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Book
xiii, 266 pages : illustration ; 24 cm.
  • Introduction: the Haitian Revolution as refusal and reuse
  • Overture: Haiti against forgetting and the thermidorean present
  • Haitian revolutionary encounters: Eugene O'Neill, Sergei Eisenstein, and Orson Welles
  • Bringing in the chorus: the Haitian Revolution plays of C.L.R. James and Edouard Glissant
  • Tragedy as mediation: the Black Jacobins
  • Tshembe's choice: Lorraine Hansberry's pan-Africanist drama and Haitian revolution opera
  • Conclusion: Malcolm X's enlistment of Hamlet and Spinoza
  • Coda: Black radical tragic propositions.
As the first successful revolution emanating from a slave rebellion, the Haitian Revolution remains an inspired site of investigation for a remarkable range of artists and activist-intellectuals in the African Diaspora.In The Black Radical Tragic, Jeremy Matthew Glick examines twentieth-century performances engaging the revolution as laboratories for political thinking. Asking readers to consider the revolution less a fixed event than an ongoing and open-ended history resonating across the work of Atlantic world intellectuals, Glick argues that these writers use the Haitian Revolution as a watershed to chart their own radical political paths, animating, enriching, and framing their artistic and scholarly projects. Spanning the disciplines of literature, philosophy, and political thought, The Black Radical Tragic explores work from Lorraine Hansberry, Sergei Eisenstein, Edouard Glissant, Malcolm X, and others, ultimately enacting a speculative encounter between Bertolt Brecht and C.L.R. James to reconsider the relationship between tragedy and revolution. In its grand refusal to forget, The Black Radical Tragic demonstrates how the Haitian Revolution has influenced the ideas of freedom and self-determination that have propelled Black radical struggles throughout the modern era.".
(source: Nielsen Book Data)
  • Introduction: the Haitian Revolution as refusal and reuse
  • Overture: Haiti against forgetting and the thermidorean present
  • Haitian revolutionary encounters: Eugene O'Neill, Sergei Eisenstein, and Orson Welles
  • Bringing in the chorus: the Haitian Revolution plays of C.L.R. James and Edouard Glissant
  • Tragedy as mediation: the Black Jacobins
  • Tshembe's choice: Lorraine Hansberry's pan-Africanist drama and Haitian revolution opera
  • Conclusion: Malcolm X's enlistment of Hamlet and Spinoza
  • Coda: Black radical tragic propositions.
As the first successful revolution emanating from a slave rebellion, the Haitian Revolution remains an inspired site of investigation for a remarkable range of artists and activist-intellectuals in the African Diaspora.In The Black Radical Tragic, Jeremy Matthew Glick examines twentieth-century performances engaging the revolution as laboratories for political thinking. Asking readers to consider the revolution less a fixed event than an ongoing and open-ended history resonating across the work of Atlantic world intellectuals, Glick argues that these writers use the Haitian Revolution as a watershed to chart their own radical political paths, animating, enriching, and framing their artistic and scholarly projects. Spanning the disciplines of literature, philosophy, and political thought, The Black Radical Tragic explores work from Lorraine Hansberry, Sergei Eisenstein, Edouard Glissant, Malcolm X, and others, ultimately enacting a speculative encounter between Bertolt Brecht and C.L.R. James to reconsider the relationship between tragedy and revolution. In its grand refusal to forget, The Black Radical Tragic demonstrates how the Haitian Revolution has influenced the ideas of freedom and self-determination that have propelled Black radical struggles throughout the modern era.".
(source: Nielsen Book Data)
Green Library
Status of items at Green Library
Green Library Status
Stacks Find it
PN56.3 .H35 G55 2016 Unavailable In process Request
Book
360 pages : illustrations ; 24 cm
  • The maestros
  • The impresarios
  • The virtuosi
  • The composers
  • The power brokers and patrons.
The past 50 years have seen a tremendous arts boom in Seattle, which has given the city not only internationally recognized classical music institutions but also great performance halls to showcase their work and that of visiting artists. From Igor Stravinsky's presence as guest conductor at the World's Fair in 1962, to Speight Jenkins's masterly production of Wagner's "Ring" cycle, to the work of benefactors such as Jack and Becky Benaroya, Seattle is deservingly well known as a city of the musical arts. In "Classical Seattle, " Melinda Bargreen documents the lives of prominent figures in the local classical music world. Informed by Bargreen's experience as a music critic and drawing on interviews she conducted over several decades, the 35 biographical profiles presented here illuminate the conductors, performing artists, composers, arts organizers, and arts leaders who have shaped Seattle's classical music community and made world-class performances possible. Among the individuals featured are University of Washington virtuosi, Seattle Symphony maestros and musicians, and Seattle Opera directors.
(source: Nielsen Book Data)
  • The maestros
  • The impresarios
  • The virtuosi
  • The composers
  • The power brokers and patrons.
The past 50 years have seen a tremendous arts boom in Seattle, which has given the city not only internationally recognized classical music institutions but also great performance halls to showcase their work and that of visiting artists. From Igor Stravinsky's presence as guest conductor at the World's Fair in 1962, to Speight Jenkins's masterly production of Wagner's "Ring" cycle, to the work of benefactors such as Jack and Becky Benaroya, Seattle is deservingly well known as a city of the musical arts. In "Classical Seattle, " Melinda Bargreen documents the lives of prominent figures in the local classical music world. Informed by Bargreen's experience as a music critic and drawing on interviews she conducted over several decades, the 35 biographical profiles presented here illuminate the conductors, performing artists, composers, arts organizers, and arts leaders who have shaped Seattle's classical music community and made world-class performances possible. Among the individuals featured are University of Washington virtuosi, Seattle Symphony maestros and musicians, and Seattle Opera directors.
(source: Nielsen Book Data)
Music Library
Status of items at Music Library
Music Library Status
Stacks
ML385 .B297 2016 Unknown
Book
vii, 314 pages : illustrations ; 24 cm.
  • 1. Ecomusicologies Aaron S. Allen and Kevin Dawe Part 1: Ecological Directions 2. The Ecology of Musical Performance: Towards a Robust Methodology Alice Boyle and Ellen Waterman 3. Ecomusicology, Ethnomusicology, and Soundscape Ecology: Scientific and Musical Responses to Sound Study Margaret Q. Guyette and Jennifer C. Post 4. "No Tree-No Leaf": Applying Resilience Theory to Eucalypt-Derived Musical Traditions Robin Ryan 5. Why Thoreau? Jeff Todd Titon Part 2: Fieldwork Directions 6. Natural Species, Sounds, and Humans in Lowland South America: The Kisedje/Suya, Their World, and the Nature of Their Musical Experience Anthony Seeger 7. Of Human and Non-human Birds: Indigenous Music Making and Sentient Ecology in Northwestern Mexico Helena Simonett 8. Materials Matter: Towards a Political Ecology of Musical Instrument Making Kevin Dawe 9. "Keepin' It Real": Musicking and Solidarity, the Hornby Island Vibe Andrew Mark 10. Late Soviet Discourses of Nature and the Natural: Musical Avtentyka, Native Faith, and "Cultural Ecology" after Chornobyl Maria Sonevytsky and Adrian Ivakhiv Part 3: Critical Directions 11. Critical Theory in Ecomusicology James Rhys Edwards 12. Nature and Culture, Noise and Music: Perception and Action W. Luke Windsor 13. Aural Rights and Early Environmental Ethics: Negotiating the Post-War Soundscape Alexandra Hui 14. Music, Television Advertising, and the Green Positioning of the Global Energy Industry Travis Stimeling 15. Pop Ecology: Lessons from Mexico Mark Pedelty Part 4: Textual Directions 16. Ecocriticism and Traditional English Folk Music David Ingram 17. The Peasant's Voice and the Tourist's Gaze: Listening to Landscape in Luc Ferrari's Petite symphonie intuitive pour un paysage de printemps Eric Drott 18. Negotiating Nature and Music through Technology: Ecological Reflections in the Works of Maggi Payne and Laurie Spiegel Sabine Feisst 19. Musical Actions, Political Sounds: Libby Larsen and Composerly Consciousness Denise Von Glahn 20. New Directions: Ecological Imaginations, Soundscapes, and Italian Opera Aaron S. Allen.
  • (source: Nielsen Book Data)
This volume is the first sustained examination of the complex perspectives on ecomusicology - the study of the intersections of music/sound, culture/society, and nature/environment. Twenty-two authors provide a range of theoretical, methodological, and empirical chapters representing disciplines such as anthropology, biology, ecology, environmental studies, ethnomusicology, history, literature, musicology, performance studies, and psychology. They bring their specialized training to bear on interdisciplinary topics, both individually and in collaboration. What emerges from the whole is a view of ecomusicology that the editors argue is a field, a place where many disciplines come together. The topics address in this volume - contemporary composers and traditional musics, acoustic ecology and politicized soundscapes, material sustainability and environmental crisis, familiar and unfamiliar sounds, local places and global warming, birds and mice, hearing and listening, biomusic and soundscape ecology, and more - engage with conversations in the various realms of music study as well as in environmental studies and cultural studies. As with any good ecosystem, the field of ecomusicology is dynamic, but this edited collection provides a snapshot of it in a formative period. Each chapter is short and designed to be accessible to the non-specialist; and extensive bibliographies are included with further materials provided on a companion website. An introduction together with interspersed editorial summaries helps guide readers through this particular instance of the field of ecomusicology.
