tag:blogger.com,1999:blog-63000532682248110252024-03-12T23:36:24.697-04:00The Future of Classical MusicIJhttp://www.blogger.com/profile/11302686657198035607noreply@blogger.comBlogger888125tag:blogger.com,1999:blog-6300053268224811025.post-60583020360243089382016-04-16T20:13:00.000-04:002016-04-16T20:16:34.029-04:00Pierre Boulez, and His Legacy<div class="MsoNormal">
<span style="font-family: Georgia, Times New Roman, serif;">A few months ago, we lost a great composer from this world.</span></div>
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<span style="font-family: Georgia, Times New Roman, serif;"><o:p></o:p></span></div>
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<span style="font-family: Georgia, Times New Roman, serif;"><b>Pierre Boulez </b>is the person who pushed modernism’s
boundaries and made great contributions to modern/contemporary music in various
ways and in some realms. <o:p></o:p></span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">His enthusiasms and hopes for music influenced not only many
young composers and musicians but also audiences, and people who are in other
fields such as science. </span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">Pierre was asked by <span style="color: black;"><a href="https://en.wikipedia.org/wiki/Georges_Pompidou" style="background-image: none; text-decoration: none;" title="Georges Pompidou"><span style="color: black;">Georges Pompidou</span></a><span style="background-color: white;"> to found an institution for research in music in</span></span> <b style="color: #252525;">IRCAM</b><span style="background-color: white; color: #252525;"> (</span><i style="color: #252525;"><span lang="fr" xml:lang="fr">Institut de Recherche et Coordination Acoustique/Musique</span></i><span style="background-color: white;"><span style="color: #252525; font-family: sans-serif;"><span style="font-size: 14px;"><span style="font-family: sans-serif; font-size: 14px;">, </span><span style="font-family: inherit;">or Institute for Research and Coordination Acoustic / Music in English) that has </span></span></span></span><span style="color: #252525; font-family: sans-serif;"><span style="font-family: inherit; font-size: 14px;">programmes in contemporary classical music.</span></span></span></div>
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<span style="font-family: Georgia, Times New Roman, serif;"><span style="font-family: inherit;">He always attracted and motivated young musicians with
his black-and-white statement; “This is wrong, and this is right.” Pierre never
stopped seeking something new and kept thinking about ‘the future of classical
music.’</span><o:p></o:p></span></div>
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<span style="font-family: Georgia, Times New Roman, serif;"><br /></span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">One of arts organization Pierre founded is <b>Ensemble InterContemporain</b>.
<o:p></o:p></span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">It’s a Paris-based, world-renowned ensemble of 31 full time
musicians dedicated to performing and promoting contemporary music from the 20<sup>th</sup>
and 21<sup>st</sup> centuries since 1972. They give a large number of
performances in France and abroad, and appear especially at international
festivals. Through Pierre’s thoughts about music, the organization gives
artists to have many opportunities, and have teaching and other outreach
activities.<o:p></o:p></span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">Now, under the lead of Matthias Pintscher, the artistic
director, they share passion for new music, explore new music realms, and
support and nourish young musicians, composers and conductors. The ensemble has
premiered more than 500 works over the past 35 years. <o:p></o:p></span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">The Ensemble InterContemporain is one of the biggest and the
most powerful, experimental organizations in the world that promote and support
‘the future of classical music’ for sure.</span><o:p></o:p></div>
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Related article and websites:</div>
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<a href="http://www.nytimes.com/2016/01/07/arts/music/pierre-boulez-french-composer-dies-90.html?_r=0" target="_blank">Pierre Boulez dies at 90, from New York Times</a></div>
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<a href="http://www.ensembleinter.com/en/new-home-en.php" target="_blank">Ensemble InterContemporain</a></div>
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<a href="http://www.ircam.fr/?L=1" target="_blank">IRCAM</a></div>
Anonymoushttp://www.blogger.com/profile/12131989586242066922noreply@blogger.com0tag:blogger.com,1999:blog-6300053268224811025.post-11863107810333010082016-04-12T10:38:00.000-04:002016-04-12T10:38:09.115-04:00How Classical Music Can Help Kids.This was an interesting read about a producers who are for incorporating classical music in children's routine from very young age. I completely agree because learning music from the very young age definitely contributes into one's development process. I think it's a great step and people actually realize which type music is worth introducing to children. By this I am not trying to diminish pop culture by any way, I just mean that everything builds up from basis but whatever builds on it sometimes stays (and also starts to be called classics) and sometimes does not. That's why it's important to know to base first.<br />
The other thing is to find a way for it to be more accessible from child's perception because if the music and activity involving music are not inviting and interesting for children, I am not sure how it will affect their focus.<br />
<a href="http://www.huffingtonpost.com/entry/classical-music-for-kids-digital-age_us_560eee6ee4b0768127021a69?utm_hp_ref=classical-music" target="_blank">Article itself.</a>Anonymoushttp://www.blogger.com/profile/03143091655483534677noreply@blogger.com0tag:blogger.com,1999:blog-6300053268224811025.post-41007144284377649122016-02-29T19:39:00.004-05:002016-02-29T19:39:55.477-05:00The perfect combination of classical and modern<br />
Last Friday i went to see the BU's opera performances.A visual and auditory feast, a combination of classical and modern elements.<br />
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The most interesting thing of the performance is the combination of classical opera and modern elements. The stage set and costume collocation, the use of the color and lights are very modern.<br />
Mozart's classic opera generate a new feeling after the director's innovation . It not only satisfy the person who had loved opera and classical music, but also attracted some music enthusiasts. The whole process for about three hours, but people they did not feel boring.<br />
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The combination of classical and modern music innovation, It is worth to promoting.<br />
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Anonymoushttp://www.blogger.com/profile/17899114996041133765noreply@blogger.com0tag:blogger.com,1999:blog-6300053268224811025.post-14105100216395840182016-02-22T23:12:00.002-05:002016-02-22T23:12:41.929-05:00Figaro Gets a DivorceWhile looking in Washington Post for some interesting reads about what's new in Classical Music World, I couldn't really understand why I had to scroll down from so many huge Kesha, Taylor Swift, Justin Bieber articles to find a one paragraph (!) review of a Marathon Evening of Prokofiev Piano Concertos- which in my opinion is pretty intense but I won't be surprised if a lot more people will find it easier to relate to Kanye's Life of Pablo than to Prokofiev.<br />
The similar thing happened when I was looking at NY Times during breakfast couple days ago and found a small paragraph on classical music after three pages of Taylor Swift. Right below the crosswords- there was a classical concert review, which again leads me to the point that of course news paper will write what sells. I am sure that Taylor Swift news sell better than string quartet performance in Brooklyn and it's probably because a significant part of general audience can relate themselves to her songs better that to a particular classical music composition.<br />
