The University of Ghana is the oldest and largest of the five Ghanaian public universities. It was founded in 1948 as the University College of the Gold Coast, and was originally an affiliate college of the University of London, which supervised its academic programs and awarded degrees. It gained full university status in 1961, and now has nearly 24,000 students.
The original emphasis was on the liberal arts, social sciences, basic science, agriculture, and medicine, but (partly as the result of a national educational reform program) the curriculum was expanded to provide more technology-based and vocational courses and postgraduate training.
The University is mainly based at Legon, about five miles north-east of the center of Accra.
University of Ghana - Postal Workers Canceling Stamps
Tema, population 209,000 (2005), is a city on the Atlantic Ocean coast,
east of the capital city of Accra, in the region of Greater Accra, in Ghana, West Africa.
Originally a small fishing village, it grew after the construction of a large harbor in 1961 and is now the nation's largest sea port. It is also home to an oil refinery and is an important centre of manufacturing. It is linked to the capital by railway and a highway. Tema is one of Ghana's two deep seaports; Sekondi Takoradi is the other. Tema is the nearest city to the geographical position of 0 degrees latitude and 0 degrees longitude (which lies several hundred miles south in the Bight of Benin).
Tema originates from the Ga words "Tor" ("Gourd," after the crop locally raised) and "Man" (Town or City). This altered and evolved mainly due to the Europeans, and became Tema.
Ghana - Tema Harbor Worksong
[8931 U. Ghana / 8931 Tema Harbor / 8931 Bollywood]
Bollywood, is the informal term popularly used for Bombay (Mumbai)-based Hindi-language film industry in India. Bollywood is often incorrectly used to refer to the whole of Indian cinema; it is only a part of the Indian film industry. Bollywood is one of the largest film producers in the world.
The name is a portmanteau of Bombay and Hollywood, the center of the American film industry. However, unlike Hollywood, Bollywood does not exist as a real physical place. Though some deplore the name, arguing that it makes the industry look like a poor cousin to Hollywood, it seems likely to persist and now has its own entry in the Oxford English Dictionary.
Bollywood is commonly referred to as Hindi cinema, even though Hindustani, understood as the colloquial base common to both Hindi and Urdu, might be more accurate. The use of poetic Urdu words is fairly common. There has been a growing presence of Indian English in dialogue and songs as well. It is not uncommon to see films that feature dialogue with English words and phrases, even whole sentences. There is a growing number of films made entirely in English.
[The first Indian sound film, Ardeshir Irani's Alam Ara (1931)]
Raja Harishchandra (1913) was the first silent feature film made in India. It was made by Dadasaheb Phalke. By the 1930's, the industry was producing over 200 films per year. The first Indian sound film, Ardeshir Irani's Alam Ara (1931), was a major success. There was clearly a huge market for talkies and musicals; Bollywood and all the regional film industries quickly switched to sound filming.
India - Bollywood Film Music
The Bollywood selection apparently quotes the signature laugh of Woody Woodpecker in its bridge section.
Woody Woodpecker is an animated cartoon character, an anthropomorphic woodpecker who appeared in theatrical short films produced by the Walter Lantz animation studio and distributed by Hollywood's Universal Pictures. Though not the first of the "screwball" characters that became popular in the 1940's, Woody is perhaps the most indicative of the type.
Woody was created in 1940 by storyboard artist Ben "Bugs" Hardaway, who had previously laid the groundwork for two other "screwball" characters, Bugs Bunny and Daffy Duck, at the Schlesinger/Warner Bros. studio in the late 1930s. Woody's character and design would evolve over the years, from an insane bird with an unusually garish design to a more refined looking and acting character in the vein of the later Chuck Jones version of Bugs Bunny. Woody was originally voiced by prolific voice actor Mel Blanc, who was succeeded by Ben Hardaway and later by Grace Stafford, wife of Walter Lantz.