(source: Nielsen Book Data)
  • 1. Ecomusicologies Aaron S. Allen and Kevin Dawe Part 1: Ecological Directions 2. The Ecology of Musical Performance: Towards a Robust Methodology Alice Boyle and Ellen Waterman 3. Ecomusicology, Ethnomusicology, and Soundscape Ecology: Scientific and Musical Responses to Sound Study Margaret Q. Guyette and Jennifer C. Post 4. "No Tree-No Leaf": Applying Resilience Theory to Eucalypt-Derived Musical Traditions Robin Ryan 5. Why Thoreau? Jeff Todd Titon Part 2: Fieldwork Directions 6. Natural Species, Sounds, and Humans in Lowland South America: The Kisedje/Suya, Their World, and the Nature of Their Musical Experience Anthony Seeger 7. Of Human and Non-human Birds: Indigenous Music Making and Sentient Ecology in Northwestern Mexico Helena Simonett 8. Materials Matter: Towards a Political Ecology of Musical Instrument Making Kevin Dawe 9. "Keepin' It Real": Musicking and Solidarity, the Hornby Island Vibe Andrew Mark 10. Late Soviet Discourses of Nature and the Natural: Musical Avtentyka, Native Faith, and "Cultural Ecology" after Chornobyl Maria Sonevytsky and Adrian Ivakhiv Part 3: Critical Directions 11. Critical Theory in Ecomusicology James Rhys Edwards 12. Nature and Culture, Noise and Music: Perception and Action W. Luke Windsor 13. Aural Rights and Early Environmental Ethics: Negotiating the Post-War Soundscape Alexandra Hui 14. Music, Television Advertising, and the Green Positioning of the Global Energy Industry Travis Stimeling 15. Pop Ecology: Lessons from Mexico Mark Pedelty Part 4: Textual Directions 16. Ecocriticism and Traditional English Folk Music David Ingram 17. The Peasant's Voice and the Tourist's Gaze: Listening to Landscape in Luc Ferrari's Petite symphonie intuitive pour un paysage de printemps Eric Drott 18. Negotiating Nature and Music through Technology: Ecological Reflections in the Works of Maggi Payne and Laurie Spiegel Sabine Feisst 19. Musical Actions, Political Sounds: Libby Larsen and Composerly Consciousness Denise Von Glahn 20. New Directions: Ecological Imaginations, Soundscapes, and Italian Opera Aaron S. Allen.
  • (source: Nielsen Book Data)
This volume is the first sustained examination of the complex perspectives on ecomusicology - the study of the intersections of music/sound, culture/society, and nature/environment. Twenty-two authors provide a range of theoretical, methodological, and empirical chapters representing disciplines such as anthropology, biology, ecology, environmental studies, ethnomusicology, history, literature, musicology, performance studies, and psychology. They bring their specialized training to bear on interdisciplinary topics, both individually and in collaboration. What emerges from the whole is a view of ecomusicology that the editors argue is a field, a place where many disciplines come together. The topics address in this volume - contemporary composers and traditional musics, acoustic ecology and politicized soundscapes, material sustainability and environmental crisis, familiar and unfamiliar sounds, local places and global warming, birds and mice, hearing and listening, biomusic and soundscape ecology, and more - engage with conversations in the various realms of music study as well as in environmental studies and cultural studies. As with any good ecosystem, the field of ecomusicology is dynamic, but this edited collection provides a snapshot of it in a formative period. Each chapter is short and designed to be accessible to the non-specialist; and extensive bibliographies are included with further materials provided on a companion website. An introduction together with interspersed editorial summaries helps guide readers through this particular instance of the field of ecomusicology.
(source: Nielsen Book Data)
Music Library
Status of items at Music Library
Music Library Status
Stacks
ML3799.3 .C87 2016 Unknown
Book
202 pages ; 21 cm
""À l'aéroport, déjà, ça n'allait pas très bien. Le coeur n'avait pas son rythme habituel Un poids sur la poitrine. Et une boule au fond de la gorge, oppressante. J'ai salué le pilote en le regardant à peine. Les discussions avaient été âpres, la décision incertaine jusqu'au bout. J'étais fatigué. Une image a surgi alors que je traversais le hall d'une démarche lourde : le visage radieux du maire de Venise lorsqu'il m'a annoncé que le projet du T4o était accepté. "De nombreux points restent à régler, m'a-t-il dit dans un français parfait, mais l'essentiel est acquis : c'est vous. " J'ai branché mon portable. Profusion de SMS. Je l'ai coupé aussi sec." L'architecte Marc Sisco vient d'être choisi pour construire le nouvel opéra de Venise. C'est la consécration d'une carrière déjà brillante, la réalisation d'un rêve d'enfant. Mais de retour à Paris, un sentiment de malaise s'empare de lui. Il ne se sent plus en phase avec ce monde qui l'a consacré. Il n'a plus envie de rien, sauf de s'évader. Un roman sensible, nerveux, sur notre besoin de cohérence et de liberté."--Page 4 of cover.
""À l'aéroport, déjà, ça n'allait pas très bien. Le coeur n'avait pas son rythme habituel Un poids sur la poitrine. Et une boule au fond de la gorge, oppressante. J'ai salué le pilote en le regardant à peine. Les discussions avaient été âpres, la décision incertaine jusqu'au bout. J'étais fatigué. Une image a surgi alors que je traversais le hall d'une démarche lourde : le visage radieux du maire de Venise lorsqu'il m'a annoncé que le projet du T4o était accepté. "De nombreux points restent à régler, m'a-t-il dit dans un français parfait, mais l'essentiel est acquis : c'est vous. " J'ai branché mon portable. Profusion de SMS. Je l'ai coupé aussi sec." L'architecte Marc Sisco vient d'être choisi pour construire le nouvel opéra de Venise. C'est la consécration d'une carrière déjà brillante, la réalisation d'un rêve d'enfant. Mais de retour à Paris, un sentiment de malaise s'empare de lui. Il ne se sent plus en phase avec ce monde qui l'a consacré. Il n'a plus envie de rien, sauf de s'évader. Un roman sensible, nerveux, sur notre besoin de cohérence et de liberté."--Page 4 of cover.
Green Library
Status of items at Green Library
Green Library Status
Stacks Find it
PQ2712 .O925 E83 2016 Unavailable On order Request
Book
vi, 280 pages : music ; 23 cm.
  • Introduction-- Paul Clark, Laikwan Pang and Tsan-Huang Tsai PART I: TEMPORALITY: CONTINUITY AND CHANGE IN CULTURAL REVOLUTION MUSIC 1. A Diachronic Study of Jingju Yangbanxi Model Peking Opera Music-- Dai Jiafang, translated by Lau Sze Wing 2. From Confucianist Meditative Tool to Maoist Revolutionary Weapon: The Seven-Stringed Zither (Qin) in the Cultural Revolution-- Tsan-Huang Tsai 3. Breaking Bad: Sabotaging the Production of the Hero in the Amateur Performance of Yangbanxi-- Laurence Coderre 4. Third World Internationalism: Films and Operas in the Chinese Cultural Revolution-- Ban Wang 5. Singing in the Dark: Film and Cultural Revolution Musical Culture-- Paul Clark PART II: GEOGRAPHY: TRANSPLANTATION AND THE MAKING OF REGIONAL YANGBANXI 6. Dialects as Untamable: How to Revolutionize Cantonese Opera?-- Laikwan Pang 7. The West is Red: Uyghur Adaptation of The Legend of the Red Lantern (Qizil Chiragh) During China's Cultural Revolution-- Chuen-Fung Wong 8. The Dragon River Reaches the Borders: The Rehabilitation of Ethnic Music in a Model Opera-- Rowan Pease PART III: LEGACIES AND LINEAGES: CULTURAL REVOLUTION SOUNDSCAPES BEYOND THE MAO ERA 9. Musical-Dramatic Experimentation in the Yangbanxi: A Case for Precedence in The Great Wall-- John Winzenburg 10. Sonic Imaginary After the Cultural Revolution-- Nancy Yunhwa Rao 11. Just Beat It! Popular Legacies of Cultural Revolution Music-- Barbara Mittler.
  • (source: Nielsen Book Data)
The first of its kind in English to explore the musical culture of China's Cultural Revolution, Listening to China's Cultural Revolution discusses the history, politics, and aesthetics of a full range of music and performances during this rich yet complicated time in Chinese history. Together, the chapters, grouped under the headings "Temporality, ' 'Geography, ' and 'Lineage and Legacies, ' demonstrate how the era's soundscape was both political and personal, experienced by ordinary people, artists, as well as political leaders, and how the sensory was translated into political actions or even indifference. Finally, the book traces the impact of this musical and operatic culture back to its earlier roots through present-day reverberations still felt and heard today.
(source: Nielsen Book Data)
  • Introduction-- Paul Clark, Laikwan Pang and Tsan-Huang Tsai PART I: TEMPORALITY: CONTINUITY AND CHANGE IN CULTURAL REVOLUTION MUSIC 1. A Diachronic Study of Jingju Yangbanxi Model Peking Opera Music-- Dai Jiafang, translated by Lau Sze Wing 2. From Confucianist Meditative Tool to Maoist Revolutionary Weapon: The Seven-Stringed Zither (Qin) in the Cultural Revolution-- Tsan-Huang Tsai 3. Breaking Bad: Sabotaging the Production of the Hero in the Amateur Performance of Yangbanxi-- Laurence Coderre 4. Third World Internationalism: Films and Operas in the Chinese Cultural Revolution-- Ban Wang 5. Singing in the Dark: Film and Cultural Revolution Musical Culture-- Paul Clark PART II: GEOGRAPHY: TRANSPLANTATION AND THE MAKING OF REGIONAL YANGBANXI 6. Dialects as Untamable: How to Revolutionize Cantonese Opera?-- Laikwan Pang 7. The West is Red: Uyghur Adaptation of The Legend of the Red Lantern (Qizil Chiragh) During China's Cultural Revolution-- Chuen-Fung Wong 8. The Dragon River Reaches the Borders: The Rehabilitation of Ethnic Music in a Model Opera-- Rowan Pease PART III: LEGACIES AND LINEAGES: CULTURAL REVOLUTION SOUNDSCAPES BEYOND THE MAO ERA 9. Musical-Dramatic Experimentation in the Yangbanxi: A Case for Precedence in The Great Wall-- John Winzenburg 10. Sonic Imaginary After the Cultural Revolution-- Nancy Yunhwa Rao 11. Just Beat It! Popular Legacies of Cultural Revolution Music-- Barbara Mittler.
