129
10
1775
-
https://omeka.binghamton.edu/omeka/files/original/916efb761c73c1d8ab13de9712f842aa.pdf
2f777df97a9d82a11979e1987e732bd1
PDF Text
Text
STATE UNIVERSITY OF NEW YORK AT BINGHAMTON
DEPARTMENT OF MUSIC
presents
NEW YORK WOODWIND QUINTET
Thomas Nyfenger, flute
Ronald Roseman, oboe
David Glazer, clarinet
Arthur Weisberg, bassoon
Ralph Froelich, horn
Sun., Jan.9, 1972 - 8:15
Don A. Watters Theater
�PROGRAM
Qui ntet in þÿB&Op,5
m, 6, no. 1
Alle gret to
And ante con moto
Men uett
Alle gro
Qua rtet in C maj or for Woodwinds
Alle gro mod erat o
And ante
Alle gro viva ce e legg erm ente
Fran z Dan zi
Arth ur Berg er
INTERMISSION
Woodwind Qui ntet No.2
Alle gret to
Ada gio
Alle gro viva ce
Qui ntet Op.4 3
Alle gro ben mod erat o
Men uet
Prae ludi um - Tema con vari azio ni
John Less ard
Car l Nie lsen
�
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1960's - present
Title
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Binghamton University Music Department Tape Recordings
Subject
The topic of the resource
Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
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22:18
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New York Woodwind Quintet, January 9, 1972
Subject
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Concerts
Instrumental music
Live sound recordings
Description
An account of the resource
Works of Danzi, Hindemith, Mozart, Beethoven and Ibert. Held at 8:15 pm, Jan. 9, 1972, Don A. Watters Theater.
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New York Woodwind Quintet
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Binghamton University Libraries
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1972-1-9
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Danzi, Franz, 1763-1826
Hindemith, Paul, 1895-1963
Mozart, Wolfgang Amadeus, 1756-1791
Beethoven, Ludwig van, 1770-1827
Ibert, Jacques, 1890-1962
Type
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sound
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39091020096545
39091020096594
-
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Binghamton University Music Department Tape Recordings
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Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
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41:56
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New York Woodwind Quintet, recital, May 2, 1973
Recital Tape 1973-5-2
Description
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Works of Mozart, Laderman, Piston, and Danzi. Held at 8:15 pm, May 2, 1973, Watters Theater.
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New York Woodwind Quintet
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Binghamton University Libraries
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5/2/73
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sound
-
https://omeka.binghamton.edu/omeka/files/original/d6bf5118817ee4cdfd2ecd4a20363b8a.pdf
2f3a12bd70438b4738f88cdf5e631dcf
PDF Text
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STATE UNIVERSITY OF NEW YORK AT BINGHAMTON
DEPARTMENT O F MUSIC
presents
NEW YORK WOODWIND QUINTET
Thomas Nyfenger, Flute
Ronald Rosemen, Oboe
D avid G lazer , C lar ine t
Arthur Weisberg, Bassoon
Ralph Froelich, Horn
Sa t u rd a y , Se p tem ber 3 0 , 1 9 7 2 - 8 : 1 5
Don A. Watters Theater
�PROGRAM
Quintet in E Minor, Op. 67, No. 2
Danzi
Al leg ro Vivo
Largh etto
Minuetto
Allegretto
Kleine Kammermusik, Op. 24, No. 2
Hindemith
Lustig, Massig Schnelle Viertel
Wa lzer
R uhi g un d E in f ach
S c h n e l l e V i e r t e l - Se h r L e b h a f t
INTERMISSION
Divertimento No. 3
Mozart
Al leg ro
Adag i o
M inue t
Ron do Al legro Assai
Variations on Mozart’s “La ci darem la mano” Beethoven
Transcribed by Ronald Roseman (First Performance)
Trois Pieces Breves
Ibert
Al legro
Andante
Assez Ient - Allegro Scherzando
William Masselos, Pianist will present the next concert
in the Chamber Music Series on Saturday, October 7, 1972
at 8 :15 p.m. in the Watters Theater.
�
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1960's - present
Title
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Binghamton University Music Department Tape Recordings
Subject
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Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
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36:50
31:39
43:18
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New York Woodwind Quintet, September 30, 1972
Recital tape 1972-9-30
Description
An account of the resource
Works of Danzi, Hindemith, Mozart, Beethoven and Ibert. Held at 8:15 pm, September 30, 1972, Watters Theater.
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New York Woodwind Quintet
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Binghamton University Libraries
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1972-09-30
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sound
-
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Binghamton University Music Department Tape Recordings
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Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
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Newcomb Concert
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1969-05-03
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State University of New York at Binghamton. Department of Music
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sound
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39091020095612
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Binghamton University Music Department Tape Recordings
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Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
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33:55
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Norman Carey, recital, March 18, 1973
Recital Tape 1973-3-18
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Works of Bach, Schubert, SchoÌnberg and Liszt. Held at 2:00 pm, March 18, 1973, Recital Hall.