Lantz produced theatrical cartoons longer than most of his contemporaries, and Woody Woodpecker remained a staple of Universal's release schedule until 1972, when Lantz finally closed down his studio. The character has only been revived since then for special productions and occasions, save for one new Saturday morning cartoon, The New Woody Woodpecker Show, for the Fox Network in the late 1990s/early 2000s.
Woody Woodpecker cartoons were first broadcast on television in 1957 under the title The Woody Woodpecker Show, which featured Lantz cartoons bookended by new footage of Woody and live-action footage of Lantz. Though less popular today, a repackaged version of The Woody Woodpecker Show is still frequently seen in television syndication. Woody has a motion picture star on the Hollywood Walk of Fame on 7000 Hollywood Blvd. He also made a cameo alongside many other famous cartoon characters in the 1988 film Who Framed Roger Rabbit.
According to Walter Lantz's press agent, the idea for Woody came during the producer's honeymoon with his wife, Gracie, in Sherwood Lake, California. A noisy woodpecker outside their cabin kept the couple awake at night, and when a heavy rain started, they learned that the bird had bored holes in their cabin's roof. Gracie suggested that her husband make a cartoon about the bird, and thus Woody was born. The story is questionable, however, since the Lantzes were not married until after Woody made his screen debut. Their standard story that the bird's cry inspired Woody's trademark "Ha-ha-ha-HAA-ha!" is also questionable, as Mel Blanc had already used a similar laugh in earlier Warner Bros. cartoons such as Elmer's Candid Camera. Woody Woodpecker first appeared in the film Knock Knock on November 25, 1940. The cartoon ostensibly stars Andy Panda and his father, Papa Panda, but it is Woody who steals the show. The woodpecker constantly pesters the two pandas, apparently just for the fun of it. Andy, meanwhile, tries to sprinkle salt on Woody's tail in the belief that this will somehow capture the bird. To Woody's surprise, Andy's attempts prevail, and Woody is taken away to the funny farm -- but not before his captors prove to be crazier than he is.
The Woody of Knock Knock, designed by animator Alex Lovy, is a truly deranged-looking animal. His buggy eyes look in different directions, and his head is all angles and sharp points. However, the familiar color scheme of red head and blue body is already in place, as is the infamous laugh: "Ha-ha-ha-HAA-ha!". Woody is perhaps the best example of the new type of cartoon character that was becoming popular in the early 1940s -- a brash, violent aggressor who pesters innocents not out of self defense, but simply for the fun of it. Woody's original voice actor, Mel Blanc, would stop performing the character after the first four cartoons to work exclusively for Leon Schlesinger Productions, producer of Warner Brothers' Looney Tunes and Merrie Melodies. At Schlesinger's, Blanc had already established the voices of two other famous "screwball" characters who preceded Woody, Daffy Duck and Bugs Bunny. Ironically, Blanc's characterization of the Woody Woodpecker laugh had originally been applied to Bugs Bunny's predecessor, "Happy Rabbit", in shorts such as the aforementioned Elmer's Candid Camera, and was later transferred to Woody. Blanc's regular speaking voice for Woody was much like the early Daffy Duck, minus the lisp. Once Warner Bros. signed Blanc up to an exclusive contract, Woody's voice-over work was taken over by Ben Hardaway, who would voice the woodpecker for the rest of the decade.
Wet Blanket Policy (1948), directed by Dick Lundy, introduced Woody's new adversary Buzz Buzzard and featured Woody's Academy Award-nominated theme song, "The Woody Woodpecker Song".
In 1947, Woody got his own theme song when musicians George Tibbles and Ramey Idriess wrote The Woody Woodpecker Song, making ample use of the character's famous laugh. Kay Kyser's 1948 recording of the song, with Harry Babbitt's laugh interrupting vocalist Gloria Wood, became one of the biggest hit singles of 1948. Other artists did covers, including Woody's original voice actor, Mel Blanc. Lantz first used The Woody Woodpecker Song in the 1948 short Wet Blanket Policy, and became the first and only song from an animated short subject to be nominated for the Academy Award for Best Song.