  • (source: Nielsen Book Data)
The first of its kind in English to explore the musical culture of China's Cultural Revolution, Listening to China's Cultural Revolution discusses the history, politics, and aesthetics of a full range of music and performances during this rich yet complicated time in Chinese history. Together, the chapters, grouped under the headings "Temporality, ' 'Geography, ' and 'Lineage and Legacies, ' demonstrate how the era's soundscape was both political and personal, experienced by ordinary people, artists, as well as political leaders, and how the sensory was translated into political actions or even indifference. Finally, the book traces the impact of this musical and operatic culture back to its earlier roots through present-day reverberations still felt and heard today.
(source: Nielsen Book Data)
Music Library
Status of items at Music Library
Music Library Status
Stacks
ML3917 .C6 L57 2016 Unknown
Book
xvi, 388 pages : illustrations, maps ; 25 cm
  • Preface xi Introducing Mr. D'Arcy's Persians 1 KNOWLEDGE Chapter 1 In Search of a Teacher 23 Chapter 2 The Madrasas of Oxford 83 FAITH Chapter 3 Among the Dissenters 133 Chapter 4 Evangelical Engagements 177 FRIENDSHIP Chapter 5 Diplomatic Friendships 227 Chapter 6 The Love of Strangers 266 Afterlives 305 A Note on Sources and Method 319 Acknowledgments 323 Notes 327 Index 377.
  • (source: Nielsen Book Data)
In July 1815, six Iranian students arrived in London under the escort of their chaperone, Captain Joseph D'Arcy. Their mission was to master the modern sciences behind the rapid rise of Europe. Over the next four years, they lived both the low life and high life of Regency London, from being down and out after their abandonment by D'Arcy to charming their way into society and landing on the gossip pages. The Love of Strangers tells the story of their search for love and learning in Jane Austen's England. Drawing on the Persian diary of the student Mirza Salih and the letters of his companions, Nile Green vividly describes how these adaptable Muslim migrants learned to enjoy the opera and take the waters at Bath. But there was more than frivolity to their student years in London. Burdened with acquiring the technology to defend Iran against Russia, they talked their way into the observatories, hospitals, and steam-powered factories that placed England at the forefront of the scientific revolution. All the while, Salih dreamed of becoming the first Muslim to study at Oxford. The Love of Strangers chronicles the frustration and fellowship of six young men abroad to open a unique window onto the transformative encounter between an Evangelical England and an Islamic Iran at the dawn of the modern age. This is that rarest of books about the Middle East and the West: a story of friendships.
(source: Nielsen Book Data)
  • Preface xi Introducing Mr. D'Arcy's Persians 1 KNOWLEDGE Chapter 1 In Search of a Teacher 23 Chapter 2 The Madrasas of Oxford 83 FAITH Chapter 3 Among the Dissenters 133 Chapter 4 Evangelical Engagements 177 FRIENDSHIP Chapter 5 Diplomatic Friendships 227 Chapter 6 The Love of Strangers 266 Afterlives 305 A Note on Sources and Method 319 Acknowledgments 323 Notes 327 Index 377.
  • (source: Nielsen Book Data)
In July 1815, six Iranian students arrived in London under the escort of their chaperone, Captain Joseph D'Arcy. Their mission was to master the modern sciences behind the rapid rise of Europe. Over the next four years, they lived both the low life and high life of Regency London, from being down and out after their abandonment by D'Arcy to charming their way into society and landing on the gossip pages. The Love of Strangers tells the story of their search for love and learning in Jane Austen's England. Drawing on the Persian diary of the student Mirza Salih and the letters of his companions, Nile Green vividly describes how these adaptable Muslim migrants learned to enjoy the opera and take the waters at Bath. But there was more than frivolity to their student years in London. Burdened with acquiring the technology to defend Iran against Russia, they talked their way into the observatories, hospitals, and steam-powered factories that placed England at the forefront of the scientific revolution. All the while, Salih dreamed of becoming the first Muslim to study at Oxford. The Love of Strangers chronicles the frustration and fellowship of six young men abroad to open a unique window onto the transformative encounter between an Evangelical England and an Islamic Iran at the dawn of the modern age. This is that rarest of books about the Middle East and the West: a story of friendships.
(source: Nielsen Book Data)
Green Library
Status of items at Green Library
Green Library Status
Stacks Find it
DA125 .I68 G74 2016 Unknown
Book
xix, 375 pages : illustrations, music ; 26 cm
  • Introduction: Theories of Genre and Style in Baroque Music 1. Early Opera: Courtly and Public 2. Music and Propaganda: Music at the Court of Louis XIV 3. Instrumental Chamber Music in Italy and Abroad: Arcangelo Corelli and His Followers 4. The London Stage: George Frideric Handel's 1735 Season at Covent Garden 5. Johann Sebastian Bach and the Lutheran Tradition.
  • (source: Nielsen Book Data)
Music in the Baroque World: History, Culture, Performance offers an interdisciplinary study of the music of Europe and the Americas in the seventeenth and first half of the eighteenth centuries. It answers calls for an approach that balances culture, history, and musical analysis, with an emphasis on performance considerations such as notation, instruments, and performance techniques. It situates musical events in their intellectual, social, religious, and political contexts and enables in-depth discussion and critical analysis. Features * An interdisciplinary approach that balances detailed analysis of specific pieces of music and broader historical overview and relevance * A selection of historical documents at the end of each chapter that position musical works and events in their cultural context * Extensive musical examples that show the melodic, textural, harmonic, or structural features of baroque music and enhance the utility of the textbook for undergraduate and graduate music majors * A global perspective with a chapter on Music in the Americas * A companion score anthology and website with links to audio/video content of key performances and research and writing guides Music in the Baroque World: History, Culture, Performance tells stories of local traditions, cultural exchange, performance trends, and artistic mixing. It illuminates representative works through the lens of politics, visual arts, theology, print culture, gender, domesticity, commerce, and cultural influence and exchange.
(source: Nielsen Book Data)
  • Introduction: Theories of Genre and Style in Baroque Music 1. Early Opera: Courtly and Public 2. Music and Propaganda: Music at the Court of Louis XIV 3. Instrumental Chamber Music in Italy and Abroad: Arcangelo Corelli and His Followers 4. The London Stage: George Frideric Handel's 1735 Season at Covent Garden 5. Johann Sebastian Bach and the Lutheran Tradition.
  • (source: Nielsen Book Data)
Music in the Baroque World: History, Culture, Performance offers an interdisciplinary study of the music of Europe and the Americas in the seventeenth and first half of the eighteenth centuries. It answers calls for an approach that balances culture, history, and musical analysis, with an emphasis on performance considerations such as notation, instruments, and performance techniques. It situates musical events in their intellectual, social, religious, and political contexts and enables in-depth discussion and critical analysis. Features * An interdisciplinary approach that balances detailed analysis of specific pieces of music and broader historical overview and relevance * A selection of historical documents at the end of each chapter that position musical works and events in their cultural context * Extensive musical examples that show the melodic, textural, harmonic, or structural features of baroque music and enhance the utility of the textbook for undergraduate and graduate music majors * A global perspective with a chapter on Music in the Americas * A companion score anthology and website with links to audio/video content of key performances and research and writing guides Music in the Baroque World: History, Culture, Performance tells stories of local traditions, cultural exchange, performance trends, and artistic mixing. It illuminates representative works through the lens of politics, visual arts, theology, print culture, gender, domesticity, commerce, and cultural influence and exchange.
(source: Nielsen Book Data)
Music Library
Status of items at Music Library
Music Library Status
Stacks
ML193 .L49 2016 Unknown
Book
363 pages, xvi pages of plates : illustrations (some color) ; 24 cm.