Later in Telegraph however I found <a href="http://www.telegraph.co.uk/opera/what-to-see/figaro-gets-a-divorce--a-modern-opera-with-emotional-clout/" target="_blank">this</a> interesting read about a modern opera composed by Elena Langer which is a sequel to The Marriage of Figaro. This brought me to the thought that in Classical Music- we always look back, always. We look back to Baroque Period for the most mastered counterpoint, we look back to Classical Period for a best sense of order, form and structure, we look back to Romantic Period for character pieces, to Impressionist for colors, to the music of XX century for new vision and ideas. Exactly the same way the composers of the past have been looking even deeper into past to write their reflections and answers to the music that has been written before. So many masterpieces have been taken out from or been influenced by Bach or Beethoven and you can actually hear the connection that makes you wonder what exactly did Brahms or Busoni were looking for in Bach. Such curiosity makes me want to go back to Bach- to listen and to look for connections. It's all mutually connected; composers, pieces, periods.<br />
What makes the contemporary music stand out, which is also a fascinating thing about contemporary music is that it stopped sounding like anything before. It's all new, new music, new ideas, new approach and I as a musician I think this is wonderful, but as a casual listener I know that from time to time I would crave to hear something more safe- a slightly modified version of something that already has been sitting in my mind, something I could personally connect to. People are all so crazy about connecting dots and bringing things back from the past. That's why we have all those sequels and covers and remakes in music, theater, movie industries that will not only never fall out of fashion but will even become more popular when re-written or re-filmed with a fresh view of a modern world.<br />
I really liked the idea behind writing a continuation of The Marriage of Figaro which I hope will elicit some curiosity from listeners and they will want to go and check out the original opera. Also I think it won't hurt if something similar takes place in modern composition practice. <a href="http://www.telegraph.co.uk/opera/what-to-see/figaro-gets-a-divorce--a-modern-opera-with-emotional-clout/" target="_blank">Article</a>Anonymoushttp://www.blogger.com/profile/03143091655483534677noreply@blogger.com0tag:blogger.com,1999:blog-6300053268224811025.post-38928886154432382202016-02-22T17:49:00.000-05:002016-02-22T17:52:19.394-05:00Some ideas of classical music after an concert<br />
Last thursday I attended a classical music concert on Thursday. It was a faculty artist recital worked of Schumann, Schubert and Mahler. The singger is Karyl Ryczek and the pianist is Wayman Chin. It was a wonderful and amazing concert. Fully showed the beauty and attractive of classical music. on that day we all had a free opportunity to enjoy classical music, but mostly of audience were longy's students and some music teachers. There always have a lot of classical music concerts in school, the audiences mostly are the people who learning music of adult undergraduate or graduate students, and the old man.<br />
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I was wondering if we can build a relationship of cooperation, to the primary and middle school students and senior high school students, to provide more opportunity to let them to contact with classical music. Help to cultivate their interest in classical music. At the same time also can organize students into the elementary、middle schools and high schools, set up the concert.<br />
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Also can have volunteers to teach music or extracurricular coaching, then performing together. I think it will be helpful for spread of classical music in the younger generation.<br />
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<br />Anonymoushttp://www.blogger.com/profile/17899114996041133765noreply@blogger.com0tag:blogger.com,1999:blog-6300053268224811025.post-10960875138893966762016-02-13T22:40:00.001-05:002016-02-13T22:40:14.355-05:00Is classical music really on the decline?<br />
Many people said classical music is on the decline, the situation of record sales is bad, dozen of orchestras closed their doors. The problem that classical music faces is obvious, the institutions of classical music are very expensive. On the other hand, listeners prefer new online services, so they seldom buy CDs. We should cherish classical music, they are essence of life and humanity, we need to build audiences for it, give young people more education about it, set more nonprofit enterprise to help classical music.<br />
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<a href="http://mariustesch.net/the-future-of-classical-music/">http://mariustesch.net/the-future-of-classical-music/</a>Anonymoushttp://www.blogger.com/profile/17899114996041133765noreply@blogger.com1tag:blogger.com,1999:blog-6300053268224811025.post-85626274339755730492016-02-08T19:17:00.000-05:002016-02-08T19:17:20.248-05:00YOLA at the Super Bowl halftime: hit or miss?Most of us saw or heard from friends about the performance of Gustavo Dudamel and YOLA at the Super Bowl halftime show. I encountered this <a href="http://www.latimes.com/entertainment/arts/la-et-cm-gustavo-dudamel-yola-super-bowl-20160207-column.html">article</a> that represents not so positive opinion about the performance, it's value and it's reasons. The note of skepticism takes over from the very first sentence: <i><span style="font-size: x-small;">"<span style="background-color: white; color: #333333; font-family: Georgia, serif;">How disappointing was it that Gustavo Dudamel and Youth Orchestra Los Angeles were relegated to accompanying Coldplay and singing along with </span><a href="http://www.latimes.com/topic/entertainment/music/chris-martin-PECLB0015448-topic.html" style="color: #4591b8; font-family: Georgia, serif; text-decoration: none;" title="Chris Martin">Chris Martin</a><span style="background-color: white; color: #333333; font-family: Georgia, serif;">, Beyoncé and </span><a href="http://www.latimes.com/topic/entertainment/music/bruno-mars-PECLB00014781-topic.html" style="color: #4591b8; font-family: Georgia, serif; text-decoration: none;" title="Bruno Mars">Bruno Mars</a><span style="background-color: white; color: #333333; font-family: Georgia, serif;">? It was disappointing.</span> "</span></i> And then he keeps going with the fact that kids weren't introduced, the purpose of Gustavo on the stage wasn't explained and that YOLA should've been given a chance to have their own performance of classical music piece.<br />
I think the idea behind the outreach programs such as El Sistema is to give children a opportunity to experience music, playing an instrument, working in an orchestra and let the music change their life. The children of YOLA had been greeted, cheered for and treated as super stars which I can imagine had been an amazing experience for a lifetime. So is it really wrong that they were accompanying a pop song or that Beethoven was put aside for this only time? Enthusiastic musician plays music for music and is open for experiments, just as Gustavo and YOLA had an outstanding and successful performance in collaboration with the representatives of pop culture. Nobody expresses judgmental opinions when Boston Pops plays Twelve Days of Christmas for fun, so what's wrong with YOLA playing for Coldplay?<br />
Would it be great if YOLA was given it's own performance and bought some classical music to the sport fans?- Of course and let's hope that now it's more likely for them to get this offer. Is there a possibility that this super bowl could have passed without YOLA at all and still remain popular?- Absolutely, so as classical musicians let's appreciate the attention and chance that was given to those kids. Personally I am proud of those kids, happy for the opportunity that was provided for them and I think they did an amazing job at the halftime show.Anonymoushttp://www.blogger.com/profile/03143091655483534677noreply@blogger.com0tag:blogger.com,1999:blog-6300053268224811025.post-38211849555332795362016-02-06T11:27:00.001-05:002016-02-06T11:27:39.908-05:00The future market of classical music<img src="webkit-fake-url://822ab6cf-87d2-49e0-8bf9-8559b309319f/imagejpeg" /><br />
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Classical music has thrived for centuries as a living art, always changing and growing. But the classical music business has suffered the recorded music downturn while clearly music consumption and performance continue to evolve. In fact many say it is now facing its biggest challenges of all time, and risks becoming obsolete, such as many orchestras are facing financial trouble, and there’s worry that younger generations are connecting less and less with composers like Brahms and Debussy. So what’s in store for its future?<br />