The Woody Woodpecker Song and the Woody Woodpecker cartoons made extensive use of Woody's famous laugh, upsetting the man who created it, Mel Blanc. Although Blanc had only recorded four shorts as the voice of Woody, his laugh had been recorded as a stock sound effect, and used in every subsequent Woody Woodpecker short up until this point. Blanc sued Lantz and lost, but Lantz settled out of court when Blanc filed an appeal.
Lionel Bart (August 1, 1930 – April 3, 1999) was an English composer of songs and musicals, best known for Oliver!
[Oliver!: Boy for Sale, from the 1969 movie]
Bart was born Lionel Begleiter the youngest of seven surviving children in East London to Galician Jews, and grew up in Stepney. His father worked as a tailor in a garden shed in London E1. The family had escaped the pogroms in Galicia which was then part of the Austrian Empire.
Lionel later changed his name to Bart derived from the name of the silk screen printing firm he and John Gorman[1] created ("G & B Arts," for Gorman and Begleiter) after he had completed his National Service with the Royal Air Force.
As a young man he was quite an accomplished painter. When Lionel Bart was six years old a teacher told his parents that he was a musical genius. His parents gave him an old violin, but he did not apply himself and the lessons stopped.
At the age of 16 he obtained a scholarship to St Martin's School of Art but he was expelled for "mischievousness", and he gave up his ambition to be a painter. However, he took jobs in silk-screen printing works and commercial art studios. He never learned to read or write musical notation; this did not stop him from becoming a highly significant personality in the development of British rock and pop music.
He started his songwriting career in amateur theatre. first at The International Youth Centre in 1952 where he and a friend wrote a revue together called IYC Revue 52. The following year the pair auditioned for a production of the Leonard Irwin play The Wages Of Eve at Unity Theatre, London. Shortly after Bart began composing songs for Unity Theatre, contributing material (including the title song) to their 1953 revue Turn It Up, and songs for their 1953 pantomime, an agit prop version of Cinderella. While at Unity he was talent spotted by Joan Littlewood and so joined Theatre Workshop.
He first gained widespread recognition through his songwriting, which includes the hits Livin' Doll (written for Cliff Richard) and Rock with the Cavemen, Handful of Songs, Butterfingers, and Little White Bull (for Tommy Steele). During this period, Mike Pratt as well as Steele were his songwriting partners. In 1957, he won three Ivor Novello Awards, a further four in 1958, and two in 1960.
He wrote the theme song for the 1963 James Bond film From Russia With Love.
His first professional musical was the 1959 Lock Up Your Daughters, based on an 18th century play by Henry Fielding. Following that, Fings Ain't Wot They Used T'Be produced by Joan Littlewood's Theatre Workshop, was notable for encouraging the use of authentic Cockney accents on the London stage. Oliver! (1960), based on Dickens' Oliver Twist was a huge hit from the very beginning, and has sustained its popularity to the present day. The original stage musical which starred Ron Moody and Georgia Brown spawned such song hits as As Long As He Needs Me and Consider Yourself. In 1968 it was made into a film starring Ron Moody, Oliver Reed, and Shani Wallis which won several Oscars, including best film. Subject to belief, Lionel actually wrote the part of Nancy for singing star Alma Cogan and not his childhood friend Georgia Brown. Alma was unable to commit to Oliver! at Wimbledon Theatre. It is estimated that around this time Bart was earning 16 pounds a minute from Oliver!.
