24 Results for : majored

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    Enter Da Blackness: The Beginning 1
    Birth Name: Donnell Baylock Stage Name: Da Blackness, (AKA. Kenny Gold) Birth Place: West Side of Chicago, Illinois Born to the young Dianne Baylock,Donnell was made a ward of the state at the age of 10 and remained in the state's custody until the age of 18. Donnell attended Thornridge High School in Dolton, Illinois where he resided with his foster mother Mary L. Ball. Despite the hard times and childhood obstacles, she encouraged Donnell to succeed and continue his education. Donnell flourished as a 2-time All State champion in Track and Field. After graduation from high school, he attended Lewis University through a Track and Field scholarship. As a member of the Lewis University Track and Field team, he won a National Championship Title, which led him to earn the All-American status. As a student at Lewis University, Donnell majored in communication, which consisted of broadcasting live shows over Lock - 88.1 FM radio as a percentage of his overall grade. It was there that his admiration for becoming a lyricist began to grow and flourish. He saw both his potential and the effect he had on the ears of all the Hip-Hop listeners. This initiated a number of questions regarding his future and career. The most important decision for him at this time was either to finish school or write and perform Hip-Hop. In December 1997 he laid his biological mother (Dianne Baylock) to rest, due to Acquired Immune Deficiency Syndrome (AIDS), which was a turning point in his life. Donnell returned to school and realizing that much of his focus towards school and his athletic abilities had been lost, Donnell chose at that time to began his Hip-Hop career. Donnell was inspired by all the trials and tribulations of his life as well as other Hip-Hop artists that went through similar situations, like Tupac (which is his favorite artist), Jay Z, Nas, Biggie and Em: nem who all taught him something. Now as he brings it to the table, he wants his listeners to feel the pain and his struggles through his own rap music. Donnell focus' his lyrics on his life and what he learned from growing up in the streets of Chicago. He has achieved much on his road to get to a stage near you. The accolade that he is most proud of however, is the fact that he is the father of three special children. They are the heart of his life. So now....... let's enter "Da Blackness"
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    Music of Bela Bartok
    Dr. Elliot Antokoletz wrote the special album notes for this live concert performance CD. While his research is devoted to twentieth-century music in general, Dr. Antokoletz's theoretical contribution to our understanding of the music of Bela Bartok is influential. He was awarded a Diploma from the Hungarian Government. He is the author of the Music of Bela Bartok: A study of Tonality and Progression in Twentieth-Century Music (University of California Press, 1984) Transcription has enriched the literature for many instruments. The most important element is that the works must sound 'convincingly written for the instrument.' Paul Olefsky along with University of Texas Faculty Artists Nancy Garret and William Race has recorded these works in live concert performance. Paul Olefsky and Hai Zheng have also recorded in concert for the twelve duos for two cellos. ELLIOT ANTOKOLETZ, Professor of Musicology at the University of Texas at Austin, has held the Alice Mackie Scott Tacquard Endowed Centennial Chair and E.W. Doty Professorship in Fine Arts. He is the author of The Music of Béla Bartók: A Study of Tonality and Progression in Twentieth-Century Music (University of California Press, 1984), Béla Bartók, A Guide To Research (Garland, 1988, 2nd ed. rev. 1997), Twentieth Century Music (Prentice Hall, 1992), Musical Symbolism in the Operas of Debussy and Bartók: Trauma, Gender, and the Unfolding of the Unconscious (Oxford, 2004), and co-author of Manuel de Falla's Cuatro Piezas Españolas: Combinations and Transformations of the Spanish Folk Modes (VDM Verlag, 2009). He is contributing editor of Bartók Perspectives: Man, Composer, and Ethnomusicologist (Oxford, 2000) and Rethinking Debussy (Oxford, in press). He is also co-editor of the International Journal of Musicology (Frankfurt: Peter Lang, since 1992) and editor of Georg von Albrecht: From Musical Folklore to Twelve-Tone Technique: Memoirs of a Musician Between East and West (Scarecrow Press, 2004). Several book translations include Chinese, Polish, Spanish, and Italian. He has contributed entries to the New Grove Dictionary of Music and Musicians, articles to most of the major music journals, and chapters to various book compilations such as Sibelius Studies (Cambridge, 2001), Encomium Musicae: Essays in Honor of Robert J. Snow (Pendragon, 2002) on 20th-century composers from Spain, The Bartók Companion (Faber, 1993), Copland and His Times (Princeton, 2005), and Ravel Studies (Rochester, forthcoming). In 1982 he served as scholarly evaluator for the Harry Ransom Center (HRC) at the University of Texas for acquisition of the Stravinsky Archive as well as archival collections of Ravel, Dukas, Roussel, Fauré, and Debussy. The 'Elliott Antokoletz Bartókiana Collection' is housed, together with the 'Benjamin Suchoff Bartókiana Collection' (Former Trustee of the Béla Bartók Estate and Head of the New York Bartók Archive), at the University