"Asia Pacific is the future for classical music. The sheer number of people who study it and the good", says John Harding, who has spent accumulative two dozen years in the Asia-Pacific region. Also there are someone saying classical music needs to address a calcification in it's culture and training apparatus. It relies on an academic culture that is old, very white, and generally very dismissive of change.<br />
http://thedianerehmshow.org/shows/2014-07-22/future-classical-musicAnonymoushttp://www.blogger.com/profile/17899114996041133765noreply@blogger.com0tag:blogger.com,1999:blog-6300053268224811025.post-60947585259974389542016-01-30T21:28:00.000-05:002016-01-30T21:28:39.252-05:00Music in Shakespeare's world<span style="font-weight: normal;"> The Boston Symphony Orchestra started the ambitious mini-festival focused on music inspired by William Shakespeare last Thursday night- through February 13th. It's dedicated to celebrating Shakespeare on the 400th anniversary of his death, and this program's focus is the great comedy "A Midsummer Night's Dream." </span><br />
The first concert of this series begins with Weber’s classic Overture to “Oberon,” continues with Hans Werner Henze’s Eighth Symphony, and the last one is Mendelssohn’s much-loved Overture and Incidental Music for the same play, in a new stage adaptation directed by Bill Barclay. You will enjoy music, singers with the costumes and the staging on the stage. Only one night left.<br />
The last chance to watch it is on Tuesday 2nd.<br />
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Touch the mystery.<br />
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<a href="http://3.bp.blogspot.com/-kooNi2Bg7p8/Vq1vZOfCR1I/AAAAAAAAADg/87o4WEtjwB8/s1600/th.jpeg" imageanchor="1"><img border="0" height="266" src="http://3.bp.blogspot.com/-kooNi2Bg7p8/Vq1vZOfCR1I/AAAAAAAAADg/87o4WEtjwB8/s400/th.jpeg" width="400" /></a>Anonymoushttp://www.blogger.com/profile/12131989586242066922noreply@blogger.com0tag:blogger.com,1999:blog-6300053268224811025.post-56440966753050206892016-01-30T21:09:00.004-05:002016-01-30T21:09:43.950-05:00Striking Light, Striking Dark<a href="https://www.icareifyoulisten.com/2016/01/striking-light-striking-dark-striking-words-zen-drum/">https://www.icareifyoulisten.com/2016/01/striking-light-striking-dark-striking-words-zen-drum/</a><br />
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This was an article about the new album "Striking Light, Striking Dark: Striking Words to a Zen Drum. They discuss the collaboration of the music and poetry and go into the history of the instruments. It also includes details about the inspirations involved in the album's process, and the effect that it has had on its audience. The music is very mystical and transcending, and the texts are very clear, emphasizing the importance of the poetry. Some of the pieces did not seem to have a set form, but just sort of followed the words about nature and surroundings, etc.Anonymoushttp://www.blogger.com/profile/12617722972760201803noreply@blogger.com0tag:blogger.com,1999:blog-6300053268224811025.post-82886971033017608662016-01-30T19:01:00.000-05:002016-01-30T19:01:14.946-05:00There are someone saying classical music needs to address a calcification in it's culture and training apparatus. It relies on an academic culture that is old, very white, and generally very dismissive of change.<br />
I think all above the opinions are reasonable for the future of the classical music, only if we insist on the great major and attract more people to classical music to stimulate the people’s enthusiasm, and we should be confident to the great future of classical music.<br />
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http://thedianerehmshow.org/shows/2014-07-22/future-classical-musicAnonymoushttp://www.blogger.com/profile/17899114996041133765noreply@blogger.com0tag:blogger.com,1999:blog-6300053268224811025.post-85888661815846290992016-01-24T00:15:00.001-05:002016-01-24T00:15:12.429-05:00Different feeling via same music <br />
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<a href="http://2.bp.blogspot.com/-zvbEcwX4Ujc/VqRUXMVSopI/AAAAAAAAAAM/jLbYJe42Nfk/s1600/17RATLIFF-blog427-v3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="http://2.bp.blogspot.com/-zvbEcwX4Ujc/VqRUXMVSopI/AAAAAAAAAAM/jLbYJe42Nfk/s400/17RATLIFF-blog427-v3.jpg" width="265" /></a></div>
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<span style="background-color: white; color: #666666; font-family: nyt-cheltenham-sh, georgia, 'times new roman', times, serif; font-size: 13px; line-height: 17px;">The English folk singer Nick Drake.</span><br />
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<span class="credit" itemprop="copyrightHolder" style="background-color: white; display: inline-block; font-family: nyt-cheltenham-sh, georgia, 'times new roman', times, serif; font-size: 0.6875rem; font-weight: 400; line-height: 1rem;"><span class="visually-hidden" style="border-image-outset: initial; border-image-repeat: initial; border-image-slice: initial; border-image-source: initial; border-image-width: initial; border: 0px; clip: rect(0px 0px 0px 0px); height: 1px; margin: -1px; overflow: hidden; padding: 0px; position: absolute; width: 1px;">Credit</span>Estate of Keith Morris/Redferns, via Getty Images</span></h2>
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<a href="http://www.nytimes.com/2016/01/17/arts/music/in-praise-of-blue-notes-what-makes-music-sad.html?ref=music">What Makes Music Sad?</a></div>
<span style="background-color: white; color: #666666; font-family: nyt-cheltenham-sh, georgia, 'times new roman', times, serif; font-size: 13px; line-height: 17px;"> </span><br />
<span style="background-color: white; color: #666666; font-family: nyt-cheltenham-sh, georgia, 'times new roman', times, serif; font-size: 13px; line-height: 17px;"> When we hear some music of works, you can feel sad or happy to express the composer's works. Music often not passed out pleasure, often pass out your inner most authentic self. When I saw this article's first paragraph, The man in the picture is that the English folk singer. This picture give me the feeling that in addition to photographers, only one person sitting there very melancholy; vision tends to affect you hearing, listening to his work if you do not know the composer in the case of any background and did not see this picture, I believe there will be a different judge. </span><br />
<span style="background-color: white; color: #666666; font-family: nyt-cheltenham-sh, georgia, 'times new roman', times, serif; font-size: 13px; line-height: 17px;"> </span><br />
<span style="background-color: white; color: #666666; font-family: nyt-cheltenham-sh, georgia, 'times new roman', times, serif; font-size: 13px; line-height: 17px;"> This article be honest, for me there is profound hard for me, but I think I understand the author wanted to say the problem that the audience often go through their own subjective sense of judgment, in fact for the work I think this is good, because everyone do not feel the same even it's a same thing. </span><br />
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<span style="background-color: white; color: #666666; font-family: nyt-cheltenham-sh, georgia, 'times new roman', times, serif; font-size: 13px; line-height: 17px;"> The idea and feeling is not the same, he can reflect the impact of the audience to have a lot of different way.</span>Hongyang Zhanghttp://www.blogger.com/profile/16153261201007449400noreply@blogger.com0tag:blogger.com,1999:blog-6300053268224811025.post-12756985323517190052016-01-23T13:44:00.000-05:002016-01-23T14:18:14.343-05:00Reasons to be excited about the future of classical music As Art''s changing and growing some musicians and funs from different country give us some opinions about why they're excited about the future of classical music.<br />
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<span id="goog_973927158"></span><span id="goog_973927159"></span><a href="https://www.blogger.com/"></a><img src="webkit-fake-url://22cb5d68-6f67-4c89-90af-783caf36bed7/imagejpeg" /><br />
Julie Amacher who is a program director for Classical MPR and Classical 24 said the reason to be very excited for the future of classical living art form is there have more and more new and varied audiences become accept and have passion to classical music. Now a lot of works of art spread through different media, even through movie and game.The spread of new and varied form and way can let more people come into contact with the classical music, especially the Teenager. Schools can through many ways to let students come into contact with the classical music. Students <span style="background-color: rgba(255, 255, 255, 0);">crossing the differences of language to share the universal language of classical music. </span>Even if there is no chance or condition to reach the scene of the concert,they still pay attention to classical music <span style="background-color: rgba(255, 255, 255, 0);">Through tweets, Facebook posts, e-mails, and phone calls.</span>This is especially important to the development of classical music in the future.<br />