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Carey, Norman
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Binghamton University Libraries
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3/18/73
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sound
-
https://omeka.binghamton.edu/omeka/files/original/a87260e9504b29d0bf72be702705dac5.pdf
81093ffd7fa5bb5798a7e46f2208a412
PDF Text
Text
BINGHAMTON
U N I A V E R S L T
S TAT E U N I V E R S I T Y O F N E W Y O R K
[4
D E P A R T M E N T
Rajeer
.
\v’ )
—
d e
\
y
« . 8
'
a
”
,
'
—
–
q – f ,
K
Friday, September 25, 2009
8:00 p .m.
Anderson Center Chamber H all '
fl .
“
ioo i n
5
v
�PROGRAM
HINDUSTANI CLASSICAL MUSIC
Note: Indian musicians choose pieces on the spur of the moment
based upon the time of day and the particular mood they wish to
emphasize. Here is a general outline for tonight’s performance:
e The instrumental performance tonight features an extensive
opening solo sarod sequence known as « I+ pJorJh+I+. The ° l° p
is an unmetered improvisation that demonstrates the scale,
mood, and musical rules of the raga. Normally musicians begin
at the mid range of their instrument, and slowly descend to the
lowest notes. Then the « I p progresses all the way up to the
highest octave on the instrument, and then back down to the
middle range.
e In the next section, the jor, the musician introduces a sense of
pulsation through the extensive plucking of a set of 3 drone
strings (cik« re), in alternation with strokes on the melody strings.
e The final part o f the opening sequence, jh I , is a climactic
section featuring extensive strumming of the drone strings often
using sixteenth notes and building up speed to a thunderous
climax. Depending on the skill and mood of the performer, this
completely extemporaneous opening sequence can last from 10
40 minutes (sometimes longer).
e Following the above opening sequence, the artist will play one or
more instrumental compositions known as gat. Gat are
precomposed melodies that are thoroughly developed using
extensive improvised runs that return to the main theme. Gat are
in a tala cycle, and at this point in the performance the tabla
drummer will enter, often with a rhythmic cadence timed to end
on the first beat of the tala cycle. Often the sitar and tabla will
trade rhythmic combinations in a playful question and answer
style. Normally an artist will choose from slow, medium, and fast
speed gats in the same raga, although they may employ different
tala cycles.
oe
Subsequent to the full performance o f the chosen raga, the artist
will choose one or more shorter pieces drawn from folk music,
devotional hymns, or from various ‘Iight’ classical genres to
conclude the program.
W
W
W
The origins of Indian classical music can be traced to the Vedas, a set of four
texts that comprise the foundation o f the Hindu religion, and were passed
down orally until around 1500 BC when they began to be written down. The
texts comprise hymns, which not only aided memorization, but also provide
the foundation of Indian music. In the first few centuries AD, the sage
Bharata compiled a treatise on music, dance, and theatre that provided the
theoretical foundations for future directions in Indian composition. Bharata
outlined the organization o f rhythm and meter into cycles made up o f
groupings of beats now referred to as tala. Every composition is set to a
particular tala cycle made up of stressed and unstressed beats.
Knowledgeable audience members may extemalize the tala by a system of
claps (tali) representing the strong beats, and waves (khali) representing the
weak beats.
Bharata also formulated the concept of raga, which is the melodic system
underlying Hindustani music. A raga consists of a scale, as well as a set of
musical rules governing choice and emphasis of pitches, melodic motion,
and ornamentation. A raga can also be associated with certain times of day
and/or seasons of the year. Bharata related each raga to a specific rasa, or
emotion, such as love, humor, anger, compassion, valor, wonder, or fear.
The term raga means color – a raga should color the mind and stimulate
listeners to emotional awareness of its feeling. After the writings of Bharata,
wandering monks began composing sacred hymns, known as bhajans, using
the raga and tala cycles formulized by Bharata. These sacred hymns provide
the source for many contemporary Indian classical compositions.
From this common historical origin, classical music in India has gradually
become divided geographically into Northern (Hindustani) and Southern
(Kamatik) traditions since the 13” century AD. The source of this diversion
was the occupation of Northern India by successive waves of Muslim
conquerors including Persian, Turkish, Arab, and Central Asian peoples.
During the successive reigns of these Muslim dynasties, Northern India
came to adopt and adapt several instruments, styles, and techniques from
Persian and Arabic music. Hindustani classical music, as we know it today,
took shape in the 16” century AD in the courts of the Mughal emperors as
Hindu musicians began to seek employment as court musicians. At the
Mughal courts, Hindu musicians mixed with Persian musicians, and they
began to develop a hybrid of both musical traditions. They also began to
intermarry, and many contemporary Hindustani musicians have Persian
surnames.
