#eve beglarian

[sarahtheflutist]

Eve Beglarian (born Ann Arbor, Michigan, U.S., July 22, 1958) is a contemporary American composer, performer and audio producer of Armenian descent. Her music is often characterized as postminimalist.

Her chamber, choral, and orchestral music has been commissioned and widely performed by The Los Angeles Master Chorale, the Bang on a Can All-Stars, The Chamber Music Society of Lincoln Center, The California EAR Unit, The Orchestra of St. Luke's, Relâche, The Paul Dresher Ensemble, Sequitur, and The American Composers Orchestra, among many others. She received a Foundation for Contemporary Arts Robert Rauschenberg Award (2015).

[dear-indies]

hi friends!! i was wondering if you could help me find some queer armenian fcs? preferably some that are trans/genderqueer in some way :D thank you so much!

Eve Beglarian (1958) Armenian - is a lesbian.

Armen Ra (1969) Armenian - is gay.

Alexandra Hedison (1969) Armenian / Italian, English - is a lesbian.

James Adomian (1980) part Armenian - is gay.

Simon Proulx-Sénécal (1991) Armenian - is gay.

Carl Nassib (1993) Armenian / Unspecified White - is gay.

Nare Israelyan (?) Armenian - is non-binary.

Lilit Martirosyan (?) Armanian - is a trans woman.

Here you go!

[gigslist]

Music Talent Development Grants

The ASCAP Foundation's talent development programs provide aid and encouragement to music creators who are in various stages of their careers.

THE ASCAP FOUNDATION SONGWRITER WORKSHOP SERIES - Pop, R&B, Jazz, Musical Theater, Film & TV, Gospel, Country... etc.

The ASCAP Foundation sponsors songwriter workshops in Musical Theater, Pop, Rhythm & Blues, Film & TV, Jazz, Gospel and Country, which are held in Chicago, Los Angeles, New York, and Nashville. The workshops bring participants face to face with leaders of the music community who, in an informal setting, can critique the writers' work, offer them individual attention, and give them practical advice on the business of songwriting.

For information regarding workshop schedules, please contact the Membership Department at ASCAP: New York: 212-621-6000 Los Angeles: 213-883-1000 Nashville: 615-742-5000

View List of Workshops

THE ASCAP FOUNDATION COMMISSIONING PROGRAM

Through a generous bequest from the Estate of Charles Kingsford, an ASCAP composer of many Art songs, The ASCAP Foundation Charles Kingsford Fund was established in 2000 to provide opportunities for ASCAP composers to write Art Songs. Over the year’s ASCAP composers who have received a Kingsford Commission include: Eve Beglarian, Lisa Bielawa, Steven Burke, Daniel Felsenfeld, Gabriel Kahane, Edward Harsh, Michael Hersch, Richard Hundley, Michael Ippolito, Gilda Lyons, Harold Meltzer, Ben Moore, Tamar Muskal, Frank J. Oteri, Robert Paterson, Paola Prestini, Grigory Smirnov, Aleksandra Vrebalov, Scott Wheeler, Alex Weiser and Damien Sneed. This program is by invitation only.

Mark Snow

THE ASCAP FOUNDATION MARK SNOW LECTURE SERIES

Thanks to the generosity of prolific and successful Film & TV composer and ASCAP member Mark Snow, The ASCAP Foundation Mark Snow Lecture Series has been established in partnership with Brooklyn College located in Brooklyn, N.Y.

The lecture series, which launched in spring 2018, provides a unique opportunity for aspiring film and tv composers, songwriters, composition and film students as well as SCL members to learn from Snow who will share his knowledge and experience.

Brooklyn native Snow has been making music since the 1950s. Following a start in the music industry as a popular recording artist with his band the New York Rock and Roll Ensemble, Mark made the switch to composer for television and film in the 1970s.

This prolific composer, best known for his scores for such television series as The X-Files, Smallville, One Tree Hill, Kojak, Millennium, Pasadena, Starsky and Hutch, Hart to Hart and Blue Bloods is the only ASCAP composer to receive the “Most Performed Background Music” award every year consecutively since the inception of the award in 1985-6, through the present. Mark’s iconic theme for the X-Files has been recorded by almost every musical genre, from pop, to country, hip-hop, heavy metal, punk and jazz to name a few.

