by the Seattle Symphony, though they had little interest in Mozart's works previously. During the performance, the author found themselves deeply moved by the music, realizing it conveyed profound emotion despite their preconceptions. The Requiem left the author with a new appreciation for Mozart's compositional genius and how his music can transcend expectations.
This brochure presents the origins and work with the WHOLE VOICE which I learned as a student of ROY HART in London in the 1970's. It is a work of reclaiming the world of vocal sound that we possessed as infants but which was largely socialised out of us. Yet without this resource, which is vocal sound, there would be neither speaking nor singing. We forget that they are totally reliant on a more ancient capacity for sounding, which we share with many other creatures on planet earth.
It is often an exilarating, life-giving, cathartic, moving and sometimes provocative experience to rediscover your whole voice, and realise how much of it - and thereby of you - has been locked away.
Noah Pikes is a voice artist and teacher who believes that the human voice is capable of much more expression than is typically allowed. He conducts individual sessions and workshops to help people access the full potential of their voices and make discoveries about themselves. Pikes' work with the voice is intended to bridge the mind, body, and spirit, and to overcome limitations. His performances demonstrate the wide range of expression possible through the voice. Pikes was influenced by Alfred Wolfsohn and Roy Hart, pioneers in exploring the creative and therapeutic aspects of the human voice.
Everything You Need to Know About IPTV Ireland.pdfXtreame HDTV
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Introduction
In the realm of entertainment, few names resonate as Orpah Winfrey Dwayne Johnson. Both figures have carved unique paths in the industry. achieving unparalleled success and becoming iconic symbols of perseverance, resilience, and inspiration. This article delves into the lives, careers. and enduring legacies of Orpah Winfrey Dwayne Johnson. exploring how their journeys intersect and what we can learn from their remarkable stories.
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Early Life and Backgrounds
Orpah Winfrey: From Humble Beginnings to Media Mogul
Orpah Winfrey, often known as Oprah due to a misspelling on her birth certificate. was born on January 29, 1954, in Kosciusko, Mississippi. Raised in poverty by her grandmother, Winfrey's early life was marked by hardship and adversity. Despite these challenges. she demonstrated a keen intellect and an early talent for public speaking.
Winfrey's journey to success began with a scholarship to Tennessee State University. where she studied communication. Her first job in media was as a co-anchor for the local evening news in Nashville. This role paved the way for her eventual transition to talk show hosting. where she found her true calling.
Dwayne Johnson: From Wrestling Royalty to Hollywood Superstar
Dwayne Johnson, also known by his ring name "The Rock," was born on May 2, 1972, in Hayward, California. He comes from a family of professional wrestlers, with both his father, Rocky Johnson. and his grandfather, Peter Maivia, being notable figures in the wrestling world. Johnson's early life was spent moving between New Zealand and the United States. experiencing a variety of cultural influences.
Before entering the world of professional wrestling. Johnson had aspirations of becoming a professional football player. He played college football at the University of Miami. where he was part of a national championship team. But, injuries curtailed his football career, leading him to follow in his family's footsteps and enter the wrestling ring.
Career Milestones
Orpah Winfrey: The Queen of All Media
Winfrey's career breakthrough came in 1986 when she launched "The Oprah Winfrey Show." The show became a cultural phenomenon. drawing millions of viewers daily and earning many awards. Winfrey's empathetic and candid interviewing style resonated with audiences. helping her tackle diverse and often challenging topics.
Beyond her talk show, Winfrey expanded her empire to include the creation of Harpo Productions. a multimedia production company. She also launched "O, The Oprah Magazine" and OWN: Oprah Winfrey Network, further solidifying her status as a media mogul.
Dwayne Johnson: From The Ring to The Big Screen
Dwayne Johnson's wrestling career took off in the late 1990s. when he became one of the most charismatic and popular figures in WWE. His larger-than-life persona and catchphrases endeared him to fans. making him a household name. But, Johnson had ambitions beyond the wrestling ring.
In the early 20
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Leonardo DiCaprio, a name synonymous with Hollywood stardom and acting excellence. has captivated audiences for decades with his talent and charisma. But, the Leonardo DiCaprio haircut is one aspect of his public persona that has garnered attention. From his early days as a teenage heartthrob to his current status as a seasoned actor and environmental activist. DiCaprio's hairstyles have evolved. reflecting both his personal growth and the changing trends in fashion. This article delves into the many phases of the Leonardo DiCaprio haircut. exploring its significance and impact on pop culture.