Through time, certain families of court composers established gharana, or
stylistic schools of performance and interpretation. Eventually these schools
took on talented students from outside the family, spreading the influence of
these previously local styles. During the British colonization of India (1850
1947), many of the courts were dissolved and musicians shifted their
performances to the concert stage, where it can now be enjoyed by all.
�ABOUT THE INSTRUMENTS
ABOUT THE PERFORMERS
Tanpura/Sruti b ox
Tanpura is a longnecked lute, unfretted and roundbodied. It has four or
five wire strings that are open plucked one after the other to create a
steady drone ambiance. The strings are normally tuned to the 1 * and 5 ”
scale degrees of the raga. The tanpura articulates a constant drone, to
melodically frame the monophonic improvisations of the musicians.
Nowadays, this instrument is commonly replaced by an electronic device.
called sruti box, which is portable and easier to travel with.
Internationally acclaimed performer, Rajeev Taranath is one of the world’s
leading exponents of the Sarod. A distinguished disciple of Maestro Ali
Akbar Khan, his performances masterfully combine the depth and rigor of
the tradition of Hindustani classical music with an inspired imagination and
emotional intensity.
Sarod
The Sarod, along with the sitar, is the most popular and prominent
instrument in Hindustani Classical music. The sarod originated in
Afghanistan, from a similar instrument called the rebab. Immigrant
musicians brought it to the courts of Northern India in the late 1700s. It is
made of carved teak wood, with the resonator covered with goatskin and
the fingerboard covered with polished nickel. It has up to 25 strings, 10 of
which are plucked by a coconut shell pick; the other 15 strings run below
the playing strings and are sounded by the vibrations from the plucked
strings above them. This gives the sarod a shimmering sound, as each
plucked note vibrates the 15 strings below. The lack of frets and the
tension of the strings makes it very technically demanding to play, as the
strings must be pressed hard against the fingerboard. Normally the
musician uses the tips of the fingernails to press the strings, allowing them
to ring out, and also permitting the liberal use of slides up and down the
neck. The descent of the sarod from the lute family of Persian–Afghani
instruments makes it a distant relative to the European lute.
Tabla
The tabla set is the principle percussion instrument used in Hindustani
classical, religious, and film musics. The instrument consists of a pair of
hand drums of contrasting sizes and timbres. The smaller drum, played
with the dominant hand, is made from a conical piece of wood and is often
called tabla. One of its primary tones is tuned to a specific note of the raga,
and thus contributes to and complements the melody. The larger drum,
played with the other hand, is called b y n and is made of metal. It covers
a lower range than the other drum. The playing technique for both drums
involves extensive use of the fingers and palms in various configurations to
create a wide variety of different sounds. On the bey+n, the heel of the
hand is also used to apply pressure, in a sliding motion, so that the pitch is
changed during the sound’s decay.
l
l
Hailed a prodigy in Hindustani vocal music, he had been earlier trained by
his father Pandit Taranath and other eminent musicians and was a concert
and radio artist before he was twenty.
Rajeev has toured extensively as a performer in India, Australia, Europe,
Yemen and throughout the U.S. He has also composed music for several
nationally and internationally honored Indian films. He is the recipient of the
Indian Government’s highest award in the arts, the Sangeet Natak
Academi Award for 19992000, given in recognition of outstanding
achievement in the field of Hindustani Instrumental music. In 1998 he
received the prestigious national Award, ‘Chowdiah Award for Music’ from
the Government of Karnataka in India for excellence in the field of
instrumental music. He has also received awards from the Indian State
Government of Karnataka for his contribution to music the Sangeet Nritya
Akademi Award in 1993 and the Karnataka Rajya Prashasti in 1996. In
1980, he was the subject of a documentary made for the television in
Eden, Yemen, entitled Finnan MinAlHind (Artist from India).
Rajeev Taranath’s distinctive musicianship demonstrates striking
imaginative power, technical excellence and emotional range. He is
respected for the clarity of musical understanding which he brings to the
unfolding of a raga and the beauty of the tone he evokes from the sarod.
The New York Times (April 14, 1982) described his music by commenting
with great enthusiasm about the exuberance and versatility of his playing,
which ranged from the spiritual to the spirited.
I
Rajeev was a Ford Foundation scholar (1989 to 1992) and researched
during this period on the Teaching Techniques of the MaiharAllauddin
Gharana. Rajeev has also received guidance from Pandit Ravi Shankar
and Shrimati Annapurna Devi. From 19952005 he was a member of the
music department faculty at the prestigious Califomia Institute of the Arts in
Los Angeles, California.
Rajeev Taranath frequently performs and tours throughout India and
internationally with concert engagements for major Indian music
conferences, Universities, western chamber music series, world music
festivals and Indian cultural organizations dedicated to the presentation of
high caliber Indian classical music.