  • Jeunesse et formation -- L'entourage familial -- Les premiers pas à la Musique du roi -- À la cour de Sceaux: le jeu des influences et des rencontres -- Un musicien entre deux règnes -- Le service de la Cour: grandeur et servitudes d'un surintendant à la cour de Louis XV -- Louis XV et la musique -- L'Inconnu (1720) -- Les Folies de Cardenio (1720) -- Les Éléments (1721) -- Les Fêtes grecques & romaines (1723) -- La Musique de la Chambre du roi: histoire et fonctionnement -- L'Ordinaire -- Les Concerts de la reine -- Marie Leszczynska -- Une reine musicienne -- Les sources -- Les Concerts de la reine dans leur contexte -- Les lieux de concert et leur cérémonial -- Le déroulement des concerts -- La fréquence des concerts -- Le personnel musical -- Les effictifi -- Les pratiques musicales -- Les interprètes -- Le répertoire -- La programmation -- Les créations -- Les "concerts italiens" -- Les concerts spirituels -- Colin de Blamont aux Concerts de la reine -- Les bals -- Les spectacles ordinaires de la Cour -- Les comédies -- Les ouvrages lyriques -- Le théâtre de Fontainebleau -- Les Cercopes -- Les Amours du Printemps -- Le théâtre des Petits Appartements -- Les Regrets des Beaux-Arts et Le Départ de la Renommée -- Les Fêtes grecques é- romaines -- Les Fêtes de Thétis -- I2Extraordinaire -- Les Vingt-Quatre Violons du roi -- Les oeuvres de circonstance -- L'opéra "en concert" à Versailles -- L'opéra "de concert" à Versailles -- 1720-1721 Premières convalescences du roi: Concert donné au roi, à sa première convalescence en 1720 et Concert pour la convalescence du roy aux Thuileries -- 1725 Mariage du roi: Le Retour des dieux sur la terre -- 1727 Naissance de Mesdames Élisabeth et Henriette: Les Présents des dieux -- 1728 Fête donnée à la reine par mademoiselle de Clermont: EImpromptu du Labyrinthe de Versailles -- 1729 Naissance du Dauphin: le Ballet du Parnasse, La Nymphe de la Seine et Le Caprice d'Érato -- Le Ballet du Parnasse -- La Nymphe de la Seine -- Le Caprice d'Érato -- 1730 Naissance du duc d'Anjou: " Reine, dans les transports d'une joie éclatante " -- 1739 Mariage de Madame Élisabeth : Le Jardin des Hespérides -- 1744 Convalescence du roi: Cantatille sur l'heureux retour de la reine à Versailles et Idylle pour la convalescence du roi -- 1744 Mariage du duc de Penthièvre: Les Amours du Printemps ou Zéphire & Flore -- 1745 Le Mariage du Dauphin et la victoire de Fontenoy: Jupiter vainqueur des Titans -- La musique sacrée -- Le Premier Livre de motets -- Les petits motets -- Attende anima aeterna -- Diligam te Domine -- Exaltabo te Deus meus -- Regina caeli -- Le Te Deum -- Genèse -- Les sources du Te Deum -- Aspects musicaux du Te Deum -- Le Te Deum dans son contexte: cérémonial et querelles à la Cour au temps de Louis XV -- La querelle des Te Deum -- À Paris : Concert Spirituel, Académie royale de musique et salons -- Au Concert Spirituel -- À l'Académie royale de musique -- Les Fêtes grecques & romaines -- Endymion -- Les Caractères de l'Amour -- Aspects du théâtre lyrique de Colin de Marnant
  • Les musiques de salon : cantates, cantatilles et airs -- Les cantates françaises -- Le Premier Livre de cantates (1723) -- Le Deuxième Livre de cantates (1729) -- Le Troisième Livre de cantates (1729) -- Éléments stylistiques -- Les cantatilles -- Les airs -- Homme de cour, esthète et musicien -- Les deux " manières " au miroir de l'Essai sur les goûts ancien et moderne de la musique Françoise -- Avant 1733 -- Après 1733 -- L'Essai sur les goûts ancien et moderne de la musique française: un testament esthétique ? -- Des honneurs à l'oubli -- Le temps des honneurs -- La succession -- Le professeur -- L'homme -- L'oubli.
"Au temps de Louis XV, la vie musicale de la cour de France retrouve la splendeur qui fut la sienne au Grand Siècle : à Paris, à Versailles, mais aussi à Fontainebleau ou à Choisy, la musique accompagne le souverain et ses proches en ponctuant la vie quotidienne et en soulignant les grands événements politiques, militaires et dynastiques. Une armée de chanteurs et d'instrumentistes est réunie sous l'autorité de quelques personnalités charismatiques, dont François Colin de Blamont, surintendant de la Musique de la Chambre, est l'une des plus importantes. Né et mort à Versailles, formé puis recruté à la Cour où sa carrière fut exemplaire, il s'employa à maintenir vive la grande tradition musicale française héritée du règne de Louis XIV. Cette étude explore le champ encore méconnu de la vie musicale à la Cour au XVIIIe siècle, d'un point de vue musicologique mais aussi historique, social et politique. La vie, la carrière et l'oeuvre de Colin de Blamont forment la trame de cette enquête, véritable chronique musicale du règne de Louis XV."--Page 4 of cover.
  • Jeunesse et formation -- L'entourage familial -- Les premiers pas à la Musique du roi -- À la cour de Sceaux: le jeu des influences et des rencontres -- Un musicien entre deux règnes -- Le service de la Cour: grandeur et servitudes d'un surintendant à la cour de Louis XV -- Louis XV et la musique -- L'Inconnu (1720) -- Les Folies de Cardenio (1720) -- Les Éléments (1721) -- Les Fêtes grecques & romaines (1723) -- La Musique de la Chambre du roi: histoire et fonctionnement -- L'Ordinaire -- Les Concerts de la reine -- Marie Leszczynska -- Une reine musicienne -- Les sources -- Les Concerts de la reine dans leur contexte -- Les lieux de concert et leur cérémonial -- Le déroulement des concerts -- La fréquence des concerts -- Le personnel musical -- Les effictifi -- Les pratiques musicales -- Les interprètes -- Le répertoire -- La programmation -- Les créations -- Les "concerts italiens" -- Les concerts spirituels -- Colin de Blamont aux Concerts de la reine -- Les bals -- Les spectacles ordinaires de la Cour -- Les comédies -- Les ouvrages lyriques -- Le théâtre de Fontainebleau -- Les Cercopes -- Les Amours du Printemps -- Le théâtre des Petits Appartements -- Les Regrets des Beaux-Arts et Le Départ de la Renommée -- Les Fêtes grecques é- romaines -- Les Fêtes de Thétis -- I2Extraordinaire -- Les Vingt-Quatre Violons du roi -- Les oeuvres de circonstance -- L'opéra "en concert" à Versailles -- L'opéra "de concert" à Versailles -- 1720-1721 Premières convalescences du roi: Concert donné au roi, à sa première convalescence en 1720 et Concert pour la convalescence du roy aux Thuileries -- 1725 Mariage du roi: Le Retour des dieux sur la terre -- 1727 Naissance de Mesdames Élisabeth et Henriette: Les Présents des dieux -- 1728 Fête donnée à la reine par mademoiselle de Clermont: EImpromptu du Labyrinthe de Versailles -- 1729 Naissance du Dauphin: le Ballet du Parnasse, La Nymphe de la Seine et Le Caprice d'Érato -- Le Ballet du Parnasse -- La Nymphe de la Seine -- Le Caprice d'Érato -- 1730 Naissance du duc d'Anjou: " Reine, dans les transports d'une joie éclatante " -- 1739 Mariage de Madame Élisabeth : Le Jardin des Hespérides -- 1744 Convalescence du roi: Cantatille sur l'heureux retour de la reine à Versailles et Idylle pour la convalescence du roi -- 1744 Mariage du duc de Penthièvre: Les Amours du Printemps ou Zéphire & Flore -- 1745 Le Mariage du Dauphin et la victoire de Fontenoy: Jupiter vainqueur des Titans -- La musique sacrée -- Le Premier Livre de motets -- Les petits motets -- Attende anima aeterna -- Diligam te Domine -- Exaltabo te Deus meus -- Regina caeli -- Le Te Deum -- Genèse -- Les sources du Te Deum -- Aspects musicaux du Te Deum -- Le Te Deum dans son contexte: cérémonial et querelles à la Cour au temps de Louis XV -- La querelle des Te Deum -- À Paris : Concert Spirituel, Académie royale de musique et salons -- Au Concert Spirituel -- À l'Académie royale de musique -- Les Fêtes grecques & romaines -- Endymion -- Les Caractères de l'Amour -- Aspects du théâtre lyrique de Colin de Marnant
  • Les musiques de salon : cantates, cantatilles et airs -- Les cantates françaises -- Le Premier Livre de cantates (1723) -- Le Deuxième Livre de cantates (1729) -- Le Troisième Livre de cantates (1729) -- Éléments stylistiques -- Les cantatilles -- Les airs -- Homme de cour, esthète et musicien -- Les deux " manières " au miroir de l'Essai sur les goûts ancien et moderne de la musique Françoise -- Avant 1733 -- Après 1733 -- L'Essai sur les goûts ancien et moderne de la musique française: un testament esthétique ? -- Des honneurs à l'oubli -- Le temps des honneurs -- La succession -- Le professeur -- L'homme -- L'oubli.
"Au temps de Louis XV, la vie musicale de la cour de France retrouve la splendeur qui fut la sienne au Grand Siècle : à Paris, à Versailles, mais aussi à Fontainebleau ou à Choisy, la musique accompagne le souverain et ses proches en ponctuant la vie quotidienne et en soulignant les grands événements politiques, militaires et dynastiques. Une armée de chanteurs et d'instrumentistes est réunie sous l'autorité de quelques personnalités charismatiques, dont François Colin de Blamont, surintendant de la Musique de la Chambre, est l'une des plus importantes. Né et mort à Versailles, formé puis recruté à la Cour où sa carrière fut exemplaire, il s'employa à maintenir vive la grande tradition musicale française héritée du règne de Louis XIV. Cette étude explore le champ encore méconnu de la vie musicale à la Cour au XVIIIe siècle, d'un point de vue musicologique mais aussi historique, social et politique. La vie, la carrière et l'oeuvre de Colin de Blamont forment la trame de cette enquête, véritable chronique musicale du règne de Louis XV."--Page 4 of cover.
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ML270.3 .D73 2016 Unavailable On order Request

9. The noise of time [2016]

Book
pages
"A compact masterpiece dedicated to the Russian composer Dmitri Shostakovich--Julian Barnes's first novel since his best-selling, Booker Prize-winning The Sense of an Ending. 1936: Shostakovich, just thirty, fears for his livelihood and his life. Stalin, hitherto a distant figure, has taken a sudden interest in his work and denounced his latest opera. Now, certain he will be exiled to Siberia (or, more likely, shot dead on the spot), he reflects on his predicament, his personal history, his parents, various women and wives, his children all of those hanging in the balance of his fate. And though a stroke of luck prevents him from becoming yet another casualty of the Great Terror, for years to come he will be held fast under the thumb of despotism: made to represent Soviet values at a cultural conference in New York City, forced into joining the Party, and compelled, constantly, to weigh appeasing those in power against the integrity of his music. Barnes elegantly guides us through the trajectory of Shostakovich's career, at the same time illuminating the tumultuous evolution of the Soviet Union. The result is both a stunning portrait of a relentlessly fascinating man and a brilliant meditation on the meaning of art and its place in society"-- Provided by publisher.
