99 Results for : lectured

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    Guitar for Beginners: Discover How You Can Be Playing Your Favorite Songs in Just 1 Week or Less Even If You Don’t Know What Chords or Scales Are , Hörbuch, Digital, ungekürzt, 115min
    Discover how you can go from complete beginner to jamming to your favorite songs in as little as one week.Do you want to learn to play the guitar? Do you want to learn to play the fun and easy way? Do you want to teach yourself without endless boring music theory? I remember learning the guitar the "traditional" way; basically "traditional" is a cover word for boring. Every week I would go and be lectured to about boring music theory and chords; all I wanted to do was play! I wanted to be like the legends I listened to every day, they looked like they were having fun. Now, with students I only teach the theory when they need it and only after they are addicted to their guitar because when you’re hooked, learning the theory isn’t half as bad. This audiobook is going to get you playing, get you jamming. Picture it now: You pick up your guitar, put on your favorite song as a backing track, and can just naturally flow through the songs with perfect timing and rhythm. It just flows and sounds amazing!This audiobook has been designed with that exact purpose, to get you playing your first songs in just seven days, and more importantly, make you fall in love with this beautiful instrument.Anyways, here’s a sliver of what’s in this guide:How to play hundreds of songs with just these four chords (like I said, fun first!) How to understand and read music in 14 easy steps (essentials without making it boring!)An easy, yet wildly effective method for mastering chord changes A step-by-step walk through to playing your first three songs! How you could play your first song on the first day of practice (yes, it’s actually possible) Common beginner issues you need to know and exactly how to overcome them effortlesslyAnd that is barely scratching the surface! So, if you want the exact (and ridiculously fun) method to playing your first son ungekürzt. Language: English. Narrator: Ric Chetter. Audio sample: https://samples.audible.de/bk/acx0/221777/bk_acx0_221777_sample.mp3. Digital audiobook in aax.
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    As I Remember It: My 50 Year Career as an Award Winning Writer, Producer, and Studio Executive , Hörbuch, Digital, ungekürzt, 167min
    From Marilyn to Streisand and all the celebs in-between. Film producers and studio executives know the nitty-gritty behind the scenes. Award-winning writer, producer, and executive Ken Rotcop now tells all about the comical, dramatic, and tragic celebrities he befriended. Look through the mirror on the wall to see the stars as they were without their masks, including Marilyn Monroe, Peter O’Toole, Mel Brooks, Peter Faulk, Monty Hall, Regis Philbin, Mickey Mantel, John Barrymore, Jr., Baron Hilton, and Jack Klugman. "Before you can get someone to read your screenplay you have to know how to write it. Ken Rotcop is the master at teaching writers how to tell a story." - Oprah Winfrey, The Oprah Winfrey Show "Forget about snappy dialogue, characterization and plot. It’s the pitch that gets a script read and a movie deal done. If it were not for Ken Rotcop, most new writers would be out of the loop." - John Lippman, Wall Street Journal "Two-thirds of the earth’s surface is covered with water and the other third is covered with people who have fabulous ideas for shows if only a producer would give them an opportunity. Ken Rotcop, an award-winning writer and producer, provides a guiding light to this group." - Robert Siegel, All Things Considered, National Public Radio "Mr. Rotcop was the single most influential person I’d met in the early years of my career. He gave me the courage to go after my dream. He is an industry legend." - Andrea Leigh Wolf, author, Sell Your Screenplay "I first met Ken Rotcop years ago when I was a panelist on a game show and he was the writer. His books are filled with terrific stories and funny anecdotes. The boy can write!" - Rose Marie, star of The Dick Van Dyke Show "Having toured the country and lectured with him, I can honestly say no one can captivate an audience as Ken Rotcop. His stories and his humor keep the audiences clamo ungekürzt. Language: English. Narrator: Ken Rotcop. Audio sample: https://samples.audible.de/bk/acx0/106047/bk_acx0_106047_sample.mp3. Digital audiobook in aax.
