Recorded live on January 19, 2013 at Morse Recital Hall, Yale University, New Haven, Connecticut. Engineer: Corin Lee Art Direction: Jackie Fugere Design: Cover to Cover Design, Anilda Carrasquillo Photos of David Fung: Studio D2
A new addition to Steinway & Sons’ Beethoven 250th birthday celebration series is a recording of his Op. 126 Bagatelles and the penultimate sonata No. 31 with pianist David Fung.
Publication details: The Routledge Companion to Interdisciplinary Studies in Singing, Volume II: Education. Edited by Helga R. Gudmundsdottir, Carol Beynon, Karen Ludke, Annabel J. Cohen.
Abstract: The Routledge Companion to Interdisciplinary Studies in Singing, Volume II: Education examines the many methods and motivations for vocal pedagogy, promoting singing not just as an art form arising from the musical instrument found within every individual but also as a means of communication with social, psychological, and didactic functions. Presenting research from myriad fields of study beyond music—including psychology, education, sociology, computer science, linguistics, physiology, and neuroscience—the contributors address singing in three parts:
Learning to Sing Naturally
Formal Teaching of Singing
Using Singing to Teach
In 2009, the Social Sciences and Humanities Research Council of Canada funded a seven-year major collaborative research initiative known as Advancing Interdisciplinary Research in Singing (AIRS). Together, global researchers from a broad range of disciplines addressed three challenging questions: How does singing develop in every human being? How should singing be taught and used to teach? How does singing impact wellbeing? Across three volumes, The Routledge Companion to Interdisciplinary Studies in Singing consolidates the findings of each of these three questions, defining the current state of theory and research in the field. Volume II: Education focuses on the second question and offers an invaluable resource for anyone who identifies as a singer, wishes to become a singer, works with singers, or is interested in the application of singing for the purposes of education.
Artists: Corey Hamm and Nicole Ge Li Featured UBC composer: Stephen Chatman Remember Me, Forever Recording details: Redshift Records, released June 5, 2020 Link
Featured Faculty Composer: Dorothy Chang, Lost and Found
Recording details:
In the Key of the World is the Vancouver Inter-Cultural Orchestra’s first full-length instrumental album. It features music by Canadian composers Dorothy Chang, John Oliver, Moshe Denburg, and Farshid Samandari, performed by an ensemble of 28 musicians playing instruments from a wide range of musical traditions, including Chinese, Vietnamese, Persian, Indian and European.
In the Key of the World, like the VICO itself, exists in several musical genres at once: classical, world, traditional. It’s fusion music on a global scale; music that transcends borders and breaks down barriers, throwing open the doors of contemporary classical music and forging a new path towards a truly diverse 21st-century Canadian music scene.
“Intercultural music has existed for centuries in most traditional cultures,” says VICO Artistic Director Mark Armanini. “The VICO has spent the past two decades developing a contemporary musical art form that draws on this history and brings the idea of “music as a universal language” to global fruition. We have developed a ground-breaking intercultural sound palette and repertoire that combines aural and written traditions, ancient and contemporary styles, and a huge variety of instruments (bowed strings, plucked strings, winds, brass, percussion) into one ensemble.
released June 4, 2020
In the Key of the World was recorded on June 25-26, 2019 at Armoury Studios, Vancouver, Canada.
Producer: Mark Armanini
Project Manager: Farshid Samandari
Conductor: Janna Sailor
Engineer: Sheldon Zaharko (Zed Productions)
Album Cover Image: Ornithophony (2019) by Mark Takeshi McGregor
Graphic Design: John Endo Greenaway
Photography: Alistair Eagle
Manufacturing: Precision Disc
French Translation: Anne Duranceau
Abstract: This article examines the change in the Viennese reception of Donizetti’s operas in relation to the internationalization of the city’s theatrical life during the last fifteen years of the Metternich regime (1833–48), as well as the ensuing tensions between German nationalist ideology and the cosmopolitan aspirations of Habsburg cultural policies. While the transformation of Donizetti’s image from Italian to cosmopolitan composer resulted in part from the development of his career in Paris from 1838, it was also inseparable from evolving ideas of cultural cosmopolitanism in Vienna’s political landscape. As the Habsburg court sought to contain the dissemination of national ideologies in the Austrian Empire, the construction of a Viennese operatic identity was increasingly set apart from national discourses. In Vienna’s press, discussions of Donizetti’s two operas written specifically for the Kärntnertortheater, Linda di Chamounix (1842) and Maria di Rohan (1843), focused on the different ways in which these works combined Italian, French, and German elements, and aligned with conceptions of cosmopolitanism that advocated for the overcoming of national divides. Viennese attempts at reconciling operatic cultures, however, collided with the universalizing aspirations that German nationalists had reckoned as the mission of their own national culture. Charting the flow of ideas emerging from the Viennese reception of Donizetti’s operas for the Kärtnertortheater allows us to rethink the relationship between opera and politics in Vienna in the 1830s and 1840s, and to reconsider our approach to “national” designations as focal concepts of nineteenth-century music historiography more broadly.
Ensemble: Vancouver Island Symphony Featured UBC composers: Dorothy Chang, Stephen Chatman, Jocelyn Morlock, Edward Top Featured UBC artist: Paolo Bortolussi Recording details: Redshift Records, released March 14, 2020 Link