Bart's next two musicals, Blitz! (1962) (the song Far Away produced another hit for Shirley Bassey) and Maggie May (1964), had respectable West End runs (Blitz!, at the time London's most expensive musical ever, had a run of 568 performances); but Twang! (1965) was a notorious flop and La Strada (1969), which opened on Broadway in New York City, closed after only one performance. Bart used his personal finances to try to rescue them, selling his rights to others of his works, including Oliver!, in order to generate capital. By 1972, Bart was bankrupt, with debts of £73,0000. He turned to drink, and a twenty-year period of depression ensued, from which he ultimately recovered, attending Alcoholics Anonymous.
He continued writing songs and themes for films, but his only real success in his later years was "Happy Endings," a 1989 advertising jingle for Abbey National.
In 1986 Bart received a special Ivor Novello Award for his life's achievement. Cameron Mackintosh, who owned half the rights to Oliver!, revived the musical at the London Palladium in 1994 in a version rewritten by the composer. Mackintosh gave Lionel a share of the production royalties. Lionel Bart was often publicly and romantically linked with Judy Garland or Alma Cogan.
Bart died in 1999 after a long hard struggle with cancer and his funeral took place at Golders Green Crematorium.
A musical play based on Bart's life and using his songs, It's a Fine Life was staged at the Queen's Theatre, Hornchurch, in 2006.
***
Jackie Brenston (August 15, 1930, Clarksdale, MI - December 15, 1979) was an American R&B singer and saxophonist who recorded, with Ike Turner's band, the first version of the proto-rock and roll song Rocket 88.
Returning to Clarksdale from army service in 1947, Brenston learned to play the tenor saxophone, linking up with Ike Turner in 1950 as sax player and occasional singer in his band. The local success of Turner’s Kings of Rhythm prompted B. B. King to recommend them to studio owner Sam Phillips in Memphis, Tennessee, where the band made several recordings in early March 1951, including Rocket 88, on which Brenston sang lead and which he was credited with writing.
Phillips passed the recordings on to Chess Records in Chicago, who released Rocket 88 as by "Jackie Brenston and his Delta Cats," rather than under Turner's name. The record soon reached #1 on the U.S. Billboard R&B chart and stayed at that position for over a month. Phillips's later claim, undoubtedly biased by his own interest in self-promotion, that this was the first rock and roll record, has often been repeated by others, although there are numerous other candidates. Phillips used the success of the record to start Sun Records the following year.
After one further recording session, Brenston and Turner parted company, and Brenston went on to perform in Lowell Fulson's band for two years. He returned to play in Turner's band from 1955 to 1962. Although he occasionally sang with the band, Turner apparently debarred him from singing Rocket 88.
By now an alcoholic, Brenston continued playing in local bands. After a final recording session with Earl Hooker in 1963, he worked occasionally as a truck driver before a fatal heart attack in Memphis at the age of 49.
Ornette Coleman (b. March 9, 1930) is an American saxophonist, violinist, trumpeter and composer. He was one of the major innovators of the free jazz movement of the 1950s and 1960's.
Coleman's timbre is easily recognized: his keening, crying sound draws heavily on the blues.
His album, Sound Grammar, received the 2007 Pulitzer Prize for music.
George Crumb (b. October 24, 1929, Charleston, WV) began to compose at an early age.
Two Duos (c. 1944), for flute and clarinet
Four Pieces (1945), for violin and piano
Four Songs (1945), for voice, clarinet, and piano
Piano Sonata (1945)
Three Early Songs (1947), for voice and piano
Seven Songs (1946), for voice and piano
Gethsemane (1947), for small orchestra
Alleluja (1948), for unaccompanied chorus
Violin Sonata (1949)
He studied music first at the Mason College of Music in Charleston, where he received his Bachelor's degree in 1950.
A Cycle of Greek Lyrics (c. 1950), for voice and piano
Prelude and Toccata (1951), for piano
String Trio (1952)
Three Pastoral Pieces (1952), for oboe and piano
Viola Sonata (1953)
String Quartet (1954)
Diptych (1955)
Sonata for Solo Cello (1955)
He obtained his Master's degree at the University of Illinois at Urbana-Champaign, and then studied briefly in Berlin before returning to the United States
Although his scores and recordings sell steadily, Crumb has earned his living primarily from teaching. His first teaching job was at a college in Virginia, before he became professor of piano and composition at the University of Colorado in 1958.
