Color Me Curious
if i look back, i am lost
Show & Tell
Jar Jar Binks Fan Club
Game of Thrones Daily
NASA
#extradirty
Cookie Run:Kingdom Official!
Product Placement
★
Phantogram Three
occasionally subtle
KIROKAZE
No title available
sheepfilms
macklin celebrini has autism
🪼
ojovivo
h
PUT YOUR BEARD IN MY MOUTH
seen from United States
seen from Brazil
seen from Malaysia
seen from Chile
seen from Canada
seen from Bulgaria
seen from Jordan
seen from United Kingdom
seen from Brazil
seen from Singapore
seen from United States
seen from Türkiye
seen from China
seen from Malaysia
seen from Italy
seen from United States
seen from Canada
seen from United Kingdom
seen from Malaysia
seen from Malaysia
@pocinmusichistory
I’m a Gay Black Opera Singer and This Was My Month [June Vlog]
Follow me around the city as I prepare to perform with NYC Opera in the world premiere of Stonewall!
4:39: Video Journey Begins
7:42: Dress Rehearsal Recap
8:17: GRWM Makeup Time #1
8:40: Opening Night!
11:43: GRWM Makeup Time #2 (Closing Night)
Music journalist Sam Davies speaks to disabled female musicians about the lack of accessible musical instruments for people with varied physical abilities and why they decided to create their own
London Symphony Orchestra concerts at the Barbican Centre in London, at LSO St Luke's on Old Street, and on tour around the world.
Encounter a rusty, metallic soundworld inspired by otherness and displacement as you explore the combination of contemporary classical music with spatialisation, video art, performing sculpture and movement over a 66-metre graphic score. Witness the debut performance of a new instrument, the Soveida Harp, based on Persian چنَگ (chang) instruments, which articulates its sound in eerie stereo.
Be disorientated.
Be provoked.
ioned Williams, soveida harp Mina Kavani, performer Davood Jafari, performer Jacob Barns, kraken cello LSO musicians
Maryam Mohajer, animation Shima Mirhamidi, costume design Abdollah Abbassi, harp builder Maryam Nazari, artistic consultant Jacob Hulmston, visuals Alireza Heidari, visuals Amir Konjani, design, composition, video art, direction
An event this weekend in London! Check out Konjani’s incredible harp:
Eduard Tubin - Double Bass Concerto - Ha Young Jung with BUSO
2016 Boston University Concert Competition Winner’s Concert Ha Young Jung, Double Bass Boston University Symphony Orchestra (Tiffany Chung, Conductor) 28th March 2016
Dr Hannah Marie Robbins discusses how the teaching of music can be white-washed, and how teachers and researchers can disrupt the all too familiar narratives I was raised in North-West London in th…
In higher education, we need to do better to engage with contemporary debates about what British and “Western” music is. While examples like the A-Level curriculum noted above provide curated information for teachers to draw upon, it is all too easy to limit access to music and scholarship from outside of Europe (and, perhaps, America), or by a woman, or by a person of colour at university. A brief survey of Russell group Music departments indicates that, while composer-centric courses are less in-fashion at degree level than they once were, music by composers, performers, or producers of colour sit largely within ethnomusicology – often framed as “music of the world” – or hidden behind the label “jazz”. In the UK, scholars of colour are conspicuously absent across all research fields and many courses exist “about” and not “through” the cultures they relate to. Similarly, a lack of diversity in less ethnographically framed teaching is less apparent when not confronted on a daily basis with the erasure of people who look, sound, and listen like you.
From the 'only black kid in school', to dreaming of an Indigenous orchestra, Eric Avery is doing his best to bring Indigenous music and musicians front and centre.
Mr Avery said he found his place after leaving high school, where he attended NAISDA Dance College and was able to learn about dance with other Indigenous people.
“I got to hang around with my own people which was very nice to be in a learning environment with my own mob. You don’t get that in high school, I was the only black kid in the school,” Mr Avery said.
Mr Avery says he is currently working towards creating a world first Indigenous orchestra.
“That will be a place where we can express, as Indigenous people, our musical contributions to the world,” Mr Avery said.
“No person in the worldwide University of Rochester community is more beloved than Paul Burgett. No brief statement—actually, not even a lengthy obituary—could capture the full extent of Paul’s profound contributions to this university,” says President Richard Feldman in his tribute to Paul Burgett ’68E, ’76E (PhD), who died today. A musician, scholar, teacher, and University leader for more than half a century, Burgett is being affectionately remembered for his longstanding commitment to the University community, the city of Rochester and beyond.