�Nitin Mitta is one of the most s ought after young tabla players of our
generation with rare technical virtuosity and sensitivity. He has
WSKG
performed worldwide with some of India’s most celebrated and honored
musicians such as Pt. Jasraj, D r. Prabha Atre, Pt. Rajan Sajan Mishra,
Pt.Vishwa Mohan Bhatt, Smt. Veena Sahasrabudhe and Pt. Budhaditya
Mukherjee just to name a few. Nitin received his early training in
Hyderabad from Pandit G. Satyanarayana. In his years as a tabla
student, he won many accolades, including the first prize in the All India
Competition held in Calcutta. He was also awarded a National
Scholarship by the Ministry of H uman Resource Development, Central
Govt. His passion for rhythm and his desire to enhance his repertoire of
tablacompositions, lead him to seek the guidance of Pandit Arvind
Mulgaonkar. Both of Nitin’s Gurus are disciples of the late Ustad Amir
Hussain Khan Saheb, legendary doyen of the Farukhabad Gharana.
Nitin has thus received two perspectives upon a single tradition and he
has enriched his inheritance through his own capacity for assimilation
and interpretation.
Public B roadcasting
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On moving to the United States in 2002, Nitin received a grant from the
Rhode Island State Council on Arts. He has been on the Faculty at the
Learn Quest Academy of Music in Waltham, MA. Now a resident of New
York City, he is actively involved in teaching, performing, recording, and
conducting tabla workshops. He has recently performed at venues like
The Metropolitan Museum of Art, Rubin Museum of Art, The Asia
Society, and The Indian Embassy in New York and The Smithsonian
Museum in Washington DC. He has also conducted lecture
demonstrations and performed at Brown University, MIT, Harvard, UC
Berkeley, U Penn, The University of Chicago and Drury University. Nitin
has performed in some of the major festivals and venues in India, the
U.S. and in Canada, Germany, France, England, Ireland, Finland, Sri
Lanka and the Baltic countries Lithuania, Belarus, and Vilnius. He has
performed at the Purcell Room, London and the India culture centre,
Berlin. In India, he has performed at some of the most prestigious music
festivals and venues, including The Pt. Motiram and Pt. Maniram
Sangeeth Samaroh, Hyderabad, The Pt. Radhika Mohan Moitra Music
conference, Kolkatta, Music Academy, Chennai, SPICMACAY, The St.
Xavier’s’ IMG Music Festival, Mumbai, Surya Festival, Trivandrum, India
Habitat Centre, New Delhi and the Nehru Centre, Mumbai.
His performance in the musical album entitled “Soul Strings” released by
Music Today has been widely appreciated. To learn more about Nitin,
visit his website at www.NitinMitta.org.
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�Bingha m ton Univer sity Music Depar tment’s
U PCO M I N G E V E N T S
idDay Concert, 1:20 PM FREE
Thursday , October 1 ° M
Casadesus Recital Hall
Thursda y, October 8 ” MidDay Concert, 1:20 PM FREE
Casadesus Recital Hall
Friday, O ctober 9 ” African DanceDrumming Workshop with Kwadzo
Tagboxlo and Pierrette Aboadjx, 1:00 – 3:00 PM, FA 104, FREE
Friday, October 9 ” 3Penny Opera with the Theatre Department and
University Symphony Orchestra, 8:00 PM, Watters Theater, $$
Saturda y, October 1 0 ” African DanceDrumming Workshop with
Kwadzo Tagborlo and Pierrette Aboadji, 1:00 – 3:00 PM, Africa House,
50 Washington Avenue, Endicott, NY, FREE
pera with the Theatre
Saturda y, October 1 0 ” 3Penny O
Department and University Symphony Orchestra, 8:00 PM, Watters
Theater, $$
Thursday, Octob er 15% MidDay Concert, 1:20 PM FREE
Casadesus Rectal Hall
pera with the Theatre Department
Friday, October 1 6 3Penny O
and University Symphony Orchestra, 8:00 PM, Walters Theater, $$
Saturda y, October 17°" 3Penny Opera with the Theatre
Department and University Symphony Orchestra, 8:00 PM, Watters
Theater, $$
Saturda y, October 17°" Paul Taylor Dance Company with the
Binghamton University Symphony Orchestra, 8:00 PM, Osterhout Concert
Theater, $$
pera with the Theatre Department
Sunday, October 1 8 ” 3Penny O
and University Symphony Orchestra, 2:00 PM, Watters Theater, $$
For ticket information, please call the
Anderson Center Box Office at 777ARTS.
�
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1960's - present
Title
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Binghamton University Music Department Tape Recordings
Subject
The topic of the resource
Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
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In copyright.
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2 sound discs
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1:06:01
24:48
Streaming Audio
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<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE152845">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE152845</a>
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Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>.
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Title
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North Indian sarod, September 25, 2009
Recital Tape 2009-09-25
Description
An account of the resource
Held at 8:00 p.m., September 25, 2009, Anderson Center Chamber Hall.