"A compact masterpiece dedicated to the Russian composer Dmitri Shostakovich--Julian Barnes's first novel since his best-selling, Booker Prize-winning The Sense of an Ending. 1936: Shostakovich, just thirty, fears for his livelihood and his life. Stalin, hitherto a distant figure, has taken a sudden interest in his work and denounced his latest opera. Now, certain he will be exiled to Siberia (or, more likely, shot dead on the spot), he reflects on his predicament, his personal history, his parents, various women and wives, his children all of those hanging in the balance of his fate. And though a stroke of luck prevents him from becoming yet another casualty of the Great Terror, for years to come he will be held fast under the thumb of despotism: made to represent Soviet values at a cultural conference in New York City, forced into joining the Party, and compelled, constantly, to weigh appeasing those in power against the integrity of his music. Barnes elegantly guides us through the trajectory of Shostakovich's career, at the same time illuminating the tumultuous evolution of the Soviet Union. The result is both a stunning portrait of a relentlessly fascinating man and a brilliant meditation on the meaning of art and its place in society"-- Provided by publisher.
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264 pages ; 24 cm.
  • Introduction: Opera, Multiculturalism, and Coloniality Mary I. Ingraham, Joseph K. So, and Roy Moodley Part I: Opera as Tradition 1. Jazz, Opera, and the Ideologies of Race Linda Hutcheon and Michael Hutcheon 2. Blacks and Blackface at the Opera Robin Elliott 3. From Chinatown Opera to The First Emperor: Racial Imagination, the Trope of "Chinese Opera" and New Hybridity Nancy Yunhwa Rao 4. The Other Within: Negotiating Musical Citizenship in Canadian Opera Mary Ingraham 5. Playing the Race Card: Anti-Semitism and Wagner(R) Nicholas Vazsonyi Part II: Critical Case Studies 6. Joseph Haydn's Judaizing of the Apothecary-Take 2 Caryl Clark 7. Strauss and Racial Science Sander L. Gilman 8. Their Meister's Voice: Nazi Reception of Richard Wagner and His Works in the Volkischer Beobachtez David B. Dennis 9. Returning to Where She Didn't Come From: Turandot on the Chinese Stage Josh Stenberg 10. Reflections on a Most Unusual Parsifal: Bayreuth and Christoph Schlingensief Frances Henry 11. Racism and Sexism: Melodies that Continue to Soar on the Operatic Landscape Wallace Cheatham Part III: Opera in the Real World 12. Jazzing Up Opera: A Defence of Quebecite George Elliott Clarke 13. Voices from the Gallery: Perceptions, Perspectives and Pleasures of the Opera Audience Deanna Davis, Joseph K. So, and Roy Moodley 14. Constructing Operatic Racism in Postmodern Cultural Studies Frances Henry and Carol Tator.
  • (source: Nielsen Book Data)
Through historical and contemporary examples, this book critically explores the relevance and expressions of multicultural representation in western European operatic genres in the modern world. It reveals their approaches to reflecting identity, transmitting meaning, and inspiring creation, as well as the ambiguities and contradictions that occur across the time and place(s) of their performance. This collection brings academic researchers in opera studies into conversation with previously unheard voices of performers, critics, and creators to speak to issues of race, ethnicity, and culture in the genre. Together, they deliver a powerful critique of the perpetuation of the values and practices of dominant cultures in operatic representations of intercultural encounters. Essays accordingly cross methodological boundaries in order to focus on a central issue in the emerging field of coloniality: the hierarchies of social and political power that include the legacy of racialized practices. In theorizing coloniality through intercultural exchange in opera, authors explore a range of topics and case studies that involve immigrant, indigenous, exoticist, and other cultural representations and consider a broad repertoire that includes lesser-known Canadian operas, Chinese- and African-American performances, as well as works by Haydn, Strauss, Puccini, and Wagner, and in performances spanning three continents and over two centuries. In these ways, the collection contributes to the development of a more integrated understanding of the interdisciplinary fields inherent in opera, including musicology, sociology, anthropology, and others connected to Theatre, Gender, and Cultural Studies.
(source: Nielsen Book Data)
  • Introduction: Opera, Multiculturalism, and Coloniality Mary I. Ingraham, Joseph K. So, and Roy Moodley Part I: Opera as Tradition 1. Jazz, Opera, and the Ideologies of Race Linda Hutcheon and Michael Hutcheon 2. Blacks and Blackface at the Opera Robin Elliott 3. From Chinatown Opera to The First Emperor: Racial Imagination, the Trope of "Chinese Opera" and New Hybridity Nancy Yunhwa Rao 4. The Other Within: Negotiating Musical Citizenship in Canadian Opera Mary Ingraham 5. Playing the Race Card: Anti-Semitism and Wagner(R) Nicholas Vazsonyi Part II: Critical Case Studies 6. Joseph Haydn's Judaizing of the Apothecary-Take 2 Caryl Clark 7. Strauss and Racial Science Sander L. Gilman 8. Their Meister's Voice: Nazi Reception of Richard Wagner and His Works in the Volkischer Beobachtez David B. Dennis 9. Returning to Where She Didn't Come From: Turandot on the Chinese Stage Josh Stenberg 10. Reflections on a Most Unusual Parsifal: Bayreuth and Christoph Schlingensief Frances Henry 11. Racism and Sexism: Melodies that Continue to Soar on the Operatic Landscape Wallace Cheatham Part III: Opera in the Real World 12. Jazzing Up Opera: A Defence of Quebecite George Elliott Clarke 13. Voices from the Gallery: Perceptions, Perspectives and Pleasures of the Opera Audience Deanna Davis, Joseph K. So, and Roy Moodley 14. Constructing Operatic Racism in Postmodern Cultural Studies Frances Henry and Carol Tator.
  • (source: Nielsen Book Data)
Through historical and contemporary examples, this book critically explores the relevance and expressions of multicultural representation in western European operatic genres in the modern world. It reveals their approaches to reflecting identity, transmitting meaning, and inspiring creation, as well as the ambiguities and contradictions that occur across the time and place(s) of their performance. This collection brings academic researchers in opera studies into conversation with previously unheard voices of performers, critics, and creators to speak to issues of race, ethnicity, and culture in the genre. Together, they deliver a powerful critique of the perpetuation of the values and practices of dominant cultures in operatic representations of intercultural encounters. Essays accordingly cross methodological boundaries in order to focus on a central issue in the emerging field of coloniality: the hierarchies of social and political power that include the legacy of racialized practices. In theorizing coloniality through intercultural exchange in opera, authors explore a range of topics and case studies that involve immigrant, indigenous, exoticist, and other cultural representations and consider a broad repertoire that includes lesser-known Canadian operas, Chinese- and African-American performances, as well as works by Haydn, Strauss, Puccini, and Wagner, and in performances spanning three continents and over two centuries. In these ways, the collection contributes to the development of a more integrated understanding of the interdisciplinary fields inherent in opera, including musicology, sociology, anthropology, and others connected to Theatre, Gender, and Cultural Studies.
(source: Nielsen Book Data)
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ML1700 .O669 2016 Unknown
Book
xiv, 224 pages : illustrations ; 23 cm
  • ACKNOWLEDGEMENT AND CREDITS PREFACE INTRODUCTION PART ONE: BEFORE REHEARSALS CHAPTER ONE: GOING PUBLIC CHAPTER TWO: THE PRELIMINARIES CHAPTER THREE: TIME RESTRICTIONS CHAPTER FOUR: CASTING CHAPTER FIVE: MODEL FOR A PLAY READING CHAPTER SIX: STAGE DIRECTIONS PART TWO: REHEARSAL AND PERFORMANCE CHAPTER SEVEN: BEFORE REHEARSAL BEGINS CHAPTER EIGHT Movement, Gestures and Adapting Stage Directions in Rehearsal CHAPTER NINE: EDITING AND MOVEMENT FOR CHALLENGING TEXT AND STAGE DIRECTIONS CHAPTER TEN: REVIEW AND TECH CHAPTER ELEVEN: ACTING IN A PLAY READING CHAPTER TWELVE: DEVELOPMENT AND PRESENTATION CHAPTER THIRTEEN: DEVELOPING NEW MUSICALS AND OPERAS CHAPTER FOURTEEN: NON-DEVELOPMENTAL READINGS PART THREE: AFTER THE READING CHAPTER FIFTEEN: AUDIENCES AND TALKBACKS CHAPTER SIXTEEN: THE FOLLOW-UP EPILOGUE: MOVING FORWARD Appendix A - For Emerging Artists Appendix B - Unions and Guilds Appendix C - Selections, Cuttings and Excerpts Appendix D - A Playwright's Responses: E. Rey Patmatat Appendix E - Advice from a Casting Director: Tom Rowan Appendix F - International Readings: Horacio Perez INDEX.
  • (source: Nielsen Book Data)
Play Readings: A Complete Guide for Theatre Practitioners demystifies the standards and protocols of a play reading, demonstrating how to create effective and evocative readings for those new to or inexperienced with the genre. It examines all of the essential considerations involved in readings, including the use of the venue, pre-reading preparations, playwright/director communication, editing/adapting stage directions, casting, using the limited rehearsal time effectively, simple "staging" suggestions, working with actors, handling complex stage directions, talkbacks, and limiting the use of props, costumes, and music. A variety of readings are covered, including readings of musicals, operas, and period plays, for comprehensive coverage of this increasingly prevalent production form.