For his doctorate in 1976, Burgett explored the music of black classical composers, a subject that until that point had not been much chronicled but one that his advisor, Paul Lehman, enthusiastically supported. His finished dissertation was titled “Aesthetics of the Music of Black Americans: A Critical Analysis of the Writings of Selected Black Scholars with the Implications for Black Music Studies and for Music Education.”
Advocating for the history and creativity of black classical musicians and composers was never far from Burgett’s heart. He championed the Gateways Music Festival, a multiday series of concerts, performances, and other events designed to provide classical musicians of African descent a performance showcase of their own. The biennial festival was brought by an Eastman faculty member to Rochester in 1995. Burgett helped nurture and strengthen its ties to the Eastman School of Music; at the time of his death he was chair of the Gateways Board of Directors.
Burgett was named dean of students at Eastman in 1981 and drew on his own experience to improve student programs, including planning for Eastman’s Student Living Center.
At Eastman, he first began giving his signature presentation, now known as “The Fiery Furnace.” In the address, which he continued to present to first-year students and was scheduled to deliver again this fall, he describes a University education as a journey that students embark on, one in which they will have to confront ideas and perspectives, challenges and opportunities that will mold their character. Education is, he noted, much like a furnace, a prospect that can seem terrifying.
“But you will step out of that furnace strong, tempered like steel,” he told students, also promising “We will not abandon you. We will never abandon you.”
Ángela Peralta
Ángela Peralta, also known as the “Mexican Nightingale”, was born in Mexico City in 1845. Peralta rose to international fame as an opera singer. She made her debut at the age of 15 in Mexico City, and later performed in Milan. Upon returning to her native country, Peralta sang for Maximilian I of Mexico and Charlotte of Belgium. Though known primarily as a singer, she was also a harpist, pianist, and composer.
Ángela Peralta died in 1883 at the age of 38.
On a recent Wednesday morning at Miami Beach's Frank Gehry-designed New World Center, a group of 18 string musicians has gathered for a three-day intensive of lessons, mock auditions, and performance psychology seminars. After a welcome breakfast and staff introductions, JT Kane, New World Symphony's dean of visiting faculty and orchestra manager...
"I think it's always exciting to get to a conference and see people who look like you," NAAS participant Meredith Riley says. The 27-year-old violinist, who is biracial, recently earned a spot in the Richmond Symphony through a blind audition. She rattles off the names and instruments of the musicians of color in the ensemble as she counts them on one hand, and she says she's the only woman of color in the symphony.
Twenty-six-year-old violist William Neri became involved with the Sphinx Organization when he was a child. He says it has opened his eyes to the lack of diversity in the classical-music world. "I went to an audition, and after advancing in it, I looked around and I was like, I'm the only person of color in this room. I'd never noticed that before. So since then, I've really picked up on it, and I've been trying to find a way to encourage other people to get involved or try to see if there's more room for more people of color to be in those different scenarios."
Shirley Verrett was an internationally renowned opera singer and concert recitalist. Her performances and recordings marked her as one the leading singers in the post-Marian Anderson generation of African American classical musicians.
In 1958 Verrett starred in a production of the later work staged by the New York City Opera and won the Walter S. Naumburg Award which gave her the opportunity to make her Town Hall debut as “Shirley Verrett-Carter.” The following year she ended her marriage to James Carter and was engaged by Leopold Stokowski to sing with the Houston Symphony Orchestra. The offer was withdrawn by the symphony board because of her race. Verrett made her European opera debut in Rasputin’s Todt in Cologne and also made her first commercial recording in Beethoven’s Ninth Symphony with Josef Krips conducting the London Symphony.
Verrett eventually performed with Stokowski, but with him leading the Philadelphia Orchestra. The engagement catapulted her onto a national stage.
Today would have been Shirley Verrett’s 87th birthday. Read more about her life here.
Composer: Aram Khachaturian (1903 - 1978)
Work: Allegro Vivace from Violin Concerto in D minor (1940)
Performer: David Oistrakh, Philharmonia Orchestra; conducted by Aram Khachaturian
As requested by k-y-e-z-e-r
by Audrey Seraphin
In honor of Black History Month, we are celebrating black excellence by highlighting some of the very best black artists producing and creating work today. This week we are highlighting ten contemporary black composers you should know.
February 2018 marks the 43rd observance of Black History Month, also known as African American History Month, in the United States. While African American history should be taught and honored all year round, the celebration of Black History Month allows us to pay special tribute to the monumental struggles and triumphs of generations of African Americans.