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    Freelance Video Game Writing (eBook, PDF)
    In the competitive world of video game writing and narrative design, developers are losing permanent positions while freelancing careers are on the rise. Many developers don't understand how to seize these freelancing opportunities, such as understanding the business of freelancing, how to go about finding work, how to establish strong relationships with clients, and how to sustain themselves as freelancers. Freelance Video Game Writing: The Life & Business of the Digital Mercenary for Hire offers developers guidance on achieving their freelancing goals as telecommuters. Dr. Toiya Kristen Finley presents practical insight into the profession and how to further enhance your freelancing business, whether you are a newcomer in the field or an experienced freelancer. Key Features: Two sections covering the life of the freelancer and the freelance business Fifteen interviews from narrative designers, game writers, and other developers on topics from maintaining a healthy work-life balance to figuring out your rates to working a full-time job and freelancing on the side A comprehensive list of definitions with which freelancers need to be familiar Exercises to help augment your understanding of freelancing and improve your business Biography Nashville native Toiya Kristen Finley, PhD, has been a freelance writer and editor her entire adult life. She earned a doctorate in literature and creative writing from Binghamton University. Over her career, she has published more than 80 works of fiction, nonfiction, comics/manga, and games, and has over 20 years of experience writing in a range of genres, tones, styles, and voices. She gained editorial experience interning at Henry Holt's imprint, Owl Books. At Binghamton, she founded the literary journal Harpur Palate and served as its managing/fiction editor. In 2011, she cofounded the Game Writing Tutorial at GDC Online with Tobias Heussner and served as an instructor in 2011 and 2012. In videogames, she has worked as a game designer, narrative designer, game writer, editor, and diversity/narrative consultant (or some combination of the five) on everything from AAA titles to mobile games to games for children to small indie projects. Recent work includes writing the visual novel Siren Song (Stardust Works), copyediting for Destiny 2 (Bungie), and developmental editing on Insecure: The Come Up Game (Glow Up Games). A presenter at conferences throughout the year, she has lectured on freelancing and storytelling and led workshops on narrative design and game design. She is a member of the IGDA Game Writing Special Interest Group's Executive Board. The Game Narrative Toolbox (CRC Press), a book on narrative design she coauthored with Jennifer Brandes Hepler, Ann Lemay, and Tobias Heussner, was published in 2015. Narrative Tactics for Mobile and Social Games: Pocket-Sized Storytelling (CRC Press), which she edited and contributed to, was published in 2019. Of late, she has been working on her own visual novel series, beginning with Incarno: Everything Is Written.
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    Freelance Video Game Writing (eBook, ePUB)
    In the competitive world of video game writing and narrative design, developers are losing permanent positions while freelancing careers are on the rise. Many developers don't understand how to seize these freelancing opportunities, such as understanding the business of freelancing, how to go about finding work, how to establish strong relationships with clients, and how to sustain themselves as freelancers. Freelance Video Game Writing: The Life & Business of the Digital Mercenary for Hire offers developers guidance on achieving their freelancing goals as telecommuters. Dr. Toiya Kristen Finley presents practical insight into the profession and how to further enhance your freelancing business, whether you are a newcomer in the field or an experienced freelancer. Key Features: Two sections covering the life of the freelancer and the freelance business Fifteen interviews from narrative designers, game writers, and other developers on topics from maintaining a healthy work-life balance to figuring out your rates to working a full-time job and freelancing on the side A comprehensive list of definitions with which freelancers need to be familiar Exercises to help augment your understanding of freelancing and improve your business Biography Nashville native Toiya Kristen Finley, PhD, has been a freelance writer and editor her entire adult life. She earned a doctorate in literature and creative writing from Binghamton University. Over her career, she has published more than 80 works of fiction, nonfiction, comics/manga, and games, and has over 20 years of experience writing in a range of genres, tones, styles, and voices. She gained editorial experience interning at Henry Holt's imprint, Owl Books. At Binghamton, she founded the literary journal Harpur Palate and served as its managing/fiction editor. In 2011, she cofounded the Game Writing Tutorial at GDC Online with Tobias Heussner and served as an instructor in 2011 and 2012. In videogames, she has worked as a game designer, narrative designer, game writer, editor, and diversity/narrative consultant (or some combination of the five) on everything from AAA titles to mobile games to games for children to small indie projects. Recent work includes writing the visual novel Siren Song (Stardust Works), copyediting for Destiny 2 (Bungie), and developmental editing on Insecure: The Come Up Game (Glow Up Games). A presenter at conferences throughout the year, she has lectured on freelancing and storytelling and led workshops on narrative design and game design. She is a member of the IGDA Game Writing Special Interest Group's Executive Board. The Game Narrative Toolbox (CRC Press), a book on narrative design she coauthored with Jennifer Brandes Hepler, Ann Lemay, and Tobias Heussner, was published in 2015. Narrative Tactics for Mobile and Social Games: Pocket-Sized Storytelling (CRC Press), which she edited and contributed to, was published in 2019. Of late, she has been working on her own visual novel series, beginning with Incarno: Everything Is Written.