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<a href="http://www.classicalmpr.org/story/2014/02/28/future-classical-music">http://www.classicalmpr.org/story/2014/02/28/future-classical-music</a></div>
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Reference:<br />
<a href="http://www.classicalmpr.org/story/2014/02/28/future-classical-music">http://www.classicalmpr.org/story/2014/02/28/future-classical-mu</a></div>
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<br />Anonymoushttp://www.blogger.com/profile/17899114996041133765noreply@blogger.com0tag:blogger.com,1999:blog-6300053268224811025.post-30242787711813829332016-01-23T12:21:00.000-05:002016-01-23T12:21:12.075-05:00Galapagos in C<a href="https://www.icareifyoulisten.com/2016/01/5-questions-michael-harrison-composer/">Interview with Michael Harrison</a><br />
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This was a really great read about Michael Harrison's new piece <i>Galapagos in C.</i> The piece combined music with architecture and artwork as it was performed right in the midst of the art museum at Rhode Island School of Design. The author of the article asked Harrison five questions dealing with the process of the collaboration, his background as an architecture teacher, the main elements of the piece, the combination of the architecture with the music and the direction he believes music will going towards after this collaboration. I was really interested to see how similar he believes music and architecture really are, and his idea of musicians and non-musicians being able to come together to create music. He stated that there was a "tangible excitement in the air," which I feel probably came from how new and different this was for everyone involved. I think it will become important for "classical" music to continue to integrate with new elements to keep it fresh for the audience and involve more people in the music making.<br />
There is also a video on the link which I would definitely recommend watching!Anonymoushttp://www.blogger.com/profile/12617722972760201803noreply@blogger.com0tag:blogger.com,1999:blog-6300053268224811025.post-60962078186614719092016-01-21T21:35:00.001-05:002016-01-21T21:35:44.855-05:00Celebrity Series of Boston features pianist Denis KozhukhinPianist Denis Kozhukhin gave an outstanding Masterclass at Longy School of Music, Pickman hall to three piano students. The Masterclass was open to public and to students of Longy and other conservatories. The concert that took place later that day was organized by Celebrity Series. Those who did not get a chance to go to the concert should definitely check out it's review <a href="http://www.bostonglobe.com/arts/music/2016/01/21/pianist-denis-kozhukhin-lights-longy/20JtUEk7YTf75b6oIttwEI/story.html">here</a>Anonymoushttp://www.blogger.com/profile/03143091655483534677noreply@blogger.com0tag:blogger.com,1999:blog-6300053268224811025.post-84750831119240919792016-01-20T17:24:00.001-05:002016-01-20T17:24:48.622-05:00Stardust<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: Times, 'Times New Roman', serif;">I have never mourned anyone I have not actually "met"- until now. I realize how many beautiful memories I attach to Bowie - the man that "has" the world. There is no wonder that numerous activities are going to be held to honor this inspiring figure. As a Bowie's fan, I was inspired by the event, which is going to be hold on Jan. 29 by MIT music and theater arts department. </span></div>
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<span style="font-family: Times, Times New Roman, serif;"><span style="font-size: 12px;">"This is a way for the musical community of Boston to channel our grief and express our gratitude to bowie in a positive way," Ziporyn said in a statement. "The generosity of these top-notch musicians has been incredible, putting their time and talent toward this project on extremely short notice. It took less than a day to put an entire orchestra together, and that's a real testament, both to Bowie's impact and to the spirit of our community." </span></span><br />
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<span style="font-family: Times, Times New Roman, serif;"><span style="font-size: 12px;">This is a section to the news '</span><i style="font-size: 12px;">MIT honors Bowie with Glass symphonies' </i><span style="font-size: 12px;">by Steve Smith. As a musician, I am so glad that this kind of meaningful activity could happen around the area where I live. There has a such powerful strength to made these talent musicians being together for doing one thing, and it is not only about cherish the memories of David Bowie but also about the musicians are using exactly the same way as Bowie, to contributed its own talents, feelings, and love to this world by using music. </span></span><br />
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<span style="font-family: Times, Times New Roman, serif;"><span style="font-size: 12px;">While principally a great pop icon, Bowie has never been just that. He had created a plenty of central and vital elements both in music and fashion for later musicians and artists to learn and enjoy with. Now, after he past, as the beneficiaries of the treasures he lefts, the musicians putting music in the context of the wider world - how we love, how we feel love, how we give the feedbacks of others' love. They excites us and inspired us, just as David Bowie did. </span></span><br />
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<span style="font-family: Times, Times New Roman, serif;"><span style="font-size: 12px;">For more information about the concert, please check <a href="http://www.bostonglobe.com/arts/music/2016/01/15/mit-honors-bowie-with-glass-symphonies-cancer-research-benefit/DhjOE3PryW89Gg6Ty676HM/story.html">here</a></span></span><br />
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<br />Anonymoushttp://www.blogger.com/profile/03076775893813929955noreply@blogger.com0tag:blogger.com,1999:blog-6300053268224811025.post-71337694334598960662016-01-19T12:14:00.001-05:002016-01-19T12:14:21.054-05:00My first articleBlah, Blah, Blah, this is my first article!<a href="http://www.nytimes.com/2016/01/19/arts/music/review-let-me-tell-you-has-its-new-york-premiere.html?ref=arts&_r=0" target="_blank">Great link</a>IJhttp://www.blogger.com/profile/11302686657198035607noreply@blogger.com0tag:blogger.com,1999:blog-6300053268224811025.post-82388078668691957212016-01-13T16:28:00.000-05:002016-01-13T16:28:47.487-05:00Levine, "Highbrow / Lowbrow" Study Questions<br />
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<span style="font-family: Constantia; font-size: 13.5pt;">Prologue</span></div>
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<span style="font-family: Constantia; font-size: 13.5pt;">1.<span style="font-family: 'Times New Roman'; font-size: 7pt;"> </span></span><span style="font-family: Constantia; font-size: 13.5pt;">Our current hierarchical system of cultural categories (highbrow, midbrow, lowbrow) seems fixed and immutable. What cultural work is done by a historian who maintains these categories?<o:p></o:p></span></div>
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<span style="font-family: Constantia; font-size: 13.5pt;">2.<span style="font-family: 'Times New Roman'; font-size: 7pt;"> </span></span><span style="font-family: Constantia; font-size: 13.5pt;">What error might ensue?<o:p></o:p></span></div>
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<span style="font-family: Constantia; font-size: 13.5pt;">Chapter 2<o:p></o:p></span></div>
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<span style="font-family: Constantia; font-size: 13.5pt;">1.<span style="font-family: 'Times New Roman'; font-size: 7pt;"> </span></span><span style="font-family: Constantia; font-size: 13.5pt;">What was the status of opera in Walt Whitman’s New York?<o:p></o:p></span></div>
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<span style="font-family: Constantia; font-size: 13.5pt;">2.<span style="font-family: 'Times New Roman'; font-size: 7pt;"> </span></span><span style="font-family: Constantia; font-size: 13.5pt;">What does the prevalence of parodies and arrangements suggest about a popular familiarity with opera?<o:p></o:p></span></div>