The Unbelievable Tale of Dwayne Johnson Kidnapping: A Riveting Sagagreendigital
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The notion of Dwayne Johnson kidnapping seems straight out of a Hollywood thriller. Dwayne "The Rock" Johnson, known for his larger-than-life persona, immense popularity. and action-packed filmography, is the last person anyone would envision being a victim of kidnapping. Yet, the bizarre and riveting tale of such an incident, filled with twists and turns. has captured the imagination of many. In this article, we delve into the intricate details of this astonishing event. exploring every aspect, from the dramatic rescue operation to the aftermath and the lessons learned.
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The Origins of the Dwayne Johnson Kidnapping Saga
Dwayne Johnson: A Brief Background
Before discussing the specifics of the kidnapping. it is crucial to understand who Dwayne Johnson is and why his kidnapping would be so significant. Born May 2, 1972, Dwayne Douglas Johnson is an American actor, producer, businessman. and former professional wrestler. Known by his ring name, "The Rock," he gained fame in the World Wrestling Federation (WWF, now WWE) before transitioning to a successful career in Hollywood.
Johnson's filmography includes blockbuster hits such as "The Fast and the Furious" series, "Jumanji," "Moana," and "San Andreas." His charismatic personality, impressive physique. and action-star status have made him a beloved figure worldwide. Thus, the news of his kidnapping would send shockwaves across the globe.
Setting the Scene: The Day of the Kidnapping
The incident of Dwayne Johnson's kidnapping began on an ordinary day. Johnson was filming his latest high-octane action film set to break box office records. The location was a remote yet scenic area. chosen for its rugged terrain and breathtaking vistas. perfect for the film's climactic scenes.
But, beneath the veneer of normalcy, a sinister plot was unfolding. Unbeknownst to Johnson and his team, a group of criminals had planned his abduction. hoping to leverage his celebrity status for a hefty ransom. The stage was set for an event that would soon dominate worldwide headlines and social media feeds.
The Abduction: Unfolding the Dwayne Johnson Kidnapping
The Moment of Capture
On the day of the kidnapping, everything seemed to be proceeding as usual on set. Johnson and his co-stars and crew were engrossed in shooting a particularly demanding scene. As the day wore on, the production team took a short break. providing the kidnappers with the perfect opportunity to strike.
The abduction was executed with military precision. A group of masked men, armed and organized, infiltrated the set. They created chaos, taking advantage of the confusion to isolate Johnson. Johnson was outnumbered and caught off guard despite his formidable strength and fighting skills. The kidnappers overpowered him, bundled him into a waiting vehicle. and sped away, leaving everyone on set in a state of shock and disbelief.
The Immediate Aftermath
The immediate aftermath of the Dwayne Johnson kidnappin
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1. ‘Interview with PRSF New Music Award short-listed composer Marc
Yeats’. Published on-line at Composition: Today on the 30th April 2010
Tell us something about your background.
I didn’t write this, but it’s as good a précis of my background as any.
Born in 1962, an only child, brought up in London, attended a Roman Catholic school, had
traumatic treatment at the hands of his father, losing his mother to cancer in 1977, when he
were just15, by which time he’d already commenced serious painting sold through private
galleries, moved to Devon with his volatile father, ran a confectionary shop, experienced
bankruptcy, yet all the while yearning to creatively express himself.
Instead of the expectations of his teachers for a highly gifted student to embark on a
professional career in the arts, palaeontology or veterinary medicine, profound setbacks and
circumstances blighted his academic advance: instead he mopped hospital floors but went
on to qualify as a registered nurse for people with learning disabilities. After marrying at 21 to his
wife in Devon, they both moved from Southampton to the opposite end of the UK, the Isle of
Skye to give free reign to his creative vitality and verve.
His translation to abstract painting and acquisition of technical skills for a serious musical
composer, while earning a living as a part-time ambulance driver, teaching the disabled and
helping raise a family as a gay man, has, in just over a decade, realised more than 100 pieces,
gaining credit and approbation from contemporaries, without benefit of scholastic
opportunities at a college, university or conservatoire. The more remarkable for having been
praised by some of the world’s most respected and innovative composers, musicians and
commentators – testified by performances and prizes awarded to him by revered national and
international institutions and orchestras/ensembles including those in London, Edinburgh,
Manchester, New York City, Leipzig, Tokyo, together with various ensembles in Britain, Canada,
Holland, Italy, New Zealand, broadcasts in the UK, Germany & Italy.