Mark has been nominated 22 times for Emmy’s for his work on television series and television films including Helter Skelter, Children of the Dust, Oldest Living Confederate Widow Tells All and Something about Amelia. Recent film projects include the scores for the two X-Files movies, and the last four movies by the iconic French director, Alain Resnais: Private Fears in Public Places, Wild Grass, You Ain’t Seen Nothing Yet and Life of Riley.

Mark will share his career highlights, career advice, experiences and insights as well as stories about people he has helped along the way and vice versa. A slide show featuring some of Mark’s film and TV music will serve as an outline for the discussion and lead to conversations about Mark’s creative process.

Jerry Herman

JERRY HERMAN:  THE BROADWAY LEGACY CONCERT

Jerry Herman: The Broadway Legacy Concert is a nationwide series of concerts and educational programs made possible by revered ASCAP member Jerry Herman. Herman is best-known as the composer/lyricist of the iconic musicals Hello Dolly!, Mame and La Cage aux Folles.  In addition to the concerts, The ASCAP Foundation Jerry Herman Broadway Legacy Prize will be awarded to students participating in a musical theater performing master class held in each touring city and hosted by the Jerry Herman Broadway performers.  Master class students will be invited to audition with a Jerry Herman song and two local students will then be selected by a panel of performers and mentors to perform in the concerts for each city. 

• View Past Recipients

ASCAP songwriter Chaz Langley performs with his band at the Kennedy Center.

SONGWRITERS: THE NEXT GENERATION. A PROGRAM OF EMERGING SONGWRITERS AND COMPOSERS DISCUSSING AND PERFORMING THEIR OWN SONGS. PRESENTED BY THE ASCAP FOUNDATION. MADE POSSIBLE BY THE BART HOWARD ESTATE.

"Songwriters: The Next Generation," a program of The ASCAP Foundation and The John F. Kennedy Center of the Performing Arts, showcases the work of emerging songwriters and composers in a free concert on the Kennedy Center's Millennium Stage. Each evening's hour-long program is designed to spotlight the talent of young songwriters and composers.

"Songwriters: The Next Generation," was conceived by the late jazz pianist, educator, composer and ASCAP Foundation Board member Dr. Billy Taylor. Dr. Taylor stressed the importance of showcasing the talent of contemporary composers who are also performers. To that end, following the performances, the songwriters engage in a conversation focusing on the craft of songwriting and their personal creative process.

All performances are webcast live, and archived for future viewing at http://www.kennedy-center.org/programs/millennium/.

THE ASCAP FOUNDATION MUSICAL THEATRE SONGWRITING PROGRAM IN PARTNERSHIP WITH ROSIE’S THEATER KIDS AND THE PROFESSIONAL PERFORMING ARTS HIGH SCHOOL

Students participating in The ASCAP Foundation Musical Theatre Workshop at the Professional Performing Arts High School in New York City

"I never thought I would be capable of writing a song let alone writing a melody. It was challenging because I never knew I could find my voice through songwriting. I’ve always written in private but have never shared my writing publicly which was a new experience for me.” I never thought I would be capable of writing a song let alone writing a melody. It was challenging because I never knew I could find my voice through songwriting. I’ve always written in private but have never shared my writing publicly which was a new experience for me.” 

These are the words of 16-year-old Ava, a participant in The ASCAP Foundation Musical Theatre Songwriting Program with her peers from the Professional Performing Arts High School in New York City. This 15-week intensive musical theatre songwriting workshop, taught by ASCAP writers Michael Finke and Alexander Sage Oyen, teaches students who did not realize they could create their own original songs, how to do just that! At the end of the semester, the students’ songs are performed in a showcase format by professional Broadway stars.

This program is in partnership with Rosie’s Theater Kids and the Professional Performing Arts High School in New York. This workshop was conceived by composer-lyricists Michael Kooman and Christopher Dimond, the writers of the wildly popular animated show Vampirina, as well as several successful stage musicals. They wanted to give high school drama students the opportunity to compose for the stage.

Ava expressed it best when she said: “All in all, this experience was a once in a lifetime opportunity. As artists we never truly realize how much goes into a song. We are always just handed material and are expected to memorize it. This process showed me just how much dedication it takes to produce that material; something that has meaning and a message behind it- Thank you ASCAP Foundation for giving me this wonderful opportunity.”