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    Ante Body
    *Recipient of a 2020 Whiting Foundation Award *Recipient of a 2020 New York Foundation for the Arts *Recipient of a 2019 Jerome Hill grant from the Jerome Foundation *Author has taught or lectured at the Creative Writing Program at The New School, Eugene Lang College; Fordham University; Asian American Writers' Workshop; and Cave Canem among other places. *Of interest to those interested in autoimmune disease, war, language/linguistics, psychology and migration. *Poems are informed by the diagnosis of both the author's parents with autoimmune disorder and the author's mother's experience as a diabetes educator working with vulnerable communities and stories of recent immigrants being diagnosed with diabetes upon recent arrival to the U.S., as well as the high rate of diabetes in Indigenous American communities as well. *The poems use many forms including lyric, journalistic, hybrid-genre, formal, avant garde, narrative, investigative, musical, and prose poetry. Though written in English, Helal's syntax relies on Arabic and other vernaculars. She has lived in many different cities and she transfers these experiences of dislocation and relocation onto the reader by obscuring borders through language. *The framing of the book was inspired in part by a talk by Fred Moten, "Blackness and Nonperformance,” particularly around the concept of the "ante” *Poems speak to the author's experience as an unveiled Egyptian Muslim woman, addressing feelings of personal erasure as well as those of the historical erasure of Africa and the so-called Middle East. *Poems explore the psychological impacts of migration as manifested in autoimmune disease. *Author writes at the intersections of racism and colonization. She is interested in how colonization conceals other histories of slavery including ongoing modern forms of global White supremacist abuse. *Author holds an MFA from The New School in Creative Nonfiction *Whiting Foundation Award, 2021 Poetry Fellow, NYSCA/NYFA, New York Foundation for the Arts (NYFA), 2020 Honorable Mention: Invasive species, 2020 Arab American National Museum Book Awards Judge, Swarthout Prize, Arizona State University, Spring 2020 Writing Instructor, Cooper Union Saturday Program, 2019-2020 Judge, First-reader, Cave Canem 2019 Poetry Prize Writing Mentor, Baldwin House Urban Writing Residency, Twelve Literary Arts, Cleveland, Ohio Teen Arts Week: Poetry Workshop for Teenagers at 92Y Unterberg Poetry Center, New York, NY, May 2019 ,13 Grantee, PEN America for The Balakonah Project with Hayan Charara Editor, The Poetry Project Newsletter, 2017-2019 Fellowship, Cave Canem, Greensburg, PA, Summer 2016, Summer 2019 Fellowship, Calabash: The Conversation Literary Festival, Fall 2017 Judge, First-reader, The 2017 Stan and Tom Wick Poetry Prize, Kent State University Fellowship, Poets House, New York, NY , 2017 Finalist, Poetry Project: Emerge-Surface-Be Fellowship Fellowship, Brooklyn Poets, Brooklyn, NY, Fall 2016 Winner, 2016 Biennial Poetry Contest, BOMB Magazine selected by Bhanu Kapil Immigrant Artist Program, Mentor, New York Foundation for the Arts, 2016, 2018 Immigrant Artist Program, Participant, New York Foundation for the Arts, Summer 2014 Workshop Teacher, RASMI: Arab-American Youth Writing and Arts, Brooklyn, NY, 2013 Arab American Book Awards, Judge, Arab American National Museum, Dearborn, MI, October 08-18
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    Chimes of the Homeland