(source: Nielsen Book Data)
  • ACKNOWLEDGEMENT AND CREDITS PREFACE INTRODUCTION PART ONE: BEFORE REHEARSALS CHAPTER ONE: GOING PUBLIC CHAPTER TWO: THE PRELIMINARIES CHAPTER THREE: TIME RESTRICTIONS CHAPTER FOUR: CASTING CHAPTER FIVE: MODEL FOR A PLAY READING CHAPTER SIX: STAGE DIRECTIONS PART TWO: REHEARSAL AND PERFORMANCE CHAPTER SEVEN: BEFORE REHEARSAL BEGINS CHAPTER EIGHT Movement, Gestures and Adapting Stage Directions in Rehearsal CHAPTER NINE: EDITING AND MOVEMENT FOR CHALLENGING TEXT AND STAGE DIRECTIONS CHAPTER TEN: REVIEW AND TECH CHAPTER ELEVEN: ACTING IN A PLAY READING CHAPTER TWELVE: DEVELOPMENT AND PRESENTATION CHAPTER THIRTEEN: DEVELOPING NEW MUSICALS AND OPERAS CHAPTER FOURTEEN: NON-DEVELOPMENTAL READINGS PART THREE: AFTER THE READING CHAPTER FIFTEEN: AUDIENCES AND TALKBACKS CHAPTER SIXTEEN: THE FOLLOW-UP EPILOGUE: MOVING FORWARD Appendix A - For Emerging Artists Appendix B - Unions and Guilds Appendix C - Selections, Cuttings and Excerpts Appendix D - A Playwright's Responses: E. Rey Patmatat Appendix E - Advice from a Casting Director: Tom Rowan Appendix F - International Readings: Horacio Perez INDEX.
  • (source: Nielsen Book Data)
Play Readings: A Complete Guide for Theatre Practitioners demystifies the standards and protocols of a play reading, demonstrating how to create effective and evocative readings for those new to or inexperienced with the genre. It examines all of the essential considerations involved in readings, including the use of the venue, pre-reading preparations, playwright/director communication, editing/adapting stage directions, casting, using the limited rehearsal time effectively, simple "staging" suggestions, working with actors, handling complex stage directions, talkbacks, and limiting the use of props, costumes, and music. A variety of readings are covered, including readings of musicals, operas, and period plays, for comprehensive coverage of this increasingly prevalent production form.
(source: Nielsen Book Data)
SAL3 (off-campus storage)
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In process Request
PN2071 .R45 U93 2016 Available
Book
x, 282 pages : illustrations ; 23 cm.
  • General Introduction-- Li Ruru PART I: CLASSICAL PLAYS-- NEW APPROACHES 1. After Seventy Years, A Production That Redefines A Huaju Classic - Wang Yansong's New Interpretation Of The Savage Land-- Siyuan Liu 2. Lin Zhaohua's Innovation Of Huaju Acting In The Master Builder-- Lin Wei-Yu PART II: "MAIN MELODY"-- A NEW IMAGE OF PROPAGANDA THEATRE 3. Shang Yang And The Performance Of Historical Drama In Reform China-- Rosemary Roberts 4. Breaking Out Of The "Main Melody": Meng Bing And His "Monumental Theatre"-- Xiaomei Chen 5. Romancing Home: Sweet & Sour Hong Kong-- Gilbert C.F. Fong, & Shelby K.Y. Chan PART III: CONTEMPORARY CONSUMERISM-- A NEW RELATIONSHIP BETWEEN THEATRE, MARKET, AND SOCIETY 6. Performing Poetry On The Intermedial Stage: Flowers In The Mirror, Moon On The Water, And Beijing Avant-Garde Theatre In The New Millennium-- Rossella Ferrari 7. Survival Through Laughter - A Fun Gongfu: The Story Of The Deer And The Cauldron-- Ma Haili 8. Staging A New Venture: Tian Qinxin's The Yellow Storm And The Policy Change On The Huaju Industry In China-- Katherine Huiling Chou PART IV: INDEPENDENT THEATRE-- ALTERNATIVE SPACE 9. Taiwan's Little Theatre Grows Up - Reviving Peking Opera: The Revelation Into A Classic-- John B. Weinstein 10. Constructing The Alternative: Grass Stage And The Little Society-- Pu Bo & Yang Zi 11. For The People, By The People: Penghao Theatre And The Story Of Gong And Drum Lane-- Tarryn Li-Min Chun Conclusion-- Li Ruru.
  • (source: Nielsen Book Data)
An insightful analysis of more than a dozen Chinese stage productions, Staging China illustrates how Chinese society is reflected by and even constructed through theatre. Scholars from around the globe explore wide-ranging topics including recent approaches to classical theatre, propaganda theatre, and the challenges of independent theatres.
(source: Nielsen Book Data)
  • General Introduction-- Li Ruru PART I: CLASSICAL PLAYS-- NEW APPROACHES 1. After Seventy Years, A Production That Redefines A Huaju Classic - Wang Yansong's New Interpretation Of The Savage Land-- Siyuan Liu 2. Lin Zhaohua's Innovation Of Huaju Acting In The Master Builder-- Lin Wei-Yu PART II: "MAIN MELODY"-- A NEW IMAGE OF PROPAGANDA THEATRE 3. Shang Yang And The Performance Of Historical Drama In Reform China-- Rosemary Roberts 4. Breaking Out Of The "Main Melody": Meng Bing And His "Monumental Theatre"-- Xiaomei Chen 5. Romancing Home: Sweet & Sour Hong Kong-- Gilbert C.F. Fong, & Shelby K.Y. Chan PART III: CONTEMPORARY CONSUMERISM-- A NEW RELATIONSHIP BETWEEN THEATRE, MARKET, AND SOCIETY 6. Performing Poetry On The Intermedial Stage: Flowers In The Mirror, Moon On The Water, And Beijing Avant-Garde Theatre In The New Millennium-- Rossella Ferrari 7. Survival Through Laughter - A Fun Gongfu: The Story Of The Deer And The Cauldron-- Ma Haili 8. Staging A New Venture: Tian Qinxin's The Yellow Storm And The Policy Change On The Huaju Industry In China-- Katherine Huiling Chou PART IV: INDEPENDENT THEATRE-- ALTERNATIVE SPACE 9. Taiwan's Little Theatre Grows Up - Reviving Peking Opera: The Revelation Into A Classic-- John B. Weinstein 10. Constructing The Alternative: Grass Stage And The Little Society-- Pu Bo & Yang Zi 11. For The People, By The People: Penghao Theatre And The Story Of Gong And Drum Lane-- Tarryn Li-Min Chun Conclusion-- Li Ruru.
  • (source: Nielsen Book Data)
An insightful analysis of more than a dozen Chinese stage productions, Staging China illustrates how Chinese society is reflected by and even constructed through theatre. Scholars from around the globe explore wide-ranging topics including recent approaches to classical theatre, propaganda theatre, and the challenges of independent theatres.
(source: Nielsen Book Data)
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PN2874.2 .S83 2016 Available
Music score
1 score (lxiii, 336 pages, 3 pages of plates) : facsimiles ; 31 cm.
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(no call number) Unavailable In process
Music score
1 score (xliii, 155 pages) : facsimiles ; 32 cm.
  • !2 sonatas for violin and figured bass [op. 1] (1716) (H. 1-12). Sonata I in A major (H.1) ; Sonata II in D minor (H. 2) ; Sonata III in E minor (H. 3) ; Sonata IV in D major (H. 4) ; Sonata V in B flat major (H. 5) ; Sonata VI in G minor (H. 6) ; Sonata VII in C minor (H. 7) ; Sonata VIII in B minor (H. 8) ; Sonata IX in F major (H. 9) ; Sonata X in E major (H. 10) ; Sonata XI in A minor (H. 11) ; Sonata XII in D minor (H. 12)
  • !2 sonatas for violin and figured bass [op. 1] (revised, 1739) (H. 13-24). Sonata I in A major (H.13) ; Sonata II in D minor (H. 14) ; Sonata III in E minor (H. 15) ; Sonata IV in D major (H. 16) ; Sonata V in B flat major (H. 17) ; Sonata VI in G minor (H. 18) ; Sonata VII in C minor (H. 19) ; Sonata VIII in B minor (H. 20) ; Sonata IX in F major (H. 21) ; Sonata X in E major (H. 22) ; Sonata XI in A minor (H. 23) ; Sonata XII in D minor (H. 24).
  • !2 sonatas for violin and figured bass [op. 1] (1716) (H. 1-12). Sonata I in A major (H.1) ; Sonata II in D minor (H. 2) ; Sonata III in E minor (H. 3) ; Sonata IV in D major (H. 4) ; Sonata V in B flat major (H. 5) ; Sonata VI in G minor (H. 6) ; Sonata VII in C minor (H. 7) ; Sonata VIII in B minor (H. 8) ; Sonata IX in F major (H. 9) ; Sonata X in E major (H. 10) ; Sonata XI in A minor (H. 11) ; Sonata XII in D minor (H. 12)
  • !2 sonatas for violin and figured bass [op. 1] (revised, 1739) (H. 13-24). Sonata I in A major (H.13) ; Sonata II in D minor (H. 14) ; Sonata III in E minor (H. 15) ; Sonata IV in D major (H. 16) ; Sonata V in B flat major (H. 17) ; Sonata VI in G minor (H. 18) ; Sonata VII in C minor (H. 19) ; Sonata VIII in B minor (H. 20) ; Sonata IX in F major (H. 21) ; Sonata X in E major (H. 22) ; Sonata XI in A minor (H. 23) ; Sonata XII in D minor (H. 24).
