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(November 8-9, 2010)
(Oct 19, 2010)
Graduate Student Conference March 2010
Battle Road Trail
Experimental Rose Museum Cell Phone Tour
Foreign Language Tour Event at the Rose
Learning through the Rose Art Museum
Anthropology Must Reads?
Guggenheim project trip to NYC
GBAC: Anthropology & Social Media
Photographs of the Disappeared
"I Sent my Message" exhibition
Should robots wear clothes?
(Slave Trade Memorial)
Classes during "Quarantine"
Rose Art Museum Collections
Nantucket African-American History Project
Chinese Cultural Studies
Obbini Tumbao Residency
Red Thread: Kumi Korf
William Gibson & Cultural Critique
Estate Sales as Cultural Practice
Art Law Forum
Waterfall Projection: My Hands Were Busy
Exhibition: History of the Rose Art Museum
Slavery and Universities
Practicing Place at Brandeis
Arresting Moments: Wonder and the Pedagogy of the Imagination
Saturn Dreaming of Mercury
Wearing our Culture project
(Waltham Family School)
Rose Museum Symposium
Rose Art Museum Crisis
Clothing and Children's Literature
New Media Space
Rose Museum Sit-in, 1/29/09
(Broadcast on YouTube)
Art and Human Rights
(Conversations on YouTube!!)
Art, Representation and Evolution
(Broadcast on YouTube)
Rose Museum Town Meeting
Graduate Student Conference March 2009
Sudanese Refugee Art Exhibition
Webisodes: Unpacking Ads
Jonglei State Cultural Production Center
Virtual Tel Aviv
South Sudan Women Project
Campaign 2008 Ads
"Making Culture" eSpaces
What is culture?
Japan: Gender Images
Prospect Hill Terrace
Rory Stewart's "The Places in Between"
Shubha Mudgal Residency
(Oct. 15-18, 2008)
"Beyond Witnessing" Series
Malek Village Reconstruction Project
Manitonquat visit (
April 9, 2008)
Mariyo Yagi Lecture
(March 26, 2008)
(Feb 14. 2008)
Pedagogy of the Imagination
Transitional Phenomena Working Group
Global Theory Group
Trauma: Theory and Experience course
Brandeis Website Discussion
Visualizing Science symposium
Mirrors of Science
Sexualities in Asia
Gender, Justice and Storytelling Workshop
Waltham Community Archives
Japan Studies Group
Japan Studies colloquium series
Intercultural Residency Series
MusicUnitesUs Lesson Plan Forum
African-American Bike Network
Community History Projects
Readings of Interest
Museums and Exhibitions
Surveillance and Privacy
Architecture and Memorial comments
HIV/AIDS and Cultural Form
Music and Concert Comments
Theater and Drama Comments
Culture, Digital Technology and the Internet
Cultural Production courses
Asian and Asian Diaspora Studies
Education and Cultural Production
Official Cultural Production website
Music and Concert Comments
Thoughts on Music and Concerts
Let's use this part of the Cultural Production Wiki to share our reflections on works of music (recorded or live) as well as concerts and recitals we've heard.
Comment on the
Intercultural Residency Series at Brandeis University
Politics and Pop Music
Lyrics and brief analysis of songs that address the contemporary political scene, particularly regarding the wars America has recently been involved in.
SPACE MUSIC - THE MUSIC OF HENRY BRANT
Harvard Wind Ensemble
Saturday, Dec. 6, 2008 at 8:00 pm
Lowell Lecture Hall at Harvard University
Kirkland and Oxford Streets, Cambridge, MA
Performance, Space, Sound, Subjectivity
Tonight I was called on to play principal horn for the Harvard Wind Ensemble's concert dedicated to the recently passed American post-classic composer Henry Brant (1913-2008). Throughout his award-winning career as composer and educator, Brant played with the concept of space in performance. Soloists and clusters of players or instrument-types are differentially positioned within the performative space.
The concert tonight will feature two unrecorded pieces: 60/70 (1974/1983) and American Debate, an Antiphonal Overture (1976). Both pieces position two distinct groups of instruments in different spatial positions within the hall. One plays from the rear balcony, within the fourth-dimension and realm of the audience, and the other on the stage, although arranged so as not to face the audience, redirecting sound and visibility of performers' actions for the audience.