He received a D.M.A in composition from the University of Michigan, in 1959.
Variazioni (1959), for large orchestra
Five Pieces (1962), for piano
Night Music I (1963, revised 1976), for soprano, piano/celeste, and two percussionists
Four Nocturnes (Night Music II) (1964), for violin and piano
In 1965 he began a long association with the University of Pennsylvania,
Madrigals, Book I (1965), for soprano, vibraphone, and double bass
Madrigals, Book II (1965), for soprano, flute/alto flute/piccolo, and percussion
Several of Crumb's works, including the four books of madrigals he wrote in the late 1960's and Ancient Voices of Children, a song cycle of 1970 for two singers and small instrumental ensemble (which includes a toy piano), are settings of texts by Federico García Lorca. Many of his vocal works were written for the virtuoso singer Jan DeGaetani.
Eleven Echoes of Autumn (Echoes I) (1966), for violin, alto flute, clarinet, and piano
Echoes of Time and the River (Echoes II) (1967)
I. Frozen Time
Crumb has been the recipient of a number of awards, including the Pulitzer Prize for Music in 1968 for his orchestral work Echoes of Time and the River
Songs, Drones, and Refrains of Death (1968), for baritone, electric guitar, electric double bass, amplified piano/electric harpsichord, and two percussionists
After initially being influenced by Anton Webern, Crumb became interested in exploring unusual timbres. He often asks for instruments to be played in unusual ways and several of his pieces are written for electrically amplified instruments.
Madrigals, Book III (1969), for soprano, harp, and percussion
Madrigals, Book IV (1969), for soprano, flute/alto flute/piccolo, harp, double bass, and percussion
I. Por que naci
Night of the Four Moons (1969), for alto, alto flute/piccolo, banjo, electric cello, and percussion
Ancient Voices of Children (1970), for mezzo-soprano, boy soprano, oboe, mandolin, harp, amplified piano (and toy piano), and percussion (three players)
Ib. Dances of the Ancient Earth
III. Dance of the Sacred Life Cycle
IV. Todos las Tardes en Grenada (Each Afternoon in Granada)
(continued from above)
Crumb's music often seems to be concerned about the theatre of performance as much as the music itself. In several pieces he asks players to leave and enter the stage during the piece. He has also used unusual layouts of musical notation in a number of his scores. In several pieces, the music is symbolically laid out in a circular or spiral fashion.
Black Angels (Images I) (1970), for electric string quartet
I. Night of the Electric Insects
II. Sounds of Bones and Flutes
III. Ancient Bells
IV. Devil Music
V. Danse Macabre
(all above continued from above, and recapitulated in video below)
Black Angels (1970) is another piece which displays Crumb's interest in exploring a wide range of timbres. Written for amplified string quartet (referred to as "electric string quartet" by the composer in the score, although the instruments called for are acoustic ones), the players are required to play various percussion instruments and to bow small goblets as well as to play their instruments in both conventional and unconventional ways. It is one of Crumb's best known pieces, and has been recorded by the Kronos Quartet and others.
***
Black Angels (Edition Peters, New York, no. 66304, c. 1971), subtitled Thirteen Images from the Dark Land was composed over the course of a year and is dated "Friday the Thirteenth, March 1970 (in tempore belli)." Crumb is very interested in numerology and numerically structured the piece around 13 and 7.
Crumb was commissioned by the Stanley Quartet (then in residence at his alma mater the University of Michigan) to create the work. Sure that he wanted to avoid writing a typical piece for string quartet, Crumb looked to experimental piano music from the early 60's for inspiration, and decided to explore the contemporary world's religious strife in his composition. Black Angels reflects these haunting and mystical undertones; Crumb meant for the violin to embody the devil's music, and cast the cello as "the voice of God."