Creator
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Mitta, Nitin
Tarananth, Rajeev
Publisher
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Binghamton University Libraries
Date
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2009-09-25
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In copyright
Type
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sound
-
https://omeka.binghamton.edu/omeka/files/original/130e0b6a82e385dcffdf7c095921802d.pdf
b85f9c752d6e73123b4c9638656691ac
PDF Text
Text
BINGHAMTON
U N I V E R S I T Y
S T A T E U N I V E R S I T Y O F N E W Y O R K
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D E P A R T M E N T
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Choral Music by Canad ian Composers,
F olksongs, an d Songs of F irst Nations People
Women ’s Chorus
Molly AdamsToomey, conductor
H arp ur Chorale
Peter Browne, conductor
Assisted by
Jushin Choi, pianist
Nicholas Polacco, trumpet
Emily Goetz, percussion
Thursday, March 15, 2012
8:00 p.m.
Anderson Center Chamber Hall
�PROGRAM
Combined Choirs
.....Lydia Adams
Mi’kmag Honour Song .
The Mi’maq Honour Song is a chant dedicated to and in jonour of the Creator. The
employment of nature sounds and the call of the human voice honours this tradition of
the Mi’kmaq peoples. The sounds are not in any particular language, but are perhaps a
derivation of a text handed down through the ages.
Harpur Chorale
.Traditional
Salish Song (from Six Canadian Folk Songs)
Arr. Derek Healey
Women’s Chorus
Missa Brevis ..
. Nancy Telfer
Kyrie
Gloria
Rise Up My Love
Harpur Chorale
.
a Healey Willan
Rise up, my love, my fair one, and come away;
for lo, the winter is past, the rain is over and gone;
the flowers ap pear upon the earth;
the time of the singing ofbrrds is come.
Song of Solomon
Women’s Chorus
Cantate Domino . . . . . . . . . . Ruth Watson Henderson
Kaitlyn Mulligan and Christina Santa Maria,
Megan Orcutt, Susan Rosenberg, soloists
Nicholas Polacco, trumpet
Cantate Domino canticum novum Sing to the Lord a new song.
Cantate Dominum omnis terra Sing to the Lord all the earth.
0 sing to the Lord a new song, sing to the Lord all the earth.
0 sing to the Lord, and bless his name: proclaim his salvation from day to day.
Declare his glory among the nations, his wonders among all people.
For the Lord is great and gently to be praised; He is to be feared above all Gods.
Clap your hands all peoples! Sing to God with loud songs ofjoy!
God has gone up with a shout, the Lord with the sound of the trumpet.
Sing praises to the Lord, with the lyre, with the sound of melody,
With trumpets, with the sound of the horn.
Praise his name with dancing, with the timbrel and harp.
adapted from Psalms 47, 96, 98, I49
�Psalm 23 ..
Imant Raminsh
The Lord is my shepherd; I shall not want.
He Maketh me to lie down in green pastures
he leadeth me beside the still waters. He restoreth my soulr
He leadeth me in the paths of righteousness for his name’s sake.
Yea, though I walk through the valley of the shadow of death, 1 will fear no evil.
For thou art with me, they rod and thy staff they comfort me.
Thou preparest a table before me in the presence of mine enemies:
Thou anointest my head with oil, my cup it runneth over.
Surely goodness and mercy shall follow me all the days of my lif
And I will dwell in the house of the Lord forever.
Harpur Chorale
Onokenoga.
Deep were the crashing waves that tore our whaler’s mast away,
And dark are these sunless days waiting for the ice to break.(refrain)
Strange is the whaler’s fate to be saved from the raging waves,
only to waste away in this lonely grave. (refrain)
James Gordon
l‘se the b‘y that builds the boat, and l’es the b’y that sails her!
I’se the b’y that catches the fish and takes ‘em home to Lizer,
Psalm 23
. . . . .. Mark Sirett
Onokenoga is a soundscape that portrays an ancient Mohawk legend. The setting is
Lake on the Mountain. known to the Mohawk First Nation people as Onokenoga
(Lake ofthe Gods). The legend tells the story of two lovers from rival villages, who
late one night meet on the shores of the lake and vow their undying love for each
other. The young warrior departs for his village on the far shore, but a sudden
Hip yer partner, Sally Tibbo’! Hip yer partner, Sally Brown!
Fogo, Twillingate, Mor’tons Harbour, All around the circle!
Sods and rinds to cover your flake, cake and tea for supper,
Codfish in the spring o’ the year fried in maggoty butter.
1 don ’t want your maggoty fish, that ’s no good for winter;
1 could buy as good as that down in Bonavisteri
1 took Lizer to a dance, and faith, but she could travel!
Ev’ry step that she did take was up to her knees in gravel!
Susan White, she’s out of sight, her petticoat wants a border,
Old Sam Oliver, in the dark, He kisses her in the corner.
Newfoundland Folk Song
violent storm causes his canoe to capsize and he drowns. Legend has it that the
spirit of the young girl continues to wander the shores seeking her lost love in vain.