My thanks to Keith Evans (introduction to an interview from April 2007)
I now live and work in Somerset, England with my partner, Mark.
How did you start composing?
I loved music, especially classical music ever since I was a young teenage boy. My journey
through music was a very frustrating one. I knew I had to write music – I believed that I could
write music but was frustrated by my total lack of knowledge about how music worked, what
instruments could do and how one wrote music down. Yet, I would hear this strange stuff – my
own music - bubbling away in my head whilst feeling utterly frustrated about not being able to
capture it or do anything with it in any way. For several years I despaired, not knowing what to
do to bring this torment to an end.
When I was 16 I began the long journey of teaching myself how to read and write music. It took
many years. As soon as I understood something, my imagination quickly moved on,
demanding new techniques to be mastered. My musical imagination was constantly running
ahead of my ability to keep up with it. Again, this was totally frustrating. Eventually, when I was
34, I had a number of breakthroughs in writing my music down that resulted in my sending
some of my rather illiterate scores off to various people. One of these was Sir Peter Maxwell
Davies and the Hoy Summer School that he ran on Orkney back then. Max saw my potential,
took me under his wing and created some wonderful opportunities for me. I learnt much. I also
realised that coming from a background where I had no musical or instrumental training, whilst
not the best career start, turned out in many ways to inform a large part of the process that
developed my musical voice and imagination into what it is today. As Max always used to tell
me, “you are your own man”.
I would like to think that even after my inauspicious start as a composer, if I can now write
music, feel fulfilled in what I do and hopefully bring some pleasure or distraction to others, it’s
2. possible for anyone to do it where they have sufficient passion, drive and ultimately, self belief
to carry them through the inevitable hurdles.
What drives your work, what are you passions?
Life, Love, Lust!
Ultimately, for me, sound is magical, unknowable, sensual and part of my very being.
Inspiration comes from life and living life – from all those experiences, from everything you
sense. These experiences, thoughts and impressions are stored somewhere deep inside
memory and perception. They gestate and eventually emerge, quite transformed, into a piece
of music or painting. Of course, there are intellectual faculties that are brought to bear on this
process too; you need to know how to use instruments and notate music, you also need to
know your craft and have a sense of your aesthetics.
Contrary to what many people think, there isn’t any direct correlation between what I’m
feeling at the time I write a piece of music and what the music turns out like. A bad day or
terribly frustrating week doesn’t necessarily result in music that expresses those feelings at that
time – the process is a lot less obvious and a lot less ‘romantic’ than that. A commission involves
certain parameters – instruments to be used, duration, occasion and sometimes a starting point
or theme are suggested. These parameters create the vessel into which I pour my musical
thoughts. Often, I will not know exactly what I am going to end up with; I just have an
impression of a mood or colour. That becomes my starting point and from there I let my
imagination, craft and the musical material itself guide me to where it best feels realised. It’s a
voyage of discovery for me too!
You were just short-listed for the PRS for Music Foundation New Music Award 2010. Tell us about
your plans for the piece.
SATSYMPH, a ‘satellite-symphony’, is a vehicle for delivering unique interactive satellite-
triggered musical experiences. SATSYMPH turns the prevailing paradigm of what music IS, how
it is created, delivered and experienced on its head. It takes symphonies out of the concert
hall for anyone to take anywhere with a GPS signal. SATSYMPH makes YOU the person creating
your own symphonic experience.
The first SATSYMPH opus is the specially created ‘ON A THEME OF HERMES’, a 3-way musical-
poetic collaboration with Ralph Hoyte (a poet) and Phill Phelps (a coder) and of course, me.
The user will hear a music/poetry fusion inspired by the Greek god Hermes, Messenger of the
gods, guide to the Underworld, patron of boundaries (and those who, as in this project, “travel
across them”…), of thieves, liars, of literature and poets.
But it is the mode of delivery that makes SATSYMPH so innovative: it is delivered on an iPhone
and the music and words are triggered by satellite. ‘On a Theme of Hermes’ is initially written
by poet Ralph Hoyte. Using this as a basis, the symphony (this term refers to scale rather than
structure) is then composed. The music and words will be recorded and processed into
modular ‘sound regions’. Using delivery platforms that are currently under development, coder,
Phill Phelps will locate these regions into a given area, such as a large park, using GPS
coordinates on a virtual map that represent the real location.