The ASCAP Foundation nurtures the talents of aspiring musicians by supporting programs, workshops and showcases in all musical genres that are both national and regional in scope. Organizations that provide the creative incentive and opportunities for young musicians to enhance their careers have also received ongoing support from The ASCAP Foundation. They include:

American Composers Orchestra Bang on a Can Boston University Tanglewood Institute Composers Now Festival Copland House From the Top Goodspeed Musicals Levine Music Los Angeles County High School for the Arts National Alliance for Musical Theater New Music USA New York Musical Theatre Festival New York Youth Symphony So Percussion The Conservancy of the Pantheon – Musicians Corner Young Peoples' Chorus of New York

https://www.ascapfoundation.org/

https://www.ascapfoundation.org/programs/talent

[hellocanticle]

Dither, a Unique Guitar Quartet

Dither, a Unique Guitar Quartet

Dither is a guitar quartet comprised of Taylor Levine, Joshua Lopes, James Moore and Gyan Riley.  The present release is their third album and, like the preceding releases is an adventure in listening.  Their intelligently designed web site has some nice sound and video samples. A quick look at their recorded output places their performing repertoire clearly in the “new music” category and their…

[yourdailyqueer]

Eve Beglarian

Gender: Female

Sexuality: Lesbian

DOB: 22 July 1958

Ethnicity: Armenian

Occupation: Composer, audio producer, musician

[jgthirlwell]

01.10.18 Red Shoe Company from Ann Arbor, played at Spectrum in an iteration of five violinists. They played a set that included compositions by Steve Reich, Julia Wolfe, Eve Beglarian, Anna Clyne, Joan Tower and others.

[poddedeux]

ANYTHING CAN HAPPEN: Megan Williams

ANYTHING CAN HAPPEN: Megan Williams

https://poddedeux.files.wordpress.com/2020/03/v2_megan-williams-21920-2.30-pm.mp3

Jessica and Clara had the privilege of connecting with dance artist Megan Williams about her multi-layered career and many years of adventure in dance. Megan told us about getting started at Juilliard in the 80s and touring with Mark Morris Dance Group for 10 years, a relationship that evolved into an opportunity…

[no-mire-lo-sabio-del-presente]

Big bucket list ✅ today What a joy, what a pleasure, what an honour to have Eve Beglarian @evbvd join us for this year’s @longysdivergentstudio! Utterly delightful from the moment she walked in the door. I fell in love with the sensibility of Eve’s music - simple but complex, emotional while cerebral, focused yet jubilant - from the first time @andykozartumpet played a recording of Eve’s “Landscaping for Privacy” for Ensemble Uncaged on the first day of the fall 2019 semester. (To this day, it still sends tingles down my spine, and I was so happy we had the chance to share it during this afternoon’s composer&performer lecture.) It was such fun to work on six (!) of Eve’s pieces for our concert tonight,l; to spend some time listening to her thoughts on composition and politics and the world; and to be in the room with a composer who wore no airs - who was simply happy to be in a room with other people, making music, and loving the hell out of every moment. I suspect it’s uncontroversial to say the past 15 months have been largely pretty shitty. As such, I can’t possibly overstate how affirming and uplifting the past day has been. All thanks again to Eve for coming to hang with us, being extremely generous with her time, and for always being the brightest light in the room. ❤️ (at Longy School of Music of Bard College) https://www.instagram.com/p/CQkeGGarC69JIUt2_u5QgX3mZzfUpsS2y4zX8c0/?utm_medium=tumblr

[sound-meets-sound]

Eve Beglarian, composer

March March March March 2017 female-composer-a-day-series it is. I’ve known Eve some years now and even had the pleasure of being her substitute PA a couple times: //bandcamp.com/EmbeddedPlayer/v=2/album=3439089081/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/

[autumnclouds09]