    KONSTANTIN PETROSSIAN Composer, pianist and conductor Konstantin Petrossian graduated from the R.Melikian Music College and Komitas State Conservatory of Yerevan, Armenia. Petrossian lectured on and taught harmony, theory, and chorale arrangement at R.Melikian Music College. Many years he was also Conductor of the Armenian TV/Radio Orchestra, and Director of the Armenian Music Center. K. Petrossian's works include symphonic, chorales, chamber music, music for movies and theaters. He has given numerous performances in many countries. K.Petrossian is a member of the following organizations: Union Composers of Armenia, ASCAP, Armenian Musical Assembly. K.Petrossian serves as Cultural and Music Director of Sts. Sahag and Mesrob Armenian Church in Providence, and hi also been the Artistic Director and Conductor of the Armenian Chorale of Rhode Island, and Armenian Chorale of Greater Worcester (MA). He also serves as the President and Artistic Director of the Armenian Music Festival of Rhode Island, Inc. ------ Konstantin Petrossian belongs to the generation of Armenian composers whose bright personalities and mastery epitomize contemporary Armenian music. Although the scores on this CD were composed relatively recently, many of them have already been widely acclaimed. Of particular interest, alongside the vocal and instrumental compositions, is the Hayrenee Ghoghanjner (Chimes of the Homeland) choral cycle of exquisite arrangements of Armenian songs that combine the traditional style created by greater armenian composer Komitas and the contemporary creative approach. While the Chimes of the Homeland cycle in itself provides a worthy and remarkable contribution to the choral art, likewise the brilliant work of the Komitas Chamber Choir directed by Hovhannes Mirzoyan (Yerevan State Conservatory of Music) and their fruitful cooperation with the composer have contributed to this marvelous musical accomplishment. By Edward Mirzoyan, Composer ------ Choral cycle "Hayrenee Ghoghanjner"(Chimes of the Homeland) by Konstantin Petrossian consists of ten choral arrangements of folk songs, representing various genres and themes. 1.2.3. The first three out of the assortment represent love poetry. Aysor Oorbat Piter (Today Is Friday ) is full of sadness caused by the separation of two loving hearts, Berditsu Ashetsee (I Looked From the Cave) tells a story of intense longing for the loved one and Lusnakn Arer (The Moon Has Set In) reflects feelings of tender love. 4. They are followed by Tamzara (Armenian Dance Song), a popular Western Armenian dance tune, which owes it's unique charm to peculiar rhythms. 5. Sandee Yerk (Labor Song) is an example of a labor song originating from the Shatakh Vaspurakan Province. It's opening exclamations are typical for songs of this genre, driving the rhythm of the work. 6. Widely popular among the Armenians, Sona Yar (Armenian Dance Song) is a dance song, performed by dancers in a circle. The pattern originates from the town of Van and is different from Komidas' recording and arrangement Sona Yar. 7. In the Western Armenian mourning song Al Chem Khagha (I Shall Play No More - Mourning Song), sadness is created by a beautiful lyrical melody winding against the tender rolling of suspended voices. 8. The extremely popular Arshakn Yelav (Arshak Rises - Tragic Song), also known as Shorora Salat, tells the story of the young fisherman, Arshak, who is perishing in the sea while his wife, Salat, unaware of his death, dances at a feast. The masterful, elaborate use of the chorus and the deliberate disconnection of the melody from the dance rhythm underscores the grim and tragic background of Salat's dance. 9. Contrasting with it is the Akh Sevavor, Sevig Aghchig (Oh Dark, Dark Girl) duet displaying the facetious song genre. This is a dialog between the mother, who wants her daughter to marry a wealthy person by the name Van, and the girl who is in love with the poor villager Sako. 10. The dance tune of Kanachel a Arteru (The Garden Has Blossomed) emerged in the town of Shirak where it is still popular. Following one another as an exquisite and picturesque illustration of life in the countryside, these tender songs bring with them the flavor of the composer's homeland - Armenia. By Alina Pahlevanian, Ethnomusicologist, Professor of the Komitas Conservatory of Music.