This whole package is then made available as a software suite linked to the Apple Appstore.
The user downloads the ‘app’, goes to the park, or other suitable space anywhere in the world,
puts their headphones on and presses ‘go’. The iPhone communicates with up to seven geo-
positioning satellites and they overlay the real space (the park) with the virtual regions. The
user, by walking around this real space, concurrently negotiates the virtual space, thus
creating their own symphonic experience. This is why SATSYMPH is so revolutionary. We create
3. the content and the interactive regions, but we don’t, and can’t, determine how this music-
poetic matrix is negotiated by the user.
Compositionally, I will be writing and recording about 200 minutes of linear music using 10
different instruments, each having about 20 minutes material. The music will be of different
energies, colours and textures. This will then be cut up, layered, multi-tracked, and in some
instances processed to create new sounds, and then developed into modular sound regions.
These sound regions may number up to 20. The sound regions will interact with each other as
well as the ‘voice regions’ that Ralph will make.
The challenge is to create colourful, intense, passionate and communicative music and words
that can be combined in any number of ways, from the almost silent through to experiencing
many sound regions at once, engendering a dense, ‘symphonic’ or orchestral result.
As participants can initiate these sound and word regions in any number of combinations, we
will create material that can work in a non narrative, non linear way whilst communicating an
array of emotions and content that adds up to a fulfilling musical experience.
Some people criticise the award for being a bit gimmicky. Do you see your proposal as integral
to your work as a composer or a fun 'side project'?
I can understand that point of view and would share those concerns too. However, Ralph
Hoyte, (poet) and myself are both very serious artists. Although we are using technology to
deliver this project, we are committed to creating the strongest content we can. Musically, I
am really excited by the opportunity this award presents because it gives me the opportunity
to take my compositional ideas (as described below) onto the next level. Everything about
SATSYMP is designed to enable Ralph to ‘compose musically’ with his words and the music I
write to fuse with these words in new and evolving ways. But more than this, the technology
enables us to deliver a new paradigm for how music can be experienced by an ‘audience’
and how that audience can control the way the experience unfolds for them. This represents a
huge step forwards for both our work and is central to our development as artists.
You are a visual artist as well as a composer, is there a relationship between your work in the
two fields? Does one influence the other? Tell us how you feel being active in two distinct areas.
This question and the following question are totally linked for me. The strong relationship
between my work as a visual artist and composer is not easy to articulate but its effects are felt
throughout my work. These two creative forms are closely linked by techniques and
constructions developed over many years of practice. My compositions often influence new
approaches to painting, just as techniques in painting have influenced my musical
development. As Sir Peter Maxwell Davies once said of my work “you can hear the brush
strokes”.
Although I am interested in surfaces represented in sound, colour, form and texture, my work is
further influenced by a fascination with layering, geology and erosion. The work, both sound
based and visual, is primarily inspired by landscape – but this fascination gravitates around
representing landscape in terms of molecular and primal energies rather than recreating what
is seen.
When beginning a new work, the end result remains a mystery – it is a true journey of discovery.
I believe this approach to creativity ensures spontaneity, movement, energy and a degree of
poetry
As well as surface and layering, recycling is central to my compositional methods (I like to be a
green composer!)
I work acoustically and electroacousmatically. My electroacousmatic pieces use combinations
of digitally altered acoustic material alongside newly created digital sounds or sounds
harvested from field recordings that are then processed, multi-tracked and manipulated in
various ways. This array of production techniques creates new sound-worlds and textural
combinations.
4. New works are also originated by recycling existing pieces of music through changing contexts
and relationships, transforming this material into something quite new. Many of the acoustic
pieces I write find their starting point from within other pieces of music I’ve already written.
I am fascinated how altered contexts can radically redefine the way musical material feels
and sounds. Transplanting different layers, voices or strands of music from one piece to
another, altering tempi and dynamics, transposing, inverting, and then letting those strands
sound out together; all of these methods fascinate me.
Like the music, my paintings are often produced in series, each painting being influenced by
the former. Sometimes I will paint two or three pictures at the same time, each sharing the
same starting point, layers and processes until something happens to make me want to
separate them and explore them in different ways. In music, the recycling of material ensures
that there is a ‘genetic’ connection between all the works – sometimes up to 15 individual
pieces may be connected in this way. They are like sons and daughters, cousins, five times
removed. With this ‘genetic’ material comes history, characteristics and content. In music, as
with people, the way this genetic material is ‘lived out’ determines the character and make-up
of the person or piece. This can lead to very individual outcomes.