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<span style="font-family: Constantia; font-size: 13.5pt;">3.<span style="font-family: 'Times New Roman'; font-size: 7pt;"> </span></span><span style="font-family: Constantia; font-size: 13.5pt;">How had the perception of opera changed by the end of the 19<sup>th</sup> century?<o:p></o:p></span></div>
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<span style="font-family: Constantia; font-size: 13.5pt;">4.<span style="font-family: 'Times New Roman'; font-size: 7pt;"> </span></span><span style="font-family: Constantia; font-size: 13.5pt;">What was the relative status of bands and orchestras in the middle of the 19<sup>th</sup> century?<o:p></o:p></span></div>
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<span style="font-family: Constantia; font-size: 13.5pt;">5.<span style="font-family: 'Times New Roman'; font-size: 7pt;"> </span></span><span style="font-family: Constantia; font-size: 13.5pt;">When Jenny Lind, and other eminent European soloists, toured mid-century America, whom did they appeal to? How did Adelina Patti’s experience differ?<o:p></o:p></span></div>
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<span style="font-family: Constantia; font-size: 13.5pt;">6.<span style="font-family: 'Times New Roman'; font-size: 7pt;"> </span></span><span style="font-family: Constantia; font-size: 13.5pt;">How were typical mid-century orchestra programs constructed? How did sacralization affect this paradigm?<o:p></o:p></span></div>
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<span style="font-family: Constantia; font-size: 13.5pt;">7.<span style="font-family: 'Times New Roman'; font-size: 7pt;"> </span></span><span style="font-family: Constantia; font-size: 13.5pt;">How did Theodore Thomas manage to draw crowds for his New York concerts? How did his philosophy change when he went to Chicago?<o:p></o:p></span></div>
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<span style="font-family: Constantia; font-size: 13.5pt;">8.<span style="font-family: 'Times New Roman'; font-size: 7pt;"> </span></span><span style="font-family: Constantia; font-size: 13.5pt;">Since the founding in the 19<sup>th</sup> century of our country’s major orchestras, what has remained their abiding fiscal reality? Who now employs the Chicago Symphony’s funding model? How has that funding model changed, if at all, over the last century?<o:p></o:p></span></div>
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<span style="font-family: Constantia; font-size: 13.5pt;">9.<span style="font-family: 'Times New Roman'; font-size: 7pt;"> </span></span><span style="font-family: Constantia; font-size: 13.5pt;">What are some of John Sullivan Dwight’s basic beliefs concerning the sacralization of art?<o:p></o:p></span></div>
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<span style="font-family: Constantia; font-size: 13.5pt;">10.<span style="font-family: 'Times New Roman'; font-size: 7pt;"> </span></span><span style="font-family: Constantia; font-size: 13.5pt;">Through art’s sacralization in the course of the late 19<sup>th</sup> century, what were some of the changes wrought in the public’s perception of music? musicians? the concert experience?<o:p></o:p></span></div>
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<span style="font-family: Constantia; font-size: 13.5pt;">11.<span style="font-family: 'Times New Roman'; font-size: 7pt;"> </span></span><span style="font-family: Constantia; font-size: 13.5pt;">After a hundred years’ time, which of these perceptions have remained in place?<o:p></o:p></span></div>
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<span style="font-family: Constantia; font-size: 13.5pt;"> </span><span style="font-family: Constantia; font-size: 13.5pt;">Chapter 3</span></div>
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<span style="font-family: Constantia; font-size: 13.5pt;">1.<span style="font-family: 'Times New Roman'; font-size: 7pt;"> </span></span><span style="font-family: Constantia; font-size: 13.5pt;">Faced with industrialization and increasing cultural diversity, how did America’s cultural elites respond at the end of the 19<sup>th</sup> century?<o:p></o:p></span></div>
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<span style="font-family: Constantia; font-size: 13.5pt;">2.<span style="font-family: 'Times New Roman'; font-size: 7pt;"> </span></span><span style="font-family: Constantia; font-size: 13.5pt;">How might one characterize 19<sup>th</sup>-century audiences? To what extent did arbiters of culture attempt to modify audiences’ behavior, and succeed?<o:p></o:p></span></div>
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<span style="font-family: Constantia; font-size: 13.5pt;">3.<span style="font-family: 'Times New Roman'; font-size: 7pt;"> </span></span><span style="font-family: Constantia; font-size: 13.5pt;">What unintended consequences did more docile audiences create?<o:p></o:p></span></div>
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<span style="font-family: Constantia; font-size: 13.5pt;">4.<span style="font-family: 'Times New Roman'; font-size: 7pt;"> </span></span><span style="font-family: Constantia; font-size: 13.5pt;">To what ends did 19<sup>th</sup>-century champions of culture maintain and disseminate pure culture?<o:p></o:p></span></div>
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<span style="font-family: Constantia; font-size: 13.5pt;">5.<span style="font-family: 'Times New Roman'; font-size: 7pt;"> </span></span><span style="font-family: Constantia; font-size: 13.5pt;">How did the Columbian Exposition’s Midway Plaisance and White City symbolize a growing gulf in American culture?<o:p></o:p></span></div>
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<span style="font-family: Constantia; font-size: 13.5pt;">6.<span style="font-family: 'Times New Roman'; font-size: 7pt;"> </span></span><span style="font-family: Constantia; font-size: 13.5pt;">How was American culture perceived to compare with European examples?<o:p></o:p></span></div>
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<span style="font-family: Constantia; font-size: 13.5pt;">7.<span style="font-family: 'Times New Roman'; font-size: 7pt;"> </span></span><span style="font-family: Constantia; font-size: 13.5pt;">What racial and cultural dimensions did the ideology of culture assume?<o:p></o:p></span></div>
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<span style="font-family: Constantia; font-size: 13.5pt;">8.<span style="font-family: 'Times New Roman'; font-size: 7pt;"> </span></span><span style="font-family: Constantia; font-size: 13.5pt;">How did Matthew Arnold contribute to our understanding of Culture?<o:p></o:p></span></div>
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<span style="font-family: Constantia; font-size: 13.5pt;">9.<span style="font-family: 'Times New Roman'; font-size: 7pt;"> </span></span><span style="font-family: Constantia; font-size: 13.5pt;">How did our invented notions of culture conflict with reality?<o:p></o:p></span></div>
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<span style="font-family: Constantia; font-size: 13.5pt;">10.<span style="font-family: 'Times New Roman'; font-size: 7pt;"> </span></span><span style="font-family: Constantia; font-size: 13.5pt;">As cultural categories codified, how were new forms of expressive culture characterized? With what results?<o:p></o:p></span></div>
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<span style="font-family: Constantia; font-size: 13.5pt;">Epilogue<o:p></o:p></span></div>
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<span style="font-family: Constantia; font-size: 13.5pt;">1.<span style="font-family: 'Times New Roman'; font-size: 7pt;"> </span></span><span style="font-family: Constantia; font-size: 13.5pt;">What reactions have been provoked by the growth of cultural pluralism in the late 20<sup>th</sup> century?<o:p></o:p></span></div>
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<span style="font-family: Constantia; font-size: 13.5pt;">2.<span style="font-family: 'Times New Roman'; font-size: 7pt;"> </span></span><span style="font-family: Constantia; font-size: 13.5pt;">What is the logical fallacy of the cultural categories that we embrace?<o:p></o:p></span></div>