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    Stempenyu's Dream
    REVIEWS 'With this recording, Steven Greenman is revealed as the foremost composer of music in a style based on what we know of these Jewish violin traditions of 100 years ago.' '...the music Greenman has composed is of such striking beauty...' '...Greenman's violin demonstrates that he could teach Vassar Clements a thing or two about country klezmer.' 'Diving deep into the past, Greenman has created a contemporary Jewish music of spellbinding beauty. It should only start a trend.' ARI DAVIDOW-KLEZMERSHACK BIOGRAPHY Steven Greenman Jewish and Gypsy Violinist Known for his soulful renditions of East European Jewish music (klezmer) and passionate performances of East European Gypsy music all combined with virtuosic flair and technical precision Steven is a multi-talented musician well-versed in a multitude of musical styles and genres. Whether performing klezmer music in European concert halls, giving master classes of East European Jewish violin style and technique, performing lavish Gypsy violin showpieces with orchestras and ensembles or playing for Jewish, Hungarian, Slovak, Romanian balls and weddings Steven is at home displaying his love of East European Jewish and Gypsy music. Recognized internationally as one of the finest practitioners of traditional East European Jewish klezmer violin, Steven is also one of the foremost composers of traditional klezmer violin music. His current project Stempenyu's Dream involves a CD recording of his original Jewish and klezmer violin compositions, a series of concerts of the music and a future publication of the material. One of the first American born klezmer violinists to create a program and performance style based entirely on the repertoire of European klezmer violin music, Steven co-founded the Khevrisa ensemble together with the cimbalist, Walter Zev Feldman in 1998. Steven has performed internationally with Khevrisa and other notable klezmer ensembles such as the Klezmatics, Budowitz, the Flying Bulgar Klezmer Band, Kapelye and Di Tsvey (the Greenman/ Rushefsky duo). His own ensemble, the Steven Greenman Klezmer Ensemble is dedicated to performing his own compositions and the transitional Jewish/Moldavian klezmer repertoire. As a teacher of klezmer music Steven received a grant to be the first recipient of the Louis E. Emsheimer Memorial Artist in Residence Program in Cleveland, Ohio (2002) for which he led klezmer workshops for classical string players and lectured on klezmer music. He has taught klezmer violin and led string ensembles at the KlezKanada festival, Living Traditions' KlezKamp and KlezFest London. Working with educators Mitchell Korn and Amy McClellan of the Cleveland Orchestra educational department's 'Learning Through Music' program Steven was selected as a 'Teaching Artist' and developed a children's program combining story telling and klezmer music. Steven has collaborated with New York dancer/choreographer David Dorfman and the Cleveland State Dance ensemble as musical director in Dorfman's 'Moving Histories', a modern dance piece dealing with Jewish identity, and performed with members of the Klezmatics in the 1997 performance of Tony Kushner's adaptation of S. Ansky's 'Dybbuk.' Steven has lectured and performed at the Jewish Culture Festival in Krakow, Poland and has been a regular performer with various ensembles at Toronto's Ashkenaz-A Festival of New Yiddish Culture. In addition to his involvement with klezmer music Steven is an accomplished performer of urban Gypsy violin styles, in particular, Hungarian nota, Romanian lautari music and Slovak folk music. Steven has devoted his life to the study of these styles learning East European violin style and ornamentation from professional Gypsy and folk musicians from Slovakia, Romania, the Ukraine and Hungary in addition to transcribing and arranging hundreds of tunes. As a concert performer, Steven has been a regular guest soloist with the Cleveland Pops Orchestra performing his own arrangements of traditional East European Gyspy violin music. Steven will be featured on a forthcoming CD of urban Romanian Gypsy violin music together with the cimbalist, Alexander Fedoriouk and has performed often with the ensemble Harmonia. As a classical violinist Steven received both his Bachelor of Music and Master of Music degrees in Violin Performance from the Cleveland Institute of Music studying with Linda Sharon Cerone, Dr. Eugene Gratovich and the late Bernhard Goldschmidt. Steven has also performed as a member of the Canton and Akron Symphony Orchestras and has participated in the National Repertory Orchestra, the National Orchestral Institute and the American Institute of Musical Studies in Graz, Austria. Steven is lead performer, composer and producer of the recording 'Stempenyu's Dream.' Together with Walter Zev Feldman, Steven co-produced and is featured on the recording 'Khevrisa-European Klezmer Music' on the Smithsonian Folkways label. Steven has also recorded with Budowitz, guitarist Jesse Cook, vocalist Lori-Cahan Simon, Alicia Svigals and the Flying Bulgar Klezmer Band.
