National Art News
“When you buy a Spirio—not you, necessarily; they run upwards of $110,000—it comes with an iPad loaded with a Spotify-like app. This app communicates with the piano via Bluetooth, prompting the piano to play any one of the 1,700 songs recorded specifically for the instrument. New songs will sync every week. By itself, an iPad-controlled piano is nifty, if not exactly a technological marvel. What makes Spirio different is that it can play songs with an unprecedented level of accuracy and nuance.”
“We increasingly live in a world in which our own personal data subsidizes our purchases and the services we use. Programs like Facebook’s now-defunct Beacon, which monitored users’ browsing activities all over the Web, have increasingly become the norm, with shadowy companies like Acxiom amassing profiles on hundreds of millions of consumers.”
“Today the debate about the soul of country music has extended far outside Nashville, and it’s now safe to say that the genre has a serious image problem. It’s not just stalwart country fans that see country being overrun with chauvinist posers in skinny jeans – it’s everyone.”
“The international community should decide on a sensible time frame of 20 or 30 years from now,” says Klaus Albrecht Schröder. “If we don’t set a time limit of around 100 years after the end of the Second World War, then we should ask ourselves why claims regarding crimes committed during the First World War should not still be valid; why we don’t argue anymore about the consequences of the 1870-1871 Franco-Prussian war, and why we don’t claim restitution of works of art that have been stolen during previous wars?”
“I have observed over the past 10 years, as the need for major donors has grown, that when one donor provides a substantial percentage of total money raised, too many beneficiary organizations are ceding far too much authority to that donor.”
“Many cable networks abandoned classic TV shows once the baby boomers who watched them moved out of the 18-to-49 age group that advertisers covet most. That’s created an opening for multicast TV networks — the channels that viewers can watch over the air for free with a digital antenna — to come to their rescue.”
Actors’ Equity has been aiming to educate the consumer and protect its members with an “Ask If It’s Equity” campaign that today expanded to Washington and eight other cities. (It tested earlier in Chicago.) The website www.askifitsequity.com will allow visitors to check touring shows city by city, and the D.C./Baltimore market will be seeing a digital ad and Twitter effort.
USA, as it’s known (is there a branding doctor in the house?), was launched in the prerecession happy days by four major funders—the Ford, Rockefeller, Prudential, and Rasmussen Foundations. Together they donated $22 million in seed money for a new organization with a double mission: to “invest in America’s finest artists and illuminate the value of artists to society.”
“Taken together, the reports reveal library mismanagement costing taxpayers tens of millions of dollars, and outdated and inefficient systems in the U.S. Copyright Office. And despite the library’s reputation as an early Internet pioneer, various reports have found that it hasn’t kept up with the rapidly evolving digital times.”
The Chamber Music Conference and Composers’ Forum of the East invites applications for the position of Music Director. The Music Director provides artistic and educational leadership to the Conference, overseeing the annual Conference proceedings and the work of its artist-faculty, and providing guidance and feedback to faculty and participants. The Music Director represents the Conference to the public and the world of professional music. The Music Director is appointed for a 3-year term and reports to the Executive Committee of the Conference Board and to the Board chair as its representative.
The Bennington Chamber Music Conference has a long and rich history of offering outstanding chamber music coaching, faculty concerts and seminars, opportunities for free playing, and a vibrant program of composer residencies, all in a historic and verdant New England setting at the foot of the Green Mountains. This combination of features creates a unique and exhilarating musical immersion.
The Conference runs for 4 weeks in July and August and boasts a faculty of fine professional musicians who combine concert careers with a dedication to teaching. Participants include amateur and professional musicians, ranging widely in age and ability, on strings, winds, piano, voice and harp. Contemporary music and composition are integrated into coaching and performance aspects of the Conference through the work of the Senior Composer-in-Residence, Composers-in-Residence, and Composition Fellows. For more information about the Conference, please see http://cmceast.org.
The role of Music Director is a key leadership position in the Conference community, and it includes responsibilities, relationships, and time commitments that support the mission of the Conference.
Hiring and Evaluation of Faculty and Composers
The Music Director
- Is responsible for engaging faculty for the Conference, consistent with instrumentation needs and the faculty tenure practice.
- Proposes candidates to the Board for the position of Senior Composer-in-Residence as the position becomes available, and works with the Senior Composer-in-Residence to engage Resident Composers and Composition Fellows, and to oversee the Composers’ Forum program.
- Oversees the faculty tenure evaluation process.
- Programming and Scheduling
The Music Director
- Is responsible for the programming of faculty concerts, and for organizing participant recital programs for each of the Conference weeks.
- Schedules music-related seminars and lectures.
- Assists the Executive Director as needed in the recruiting and evaluation of participants and auditors.
- Assists the Conference scheduling team, providing input and review during assembly of groups and assignment of works for the coaching program.
- Responsibilities in Residence
The Music Director
- Is in residence all weeks of the Conference and oversees all formal music activities of the Conference.