Grandmother Moon
she looks into and beyond my soul
the lacy cedar boughs creating her shadows
. Eleanor Daley
cedar ones weave design of midnight canvas
she looks into and beyond my soul
she a powerful sacred hoop of full light
Stephen Chatman
Text by Robert E. Swanson (190594)
Stephen Chatman
The song of star to star, but there are sounds,
More deep than human joy and human tears,
That Nature uses in her common rounds:
Traditional
The fall of streams, the cry of winds that strain
The oak, the roaring of the sea’ surge, might
Of thunder breaking afar off, or rain
That falls by minutes in the summer night.
These are the voices of t h e s ecret soul, from which she came.
To him who hears them grief beyond control, joy without a name,
Wakes in his heart thoughts bedded there, impearled,
Before the birth and making of the world.
Arr. Donald Patriquin
O dance my monk, dance. don’t you hear the dance'. ,
Ah! If my monk would like to dance : 1 would gi ve a cap. I would give him a sash.
l would give him a rosary, l would gi vc him a homespun coat.
If he had not made a vow ofpoverty, I would gi ve him other things as well.
Quebec folksong
We have not heard the music ofthe spheres,
7
F robisher Bay
Harpur Chorale
We have not heard the music of the spheres,
quiet powers speak out in her name
we’lalin (welcome)
Mary Louise Martin (Mi’kmaq)
Ah! Si mon moine voulait danser
Seattle Red
Voices of Earth . . . t . , . . . . . . .
simplicity against the ebony blues and blacks
of night sky land and crystal star people
she looks into and beyond my soul
her round face of translucent beauty and light
Women’s Chorus
..Traditional
Arr. John E. Govedas
1’se theB’y.
James Gordon
Arr. Tamarack
Cold is the Arctic Sea. Far are your arms from me,
Long will this winter be, frozen in Frobisher Bay.
“One more whale!” our captain cried. “One more whale then we‘ll beat the ice.”
But the winter star was in the sky, the seas were rough, the winds were high.(refrain)
The song of star to star, but there are sounds.
Archibald Larnpman (18611899)
0 , Canada
Combined Choirs
Canadian National Anthem
Original French Text by A.B. Routhier
English version by RA Stanley Weir
. . C. LaVallée
Arr. Bruce Borton
�WOMEN’S CHORUS
Molly AdamsToomey, conductor
Jushin Choi, accompanist
Soprano
Michaela Andriatch
Alida Cooke
Alto
Amy Conway
Ashley Grumman
Caitlin Gotimer
Jennifer Micceri
Kaitlyn Mulligan
Megan Orcutt
Jessica Pyne
Christina Santa Maria
Ariel Schlesinger
Fangling Zeng
Maggie Pictor
Susan Rosenberg
Joanna Wallace
C rystal Gonzalez
Erika N oach
Nm
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New Beginnings
Beginnings
Back to our Roots
‘ . . \ I u ( h l l . 20 l 2 . ~ t 1 l ) p. m .
01 1. 4:00 p.m.
Sunday, October i s . 2
SL Parrick’s Catholic Church
Sunday,
9 Leroy Street. Binghamton, N Y
Tnmrv Memorial Church
44 Main Street. Binghamton, NY
Lessons and Carols for Christ ma s
Crossroads
Sunda y, N o vember 2 . 20 1 1 . 4 :00 p.m.
Tabernacle United Methodm Church
sarurdav. November 26.201 1..to p.m. &
Sunda y, J unc 3, 2012, 4 :00 p. m
8351.1... Street, Binghamton, N Y
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346 Prospect Street, Bmghamrm N
C hn n h of the Holy Tnmt';
For Tickers:
wnnsmadsigalchoir.com
u.41/60''.‘°4’6’
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HARPUR CHO RALE
2012 34th Season
The Madrigal L Cholr of B i n gh a m t o n
Peter Browne. conductor
Soprano
Michelle Goldrich
Kerianna Krebushevski
Stephanie Nam
Sabrina Scull
Katherine Sucha
Samantha van Adelsberg
Hollie VanDerHeide
Alto
Denise Aquino
llyssa Baine
Carrie Buck
Suzanne Greene
Shoshana May
Tenor
Ari Hausman
Ricky Nan
Joshua Rovou
David Schwartz
Brandon Seabrook
Bass
David Clark
Thomas J. F urey
Pak Lok Pio Lau
Christian Martin
Daniel Romberger
David Stern
~ 20112012 Season
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MADAME BUTTERFLY]
LUCIA DI LAMMERMOOR
October 21& 23, 2011
F ebruary 1 0& 12,2012
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April 2 7 “ 9 2012
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�Binghamton Univer sity Music D epartment’ s
UPCOM ING E V E N7 15
Saturday, March 17 – Organist Jonathan Biggers presents “My Favorite
Fantasies” – 4 p.m. – First Presbyterian Church $10 general public; $6
faculty/staff/seniors; $3 students
Sunday, March 18 – Musica Nova – 3 p.m. – Casadesus Recital Hall – Free
Thursday, March 22 – MidDay Concert – 1:20 p.m. – Casadesus Recital Hall
free
—
Friday, March 23 – Master’s Recital : Kathleen Jasinkas, soprano – 8:00
p.m. – Casadesus Recital Hall – free
Thursday, March 29 – MidDay Concert – 1:20 p.m. – Casadesus Recital Hall
free
—
Thursday, March 29 – Nukporfe African Drumming and Dance Ensemble –
8 p.m. – Anderson Center Chamber Hall – $5 per person (tickets will be sold at
the door)
Thursday, April 12 – MidDay Concert – 1:20 p.m. – Casadesus Recital Hall
free
—
Friday, April 13 – Senior Recital : Alexander Baron, recorder – 8:00 p.m. –
Casadesus Recital Hall – free
Saturday, April 14 – Masterclass with organist Carla Edwards – 10 a.m. –