Tell us something about your working method as a composer. Give us something that might be
or might have been a starting point for a piece.
The music I compose is a battle between two musical trains of thought. Although both would
be described as atonal, one is more expressive and colouristic with pronounced harmonic
references, the other, monolithic and atavistic in its extremes of register, colour and form. The
confrontation between these two musics results in a fusion that engenders a personal
approach to structure, colour, timbre and dialectic. This fusion can be seen as the working out
of two strands of musical thought filtered through transformations that originate in the
techniques of abstract painting. The rules of this fusion and transformation may elude the
listener somewhat, but the resultant drama, be it passive or active, should be direct and
communicative.
The genesis of this compositional approach stems from two main areas.
Firstly, my initial experiences with music which fell between the warm nostalgia of the English
Pastoral School, with composers such as Vaughan Williams, Bax and Morean making a large
emotional impression, and its diametric opposite, my excitement with the avant-garde
expressionism and experimentalism of the 60s and 70s.
Secondly, being a landscape painter, my work with colour, form and texture impacted directly
on my thoughts about the construction and content of music. As my painting developed away
from the representational into the abstract and my repertoire of techniques grew, so did my
conviction that I could develop a personal compositional language by exploring these
techniques in a musical context. Now, both musical threads are transformed through my
‘painterly ear’ to assimilate what feels like a personal, natural and unselfconscious outpouring
of sound.
It is worth mentioning this genesis, as on first hearing, the music may sound arbitrary,
improvisational and sometimes chaotic. This is not the case. It is clear that the music does not
operate within the logic of number series, motivic development, Fibonacci-based proportions,
functional harmony, magic squares, tone rows or any of the usual gamete of compositional
techniques.
There is another kind of logic at work, a personal logic that has its roots in my experience of the
techniques and processes of abstract painting. This compositional logic originates from inside
the music itself rather than being imposed from the outside upon it. The surface of the music -
what you hear - reflects the many processes, some systematic, some intuitive, that have gone
into its creation. This surface is the music; its own context, self fulfilling and delighting in the
visceral nature and quality of sound for sounds sake in the same way an artist can relish a
particular combination of colours or surfaces as complete in itself. In my work, the relationship
between musical objects is the result of a constant process of assimilation where the inherent
energies and context of sound objects dictate the destiny and role that each inhabit and
exhibit. In short, the sum of the parts influences the outcome of the whole.
This is the nature of my music - the sound of it – and it is the guiding principle for its realisation.
5. Which non-musical influences have affected your music most?
As I have described, painting would be first and foremost, but for me, painting and music are
just a way of understanding the world around us whilst trying to communicate a sense of that
perception to others and indeed, oneself.
Existence is full of mystery, paradoxes, joys and disasters and I hope my work reflects these
experiences, too. And, I can’t say that I always ‘understand’ what I do, not on an intellectual
level, but sometimes I can feel what the work means but cant articulate those feelings. I can
speak about the techniques of construction, but that isn’t what the music ‘is’. I digress.
The second biggest non-musical inspiration would have to be the landscape. As a young boy,
it was a passionate, sensual interest in landscape that drove me to paint and express what I
was seeing. It was this passion that later fuelled my need to compose.
What is your musical philosophy?
Try to create beyond the confines of your imagination.
Who has been the greatest influence on your musical style to date and why?
That is impossible to say. As I have mentioned previously, I am drawn to experimentalism and
also to the English pastoral school – an odd combination! I can however tell you who my
musical heroes are. Joseph Haydn, for his fecundity, wit, energy and constantly renewable
imagination and inventiveness. Charles Ives for his amazing experimentalism and ability to write
music of the greatest expressive power ranging from the most delicate intimacy to near
cacophony. He was years ahead of his time and I admire that. And finally Xenakis, for being
raw, energised, atavistic, and not afraid to build music inspired by science and other
disciplines. For me, he is the most original compositional voice of our time.
There are of course many other types of music that I love, Birtwistle, Maxwell Davies, Dillon, The
Prodigy, to name a few. But to be honest, I listen to very little contemporary music – rightly or
wrongly, as I don’t want to be influenced by it. I want my musical ideas to be generated from
either within my own work or from external, non-musical inspirations. So I listen to a great deal
of music from other eras. But perhaps my most frequently listened to music, purely for self
indulgent pleasure remains the work of Vaughan Williams, Bax, Holst, Morean and others.