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IJhttp://www.blogger.com/profile/11302686657198035607noreply@blogger.com0tag:blogger.com,1999:blog-6300053268224811025.post-5231822283175599982014-12-02T00:26:00.001-05:002014-12-02T00:26:23.056-05:00Well, it's the last class.I didn't really know what to expect when I signed up for this class. I came out of DePauw with lots and lots of 21CM on the brain, but I didn't know how that could be turned into an actual class, with lectures and homework and all. Aside from my initial ADD-induced breakdowns, this class was pretty satisfying. We read interesting material, talked about interesting things, and were encouraged to find new information of our own. The blogging platform and Wikipedia article were great ways to blend academic homework with new media technology, which is a necessity in this day and age. The only thing that I missed... was getting out. I think the class could have benefitted from at least one "field trip" to a forward-thinking musical performance. With only eight people, nine including Isaiah, it wouldn't be that hard to get reservations. This is something that I did several years ago with a group from DePauw in New York. We spent two weeks going from performance to performance and <a href="https://www.youtube.com/user/DePauwMusicNYC">documenting our reactions</a>. Boston is chock full of opportunities and I think we could take advantage of them together.<br />
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My articles:<br />
<a href="http://fcm07.blogspot.com/2014/09/the-state-of-music-industry-by-oatmeal.html">The Oatmeal's State of the Music Industry</a><br />
<a href="http://fcm07.blogspot.com/2014/09/the-relationship-between-box-office-and.html">The Relationship between Box Office and Repertoire</a><br />
<a href="http://fcm07.blogspot.com/2014/09/fifth-house-ensemble-chamber-music-for.html">Fifth House Ensemble</a><br />
<a href="http://fcm07.blogspot.com/2014/10/dean-mark-mccoy-talks-21cm.html">Dean McCoy talks 21CM</a><br />
<a href="http://fcm07.blogspot.com/2014/10/eric-whitacre-and-virtual-choir.html">Eric Whitacre's Virtual Choir</a><br />
<a href="http://fcm07.blogspot.com/2014/11/for-want-of-better-concert-experience.html">Better Concert Experience</a><br />
<a href="http://fcm07.blogspot.com/2014/11/yes-chili-video.html">The Chili Video</a><br />
<a href="http://fcm07.blogspot.com/2014/11/met-opera-stars-made-humble.html">Met Stars Made Humble </a>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6300053268224811025.post-8946266665634557392014-12-01T23:53:00.003-05:002014-12-01T23:53:34.888-05:00The Review of The Class<div class="MsoNormal">
<span lang="EN-US">It is almost the end of the semester. After
12 classes of “The Future of Classical Music,” I benefited very much from not
only reading books by Cook, Hewett, and Levine, but also blogs written by my
classmates. In the class, we always bring the latest information about music to
each other, and discuss it; our discussions include the past and future of the
classical music’s development and tendency. Sometimes there are special guests
who visit, and make our class more interesting. We have had two appointments
with Dean Chin to talk about how to make Longy better, how to improve the
school, and obtain his sincerest responses. Although some of our questions have
not been resolved, I appreciate that the school cares about students’ ideas.</span></div>
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<span lang="EN-US">I like the arrangement and the content of
this class, and I enjoy the process of our discussion every time. When I finish
this class, it inspired me several new points and attempts of classical music
such as the presentation of the performance, audience’s reactions, and the development
of the classical music.</span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6300053268224811025.post-38388968719124601932014-12-01T22:52:00.002-05:002014-12-01T23:11:17.405-05:00An Unlikely Spot III<span class="Apple-style-span" style="font-size: 16px;">I went to an art party.</span><br />
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<span style="letter-spacing: 0.0px;">The attending crowd was a young Boston, with the additional festering ganglion of New York City.</span></div>
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<span style="letter-spacing: 0.0px;"><span style="letter-spacing: 0.0px;">The location was dismal and outdated, worn under the barely adhered tiling, with the heavy footed art-mongerers making their figure eights from canvas to beer table.</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="letter-spacing: 0.0px;">Large windows beckoned a predictable accident while the floor was strewn with half inflated, half painted balloons stabbed by crumpled business cards, forgotten, and never to be followed up on.</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="letter-spacing: 0.0px;">The bands were to be expected; metal, noisy, pointless, banging on trashcans with drumsticks (the meat kind). </span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="letter-spacing: 0.0px;">It was time for my exit, perhaps with a precisely timed stumble from the balcony, when I caught sight of the next act. </span></span></div>
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<span style="letter-spacing: 0.0px;">They were a band, a large band, of women and men, all dressed in black, and carrying classical instruments.</span></div>
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<span style="letter-spacing: 0.0px;">They had real instruments and sheet music. I decided to stick around.</span></div>
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<span style="letter-spacing: 0.0px;">They fit their multitude of musicians onto the small platform, which groaned with the splintering of its base boards. </span></div>
<div style="font: 16.0px Times; margin: 0.0px 0.0px 0.0px 0.0px;">
<span style="letter-spacing: 0.0px;"><br /></span></div>
<div style="font: 16.0px Times; margin: 0.0px 0.0px 0.0px 0.0px;">
<span style="letter-spacing: 0.0px;"></span></div>
<div style="font: 16.0px Times; margin: 0.0px 0.0px 0.0px 0.0px;">
<span style="letter-spacing: 0.0px;">The leader of them was scrappy and dashing, the kind of rock star that is born out of a tuna can. </span></div>
<div style="font: 16.0px Times; margin: 0.0px 0.0px 0.0px 0.0px;">
<span style="letter-spacing: 0.0px;"><br /></span></div>
<div style="font: 16.0px Times; margin: 0.0px 0.0px 0.0px 0.0px;">
<span style="letter-spacing: 0.0px;"></span></div>
<div style="font: 16.0px Times; margin: 0.0px 0.0px 0.0px 0.0px;">
<span style="letter-spacing: 0.0px;">With his slung guitar, he ordered a tuning. </span></div>
<div style="font: 16.0px Times; margin: 0.0px 0.0px 0.0px 0.0px;">
<span style="letter-spacing: 0.0px;"><br /></span></div>
<div style="font: 16.0px Times; margin: 0.0px 0.0px 0.0px 0.0px;">
<span style="letter-spacing: 0.0px;"></span></div>
<div style="font: 16.0px Times; margin: 0.0px 0.0px 0.0px 0.0px;">
<span style="letter-spacing: 0.0px;">They began with a murdering buzz, light on its heels with spots of color from the up-bow.</span></div>
<div style="font: 16.0px Times; margin: 0.0px 0.0px 0.0px 0.0px;">
<span style="letter-spacing: 0.0px;"><br /></span></div>
<div style="font: 16.0px Times; margin: 0.0px 0.0px 0.0px 0.0px;">
<span style="letter-spacing: 0.0px;"></span></div>
<div style="font: 16.0px Times; margin: 0.0px 0.0px 0.0px 0.0px;">
<span style="letter-spacing: 0.0px;">They built and my knees softened. </span></div>
<div style="font: 16.0px Times; margin: 0.0px 0.0px 0.0px 0.0px;">
<span style="letter-spacing: 0.0px;"><br /></span></div>
<div style="font: 16.0px Times; margin: 0.0px 0.0px 0.0px 0.0px;">
<span style="letter-spacing: 0.0px;"></span></div>
<div style="font: 16.0px Times; margin: 0.0px 0.0px 0.0px 0.0px;">
<span style="letter-spacing: 0.0px;">The wonted diva entered next.</span></div>
</span><br />
<div style="font: 16.0px Times; margin: 0.0px 0.0px 0.0px 0.0px;">
<span style="letter-spacing: 0.0px;"><br /></span></div>
<div style="font: 16.0px Times; margin: 0.0px 0.0px 0.0px 0.0px;">
<span style="letter-spacing: 0.0px;"></span></div>
<div style="font: 16.0px Times; margin: 0.0px 0.0px 0.0px 0.0px;">
<span style="letter-spacing: 0.0px;">She was a fragile blonde, off-kilter and poignant, but her voice boomed. </span></div>
<div style="font: 16.0px Times; margin: 0.0px 0.0px 0.0px 0.0px;">
<span style="letter-spacing: 0.0px;"><br /></span></div>
<div style="font: 16.0px Times; margin: 0.0px 0.0px 0.0px 0.0px;">
<span style="letter-spacing: 0.0px;"></span></div>
<div style="font: 16.0px Times; margin: 0.0px 0.0px 0.0px 0.0px;">
<span style="letter-spacing: 0.0px;">She ornamented the music with drops of Calexico fragrance, blipping the sonar high notes on a dime. </span></div>
<div style="font: 16.0px Times; margin: 0.0px 0.0px 0.0px 0.0px;">
<span style="letter-spacing: 0.0px;"><br /></span></div>
<div style="font: 16.0px Times; margin: 0.0px 0.0px 0.0px 0.0px;">
<span style="letter-spacing: 0.0px;"></span></div>