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Book
239 p. : ill. (chiefly col.) ; 32 cm
  • Naissance d'un empire 1895-1907 -- La magie des récréations visuelles -- La naissance du cinématographe -- II était une fois... Léon Gaumont -- La cité Elgé -- Toits de paris -- Danse -- La chasse aux inventions -- Faire du bruit -- Objectif trichrome -- Alice Guy femme pionnière -- Etoiles, étoiles -- Le maître d'oeuvre du style gaumont 1907-1925 -- Les années Feuillade -- Bébé et Bout de Zan, les enfants stars -- Fantômas (1913) -- Les Vampires (1915) -- Léonce Perret : de l'art -- Jean Durand : du burlesque -- Masques -- Sang -- Émile Cohl à la pointe du crayon -- La construction d'un parc -- Le Gaumont-Palace -- Les salles gaumont -- Gaumont crée son journal -- Espions -- Gangsters -- L'art de l'affiche -- Un label Pax après la guerre -- Costumes -- Gaumont résiste aux crises 1925-1945 -- La Gaumont Metro Goldwyn -- Les films Aubert -- Franco-Film -- La Gaumont Franco-Film-Aubert, le grand bouleversement du parlant -- Jean Renoir histoires d'en France -- Le Tournoi (1928) -- French Cancan (1954) -- Etoiles, étoiles -- Le Gabin de Paris -- Jean Vigo l'insoumis -- L'Atalante (1934) -- Zéro de conduite (1933) -- Coup de gueule -- Espagne -- Danielle Darrieux, sans pathos -- Les femmes de Max Ophuls -- Sacha Guitry le beau parleur -- Seconde Guerre mondiale, seconde crise -- Marcel Pagnol, l'accent de la comédie -- Costumes -- Un goût pour le cinéma populaire 1945-1975 -- Alain Poiré veut divertir -- La télévision s'installe, Gaumont contre-attaque -- Gérard Philipe le beau tourmenté -- Etoiles, étoiles -- La saga Caroline chérie -- Robert Lamoureux, gaietés de l'escadron -- Louis Malle récits rebelles -- Ascenseur pour l'échafaud (1958) -- Jean-Paul Belmondo acteur roi -- La gouaille de Michel Audiard -- Georges Lautner et le polar fantaisiste -- Animation -- Baiser de cinéma -- Louis de Funès, drôle d'énergie ! -- Le retour de Fantômas -- Oury-Thompson association de bienfaiteurs -- La paire Yves Robert-Jean-Loup Dabadie -- Pierre Richard grand blond distrait -- Stars des années 1970 -- Philippe Noiret, tous les métiers -- Lino Ventura, la force tranquille -- Claude Pinoteau, les ados au box-office -- La magie des accessoires -- Une ouverture sur le monde 1975-1994 -- Le changement, c'est Nicolas Seydoux -- Les années Toscan -- Toscan le magnifique -- Costumes -- Les films-opéras -- Le jeune -- Les amants -- La palme à Maurice Pialat -- Le gourou Godard -- Paris, capitale de gaumont -- La planète Depardieu -- Isabelle Huppert, culturelle -- Records battus 1994-2015 -- L'instinct populaire de Patrice Ledoux -- De drôles de "visiteurs" -- Les aventures de Luc Besson -- Le Grand Bleu (1988) -- Jeanne d'Arc (1999) -- Le Cinquième Élément (1997) -- Francis Veber, l'art du tandem -- Sidonie Dumas l'audacieuse -- Le retour d'OSS 117 -- Intouchables au top du box-office -- Bon appétit monsieur Gallienne -- Belle et Sébastien, l'aventure continue...
"Célébrer les 120 ans de Gaumont, c'est fêter 120 ans de magie du cinéma ! La mythique société à la marguerite, fondée par Léon Gaumont, possède la plus longue histoire du septième art, et l'une des plus belles avec son catalogue éclectique riche de plus de 1000 films. Dans ce livre à l'iconographie foisonnante (environ 600 documents exceptionnels, affiches, costumes, accessoires, photos de films et de tournage...), Jean-Luc Douin nous invite à une promenade enchantée parmi les films cultes qui ont fait la renommée de Gaumont, des Vampires de Louis Feuillade à Intouchables, en passant par La Traversée de Paris, Les Tontons flingueurs, Fantômas, La Folie des grandeurs, Le Grand Blond avec une chaussure noire, Cousin, cousine, Don Giovanni, La Boum, Fanny et Alexandre, Sous le soleil de Satan, Le Grand Bleu, Les Visiteurs, Le Dîner de cons... en compagnie des stars d'hier et d'aujourd'hui."--P. [4] of cover.
  • Naissance d'un empire 1895-1907 -- La magie des récréations visuelles -- La naissance du cinématographe -- II était une fois... Léon Gaumont -- La cité Elgé -- Toits de paris -- Danse -- La chasse aux inventions -- Faire du bruit -- Objectif trichrome -- Alice Guy femme pionnière -- Etoiles, étoiles -- Le maître d'oeuvre du style gaumont 1907-1925 -- Les années Feuillade -- Bébé et Bout de Zan, les enfants stars -- Fantômas (1913) -- Les Vampires (1915) -- Léonce Perret : de l'art -- Jean Durand : du burlesque -- Masques -- Sang -- Émile Cohl à la pointe du crayon -- La construction d'un parc -- Le Gaumont-Palace -- Les salles gaumont -- Gaumont crée son journal -- Espions -- Gangsters -- L'art de l'affiche -- Un label Pax après la guerre -- Costumes -- Gaumont résiste aux crises 1925-1945 -- La Gaumont Metro Goldwyn -- Les films Aubert -- Franco-Film -- La Gaumont Franco-Film-Aubert, le grand bouleversement du parlant -- Jean Renoir histoires d'en France -- Le Tournoi (1928) -- French Cancan (1954) -- Etoiles, étoiles -- Le Gabin de Paris -- Jean Vigo l'insoumis -- L'Atalante (1934) -- Zéro de conduite (1933) -- Coup de gueule -- Espagne -- Danielle Darrieux, sans pathos -- Les femmes de Max Ophuls -- Sacha Guitry le beau parleur -- Seconde Guerre mondiale, seconde crise -- Marcel Pagnol, l'accent de la comédie -- Costumes -- Un goût pour le cinéma populaire 1945-1975 -- Alain Poiré veut divertir -- La télévision s'installe, Gaumont contre-attaque -- Gérard Philipe le beau tourmenté -- Etoiles, étoiles -- La saga Caroline chérie -- Robert Lamoureux, gaietés de l'escadron -- Louis Malle récits rebelles -- Ascenseur pour l'échafaud (1958) -- Jean-Paul Belmondo acteur roi -- La gouaille de Michel Audiard -- Georges Lautner et le polar fantaisiste -- Animation -- Baiser de cinéma -- Louis de Funès, drôle d'énergie ! -- Le retour de Fantômas -- Oury-Thompson association de bienfaiteurs -- La paire Yves Robert-Jean-Loup Dabadie -- Pierre Richard grand blond distrait -- Stars des années 1970 -- Philippe Noiret, tous les métiers -- Lino Ventura, la force tranquille -- Claude Pinoteau, les ados au box-office -- La magie des accessoires -- Une ouverture sur le monde 1975-1994 -- Le changement, c'est Nicolas Seydoux -- Les années Toscan -- Toscan le magnifique -- Costumes -- Les films-opéras -- Le jeune -- Les amants -- La palme à Maurice Pialat -- Le gourou Godard -- Paris, capitale de gaumont -- La planète Depardieu -- Isabelle Huppert, culturelle -- Records battus 1994-2015 -- L'instinct populaire de Patrice Ledoux -- De drôles de "visiteurs" -- Les aventures de Luc Besson -- Le Grand Bleu (1988) -- Jeanne d'Arc (1999) -- Le Cinquième Élément (1997) -- Francis Veber, l'art du tandem -- Sidonie Dumas l'audacieuse -- Le retour d'OSS 117 -- Intouchables au top du box-office -- Bon appétit monsieur Gallienne -- Belle et Sébastien, l'aventure continue...
"Célébrer les 120 ans de Gaumont, c'est fêter 120 ans de magie du cinéma ! La mythique société à la marguerite, fondée par Léon Gaumont, possède la plus longue histoire du septième art, et l'une des plus belles avec son catalogue éclectique riche de plus de 1000 films. Dans ce livre à l'iconographie foisonnante (environ 600 documents exceptionnels, affiches, costumes, accessoires, photos de films et de tournage...), Jean-Luc Douin nous invite à une promenade enchantée parmi les films cultes qui ont fait la renommée de Gaumont, des Vampires de Louis Feuillade à Intouchables, en passant par La Traversée de Paris, Les Tontons flingueurs, Fantômas, La Folie des grandeurs, Le Grand Blond avec une chaussure noire, Cousin, cousine, Don Giovanni, La Boum, Fanny et Alexandre, Sous le soleil de Satan, Le Grand Bleu, Les Visiteurs, Le Dîner de cons... en compagnie des stars d'hier et d'aujourd'hui."--P. [4] of cover.
SAL3 (off-campus storage)
Status of items at SAL3 (off-campus storage)
SAL3 (off-campus storage) Status
Stacks Request
PN1999 .G38 D68 2015 F Available
Book
24 pages : music ; 24 cm.