of South Florida at Tampa. Antokoletz has lectured in Hungary, Germany, England, Spain, Switzerland, Poland, Mexico, Brazil, Australia, and throughout the United States. He received the Béla Bartók Memorial Plaque and Diploma from the Hungarian Government in 1981, two subventions from the National Endowment for the Humanities (1980 and 1982), Teaching Excellence Award from the University of Texas (1981), and PhD Alumni Award from the City University of New York (1987). He was Director of the Bartók International Congress 2000 and Debussy International Congress 2006 at the University of Texas. Antokoletz majored in violin performance under Dorothy Delay and Ivan Galamian at the Juilliard School of Music (1960-1964), and received his PhD in Historical Musicology from the City University of New York (1975). PAUL OLEFSKY is Emeritus Professor of Music from the University of Texas at Austin. He has performed and conducted master classes internationally including master classes at Oxford and Cambridge, sponsored by the European String Teachers Association. His students fill key positions as professors and principals worldwide. He was awarded first prize of the prestigious Naumburg and Michael Memorial International Solo Competitions. He matriculated from the classes of legendary greats Piatigorsky and Casals. After graduating from Curtis Institute of Music, he appeared as a soloist and the youngest principal cellist with the Philadelphia Orchestra in Carnegie Hall under Maestro Ormandy. He is a solo recording artist for the Americus Records, Amatius Classics, Monitor, Musical Heritage, Vox, and Voice of America Records, and his broadcast credits include NBC, CBS and BBC-London. He was on the jury panels of the Piatigorsky International Competition (Violoncello Society of New York), and Interlochen International Competition (General Motor & Seventeen Magazine). Prof. Olefsky has been awarded the Mary Helen Thompson Centennial Professorship and was the director of the UT Plan II Chamber Music Program in the College of Library Arts. He was also a professor of Cello/Chamber Music at Peabody Conservatory and Hart School of Music. Prof. Olefsky and his cellist wife, Hai Zheng have recorded Vivaldi's double cello concerti with the English Chamber Orchestra and appeared with the Chicago Strings for Bach's double violin concerti on two cellos and their live performance was broadcast over PBS in Chicago. NANCY BURTON GARRETT, Professor of Piano has been a member of the piano faculty since 1965. Garrett was the First Prize winner of the G. B. Dealey Competition, first prize winner of the KRBE National Piano Competition and has won numerous other awards including a Fulbright Award for study in London, and Finalist Diploma in the Busoni International Piano Competition in Bolzano, Italy. Critically acclaimed as 'a very important pianist', she has performed throughout the United States, in Europe, Mexico and Taiwan. Also an accomplished fortepianist, Garrett has, since 1991 been teaching and performing with 18th and 19th century fortepianos. A member of Duo Cristofori with Penelope Crawford she has appeared in duo-fortepeiano and four-hand recitals in major U.S. cities and festivals, including the Mozart Bicentennial at Lincoln center, Smithsonian Institute in Washington D.C., the Oberlin Baroque Performance Institute, and the International Festival Institute at Round Top, Texas. Garrett students have performed in Carnegie Hall, Steinway Hall, the Smithsonian Institute, Europe, Mexico, and China and hold teaching positions in universities and colleges throughout the United States. Garrett received the BM with Distinction and Performer's Certificate from Eastman and the MM from the University of Texas. She has also studied at the Santa Cecilia Conservatory in Rome, and the Royal Academy of Music in London. Her teachers include Cecile Genhart, Dalies Frantz, Leonard Shure, Silvio Scionti, Ilona Kabos, and Charles Rosen. Dr. WILLIAM C. RACE (1923-1999), Priscilla Flawn Regents Professor of Piano at the University of Texas at Austin. Dr. Race was a member of the keyboard faculty at The University of Texas for thirty-two years, and served as it's chair for twenty years, during which time he was largely responsible for establishing the national and international prestige of the piano faculty and it's programs. His highly-regarded reputation as artist/teacher was complemented by an acclaimed career as soloist, chamber musician, and collaborator. Always a favorite performer on the University campus, he concertized all over the United States, as well as in Europe and Asia. His Town Hall, New York City, debut heralded an important career that won admiration and respect from performers and teachers in all musical circles, including major national and international schools of music. He received accolades from prestigious critics in New York and Los Angeles, and in many other important locales, and recorded an impressive range of piano literature. His dozen of recordings include a complete stylistic va
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    Arpeggio