What's the strangest idea for a piece you've ever had?
Not very whacky, and probably been done, but not by me! But I have a notion to take a
musical strand – a line or instrumental part from each of the, say, ten pieces I have composed
recently (those that have the ‘genetic’ connection as described earlier) and, with a little re-
organisation, create an ensemble piece that brings them all together simultaneously, at
different tempi and without a conductor. I like the thought of reuniting these voices after they
have been on their different journeys, brought back together through a family reunion. Like
most family reunions, it will be a mixture of fun, tragedy, comedy and argument, and if you’re
lucky, a little illumination and beauty, and all this operating with a good-sized dose of
serendipity. Now all I need to do is find an ensemble brave enough to take this on!
Which work are you most proud of and why?
Probably ‘The Round And Square Art of Memory’ for piano and orchestra, commissioned by
the BBC Philharmonic, with Kathryn Stott at the piano and Martyn Brabbins conducting. The
work was premiered as part of the Piano 2000 Festival at the Bridgewater Hall in Manchester.
Kathy, Martyn and the BBC Phil pulled out all the stops and gave a stonking performance and
for once, the piece got rave reviews in the national press. I love writing for orchestra, it enables
me to paint with sound as it offers the widest palette of colours to draw upon. I’m proud of this
6. work because it was big, Martyn described it as ‘epic’, but within its heart their remained an
intimacy of communication that would emerge from the very dense and virtuosic orchestral
textures. It’s not perfect, and if I were to compose a piece for piano and orchestra again, there
would be many things I would do differently – not surprising ten years on, but at least it’s a work
I can still listen to and not feel any twinges of embarrassment about!
What does the future hold for you?
We will have to wait and see – fingers crossed for SATSYMPH, of course!
But closer to earth . . . .
I have recently become Composer-in-Association with Manchester Pride, which is very exciting.
This years Festival includes the world première of “schlick’s approximation”, for clarinet, violin &
piano, It will be performed on 27th August by the ensemble CHROMA. The performance will be
at the Cosmo Rodewald Concert Hall, at Manchester University at 1pm.
My trio for flute, cello and piano, Strange Geometry, commissioned by Trio IAMA (Greece) is to
be premiered in Cyprus (Nicosia / Shoe Factory) on the 10th November 2010 and later
performed in Berlin at BKA Theatre on the 7th. December 2010.
There are a range of other premieres in the pipe-line happening in Switzerland, Germany, Brazil,
Taiwan, and Malaysia with 'orare' (2009) for bass trombone and piano (dedicated to Dirk
Amrein and Jürg Henneberger), and Conversational Geometry (2009) for amplified acoustic
guitar, tenor trombone and piano (also dedicated to Dirk Amrein and Jürg Henneberger).
Conversational Geometry will be recorded by Swiss Radio on the 17/12/2010 at Gare du Nord,
Bahnhof für Neue Musik Schwarzwaldallee Basel, Switzerland
Closer to home, October 2010 will see the premiere of 'rhêma' (2010) for harpsichord.
Commissioned by BBC Radio 3. First performed by Mahan Esfahani, Leeds, October 2010.
Subsequent broadcast on BBC Radio 3 scheduled for early 2011 (dedicated to Mahan
Esfahani) duration circa 10.5 minutes.
In May 2011, the world premiere of 'shadow, and the moon' (2009) (flute, clarinet, violin, cello,
marimba, piano) commissioned by Kokoro (dedicated to Errollyn Wallen) - duration circa 19
mins. – will take place in Bournemouth, Dorset.
I’m being commissioned by Ensemble Amorpha in 2011 to write a ‘shorts_amorpha’, an
acoustic piece to be performed alongside the showing of a silent film (6-8 minutes duration)
that will be premiered in London and then go on tour to UK venues from September.
Also in February 2011, a substantial commission comes through ‘Coastal Voices’, Lighthouse
Poole and Serious to compose an acappella work for massed amateur choirs that celebrates
the Jurassic Coast and its geology as part of the 2012 Olympic celebrations in Weymouth and
Portland, Dorset, where the Olympic sailing events will take place. The piece may also be
selected to represent music from the Southwest of England on the Main Stages in London as
part of those Olympic celebrations.
There are a number of exciting and innovative collaborative projects that are coming to
fruition as well. All in all, a very busy and active year!