<div style="font: 16.0px Times; margin: 0.0px 0.0px 0.0px 0.0px;">
<span style="letter-spacing: 0.0px;">They played, hopping lofts of consensual classical ideas, with footnotes of their own sapor.</span></div>
<div style="font: 16.0px Times; margin: 0.0px 0.0px 0.0px 0.0px;">
<span style="letter-spacing: 0.0px;"><br /></span></div>
<div style="font: 16.0px Times; margin: 0.0px 0.0px 0.0px 0.0px;">
<span style="letter-spacing: 0.0px;"></span></div>
<div style="font: 16.0px Times; margin: 0.0px 0.0px 0.0px 0.0px;">
<span style="letter-spacing: 0.0px;">They swept the building, and captivated the disgruntled. </span></div>
<div>
<span style="letter-spacing: 0.0px;"><br /></span></div>
</div>
</span><span class="Apple-style-span" style="font-size: 16px;">I, being one of them, loved it. </span></div>
<div>
<span class="Apple-style-span" style="font-size: 16px;"><br /></span></div>
<div>
<span style="letter-spacing: 0.0px;"></span><span class="Apple-style-span" style="font-size: 16px;">It ended, and I approached the Maestro. </span><span style="letter-spacing: 0.0px;"></span><br />
<div>
<div>
<span style="letter-spacing: 0.0px;"><span style="letter-spacing: 0.0px;"></span></span></div>
</div>
<span style="letter-spacing: 0.0px;">
</span><span style="letter-spacing: 0.0px;"></span>
<div>
<div>
<span style="letter-spacing: 0.0px;"><span style="letter-spacing: 0.0px;">
</span></span></div>
</div>
<span style="letter-spacing: 0.0px;">
</span><span style="letter-spacing: 0.0px;"><div>
<div>
<span style="letter-spacing: 0.0px;"></span><br /></div>
</div>
</span><span class="Apple-style-span" style="font-size: 16px;">The frenzied frontman spoke with a pinned grin as he orated their mission to bring a new setting of classical music to the masses.</span><span style="letter-spacing: 0.0px;"><div>
<div>
<div>
<div>
<span style="letter-spacing: 0.0px;"><span style="letter-spacing: 0.0px;"><span style="letter-spacing: 0.0px;">
</span>
</span></span><br />
<div style="font: 16.0px Times; margin: 0.0px 0.0px 0.0px 0.0px;">
<span style="letter-spacing: 0.0px;"><span style="letter-spacing: 0.0px;"><span style="letter-spacing: 0.0px;"><span style="letter-spacing: 0.0px;"><br /></span></span></span></span></div>
<span style="letter-spacing: 0.0px;"><span style="letter-spacing: 0.0px;"><span style="letter-spacing: 0.0px;">
</span></span>
</span><br />
<div style="font: 16.0px Times; margin: 0.0px 0.0px 0.0px 0.0px;">
<span style="letter-spacing: 0.0px;"><span style="letter-spacing: 0.0px;"><span style="letter-spacing: 0.0px;"><span style="letter-spacing: 0.0px;"></span></span></span></span></div>
<span style="letter-spacing: 0.0px;"><span style="letter-spacing: 0.0px;"><span style="letter-spacing: 0.0px;">
</span></span></span>
<br />
<div style="font: 16.0px Times; margin: 0.0px 0.0px 0.0px 0.0px;">
<span style="letter-spacing: 0.0px;"><span style="letter-spacing: 0.0px;"><span style="letter-spacing: 0.0px;"><span style="letter-spacing: 0.0px;">I told him, with a mixture of jest and jealousy, I may be interested in auditioning for a spot.</span></span></span></span></div>
<span style="letter-spacing: 0.0px;"><span style="letter-spacing: 0.0px;"><span style="letter-spacing: 0.0px;">
</span></span></span>
<br />
<div style="font: 16.0px Times; margin: 0.0px 0.0px 0.0px 0.0px;">
<span style="letter-spacing: 0.0px;"><span style="letter-spacing: 0.0px;"><span style="letter-spacing: 0.0px;"><span style="letter-spacing: 0.0px;"><br /></span></span></span></span></div>
<span style="letter-spacing: 0.0px;"><span style="letter-spacing: 0.0px;"><span style="letter-spacing: 0.0px;">
</span></span></span>
<div style="font: 16.0px Times; margin: 0.0px 0.0px 0.0px 0.0px;">
<span style="letter-spacing: 0.0px;"><span style="letter-spacing: 0.0px;"><span style="letter-spacing: 0.0px;"><span style="letter-spacing: 0.0px;"></span></span></span></span></div>
<span style="letter-spacing: 0.0px;"><span style="letter-spacing: 0.0px;"><span style="letter-spacing: 0.0px;">
<div style="font: 16.0px Times; margin: 0.0px 0.0px 0.0px 0.0px;">
<span style="letter-spacing: 0.0px;">He politely informed me I must attend the school to join the band. </span></div>
<div>
<span style="letter-spacing: 0.0px;"><br /></span></div>
</span></span></span></div>
<span style="letter-spacing: 0.0px;"><span style="letter-spacing: 0.0px;">
</span></span></div>
<span style="letter-spacing: 0.0px;">
</span></div>
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br /></div>
</span></div>
<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6300053268224811025.post-46749269350831853932014-11-30T10:43:00.000-05:002014-11-30T10:43:22.376-05:00The Last Class<!--[if gte mso 9]><xml>
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<a href="http://juliaadolphe.com/">Julia Adolphe</a> has a
collection of blog posts on <a href="http://www.newmusicbox.org/">New Music Box</a>
about her time as an undergraduate student and her experiences teaching music
theory to prisoners through the Cornell Prison Education Program. Her final
post<a href="http://www.newmusicbox.org/articles/incarceration-and-musical-inspiration-part-four-the-last-class/">,
Incarceration and Musical Inspiration Part Four: The Last Class</a>, discusses
her feelings of accomplishment as well as her fears as a teacher.</div>
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Julia’s compassion for her students was evident when she
wrote that the thought of her students fading away disturbed her. She wondered
how or if her students would continue studying music or if they would be
released from prison. She would never know if they went on to accomplish goals
for themselves in any way.</div>
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The last class that Julia taught at the Auburn Correctional
Facility broke down barriers for both Julia and some of the prisoners. Although
nervous, Julia shared her contemporary chamber pieces with her students.<span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;"><a href="http://juliaadolphe.com/compositions/chamber-ensemble-solo-instrument/he-disappeared-into-complete-silence/">He
Disappeared into Complete Silence</a> </i>was a piece that Julia shared. The
text is based off of dark poems by <a href="http://dailyserving.com/2011/11/he-disappeared-into-complete-silence-rereading-a-single-artwork-by-louise-bourgeois/">Louise
Bourgeois</a>. I could only imagine the sense of fear or nervousness that
composers must experience when sharing a composition. <span style="mso-spacerun: yes;"> </span>One of the main reasons why Julia wanted to
play her pieces for her students was to see if contemporary classical music
could be accessible to people who haven’t had that type of exposure. </div>
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After listening to the composition one of her students spoke
to her, “As long as you write from a place of love, other people will love it
too. When I hear your music, I can tell that you love what you do. I can sense
how much joy it brings you to create, to express yourself, and that makes me
feel good. That brings me joy. All you can do is write the music that you
love.”</div>
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I really enjoyed reading this set of articles by Julia
Adolphe. I can’t really wrap my head around the fact that such a young woman
would have the drive to better the world in such a way. Julia’s story is truly inspiring
to me. I hope that I can find my voice in helping society through music
someday.</div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6300053268224811025.post-85139748175075595842014-11-30T00:00:00.001-05:002014-11-30T00:00:09.425-05:00Farewell to Thee!<div dir="ltr" style="line-height: 1.15; margin-bottom: 0pt; margin-top: 0pt;">
<span style="background-color: transparent; color: black; font-family: Arial; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">The semester is coming to a close faster than ever before. Time has truly flown by; so much to do, so much to practice, so much to think about. This class, in particular, has given me many reasons to stop and think. I’d like to thank Isaiah and every class member for their unique insights in discussions throughout the course. It’s been a pleasure to hear what all of you have to say on this subject of the future of classical music--needless to say, a uniting subject for a group of conservatory students.</span></div>
<b id="docs-internal-guid-d0fe0854-ff10-429e-094e-17eecc15c607" style="font-weight: normal;"><br /></b>
<div dir="ltr" style="line-height: 1.15; margin-bottom: 0pt; margin-top: 0pt;">