    This album use sphere recording Technique, when you use headphone hearing this album, you will feel amazing phantom image scene in front of you, not just in your brain. Yi-wen Kuang/Harpist Yi-wen Kuang was born in Kaohsiung, Taiwan. She started to learn piano in 5 and studied harp since 10 years old. She attended Hochschuele für Musik und Dartellende Kunst in Wien when she was 14, majored in Harp Profession, Education Diploma, and Piano Education. She learned harp from A.Blovsky-Miller (former harp principle of Wiener Staatsoper) and piano from C.Karajev. She graduated with an outstanding grade and art master degree diploma in 1997. She later entered Hochschuele für Musik in Würzburg and kept learning from G.Herbet, then she won the Concert Meisterklasse Diplom in 1999. She held many tour recital and chamber concert during her studied abroad. Besides, she usually invited to guest on orchestra in Germany and Austria like Wiener Jeienesse Orchester, Vogtland Philarmonie. She performed in Hofer Symphoniker and Nürnberger Symphoniker as intern then became principle in Coburg Laudestheater before she backed to Taiwan. After she returned to Taiwan in 2000, she usually performing with National Symphony Orchestra, Kaohsiung City Symphony Orchestra, Moment Musical Orchestra, Taipei Symphnic Band, Chi Mei Orchestra, Malaysia Philharmonic Orchestra, and Macau Orchestra. Except for attending the orchestra, she often been invited to perform as a active sloist and hold her own personal concert tour regularly. In 2004, she cooperated a performance of Mozart's concerto for flute and harp, K. 299 with flute principle of New York Philharmonic Robert Langevin. She is now acting harp principle in Malaysia Philharmony Orchestra. About the Recording It's hard to have a good harp recording, since it's a huge instrument, with wild range both in frequency and dynamic like piano. It sounds totally different in different temperature or humidity even performer's hand cocoon different. We simply use two carefully placed small A-B Stereo pair with Schoeps MK2 microphones, successfully capture the nature sound image of harp. To present the most transparent tone, I only use vacuum tube in analog amplitude stage, than directly convert it to digital signal with dCS 904 A/D converter, thus we can capture most detail sound information. To fit each piece's character, we use different vacuum tubes to make sound color good for each piece. Since it's digital recording, we still use analog handcraft vacuum tune mixer in post-production, we are very happy we keep the rich harmony, colorful resonance and transparent pizzicato, thus we can present a "true" harp when you hear our music with closed eye. Enjoy the music, and finally, be careful turn the volume softer when you listen. The rich low frequency information may damage your audiophile gears, and most treasured, your ear. (Hong-Jen Huang)
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    Koji Asano: Violin and Viola Suites No. 1, No. 7
    Asano was invited as a composer to Mittersill Composers Forum in Austria in 2004 Fall. During the forum he wrote a Violin and Viola Duo Piece *"No.1 Hollersbach" as he was inspired by Austrian Ensemble "Die Reihe"'s violinist Willem de Swardt and violist Ursula Kortschak. That was the origin of these suites. In 2005 April-May, he continued to compose No.2-No.7 as he was inspired by the beautiful sound by Kumi Nakajima, and a rich performance of Masashi Sasaki. *Hollersbach is a next town of Mittersill in Salzburg. Kumi Nakajima, Violin: She started playing the violin at the age of 4. She won the 2nd prize in the National High School Music Competition in 1986. She graduated from the high school attached to the National University of Fine Art and Music, and the University. She majored the viola in the chamber music class, and was charmed by that instrument. She studied more at the graduate school. She won the 2nd prize in the 5th Japan Chamber Music Competition. After completing her master's degree, she worked as an assistant player at the Toho Music College for 5 years. She studied with Jurgen Kussmaul in Amsterdam for one and half years from May 2001, and played with Anner Bylsma at a concert of Encontros de Musica da Casa de Mateus in Portugal in 2002. She studied dance and theater improvisation applying voice, movements and experiential anatomy, with Patricia Bardi, and composed some music for dance pieces and widened her activities. After returning to Japan, her activities have expanded still more. Now, she plays from baroque to contemporary music and improvisation with 4 instruments (both baroque and modern violin and viola). She started a self-produced concert series "Futakoedori (Bird with two voices) no concert" from 2004. In this concert series, she plays both the violin and the viola, collaborating with various instruments. It is well received by audiences. Masashi Sasaki, Viola: He graduated the National University of Fine Art and Music in 1993, and was a lecturer of orchestra researches in the university during 1993-1999, also had performed as a guest soloist with many domestic orchestras. In 1998, He performed solo recital organized by Hikoneshi Cultural Plaza. He studied more in Hamburg in 1999 and on returning to Japan, he assumed principal viola of the Sendai Philharmonic Orchestra. In 2002, he performed Duo-recital with a Pianist, Takayuki Kuniya in Tokyo and Sendai. In 2003-2004, he received a grant from Matsuo Foundation as a member of Sereno Quartet. He won "Green Wind Prize" at Haramura Musical Seminar. Now He performs as a principal violist of Bach Society Orchestra, Sendai Philharmonic Orchestra and Sereno Quartet. He studied Viola with Sagako Kusanagi, Fumiki Asazuma, Hideki Koguni, Kazunori Kawasaki, Hirofumi Fukai and ensemble with Kiyoshi Okayama.
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