The image of Black Angels is an archetypical convention used by artists to represent an angel banished from Heaven. The "Dark Land" refers to Hell, with consistent references to Diablo, via Diabolus in Musica, the Trillo del diavolo ("Devil's Trill", from Giuseppe Tartini), and the Dies Irae (quoted in section 4 Devil-music, and as a Duo Alternativo in section 5 Danse Macabre). Crumb also makes references to other tonal works that incorporate death, such as Schubert's Death and the Maiden (quoted in section 6 Pavana Lachrymae and section 13 Threnody III).
"Black Angels" was not originally intended to refer to wartime, and Crumb only associated his work with Vietnam towards the end of its composition. "I came to recognize that there was something of the feeling of that strange time. That's when I called it music in tempore belli, in time of war," he said in an interview with Philadelphia City Paper. After making the connection between his piece and war, Crumb also connected it to another contemporary wartime piece, Penderecki's Threnody to the Victims of Hiroshima. Both pieces open with high pitched extended technique on violin, and Black Angels features three important threnodies which divide it.
The first part, Departure, begins by establishing the dark mood of Black Angels and introducing the primary death theme. In the second part, Absence, the fallen angel's themes are heard. Finally in part three, Return, God prevails over evil, as presented in section 10 God-music. Each of these parts is built around the primes 7 and 13 in some way. This might be reflected in the length of the section, its phrases, its note values, patterns of motifs, or pitch (in accordance with set theory). Crumb himself forgets how the numbers play in to every section, and warns not to read too much into their significance, as he "got carried away with the Friday the 13th thing." He views the numerology as more of a "technical, structural" experiment, and has played down the numbers' significance increasingly in the years since 1970.
I. Departure
1. THRENODY I: Night of the Electric Insects 13 times 7 and 7 times 13 2. Sounds of Bones and Flutes 7 in 13 3. Lost Bells 13 over 7 4. Devil-music 7 and 13 5. Danse Macabre 13 times 7
II. Absence
6. Pavana Lachrymae 13 under 13 7. THRENODY II: BLACK ANGELS! 7 times 7 and 13 times 13 8. Sarabanda de la Muerte Oscura 13 over 13 9. Lost Bells (Echo) 7 times 13
III. Return
10. God-music 13 and 7 11. Ancient Voices 7 over 13 12. Ancient Voices (echo) 13 in 7 13. THRENODY III: Night of the Electric Insects 7 times 13 and 13 times 7
***
Black Angels is primarily written (in unusual and very detailed notation) for (in Crumb's words) "electric string quartet." Though generally played by amplified acoustic instruments, the work is occasionally performed on specially constructed electronic string instruments. The music uses the extremes of the instruments' registers as well as extended techniques such as bowing on the fingerboard above the fingers and tapping the strings with thimbles. At certain points in the music, the players are even required to make sounds with their mouths and to speak. Each of the string players is also assigned a set of instruments to play throughout the piece. Some of the equipment requires specific preparation, such as the crystal glasses, which are tuned with different amounts of water.
Violin 1
maraca 7 crystal glasses 6" glass rod 2 metal thimbles metal pick (paper clip)
Violin 2
15" suspended tam-tam and mallet contrabass bow (for use on tam-tam) 7 crystal glasses 6" glass rod 2 metal thimbles metal pick (paper clip)
Viola
6 crystal glasses 6" glass rod 2 metal thimbles metal pick
Cello
maraca 24" suspended tam-tam, soft and hard mallets contrabass bow
Crumb's score includes a diagram that places the four musicians in a box-like formation. Electric Violin II and Electric Cello are located near upstage right and upstage left, respectively, with their tam-tams between them. Electric Violin I and Electric Viola are near downstage right and downstage left, respectively, but are slightly farther apart than the other two musicians in order to allow full sight of the quartet. Violin I, Violin II and Viola have a set of crystal glasses downstage of them, while Violin I and Cello have maracas upstage of them. Each of the four musicians has a speaker next to him or her.