- Serves as a faculty member, performs on faculty concerts and coaches participant groups during one or more weeks of the Conference, and chairs faculty meetings twice weekly.
- Oversees the coaching program, providing support and counsel to faculty and participants in the furtherance of their educational and general musical objectives.
- Works to maintain and enhance the spirit of collegiality among all members of the Conference.
- Working with the Board
The Music Director
- Attends the three regularly scheduled Board meetings throughout the year.
- Works with the Executive Committee and other Board committees (e.g., Grants, Recruiting, Fundraising and Publicity) as needed.
- Works with the Board in developing a long-range vision and strategy for the future of the Conference.
The ideal applicant will have:
- Deep knowledge of both the canonic, traditional chamber music repertoire and new chamber music, with a view to innovative programming.
- Extensive experience in performing, programming and coaching chamber music (wind, string, piano and voice).
- An open-minded and innovative approach to new chamber music, including commissioning and programming.
- An active and strong network of chamber music professionals and composers who may have an interest in serving as faculty for the Conference.
- Experience with and enjoyment of coaching amateur musicians.
- The ability to provide leadership to and administration of a program with diverse constituencies.
How to Apply
Please send an inquiry or a letter of interest, including a CV, to firstname.lastname@example.org. The deadline for application is May 30, 2015; however, candidate interviews will begin prior to the deadline.Music Director, Chamber Music Conference
ASSISTANT CURATOR, Drawings and Prints. The Metropolitan Museum of Art. The Assistant Curator in charge of the Study Room manages the daily operation of the Prints Study Room and storage areas. They assist visitors to the study room, respond to queries from them and others about the collection, participate in Johnson Gallery installations, and oversee the ephemera collection of the department. They will also oversee the project to catalogue and photograph the Jefferson R. Burdick Collection of ephemera and manage the two part-time staff members devoted to the project. Resumes (Word) by May 1st, 2015 to: Careers@MetMuseum.org with “Assistant Curator, Drawings and Prints” in the subject line.
“The biggest offender is still the alternative minimum tax, despite the American Taxpayer Relief Act of 2012, which brought long-overdue reform. Two provisions of the A.M.T. hit a disproportionate number of actors, screenwriters and directors: In calculating it, taxpayers can’t deduct employee business expenses, nor can they deduct state, local and property taxes.”
“Radio France, an umbrella group for several stations, including France Inter, France Info and France Culture, is 90% state funded through licence fees. After announcing a projected budget deficit of €21.3m (£15.6m) for this year, there are fears of widespread redundancies amid threats of outsourcing production and cleaning contracts.”
“When June O’Neill took over as executive director of the Philadelphia Cultural Fund 12 years ago, she barely had time to find her desk before Mayor John F. Street announced he was slashing the fund and eliminating the city’s Office of Arts and Culture. That was followed by the 2008 fiscal crisis, which saw the fund, an independent nonprofit that receives its budget entirely from the city, cut [by] 42.5 percent … [She’s] been through it all.”
“By the beginning of the twentieth century, because of Schubert, song had become a musical form to rival the symphony, the string quartet, and the piano sonata. … Its aesthetic claims are complex and multifaceted: the response to text, the compression of drama (the thrill of the opera in a matter of minutes), a melodic sweep and harmonic language as worthy of attention and analysis as anything in Western classical music. In this sense the lied is a standing rebuke to classical music’s hierarchies, in which the biggest – or most expensive – is best.”
“An article in Dancing Times in December 1943 eventually led to her editing that journal for 45 years, and to serving as the Guardian‘s dance critic for 17 years. There were books, too, and she became one of the most influential writers on dance during the second half of the 20th century.”
When the British company brought its immersive adaptation of Macbeth to New York in 2011 and parked it at an old hotel on the far West Side, the project was still experimental and risky, good reviews or no. Four years later, Sleep No More has a merch table, souvenir programs, and an associated bar and restaurant. It is, writes Alexis Soloski, “a case study of the relationship – sometimes cozy, sometimes uneasy – between art and commerce.”
Klaus Albrecht Schröder of the Albertina Museum: “If we don’t set a time limit of around 100 years after the end of the Second World War, then we should ask ourselves why claims regarding crimes committed during the First World War should not still be valid; why we don’t argue anymore about the consequences of the 1870-1871 Franco-Prussian war?”
“Positioning itself as a neighborhood green space and cultural gateway, Walker Art Center will add a new glass-walled entrance pavilion, groves of trees and acres of new grass … The Walker’s plans are designed to unify a 19-acre cultural’“campus,’ including the Minneapolis Sculpture Garden, that stands as an anchor and gateway to the theater and arts district that Minneapolis intends to develop along Hennepin Avenue.”
“The photo-sharing app has become the go-to social-media platform for dancers of all ages, who post photos of bloody toes, mistakes in class, physical therapy and, of course, deliriously beautiful performances shot from the wings. As a virtual portal to the dance world, Instagram has also attracted an enthusiastic audience – and around that, a newly dance-centric marketing landscape has emerged.”