12 noon – First Presbyterian Church, Binghamton – free
Saturday, April 14 – Robert Smith, euphonium, presents “El Bombardino”
with Margaret Reitz, p iano – 3 p.m. – Casadesus Recital Hall – $6 general
public; $3 faculty/ staff/seniors; free for students
Sunday, April 15 – Africanaise : An evening of African Inspired
Compositions – 3 p.m. – Anderson Center Chamber Hall – $10 general public;
$6 faculty/staff/seniors; $3 students
For ticket information, please call the
Anderson Cen ter Box Office at 777ARTS.
.For more information, please call (607) 7772592, visit
music. blnghamton. edu or become a fan on Faceboolr.
�
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
1960's - present
Title
A name given to the resource
Binghamton University Music Department Tape Recordings
Subject
The topic of the resource
Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
Rights
Information about rights held in and over the resource
In copyright.
Template: PDF / Rosetta
PDF with Rosetta audio/video link
Original Format
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1 audio disc
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
63 minutes :13 seconds
Streaming Audio
Streaming URL
<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE141813">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE141813</a>
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Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>.
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Dublin Core
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Title
A name given to the resource
O, Canada: Choral music by Canadian composers, folksongs, and songs of First Nations people, March 15, 2012
Description
An account of the resource
Held at 8:00 p.m., March 15, 2012, Anderson Center Chamber Hall.
Creator
An entity primarily responsible for making the resource
Adams-Toomet, Molly
Browne, Peter
Choi, Justin
Polacco, Nicholas
Goetz, Emily
Publisher
An entity responsible for making the resource available
Binghamton University Libraries
Date
A point or period of time associated with an event in the lifecycle of the resource
3/15/12
Rights
Information about rights held in and over the resource
In copyright
Type
The nature or genre of the resource
sound
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Reinhardt Promptbooks
Description
An account of the resource
<strong><em>Who is Max Reinhardt?</em></strong> <br />The celebrated <span>Austrian t</span>heater director <a href="https://www.binghamton.edu/libraries/about/special-collections/research-and-collections/reinhardt/">Max Reinhardt</a>, recognized in America primarily for his elaborate productions of Shakespeare’s A Midsummer Night’s Dream, Franz Werfel’s The Eternal Road, and Karl Vollmoeller’s The Miracle, was born in 1873 at Baden near Vienna, Austria and died in New York City in 1943. Reinhardt’s illustrious career takes on added significance because it coincides with a major shift in the evolution of the modern theater: the ascendancy of the director as the key figure in theatrical production. Reinhardt’s reputation in international theater history is secured by the leading role he played in this transformation, as well as by his innovative use of new theater technology and endless experimentation with theater spaces and locales, which together redefined traditional relationships between actor and audience toward a new participatory theater. <br /><br /><em><strong>What is a prompt book?</strong></em> <br />The prompt book is a master copy of the production script and contains a wealth of instructions and information alongside the basic text of the play. As well as the actors’ lines, you will often see cues for music, movement, light, and many other aspects of stage business. It may also contain sketches of how a piece of staging is supposed to look, or which costume a character should wear in a scene. <br /><br /><em><strong>Why are his important?</strong></em> <br />Reinhardt’s directorial prompt books reflect the ways in which he made plays by major playwrights, including Ibsen, Shakespeare and Wilder, his own. The prompt books contain notations denoting changes in the script, actor moves and technical cues, instructions on how sound, props and scenery were used, and stage drawings. They help us to reconstruct Reinhardt’s techniques and directions in productions. <br /><br /><em><strong>Acknowledgements</strong></em> <br />Thank you to the Gladys Kriebel Delmas Foundation who generously provided the funding to make this extraordinary project possible. Thank you also to the following individuals who helped make this project successful: Binghamton University Libraries’ Staff: Benjamin Coury, Nicholas Eggleston, Jean Green, Blythe Roveland-Brenton, Erin Rushton, David Schuster, Rachel Turner, Brandy Wrighter; Binghamton University Students: Madelynn Cullings, Kashawn Hernandez, Aanyah Jhonson-Whyte, Marisa Joseph, Bethany Maloney, Ashleigh Marie Sherman, Thomas Tegtmeier, Joseph Vitale.