Kronos Quartet, which specializes in new music, was originally formed when violinist David Harrington heard "Black Angels" over the radio.
He thought Crumb's piece was "something wild, something scary" and "absolutely the right music to play."
It was the first composition Kronos performed.
"Threnody I: Night of the Electric Insects" is featured on the soundtrack of The Exorcist.
***
Lux Aeterna (1971) for soprano, bass flute/soprano recorder, sitar, and percussion (two players)
Vox Balaenae (Voice of the Whale) (1971), for electric flute, electric cello, and amplified piano
I. Vocalise (...for the Beginning of Time)
Makrokosmos, Volume I (1972), for amplified piano
VIII. The Magic Circle of Infinity
XII. Spiral Galaxy
Makrokosmos, Volume II (1973), for amplified piano
VIII. A Prophecy of Nostradamus
Another of Crumb's best known works are the four books of Makrokosmos. The first two books (1972, 1973), for solo piano, make extensive use of string piano techniques; the third, known as Music for a Summer Evening (1974), is for two pianos and percussion; the fourth, Celestial Mechanics (1979), is for piano four-hands. The title Makrokosmos alludes to Mikrokosmos, the six books of piano pieces by Béla Bartók; like Bartók's work, Makrokosmos is a series of short character pieces. Apart from Bartók, Claude Debussy and Frederic Chopin are other composers Crumb acknowledged as influence heres, although the works call for techniques beyond what any of those composers ever employed. The piano is both amplified and prepared by the placing of objects on and between the strings (Crumb has referred to string and prepared piano techniques collectively as "extended piano"). On several occasions the pianist is required to sing or shout certain words as well as playing. Makrokosmos was premiered by David Burge, who later recorded the work.
Music for a Summer Evening (Makrokosmos III) (1974), for two amplified pianos and percussion (two players)
VI. Myth
V. Music of the Starry Night
Dream Sequence (Images II) (1976), for violin, cello, piano, percussion (one player), and off-stage glass harmonica (two players)
Star-Child (1977, revised 1979), for soprano, antiphonal children's voices, male speaking choir, bell ringers, and large orchestra
Apparition (1979), for soprano and amplified piano
Celestial Mechanics (Makrokosmos IV) (1979), for amplified piano (four hands)
A Little Suite for Christmas, A.D. 1979 (1980)
Gnomic Variations (1981)
String Trio (1982)
Pastoral Drone (1982), for organ
Processional (1983)
He became Annenberg Professor of the Humanities in 1983. Some of his most prominent students include Margaret Brouwer, Uri Caine, Osvaldo Golijov, Jennifer Higdon, James Primosch, and Gerald Levinson.
A Haunted Landscape (1984)
The Sleeper (1984), for soprano and piano
Federico's Little Songs for Children (1986), for soprano, flute/piccolo/alto flute/bass flute, and harp
An Idyll for the Misbegotten (Images III) (1986), for amplified flute and percussion (three players)
Zeitgeist (Tableaux Vivants) (1988), for two amplified pianos
Easter Dawning (1991), for carillon
Quest (1994), for guitar, soprano saxophone, harp, double bass, and percussion (two players)
Crumb retired from teaching in 1997. His son, David, is a composer and, since 1997, assistant professor at the University of Oregon.
Mundus Canis (A Dog's World) (1998), for guitar and percussion
Crumb's daughter, Ann , is an actress and singer. She recorded his Three Early Songs for the CD George Crumb 70th Birthday Album (1999), and has also performed his Unto the Hills (2001).
American Songbook I: Unto the Hills (2001), for soprano, percussion quartet, and piano
In early 2002 was appointed with David Burge to a joint residency at Arizona State University.