In 60/70 the groups are playing simultaneously and American Debate they are orchestrated in unison, only to break away mid-piece, the spatially ascendant group echoing and countering themes projected from the stage. The result are sounds produced and deployed that resonate (with) and are perceived by audience members differently depending on their place within the concert hall. The musical sign(s) perceived may be dis/harmonious.
Performances of spatial music call into question the classical notions of audience-performer orientations, an extension of basic self-other relations which are modified, de-centered, and potentially reconfigured within the ritual space of the concert hall. Not only are audience-performers' self-other relationships called into question, but so are those between performers. Many of Brant's compositions are orchestrated for diverse types and quantities of instruments. Brant's piece entitled Orbits (1979) is scored for high soprano, organ, and 80 trombones, the 80 trombones each playing independent parts (i.e. they are not in unison nor scored together). For the audience, the ritual-musical text may be a parataxis, "the pure and simple juxtaposition of elements" (Barthes 1988:187). whereas for the performers, each embody different agent and subject positions in the very immediacies of the performance. However, the performers are still quasi-circumscribed in that the piece of music has definitive beginning and end. Does this challenge or reify Victor and Edith Turner's writings on that communitas often instantiated between ritual participants?
“It has never seemed to me that life is a simple matter, and I have always felt that music can reflect everyday existence, with its many complicated events both internal and external. A mundane episode in everyday life is not a one-dimensional event. People pass one another unaware of each other’s needs and fears. For me, spatial amalgams of highly contrasted musical events, freely associated yet controlled, present opportunities for representing in the concert hall, musical equivalents of the incessant bombardment of social and environmental catastrophes which bedevil daily existence.”
Roland Barthes 1988 The Semiotic Challenge. NY: Hill and Wang.
Victor Turner 1969 The Ritual Process: Structure and Anti-Structure. NY: Aldine.
THE DUDLEY ORCHESTRA (Harvard University Graduate School of Arts and Sciences)
Drew Schroeder, music director presents
KORNGOLD - Selections from The Sea Hawk
BAX - November Woods
KORNGOLD - Pierrots Tanzlied from Die tote Stadt (with Sidney Outlaw, baritone)
SIBELIUS - Symphony No. 7
ABOUT THE REPERTOIRE
Erich Wolfgang Korngold and Jean Sibelius died two months apart, in the fall of 1957.
Fifty years later, the Dudley Orchestra will celebrate both composers. We'll play
excerpts from one of Korngold's groundbreaking film scores (The Sea Hawk, starring Errol
Flynn), as well as a stunningly gorgeous aria from the opera that cemented his reputation
as Europe's greatest wunderkind since Mozart. The Seventh Symphony, written in a single,
continuous movement, was one of Sibelius's final works, and is arguably his masterpiece.
Rounding out the program will be November Woods, an eerie tone poem by the underrated
English composer Arnold Bax, a contemporary of Korngold and Sibelius.
Sunday, November 18th at 7:30pm
Paine Hall at Harvard University
Tickets: $7 (general public), $5 (student, senior, Harvard ID)
available at the Harvard Box Office or at the door
For more information, visit:
VISSI D'ARTE: SARAH NICHOLAS PRICE SINGS VERDI AND PUCCINI.
American soprano Sarah Nicholas Price makes her debut with the Lowell House Opera Orchestra in a concert of some of the most thrilling dramatic arias by Giuseppe Verdi and Giacomo Puccini. Winner of the Bella Voce Award from the Bel Canto Foundation’s 2006 Competition, Sarah Nicholas Price is rapidly gaining recognition as a powerful lyrical interpreter of Italian opera. Invited to sing at the Third Practice New Music Festival in Richmond, Virginia, and at Michigan’s Art Fair Song Fest, she has also performed in numerous recitals in France, Italy, Austria, and Germany, in addition to performances near her home in Illinois.
Richard Wagner (1813-1883)
Giacomo Puccini (1858-1924)
“Signore, ascolta!” from
“In quelle trine morbide” from
La tregenda (Witches’ Dance) from
“Donde lieta uscì” from
“Vissi d’arte” from
Giuseppe Verdi (1813-1901)
“Ernani, involami” from
Prelude to Act I of
“Tacea la notte placida” from
The Lowell House Opera Orchestra
Channing Yu, conductor
Saturday, 10 November 2007, Lowell House Dining Hall
Harvard University, 10 Holyoke Place, Cambridge, MA 02138
Cultural Production (CP201) student Casey Golomski will be playing horn in these two exciting and moving productions. Anyone interested in tickets in advance please email (firstname.lastname@example.org).
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