Relation
A related resource
<p><a href="https://omeka.binghamton.edu/omeka/items/show/2877">Full Display and German Transcription of Max Reinhardt's</a><em><a href="https://omeka.binghamton.edu/omeka/items/show/2877"> Reigen Promptbook</a><br /></em><br /><a href="https://www.binghamton.edu/libraries/about/special-collections/research-and-collections/reinhardt/"><span>Max Reinhardt Archives and Library</span></a><br /><br /><a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,reinhardt&tab=DigitalCollections&search_scope=DigitalCollections&vid=01SUNY_BIN:01SUNY_BIN&offset=0">Max Reinhardt Collection Photographs</a></p>
<p></p>
<p><a href="https://omeka.binghamton.edu/omeka/max-reinhardt-timeline">The Life and Times of Theater Director Max Reinhardt</a></p>
<p><a href="https://omeka.binghamton.edu/omeka/max-reinhardt-theaters">The Theaters of Max Reinhardt</a></p>
Rights
Information about rights held in and over the resource
In copyright
Contributor
An entity responsible for making contributions to the resource
Jean Green, <br /><br />Binghamton University Students: <br />Madelynn Cullings<br />Kashawn Hernandez<br />Aanyah Jhonson-Whyte<br />Marisa Joseph<br />Bethany Maloney<br />Ashleigh Marie Sherman<br />Thomas Tegtmeier<br />Joseph Vitale
Promptbook
Description
No performances given although outside information says that this was staged in 1911. Markings in black pencil, black pen, purple pencil. Markings consistent throughout but not extensive. Most markings are short notes or stage movements. Various stage sketches found throughout, not common.
Collection
Max Reinhardt Promptbooks
Dimensions
Physical dimensions of item
18.5cm x 14cm
Earlier version
Earlier version (dcterms:isVersion Of)
Offiziere
Notes
Located in Binghamton University Libraries Special Collections
PT2635.E548P75 v.141
Production(s)
Possibly 1911. (From outside source.)
Accessibility
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Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Offiziere [promptbook]
Subject
The topic of the resource
Unruh, Fritz von, 1885-1970. Offiziere
Promptbooks
Stage directions
Creator
An entity primarily responsible for making the resource
Unruh, Fritz von, 1885-1970
Publisher
An entity responsible for making the resource available
Binghamton University Libraries
Date
A point or period of time associated with an event in the lifecycle of the resource
1900s
Contributor
An entity responsible for making contributions to the resource
Reinhardt, Max, 1873-1943
Language
A language of the resource
German
Identifier
An unambiguous reference to the resource within a given context
R 3238
Rights
Information about rights held in and over the resource
Copyright undetermined. This image is provided for educational and research purposes only as is stipulated by U.S. and international copyright law. For more information, please contact speccoll@binghamton.edu.
-
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
1960's - present
Title
A name given to the resource
Binghamton University Music Department Tape Recordings
Subject
The topic of the resource
Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
Rights
Information about rights held in and over the resource
In copyright.
Template: Universal Viewer / Rosetta
Rosetta audio media
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
3 sound tape reels
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
34:54
32:08
42:13
Streaming Audio
Streaming URL
<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE244700">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE244700</a>
Accessibility
Copy/Paste below:
Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>.
Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>.
Dublin Core
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Title
A name given to the resource
Oh Coward!, July 16, 1975
Recital tape 1975 7-16
Description
An account of the resource
"Company A"--Case. Held July 16, 1975.
Publisher
An entity responsible for making the resource available
Binghamton University Libraries
Date
A point or period of time associated with an event in the lifecycle of the resource
1975-7-16
Rights
Information about rights held in and over the resource
In copyright
Type
The nature or genre of the resource
sound
-
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
1960's - present
Title
A name given to the resource
Binghamton University Music Department Tape Recordings
Subject
The topic of the resource
Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
Rights
Information about rights held in and over the resource
In copyright.
Template: Universal Viewer / Rosetta
Rosetta audio media
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
3 sound tape reels
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
40:42
28:36
37:51
Streaming Audio
Streaming URL
<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE244705">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE244705</a>
Accessibility
Copy/Paste below:
Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>.
Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Oh Coward!, July 16, 1975
Recital tape 1975 7-17
Description
An account of the resource
"Company A"--Case. Held July 17, 1975.
Publisher
An entity responsible for making the resource available
Binghamton University Libraries
Date
A point or period of time associated with an event in the lifecycle of the resource
1975-7-17
Rights
Information about rights held in and over the resource
In copyright
Type
The nature or genre of the resource
sound