Sarah Cahill * The Future is Female, Vol. 1, In Nature First Hand Records UK 04.22 Piano, Piano Solo, Classical, Contemporary #DiscosQueVoyEscuchando . "Sarah Cahill's The Future is Female is a project of admirable ambition and monumental scope. In featuring thirty compositions by women composers extending from the 1700s to today (many of them new commissions and world premiere recordings), the three-volume series is an extraordinary collection, but it's also a powerful history lesson that aims, in the pianist's words, “to be a corrective towards rebalancing the repertoire.” Over the course of a lauded career that has seen her collaborate with many female artists, Cahill developed an urgent desire to address the glaring imbalance in representation between male and female composers in the classical canon. In fashioning this vital response, she not only perpetuates her advocacy for the work of contemporary figures but also women composers from the past who've been underrepresented and sorely neglected. It's worth noting that while thirty pieces appear on the recordings, the project, initiated by Cahill in 2018, now encompasses almost seventy solo piano compositions. Each volume orients itself around a different theme, nature for the first and play and dance for the second and third, respectively, scheduled for release later in 2022. Cahill has performed the material in both a regular concert-length recital format and as a marathon lasting from four to seven hours. In keeping with the spirit of the project, the earliest piece on the first volume was written in 1757, the most recent one two years ago, and the material by the ten composers originates from multiple parts of the world. Recorded at St. Stephen's Church in Belvedere, California last August, the set features memorable pieces by Fanny Mendelssohn, Agi Jambor, Eve Beglarian, and others, and Cahill smartly sequenced the volume chronologically, a move that lends coherent historical shape to the presentation." https://www.instagram.com/p/CcRehLJL2rH/?igshid=NGJjMDIxMWI=

[spectacletheater]

Spectacle Radio ep.017, 06.24.18 :: In Those Days Fantasies Weren't Allowed to Become Reality

Pride edition (a month late due to the recording being temporarily lost, but better late than never...)

Francis Scott Key & Jenny Hval - Star Spangled Banner / Why This (I Remember Nothing) Bruno Nicolai - Evocazione (All the Colors of the Dark) Roger Kellaway - A summoning (Evilspeak) Ennio Morricone -  slow waltz (Property Is No Longer Theft) D.A.F. - Ich und die wirklichkeit (The Gold of Love) Rita Wolf - My Beautiful Laundrette Michele Bokanowski - The Man in the Bath (L'Ange) Júlio Medaglia - (Satanic Attraction) D.A.F. - Der Mussolini (The Gold of Love) Brian Eno - Glitterbug 11 Hans Zimmer - 120 Days and Nights in a Laundrette (My Beautiful Laundrette) - Ennio Morricone - The Working Class Goes to Heaven Suzi Pinns - Rule Britannia Eve Beglarian - History Lessons Patrick Cowley - Mockingbird Dream Martin Jay Sadoff & Gary Goch - The Procession of the Sardar / Wheat Song / Sirun Archik / Timuraga / Kara Biberim / Dontor Hos Bilezik / Tin Tin / Birini / Yavrum (Pink Nacissus) Enrico Rava - ORG Isao Tomita - Death of young people (Last Days of Planet Earth) Enrico Rava - ORG Red Krayola - Born in Flames - Carlos D'Allessio - Vera Baxter

[jshatan]

The hands of @laradownesmusic cross-faded with snowfall, for a perfect combination of sight and sound as she played Eve Beglarian’s sparkling A Solemn Shyness. #piano #contemporaryclassical https://www.instagram.com/p/CLkeObPACt2/?igshid=5yblp2s0hc5q

[theskyisglue]

Listen/purchase: Messiah Remix by Cantaloupe Music

Georg Friedrich Handel's 1742 masterpiece of spiritual rebirth is, itself, reborn in this deep and thoughtful tribute album. Eleven of today's most searching musical minds respond to one of the classic works of Western music, and their responses range from tuneful electronica to craggy modernism; from moody ambience to unbounded joy. An unprecedented collection of some of the brightest lights of composed music, electronica, and, experimental hip-hop has created a rich album with incomparable musical range.

Featuring arrangements by Charles Amirkhanian, Eve Beglarian, Dalek, Luke DuBois, Phil Kline, Paul Lansky, Tod Machover, John Oswald, Scanner, Laetitia Sonami, and Nobukazu Takemura.

For Messiah Remix, Cantaloupe assembled a wide range of composers, across a spectrum of approaches and technologies: It began on the East Coast with electronic pioneers Paul Lansky (Princeton Electronic Music Studio, sampled by Radiohead on their landmark album Kid A) and Tod Machover (MIT Media Lab). It looked West to find Charles Amirkhanian (text/sound pioneer) and performance artist Laetitia Sonami. It looked across the globe for some of the hottest DJ's - up to Canada for John Oswald (inventor of Plunderphonics), to the UK for Scanner, and to Japan for Nobukazu Takemura. It invited NJ-based Dalek, hailed for bringing hip-hop to a new level of artistry. And finally, Cantaloupe artist Phil Kline (Zippo Songs and Unsilent Night) joined in, alongside composer Eve Beglarian (Twisted Tutu) and the up and coming young producer R. Luke DuBois..

