For middle school and up, an introduction to the early Romantic German composer.

'A contemporary interpretation of the Bizet opera, this late twentieth century story of ill-fated romance set on New York's Lower East Side features Carmen as a rock-and-roll singer and Don Jose as a record producer. The drama is interrupted and examined through a series of audiovisual asides that serve as commentary, with images of fire and ice poetically illuminating the romantic and tragic elements. Carmen is played by New York musician Emily XYZ...." In this piece written, directed, and produced by Ann-Sargent Wooster, a man and a woman reflect on their roles in an obsessive relationship. The work assumes a mock documentary style, as the story unfolds through interviews and confessions juxtaposed with the events depicted. Music includes 'Cloud' and 'Fire and Water' by Brook Williams and Ann-Sargent Wooster, excerpts of Andrew Nadelman's 'Tapestry' and 'Rhapsody,' clarinet solo by Michael Isenberg, and opera singing by Janeal Sugars, Meth Genies, and Clay Steward. The work was broadcast as a segment of episode 612 (1990) of 'New Television.'

'The Heisenberg Uncertainty Principle' is divided into several distinct sections, the contents of which are described as follow: Act 1: The Gloria: Nature scenes accompanied by opera punctuated by flashes of city scenes, followed by shots of city landscapes; Interlude 1: Computer graphic shots of sexless bodies; Act 2: Pursuit for Plastic: Children play among ruins, accompanied by a score of children singing; two boys push and shove before one of the boys runs off into a field; Interlude 2: Computer graphics of sexless bodies; Act 3: Greetings and Salutations: Woman and man run slow motion across a field, then the man and woman are followed by other people; interrupted by flashes of war scenes; groups meet and mill around before running off again; Interlude 3: echoes Interlude 1; Act 4: He Who Dies with the Most Toys Wins: Interior shots of a rich man's house, accompanied by opera; man shown sitting at desk; Interlude 4: echoes Interlude 2; Act 5: Hope Extraordinaire: Children play at ruins; adults gaze into distance as camera pans their faces; old footage of woman giving birth; nature scenes; shot of a child at ruins; all accompanied by opera.

Hilda Harris, a mezzo-soprano with the New York City Opera performs 'The Segadilla', an aria from the second act of Carmen by Georges Bizet, in the Say Brother studio. Musical accompaniment is provided by pianist Fredericka King.

Gives students a broad overview of Western music from the Middle Ages to the twentieth century, with emphasis on late Baroque, Classical, Romantic, and Modernist styles. Enhances the musical experience by developing listening skills and an understanding of diverse forms and genres. Major composers and works placed in social and cultural contexts. Weekly lectures feature demonstrations by professional performers, and introduce topics to be discussed in sections.

This course fosters the development of aural skills that lead to an understanding of Western music. The musical novice is introduced to the ways in which music is put together and is taught how to listen to a wide variety of musical styles, from Bach and Mozart, to Gregorian chant, to the blues.

Hilda Harris performs Bizet's 'The Segadilla' Host Tanya Hart speaks with Hilda Harris, mezzo-soprano for the New York City Opera, about her upcoming performance at the Berklee Performance Center in Boston. Program includes studio performances by Harris of 'This Little Light of Mine' (by John Work) and 'The Segadilla' (an aria from the second act of Carmen by Georges Bizet) with the musical accompaniment of pianist Fredericka King. Additional segments include an encore presentation of Hart's interview with Manuel Gonzalez (of the group Opera 76) and Wendell English (representing Concerts in Black and White), and a performance by tenor Carlos Santana. Program includes the 'Community Calendar.' Produced by Barbara Barrow. Directed by Conrad White.

Works of film examined in relation to thematic issues of philosophical importance that also occur in other arts, particularly literature and opera. Emphasis on film's ability to represent and express feeling as well as cognition.

World famous South African artist William Kentridge spoke at UCT Gordon Institute for Performing and Creative Arts GIPCA Great Texts Big Questions public lecture on Thursday 8 April He gave a lecture titled Putting the Sinto Laughter looking at Gogol short story The Nose His recent production of Shostakovich opera The Nose premiered at the Metropolitan Opera in New York earlier this month to rave reviews. Kentridge began working on the opera three years earlier producing etchings drawings small bronzes tapestries films and a theatrical monologue in which he performed In GIPCA Great Texts Big Questions lecture Kentridge will revisit his exploration of Gogol story written in 1836 and Shostakovich music first performed in Leningrad in 1930 before being suppressed and not seen again until 1974In 2009 Kentridge was listed by Time magazine as one of the 100 people that most affect the world He has earned international acclaim for his interdisciplinary work which combines visual art theatre and film He uses different mediums to explore oppression colonialism conflict and reconciliation addressing the social political and cultural landscape Kentridge work has been shown in numerous solo exhibitions at museums and galleries around the world He has been exhibited at the Museum of Modern Arts MoMA in New York several times MoMA is currently presenting William Kentridge Five Themesa comprehensive survey of his distinguished career featuring over 120 works created during the past three decades in a range of mediums animated film drawings print books and theatre models The Nose is not Kentridge first foray into opera his production of Mozart Die Zauberfloumlte The Magic Flute premiered in Brussels in 2005 and its global tour included New York Naples and Johannesburg. Dr Rob Baum director of UCT Gordon Institute for Performing and Creative Arts GIPCA said they are honoured to be hosting so distinguished a speaker Part of what GIPCA intends to achieve in South Africa is to highlight interdisciplinary art and make it accessible to a broader audience To host an artist of Kentridge stature an artist who has raised the profile of interdisciplinary work to such a level with so global an effect and with such joyous imagination is a great privilege. Monument to Major Kovalyov nose image released in the public domain

For middle school and up, an introduction to the post-Romantic composer Richard Strauss

A survey of developments in Western musical style from 1810-1910. Thirty composers discussed including the Romantics Schubert, Berlioz, Chopin, Schumann, and Liszt; and the post-Romantics Wagner, Verdi, Brahms, Strauss, Farwell, and Mahler. Required reading, score-reading, and listening assignments.

Dolls made of pipe-cleaners or clay are moved around miniature stages via their attachment to slots incorporated in the stages.Two scenes ('Venice' and 'Somewhere in the Southwest Desert') are repeated dozens of times. Occasionally, the creators can be seen arranging the stages and maneuvering the dolls. Opera music accompanies the first scene, though the rest of the scenes are silent. It is unclear whether or not all of the segments are complete. These were probably intended to be broadcast as fills between shows, but may have been broadcast in some form as part of 'Artist's Showcase'. 'Artist's Showcase' was a series designed to showcase video art and experimental work from WGBH. The program ran on Sunday evenings at 11 P.M., from the fall of 1976 through 1982. In the early 1970's, 'Artist's Showcase' was the only consistent broadcast outlet for many of the Workshop productions. Most materials of broadcast quality created at WGBH in the mid-1970's were shown as part of this series. Additionally, earlier video art experiments and segments of related shows, such as 'Mixed Bag' or 'What's Happening Mr. Silver' were broadcast under these auspices. This series was also a broadcast outlet for a handful of works by video artists that were not created at WGBH but only acquired for this purpose. Some compilation reels showing highlights of Workshop activity were also broadcast.

A set of activities to encourage students of any age to be aware of the uses of motifs and themes in both classical and popular music.