In the words of President Gerald Ford in 1976, on the first observance of Black History Month, “we can seize the opportunity to honor the too-often neglected accomplishments of black Americans in every area of endeavor throughout our history.” One such ‘area of endeavor’ is the world of classical music composition. A key aim of Sphinx is to empower current composers of color and introduce more of their works, as well as the works of those who paved the way before them, into the lexicon of popularly performed pieces.
Though hardly an exhaustive list, these seven significant classical composers of color have made unique and groundbreaking contributions to the industry, and we salute them during this important month of learning and reflection.
track by Tanaya Winder
Tanaya Winder is a writer, educator, motivational speaker, and spoken word poet from the Southern Ute, Duckwater Shoshone, and Pyramid Lake Paiute Nations. She grew up on the Southern Ute Indian reservation and attended college at Stanford University where she earned a BA in English. She has a MFA in creative writing from the University of New Mexico. You can follow her on Twitter at @tanayawinder
It has been just three weeks since Inuk artist Delilah Saunders and her family testified at the National Inquiry into Missing and Murdered Indigenous Women and Girls at Membertou First Nation in Nova Scotia. Now, Saunders says she's "turning her pain into positive action," collaborating with a Labrador City composer on a chamber opera.
It has been three weeks since Inuk artist Delilah Saunders and her family testified at the National Inquiry into Missing and Murdered Indigenous Women and Girls at Membertou First Nation in Nova Scotia.
Now, Saunders says she's "turning her pain into positive action," collaborating with a Labrador City composer on a chamber opera.
Loretta Saunders, a Saint Mary's University student, was murdered in February 2014 by the couple who was subletting her apartment — over a few hundred dollars in rent. Her body was left in a hockey bag along the Trans-Canada Highway west of Salisbury, N.B. The couple pleaded guilty to murder charges in 2015 and both received life sentences.
Since her sister's death, Saunders says she has been putting pen to paper, asking herself about the factors that contribute to the grim realities faced by Canada's Indigenous people every day. She says it's helping her to cope.
"I'm a writer, so I've been doing everything I can to express myself on a personal level," said Saunders. "But I'm also looking at the 'big picture' — looking at residential schools, the child welfare system, the prison system."
Noseworthy, a composer, calls the classical contemporary piece 'stark, with disturbing imagery', and says it suits Saunders's writing. (Andrew Noseworthy)
Saunders says her first piece for the opera, One Stalk, One Arrow, No Stalk, No Arrow, which was premiered last week at Western University in London, Ont., is, in part, about the overrepresentation of Indigenous people in Canadian prisons.
Having faced legal trouble in the past, she wondered who she might see in prison...
Saunders says the opera project is an important step forward in her personal life. It's allowing her to step back from her family's experiences at the Inquiry hearings in Membertou.
She says the disorganisation and poor communication from Inquiry staff left her disappointed and worried. Case in point, she says, was the resignation of her family's inquiry liaison lawyer, Joseph Murdoch-Flowers.
“I reminded her how one arrow, when bent, will snap and break. But together, the way we were in that moment, the same way we were when we were kids, we are strong, un-bending, un-breaking. One stalk of corn cannot withstand the elements, it cannot stand alone, but corn in rows, side by side. They weather storms together. They move together, allowing each other to grow.”
Delilah won an Amnesty International award for her work.
My name is Jonathan Douglass Turner and I am a 26 year old multimedia performance artist, classical singer and writer based in Brooklyn, New York! I was recently cast in a production of L'Euridice, the world's oldest opera, by the directors of Cantanti Project, a singer-run non-profit arts...
My name is Jonathan Douglass Turner and I am a 26 year old multimedia performance artist, classical singer and writer based in Brooklyn, New York! I was recently cast in a production of L'Euridice, the world’s oldest opera, by the directors of Cantanti Project, a singer-run non-profit arts organization. After months of being unsure about my future in this artform, I landed an operatic debut and cannot wait to bring life to this ancient Greek myth through song and drama. However, due to many stressful familial pressures placed on my personal expenses, I am currently unable to pay the performance dues and sign my artist contract! I am seeking to raise $300 to go towards the dues owed to Cantanti Project. Opera is a very expensive business, and for newer companies/organizations such as Cantanti Project, securing funds for mounting productions is extremely important. These dues go into the company so they can pay for venues, printing, advertising & costuming. Any dollar amount would help me in this process! Please share and spread the word! Thank you so much!
!!!!!!!!!!!!!!!!!!!