Eine Kleine Mitternachtmusik (A Little Midnight Music) (2002)
American Songbook II: A Journey Beyond Time (2003), for soprano, percussion quartet, and piano
American Songbook III: River of Life (2003), for soprano, percussion quartet, and piano
Otherworldly Resonances (2003), for two pianos
American Songbook IV: Winds of Destiny (2004), for soprano, percussion quartet, and piano
American Songbook V: Voices from a Forgotten World (2007), for soprano, baritone, percussion quartet and piano
Crumb's works are published by the C. F. Peters Corporation.
Jerrald King "Jerry" Goldsmith (February 10, 1929 – July 21, 2004) was an American film score composer from Los Angeles, California. Goldsmith was nominated for eighteen Academy Awards (winning one, for The Omen), and also won four Emmy Awards. He worked in a wide variety of film and television genres, but is most prominently associated with action, suspense, and sci-fi/horror films.
Goldsmith was born in Los Angeles, California, the son of Tessa (née Rappaport), an artist, and Morris Goldsmith, a structural engineer.
He learned to play the piano at age six. At fourteen, he studied composition, theory and counterpoint with teachers Jacob Gimpel and Mario Castelnuovo-Tedesco. Goldsmith attended the University of Southern California, where he attended courses taught by veteran composer Miklós Rózsa. Goldsmith developed an interest in writing scores for movies after being inspired by Rózsa.
In 1950, Goldsmith found work at CBS as a clerk in the network's music department. He soon began writing scores for radio (including CBS Radio Workshop; Frontier Gentleman, for which he wrote the title music; and Romance) and CBS television shows (including The Twilight Zone). He remained at CBS until 1960, after which he moved on to Revue Studios, where he would compose music for television shows such as Dr. Kildare and The Man from U.N.C.L.E.
In 1963, Goldsmith was first nominated for an Oscar for John Huston's film Freud. Shortly after, he met Alfred Newman, who was instrumental in Goldsmith's hiring by 20th Century-Fox. Goldsmith went on to collaborate with many big-name filmmakers throughout his career, including Robert Wise (The Sand Pebbles, Star Trek: The Motion Picture), Howard Hawks (Rio Lobo), Otto Preminger (In Harm's Way), Roman Polanski (Chinatown), Steven Spielberg/Tobe Hooper (Poltergeist),
and Ridley Scott (Alien). But his most notable collaboration was arguably that with Franklin Schaffner (for whom Goldsmith scored Planet of the Apes, Patton, and Papillon).
Mark Alburger (b. 1957, Upper Darby, PA) is an award-winning, eclectic ASCAP composer of postminimal, postpopular, and postcomedic sensibilities. He is Music Director of San Francisco Composers Chamber Orchestra and San Francisco Cabaret Opera, Editor-Publisher of 21st-Century Music and New Music, and Professor Emeritus in Music Theory and Literature at Diablo Valley College. His principal teachers were Gerald Levinson, Joan Panetti, and James Freeman at Swarthmore College (B.A.); Jules Langert at Dominican University (M.A.); Christopher Yavelow at Claremont University (Ph.D.); and Terry Riley. Dr. Alburger has composed 406 major works over the past 48 years, including chamber music, concertos, oratorios, operas, song cycles, and symphonies. His complete catalogue is being issued on discs from New Music. Alburger's multiple blogs include: markalburger.blogspot.com,
markalburger2022.blogspot.com,
markalburgerworks.blogspot.com, markalburgerevents.blogspot.com, markalburgermusichistory.blogspot.
com, 21st-centurymusic.blogspot.com
The University of Ghana is the oldest and largest of the five Ghanaian public universities. It was founded in 1948 as the University College of the Gold Coast, and was originally an affiliate college of the University of London, which supervised its academic programs and awarded degrees. It gained full university status in 1961, and now has nearly 24,000 students.