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    Christmas Fantasy & Other Favorites
    A Christmas Fantasy and Other Favorites begins and ends with musical versions of 'The Night Before Christmas.' The opening movement of the Fantasy Concerto 'On Christmas Themes' for Piano and Orchestra is a musical setting of Clement Clark Moore's poem 'A Visit from St. Nicholas,' better known as 'The Night Before Christmas.' The music begins with the quiet house where 'not a creature is stirring, not even a mouse.' The piano enters with the first variation of the Christmas carols 'God Rest Ye Merry Gentlemen' and ' Silent Night,' and builds to the arrival of St. Nicholas 'Up On the Housetop.' The second movement is 'Silent Night' in the Christmas wrappings of a chorale prelude, followed by humorous variations on Leroy Anderson's 'Sleigh Ride.' Commissioned by Seth Montfort for the San Francisco Concerto Orchestra, Montfort asked McFarland to compose a Christmas piece with an American sound-the listener will hear echoes of American composers: Gottschalk, Gershwin and Anderson. Ron McFarland, a California native, has known the glare of the limelight since his teens. He has been praised by major critics both as composer and pianist with comments like, 'The music reveals much of the man...romantic and passionate,' 'compelling lyricism,' 'fresh and original,' and 'dreamy obstinate and emotional, ever direct and accessible.' Renowned Bay Area music critic Stephanie von Buchau wrote, 'McFarland's music has a fresh musical viewpoint. One is not assaulted by bizarre concepts or noises that pass for 'originality'... [using] traditional forms and melodic material, he aims for individual expression of emotion, and that alone is enough to make him a rare duck in contemporary music.' At the age of sixteen he became a protégé of the legendary Ethel Leginska, and after three years of study he made a successful Los Angeles piano debut with symphony conducted by Leginska. The L.A. Examiner wrote, 'his tone quality, his emotional directness and his amazing fluent fingers added to a musical grasp of light and shade, earned this teen-ager repeated calls from his listeners.' He was then invited to live in an apartment adjacent to Leginska's Hollywood studio. It was during the next three years while living at her studio that he met and performed for numerous internationally known artists, composers and conductors, who included: Artur Schnabel, Benjamin Britten and Bruno Walter. While still in his teens, he studied composition with Arnold Schoenberg, one of the greatest masters of 20th Century composition and later continued his studies in orchestration with David Sheinfeld in San Francisco. After playing several solo piano pieces including two from his own unfinished 'Piano Suite,' it was Bruno Walter who said, 'Young man, your are a fine pianist, and I certainly don't mean you should give it up, but this is the real you - a composer. Perhaps a composer-pianist, but a composer first!' Leginska and Schoenberg were the two most important teachers in his young life. He remembers Leginska as a very demanding taskmaster who stipulated that her students enter as many competitions as possible, because she believed the experience was tantamount to launching concert careers - as finalist in the Hollywood Bowl competition he performed with the KFI-Hollywood Bowl Symphony Orchestra conducted by James Sample. After six years of study with Leginska, he left the Hollywood world of recitals and competitions and traveled to New Orleans, where he began a career as an artist. While in New Orleans, he met the Hungarian pianist Istvan Nadas, a teacher at Loyola University, and decided to renew his piano studies. Later, when Nadas accepted a teaching position at the San Francisco Conservatory, McFarland decided to return to California as well. During the long drive from New Orleans to San Francisco, he was haunted by the strains of the unfinished 'Suite for Piano' that he had begun with Schoenberg. He could hardly wait to reach