Author: Rose Dodd File Type: pdf Christopher Fox (1955) has emerged as one of the most fascinating composers of the post-war generation. His spirit of experimentalism pervades an oeuvre in which he has blithely created his own version of a range of contemporary musical practices. In his work many of the major expressions of European cultural activity - Darmstadt, Fluxus, spectralism, postminimalism and more - are assimilated to produce a voice which is uniquely resonant and multifaceted. In this, the first major study of his work, musicologists, composers, thinkers and practitioners scrutinize aspects of Christopher Foxs music, each exploring elements that relate to their own distinct areas of practice, tracing Foxs compositional trajectory and situating it within post-war contemporary European music practice. Above all this book addresses the question How can one person dip his fingers into so many paint pots and yet retain a coherent compositional vision? The range of Foxs musical concerns make his work of interest to anyone who wants to study the development of so-called new music spanning the latter twentieth century into the twenty first century. **About the Author Rose Dodd (1967) is a composer of instrumental and electronic music. From 1990-94 she lived in the Netherlands studying briefly with Diderik Wagenaar at the Royal Dutch Conservatoire in The Hague. Coming from an acousmatic background with a strong interest in Scandinavian soundworlds, whether electronic or instrumental, the Swedish text sound-art tradition in particular has led to a number of electronic works with text. Dodd has been awarded a number of prizes, including Honourable Mention at Prix Ars Electronica96, 19th International Luigi Russolo Concorso and Prix de Residence at Bourges Synthese97. Engaged in a significant research residency period at NOTAM Oslo,which began in 2011, she is working on a series of works for instruments and electronics. The results so far have been mobius ii for Hardanger fiddle (Britt Pernille FrAholm)and electronics premiered HCMF 2011 Aandacht for 2 pianos and electronics, performed by Philip ThomasLisa Ullen premiered HCMF 2013, and Waternish Ballad for Scottish fiddle (Sarah-Jane Summers)and electronics premiered at Scotlands Sound Festival, Banchory in October 2014. She has also written pieces for Ere Lievonen, for the 31-tone Huygens-Fokker Organ, situated in Amsterdams Muziekgebouw, Kleurenspelletjes (2015). She was awarded a PhD in Composition in 2006 at the University of Huddersfield, UK, where she studied with Christopher Fox.

Author: Sarah Ruden File Type: epub A dazzling reconsideration of the original languages and texts of the Bible, in both the Old and the New Testaments, from the acclaimed scholar and translator of Classical literature (The best translation of the Aeneid, certainly the best of our time Ursula Le Guin The first translation since Dryden that can be read as a great English poem in itself Garry Wills, The New York Review of Books) and author of Paul Among the People (Astonishing . . . Superb Booklist, starred review). In The Face of Water, Sarah Ruden brilliantly and elegantly explains and celebrates the Bibles writings. Singling out the most famous passages, such as the Genesis creation story, the Ten Commandments, the Lords Prayer, and the Beatitudes, Ruden reexamines and retranslates from the Hebrew and Greek what has been obscured and misunderstood over time. Making clear that she is not a Biblical scholar, cleric, theologian, or philosopher, Rudena Quakerspeaks plainly in this illuminating and inspiring book. She writes that while the Bible has always mattered profoundly, it is a book that in modern translations often lacks vitality, and she sets out here to make it less a thing of paper and glue and ink and more a live and loving text. Ruden writes of the early evolution, literary beauty, and transcendent ideals of the Hebrew Bible and the Greek New Testament, exploring how the Jews came to establish the greatest, most enduring book on earth as their regional strategic weakness found a paradoxical moral and spiritual strength through their writings, and how the Christians inherited and adapted this remarkable literary tradition. She writes as well about the crucial purposes of translation, not only for availability of texts but also for accountability in public life and as a reflection of societys current concerns. She shows that it is the original texts that most clearly reveal our cherished values (both religious and secular), unlike the standard English translations of the Bible that mask even the yearning for freedom from slavery. The word redemption translated from Hebrew and Greek, meaning mercy for the exploited and oppressed, is more abstract than its original meaningto buy a person back from captivity or slavery or some other distress. The Face of Wateris as much a book about poetry, music, drama, raw humor, and passion as it is about the idealism of the Bible. Rudens book gives us an unprecedented, nuanced understanding of what this extraordinary document was for its earliest readers and what it can still be for us today **