<span style="background-color: transparent; color: black; font-family: Arial; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">There are two central concepts this course has caused to mull over in more depth than ever before. The first is how I relate to music as a performer, and why. So many of my concerns and opinions about how performers should make interpretive choices were brought to light. If composers are humans, too, then why are performers all but obsessed with recreating the exact intentions of the composer? I think it’s more rewarding and admirable to play the interpretation you believe in than to be a slave to the urtext (and unless the composer explicitly released an edition of a work, declaring, “these are my final markings,” how do we actually know a marking is urtext-worthy?) Composers are to be respected, of course, but where does the place of interpreter land in the hierarchy of musicians? Well, seemingly nowhere, which I think is quite unjust. Interpretation is a skill of its own. No amount of markings on a page can really express the true character of a piece, and it’s the interpreter’s job to make something human out of a piece of music. Humanity is what makes people listen. Reading about and discussing the concept of a reception-based approach to thinking about music--where the roles are flip-flopped, and musicians should actually care about how our art will be received by the public--helped me to better understand my own opinions, in a sense.</span></div>
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<div dir="ltr" style="line-height: 1.15; margin-bottom: 0pt; margin-top: 0pt;">
<span style="background-color: transparent; color: black; font-family: Arial; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Hand-in-hand with the idea of a reception-based approach to music is that we, as musicians, have allowed our audiences to be alienated. By not caring about what they want to hear, and allowing them to feel unfit for the task of understanding classical music, we have driven away the most important group of people in music: the very people we need to listen to us. It’s every musician’s responsibility to care about his or her audience and be welcoming to anyone who wants to listen. I have more faith than ever that neither our audiences or our music are the problem. It’s how we choose to share it. It’s time to stop underestimating audiences and start welcoming them, so we can show them they know more about music than they think they do. </span></div>
<br /><span style="font-family: Arial; font-size: 15px; vertical-align: baseline; white-space: pre-wrap;">I leave this class feeling more empowered and inspired as an artist. Every day, every concert, every piece, every phrase, and every note is an opportunity to help someone feel something they did not know they could feel. Maybe, if I succeed, they will return to the concert hall some other time.</span>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6300053268224811025.post-75535139046528342622014-11-29T13:37:00.001-05:002014-11-29T13:37:05.984-05:00The Innate Quality of Muisc What is it about music that makes it so special? What is it that makes people listen and connect to an art form older than the cave paintings? How do we as artists tap into that aspect of music which people have subconsciously known for thousands of year? After reading a recent article in <i>The New York Times </i>by Anthony Tommasini I was struck by his understanding of the effects of music. He was discussing why the use of recent events in Opera, Movies and Theatre can be so polarizing. Works like "Klinghoffer" and "Anna Nicole" cause visceral reactions from the audience even though their is an understanding that certain artistic license has been taken. What has always drawn me to music is the ability of it to tell a story whether that story is a year old or 1,000 years old. Mr. Tommasini takes that a step further because their are aspects of a story that music is able to convey without having to explain the emotions or the context outright. He cites Nico Muhly's "Two boys," which deals with the true story of a 16 year old boy who kills a younger boy due to different voices in an Internet chat rooms. Mr. Tommasini says that its "music taps into the inarticulate teenager's sexual stirrings and confusion." <br />
<br />
He then goes on to talk about "Klinghoffer" and that it "attempts to ruminate on a seemingly endless conflict and on what motivated these terrorists, without in any way explaining, let alone excusing, their actions. Music, with its murky, innate powers, is uniquely equipped for such and effort."<br />
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Music can help us understand the unexplainable. I think this is what I have been trying to articulate since my begging posts here on this blog. Music is more powerful then we remember to give it credit for and it is this power that we need to remember every time we put together a program, recital, concert or performance. We need to go back to the basics of what music is and focus on what the music is explaining to us even when it is unexplainable. When we utilize the innate qualities of music we will be able to evolve/continue our art form and keep the seats filled. There are not many art forms or outlets that the quality that music has. People will always search for it somewhere and we have to be that somewhere that they can find it. <br />
<br />
Click <a href="http://www.nytimes.com/2014/11/23/arts/music/adapting-real-life-events-like-klinghoffers-death.html?_r=0">Here</a> for the article.Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6300053268224811025.post-28796203587620206722014-11-29T11:55:00.000-05:002014-11-29T11:55:01.028-05:00The Light at the End of the Tunnel
<div class="separator" style="clear: both; text-align: center;"><a href="http://4.bp.blogspot.com/-dP6ejf350LE/VHnsTZU5TtI/AAAAAAAAAMA/4-8gNlwS9uk/s1600/lightatthend.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://4.bp.blogspot.com/-dP6ejf350LE/VHnsTZU5TtI/AAAAAAAAAMA/4-8gNlwS9uk/s400/lightatthend.jpg" /></a></div><blockquote></blockquote>
For many of us, our years of higher education are coming to an end. After semesters of work and hours of practice, we are soon to be masters of music. We have spent this semester looking towards the future of classical music, we have discussed and debated many points of view with a healthy dose of zeal because this isn't just a hypothetical future, this is our future. The future that is soon to become our present.<blockquote></blockquote>
What can we take away from all that we have explored? What lessons can be applied as we take our first tottering steps out of the know into the unknown?
Though it may sound cliché, my biggest take away from this class is that the future will be what we make. It is both exciting and daunting to discover that the world that we are about to join on a professional level is in a state of flux. But this is where we can find a certain sense if freedom.<blockquote></blockquote>
As people are looking for new ideas and new solutions, ways to modernism the classical world, there is new area opening up to us. The marriage between music and technology is no longer only in the hands of people that officially majored in that field, with current advancements with a little know how it is within the reach of you and I.<blockquote></blockquote>
As Harry Slater wrote in his article <i>Music graduates are more employable than you might think.</i><blockquote></blockquote>
"With unique skills and a broad range of graduate jobs on offer, music students have better prospects than people imagine."<blockquote></blockquote>
I think at least on some level most of us have a fear in the back our minds. We worry that we won't actually be able to make it in the music field. And we wonder how long we will be, pardon my scare quote "starving artists."<blockquote></blockquote>
But as I read Slater's article I realized how marketable we actually are. Even jobs outside the field of music hire music graduates for their skill sets. Now if you are like me, you really don't want to go into a non- music job upon graduation. However, knowing that I probably could get a job in other fields if it was necessary is completely liberating. I don't have to approach my musical career with any fear. I can create, explore, and discover, taking risks without a fear of failure.<blockquote></blockquote>
My fellow 2015 graduates, I leave you with a quote, as Ms. Frizzle from the show Magic School Bus,puts it so well. "It's time to take chances,make mistakes and get messy!"<blockquote></blockquote>
I look forward to meeting you all in the inspiring daylight of our post-Longy lives.<blockquote></blockquote>
For more information visit <a href="http://">http://bit.ly/1gGPXcJ</a>Unknownnoreply@blogger.com0