the Bay Area and put his musical thoughts down of paper - his Op 1. It was then that writing music became the major commitment in his life. When Nadas heard the completed 'Suite' he was so taken with it that he included it in his Festival of 20th Century Piano Music at San Francisco State University. The work then won first prize and a 'Special Achievement Award' from the Composers Today Competition of the Music Teachers' Association of California. McFarland began writing for many different combinations of instruments, including compositions for violin, string quartet, two-pianos, including a suite for orchestra with narrator, and a children's opera for San Domenico's School Festivals. He next embarked on writing 'The Donner Party,' an opera based on the prize-winning book by George Keithley, with libretto by Maria Woodward on a commission from Chico State University. The Opera News review read, 'The pioneers reach the top of the Wasatch Mountains to a glorious up-welling in the orchestra worthy of Bartok. The Passacaglia theme imprints itself vividly on the ear and the final duet is beautifully lyrical.' The Berkeley Symphony conducted by Kent Nagano performed a concert version of this opera called 'Tamsen Donner.' Nagano called the work, 'a score to be treated with respect and one worthy of a great production.' McFarland's second opera, 'Song of Pegasus,' was a finalist in New York University's American Opera Competition. It has since received many performances, including the summer 'In Performance' series, conducted by noted San Francisco Ballet and Opera conductor Denis de Coteau. He joined the Bay Area Playwrights Festival Opera Studio, funded by a grant from the National Endowment for the Arts, where he composed his often performed comic opera 'The Audition Of Molly Bloom.' The S.F. Examiner called McFarland's 'amusingly schizophrenic 'Molly Bloom,' a hypothetical audition piece that toys with Mozart and comes awfully close to being a hip saloon piece.' Besides the operas mentioned above, he has written symphonies, concertos, chamber works, songs and music for the piano, theater and for children. The second of his commissions from the San Francisco Girls Chorus was 'The Night Before Christmas' that became the centerpiece of their Sing-Along Christmas Concert and premiered at Davies Symphony Hall in San Francisco. A notable collaboration occurred when he received a call from Edward Hastings, Artistic Director of the American Conservatory Theatre, to write the incidental music for Hastings' production of 'King Lear.' It's success led him to write a version for two spoken voices with instruments, premiered with 'Lear' actors Peter Donat and Fredi Olster. A third version for singers resulted from the request of Metropolitan Opera tenor William Lewis, who gave it's premiere performance. McFarland's music has been commissioned, performed, and broadcast by such organizations as the Alexander String Quartet, Marin Arts Quartet, Marin Symphony, Old First Concerts, Composers, Inc. California Shakespeare Festival, New Eureka Theatre, San Francisco Concerto Orchestra, Voices/SF, Kensington Symphony Orchestra, Squaw Valley Creative Arts Society, College of Marin, American Concert Association, San Francisco Musical Club, Marin Chamber Orchestra, Guest Concert Series, Dominican University, Chamber Music Sundaes, Navarro Trio, Cinnabar Opera Theater, Angelo Piano Duo, KKHI Sunday Morning and KKHI Friday Night Concerts. He has received grants and awards from such organizations as the ASCAP, University of Cincinnati Piano Concerto Competition, Opera America, and five 1st prizes from Composers Today Competition. He has lectured for California Colleges and Universities, including S.F. City College Concert Lecture Series, USC Composers Forum, UC Berkeley, MTAC Artists Series, Chico State University, and Star Classics Composer and Performer.
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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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