SAL3 (off-campus storage)
Status of items at SAL3 (off-campus storage)
SAL3 (off-campus storage) Status
In process Request
063 .F829 V.52:NO.1 Available
Book
xiv, 250 pages : illustrations ; 24 cm
  • Table of Contents -- Acknowledgements -- Dedication -- Preface -- About the Website -- Introduction: A Brave New World -- The University and the Stage -- The Problem -- Change -- Paradigm Shift -- Willingness to Innovate -- Chapter One: First Impressions: Taking inventory, Taking Auditions -- Part I: Taking Inventory of Skills -- Performance, Business, & Personal Skills Assessment -- Repertoire Assessment -- Performing Assessment -- Handling Success & Rejection Assessment -- Part II: Taking Inventory of Support Teams and Resources -- Skills Support Team -- Mind, Body, & Spirit Support Team -- Financial & Business Support Team -- Social & Community Support Team -- Inner Circle -- Part III: Taking Auditions -- What is Under My Control? -- What's my Larger Reason for Auditioning? -- Summary -- Chapter Two: Inner Compass: Singing with Purpose and Destination So You Won't Quit -- Part I: Your Purpose/Mission -- Excavating Your Calling -- Personal Truth -- Ideal Day -- Values -- Philosophy -- Balanced Life Goals -- Finding Direction: Artist's Mission Statement -- Part II: Your Work and Its Destination -- Your Product or Act -- Finding Your Mandate -- Reframing Your Singing as Service -- Singing Products and Services -- Singing Matters to the Most Unlikely People -- Coming of Age: Public Launch Event -- Part III: "Making It" -- Take the Focus off Dollars -- Positive Affirmation -- Practice Feeling Good -- Meditation -- Service and Gratitude -- Summary -- Chapter Three: Innovative Stages: Trend Spotting, Finding Your Niche -- Part I: Bright Spots and Trend Spotting -- Bright Spots -- Current Trends -- Free-lance Artist and Entrepreneur -- Career as Service -- Part II: Finding Your Niche -- The Traditional Artist's Path -- Summer Opera Programs -- Graduate School -- Young Artist Programs -- Competition -- Audition Season -- Opera Jobs in the US and Europe (Also Try Canada) -- Carving Out Your Niche -- Professional Chorus/Opera Chorus -- The Teaching Artist's Path -- Educational Outreach -- Voice Teacher -- The Independent Artist's Path -- The Artist as Entrepreneur -- Non-traditional Venues -- Making the World a Better Place -- Busking -- Non-Traditional Act -- Fundraising and Business Issues -- The Specialized Artist's Path -- Churches and Synagogues -- US Government -- Local Government -- Cruise Ships -- Hospitals and Nursing Homes -- Hospice Care -- Corporations and Private Parties -- Recording Companies -- Museums and Libraries -- Your Own Niche -- Give It the Old College Try -- Summary -- Chapter Four: A Living: Added Value, Authentic Image, Strategic Plan -- Part I: Added Value to Your Singing -- Vehicle Maintenance Adds Longevity -- Truth and Beauty Add Integrity -- Right-Side-Up Thinking Adds Stability -- Logging your 10,000 Hours Adds Experience -- Honing Your Skills Adds Quality -- Engaging Your Audiences Adds Depth -- Part II: Professional Public Image -- Authenticity -- Learn to Speak Well of Your Self and Your Work -- Audition, Interview and Pitch Materials -- Brand/Title -- Professional and Social Networking -- Conscious Self-Promotion -- Social Networking Sites -- Website -- Age and Tech Savvy Considerations -- 21st Century Materials -- Headshots -- Resume -- Recording -- Part III: Strategic Five-Year Plan -- Step 1: Visualize Yourself Five Years from Now -- Tribe -- Be Specific -- From Dreams into Reality -- Quality -- Maintaining Success -- Step 2: Three-Year Goals-Medium Range Goals -- Yearly Schedule -- Step 3: One-Year Goals -- Monthly Schedule -- Step 4: Where Can I Be in Six Months? -- Step 5: Where Can I Be in One Month? -- Weekly Schedule -- Step 6: What Can I Do By Friday? -- This is Just the Beginning -- Appendix A: Evaluator Note -- Appendix B: Young Artist Programs -- Appendix C: Career Summaries -- Appendix D: Values Checklist -- Bibliography -- Index.
  • (source: Nielsen Book Data)
The vast majority of singers with a degree in performance are un- or under-employed in their field. Despite the fact that talented singers are discovered every day, there are far too few jobs in the field of classical music to accommodate all of them, a problem evidenced by regular reports of opera companies and symphony orchestras closing their doors. Young classical singers, particularly recent graduates of music programs, need not only artistic ability, but also intelligence and an acute business sense to navigate the world of professional singing. In The 21st-Century Singer: Bridging the Gap Between the University and the World, author Susan Mohini Kane has created a user-friendly guide for these recent graduates. Kane combines the benefits of an instructional manual with those of a self-reflective workbook to provide emerging classical singers with both practical and inspirational advice. She begins with a section on self-evaluation, allowing readers to define what motivates their desire to sing professionally and reflect on their passions, before moving on to career advice. In the sections that follow, Kane presents a variety of career paths, such as singing, teaching, and consulting-realistic alternatives to the rise to stardom as an "overnight sensation" that so few will experience-and provides the reader with the tools to develop a concrete plan for whichever path they decide to pursue. Other sections offer instruction on how to develop support systems, train oneself holistically, and take advantage of the newest technological resources available for professional self-promotion. With its dual emphasis on artistic motivation and modern-day business sense, The 21st-Century Singer will prove an essential text for anyone pursuing a professional singing career.
(source: Nielsen Book Data)
  • Table of Contents -- Acknowledgements -- Dedication -- Preface -- About the Website -- Introduction: A Brave New World -- The University and the Stage -- The Problem -- Change -- Paradigm Shift -- Willingness to Innovate -- Chapter One: First Impressions: Taking inventory, Taking Auditions -- Part I: Taking Inventory of Skills -- Performance, Business, & Personal Skills Assessment -- Repertoire Assessment -- Performing Assessment -- Handling Success & Rejection Assessment -- Part II: Taking Inventory of Support Teams and Resources -- Skills Support Team -- Mind, Body, & Spirit Support Team -- Financial & Business Support Team -- Social & Community Support Team -- Inner Circle -- Part III: Taking Auditions -- What is Under My Control? -- What's my Larger Reason for Auditioning? -- Summary -- Chapter Two: Inner Compass: Singing with Purpose and Destination So You Won't Quit -- Part I: Your Purpose/Mission -- Excavating Your Calling -- Personal Truth -- Ideal Day -- Values -- Philosophy -- Balanced Life Goals -- Finding Direction: Artist's Mission Statement -- Part II: Your Work and Its Destination -- Your Product or Act -- Finding Your Mandate -- Reframing Your Singing as Service -- Singing Products and Services -- Singing Matters to the Most Unlikely People -- Coming of Age: Public Launch Event -- Part III: "Making It" -- Take the Focus off Dollars -- Positive Affirmation -- Practice Feeling Good -- Meditation -- Service and Gratitude -- Summary -- Chapter Three: Innovative Stages: Trend Spotting, Finding Your Niche -- Part I: Bright Spots and Trend Spotting -- Bright Spots -- Current Trends -- Free-lance Artist and Entrepreneur -- Career as Service -- Part II: Finding Your Niche -- The Traditional Artist's Path -- Summer Opera Programs -- Graduate School -- Young Artist Programs -- Competition -- Audition Season -- Opera Jobs in the US and Europe (Also Try Canada) -- Carving Out Your Niche -- Professional Chorus/Opera Chorus -- The Teaching Artist's Path -- Educational Outreach -- Voice Teacher -- The Independent Artist's Path -- The Artist as Entrepreneur -- Non-traditional Venues -- Making the World a Better Place -- Busking -- Non-Traditional Act -- Fundraising and Business Issues -- The Specialized Artist's Path -- Churches and Synagogues -- US Government -- Local Government -- Cruise Ships -- Hospitals and Nursing Homes -- Hospice Care -- Corporations and Private Parties -- Recording Companies -- Museums and Libraries -- Your Own Niche -- Give It the Old College Try -- Summary -- Chapter Four: A Living: Added Value, Authentic Image, Strategic Plan -- Part I: Added Value to Your Singing -- Vehicle Maintenance Adds Longevity -- Truth and Beauty Add Integrity -- Right-Side-Up Thinking Adds Stability -- Logging your 10,000 Hours Adds Experience -- Honing Your Skills Adds Quality -- Engaging Your Audiences Adds Depth -- Part II: Professional Public Image -- Authenticity -- Learn to Speak Well of Your Self and Your Work -- Audition, Interview and Pitch Materials -- Brand/Title -- Professional and Social Networking -- Conscious Self-Promotion -- Social Networking Sites -- Website -- Age and Tech Savvy Considerations -- 21st Century Materials -- Headshots -- Resume -- Recording -- Part III: Strategic Five-Year Plan -- Step 1: Visualize Yourself Five Years from Now -- Tribe -- Be Specific -- From Dreams into Reality -- Quality -- Maintaining Success -- Step 2: Three-Year Goals-Medium Range Goals -- Yearly Schedule -- Step 3: One-Year Goals -- Monthly Schedule -- Step 4: Where Can I Be in Six Months? -- Step 5: Where Can I Be in One Month? -- Weekly Schedule -- Step 6: What Can I Do By Friday? -- This is Just the Beginning -- Appendix A: Evaluator Note -- Appendix B: Young Artist Programs -- Appendix C: Career Summaries -- Appendix D: Values Checklist -- Bibliography -- Index.
  • (source: Nielsen Book Data)
The vast majority of singers with a degree in performance are un- or under-employed in their field. Despite the fact that talented singers are discovered every day, there are far too few jobs in the field of classical music to accommodate all of them, a problem evidenced by regular reports of opera companies and symphony orchestras closing their doors. Young classical singers, particularly recent graduates of music programs, need not only artistic ability, but also intelligence and an acute business sense to navigate the world of professional singing. In The 21st-Century Singer: Bridging the Gap Between the University and the World, author Susan Mohini Kane has created a user-friendly guide for these recent graduates. Kane combines the benefits of an instructional manual with those of a self-reflective workbook to provide emerging classical singers with both practical and inspirational advice. She begins with a section on self-evaluation, allowing readers to define what motivates their desire to sing professionally and reflect on their passions, before moving on to career advice. In the sections that follow, Kane presents a variety of career paths, such as singing, teaching, and consulting-realistic alternatives to the rise to stardom as an "overnight sensation" that so few will experience-and provides the reader with the tools to develop a concrete plan for whichever path they decide to pursue. Other sections offer instruction on how to develop support systems, train oneself holistically, and take advantage of the newest technological resources available for professional self-promotion. With its dual emphasis on artistic motivation and modern-day business sense, The 21st-Century Singer will prove an essential text for anyone pursuing a professional singing career.
(source: Nielsen Book Data)
Music Library
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ML3795 .K18 2015 Unknown
Music score
1 vocal score (242 pages) ; 31 cm
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Music score
1 study score (79 pages) ; 24 cm.
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Music score
1 score (249 pages) : 1 photo ; 31 cm.
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(no call number) Unavailable In process Request