Each artist worked in new ways to manipulate the piece. Amirkhanian created a subtle collage of undistorted phrases from the original; Takemura added beats; Dalek added words; and DuBois electronically contracted the entire work into less than five minutes to create a beautiful wash of ambient sound.

text via https://cantaloupemusic.com/albums/messiah-remix

[tuftsmusic-blog]

DONALD BERMAN

From Eve Beglarian:

I had cut Milosz’s poem “Creating the World” out of The New Yorker when it was printed there several years ago, and when Paul Dresher called to ask me for a piece for his ensemble, I knew the time had come for me to take it on. Because the instrumentation of Paul’s ensemble allows for the possibility of live performance and control of A LOT of pre-recorded samples, it seemed the perfect opportunity to create a world of hedgehogs and sopranos and urban intersections and Mozart.At first, everything was big fun: I had a great time recording the text with the wonderful actor Roger Rees; I spent weeks collecting recordings of virtually every sound mentioned in the poem (including something like forty different settings of the word “gloria”); I got obsessed with Tosca (which became the soprano sample) and saw about four different performances of it (both live and on video: NYC is a great place for creating the world(!)); studied the complete works of Joni Mitchell from the point of view of guitar tuning (which ended up not being incorporated into the piece at all)…And then the abyss hit me.I realized I could not knit all these wonderful samples into a piece until I had a way of making sense of the central contradiction of the poem: that all the creation in the world does not necessarily make meaning. And it really threw me.I went back and read Milosz again, not only the poems, but also The Captive Mind, his analysis of the totalitarian mind-set, and  A Year of the Hunter, his journal from 1987 (around the time he wrote “Creating the World”), and things got even worse: all the horrors of the twentieth century came crashing down on me. The abyss of meaninglessness became the abyss of actual evil. The image of the Soviet soldiers standing outside the city watching the Germans destroy Warsaw for them became real for me, became my history.Gradually I went back to the poem itself, to its feeble invocation of feasts of love as protection against the abyss, and I remembered a lullaby that my Bangladeshi friend Babu (M. Faslur Rahman) had sung for me this summer, a very private form of love feast. And I started thinking about the Dionysian feasts of love that pervade every human culture, and I figured that the brittle present-directed pleasure of house music is the current American embodiment of that protection. And so you will hear these feasts of love, and I hope they will protect you as they protect me.

— Donald Berman, Director of the New Music Ensemble

[this-i-remember]

dream

a film by Austin Classical Guitar

executive producer 

MATTHEW HINSLEY 

artistic directors 

JOSEPH V. WILLIAMS II 

TRAVIS MARCUM 

audio recording & mix engineer 

TODD WALDRON 

directed by 

ALONSO J. JUJÁN

JENNIFER CHOI, violin 

LOUIS-MARIE FARDET, cello 

ALEJANDRO MONTIEL, guitar 

ISAAC BUSTOS, guitar 

CHRIS LIZAK, percussion 

TA’TYANA JAMMER, vocals 

TRAVIS MARCUM, electric guitar

Program:

dream I - Joseph V. Williams II

Everyday, It's a gettin' closer... - Buddy Holly, Arr. by Travis Marcum & Ta'Tyana Jammer

V from Rothko Chapel - Morton Feldman. Arr. by Justice Phillips

Black Stars, Bright Shadows, from “Dreamscapes” - Patrkkc Long, Arr. Chris Lizak

In C - Terry Riley

The markings on your surface... - Frank Ocean, Arr. Travis Marcum & Ta'Tyana Jammer

dream II - Joseph V. Williams II

Good times for a change... - The Smiths, Arr. by Travis Marcum & Ta'Tyana Jammer

Change - Meredith Monk

Reverie - Claude Debussy, Arr. Matthew Lyons

Well-Spent - Eve Beglarian

I quit my dreamin'... - Angel Olsen, Arr. by Travis Marcum & Ta'Tyana Jammer

dream III - Joseph V. Williams II