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Bogdan Petrov
Bogdan Petrov

Her Composition [VERIFIED]

Malorie (Joslyn Jensen) is a student of composition. Her course is coming to an end; to secure a scholarship that will enable her to proceed to a pHd, she needs to produce a piece of work that will really impress the funders and mark her out as a distinctive talent. But where to begin? Close to the deadline, she finds herself abandoning what she had been working on. It's too staid, too formulaic. She needs inspiration.

Her Composition

The ethical and emotional complexities of these decisions are explored with a deft touch by writer/director Stephan Littger in what is a strikingly ambitious début feature. Malorie is intrigued and visibly moved by some of her more vulnerable clients; unsurprised by the violence she faces at the hands of another, and personally drawn to one of them, who gradually forms an attachment to her that seems to go beyond business - a matter complicated by that secrets she's keeping. Each contributes something different to her composition, but as she opens herself more and more to these external influences, her own mind and body seem to wither away.

In Her Composition, Malorie (Joslyn Jensen) finds herself at that precipice with her Ph.D. music composition funding lost, her voice and vision buried under imposed structures, her life an unopened flower bud of potential. When her fairy godmother, an androgynous Grace Jones-esque visual artist (real artist Julia Colavita), bestows a dossier of high-end escort clients, Malorie seizes the opportunity to fund her education, and find herself in the process.

On Saturday, September 15, Classics alumna Angelina Wong (B.A. 2013) directed the premiere of her musical composition, "Latona," at the New Music DC Coalition conference at Georgetown University. The piece was inspired by the episode in Book 6 of Ovid's Metamorphoses in which the goddess Latona gives birth to Apollo and Diana; some of Ovid's text was sung, in Latin, by soprano Catherine Campbell and alto Gabrielle Rivera, accompanied by Jacob Coppage-Gross and Daniel Lewis, guitars; Harold Caceres, piano; Emma Baker, viola; and Joe Ichniowski, cello.

Ms. Wong received her associate's degree in music at Montgomery College in 2017, with a focus on vocal performance and composition. She has performed with numerous choirs, including the National Philharmoic Chorale at Strathmore, the Washington Metropolitan Gamer Symphony Orchestra, and the Palestrina Choir at the University of Maryland. Latin and ancient Greek poetry inspires her to compose with ancient text, as featured in this, her first performed piece.

A talented, artistically stuck composition student starts seeing escort clients after failing to secure her scholarship. Struck with unexpected sounds during her sexual encounters, she turns them into music and the clients into her muse.

This movie tells the story of a talented, artistically stuck composition student who starts seeing escort clients after failing to secure her scholarship. Struck with unexpected sounds during her sexual encounters, she turns them into music and the clients into her muse.

Cole has been turning heads from a young age. Introduced to piano at age 4, Cole started improvising and composing at age 6. She released her first album, including eight original compositions, at age 10.

Cole would return for several more summers, studying piano as a junior and intermediate student before turning to composition in her high school years. By her junior year of high school, Cole realized she needed to stay at Interlochen year-round.

After graduating from Interlochen, Cole enrolled at the Curtis Institute of Music to continue her composition studies. While at Curtis, Cole received numerous commissions and produced a remarkable compositional output. In 2015, she was a recipient of the ASCAP Morton Gould Young Composer Award.

A brilliant but artistically stuck composition student starts visiting high-end escort clients throughout New York City after failing to obtain her PhD scholarship. Absurdly out of place at first, morally pink Malorie is suddenly struck with unexpected musical experiences during her encounters and feels the urge to turn those perceptions into music -- her composition.Turning the men into her collective muse, Malorie might be on to something truly great for the first time in her young life... or merely be on track to insanity.

Adeliia Faizullina, a Brown University PhD candidate in Music & Multimedia Composition, sang as a soloist in two concert performances of her composition "Tatar Folk Tales" with the Seattle Symphony Orchestra last week. Stefan Asbury conducted the Orchestra, and the concerts were held on October 14 & 16, 2021 at Benaroya Hall in Seattle, WA.

"Zesty," "graceful," "eruptive": critics have described Shulamit Ran's compositions in a variety of ways.Yet most seem to agree that Ran is, as Steve Smith of the New York Times put it, "among America's most widely recognized creators."

Jan Goldstein, the Norman and Edna Freehling Professor in History, served on the faculty committee that selected Ran to deliver the lecture. Goldstein said that Ran's work in composition spoke to faculty members in a variety of fields. "She was a choice that brought together people of different disciplines," Goldstein said.

Ran was a precocious musician-she composed her first piece at age 7, and began serious study of piano and composition at 9. By 14, she had performed with the New York Philharmonic under the direction of Leonard Bernstein. At 19, she played a solo piano recital at Carnegie Hall. She continued her composition study with famed American composer Norman Dello Joio before joining the Chicago faculty in 1973.

In addition to having the freedom to take lessons in composition, voice, and violin, Brigham has had opportunities to explore work as a nursing assistant and take art classes in the Bahamas. She also had the opportunity to study abroad as part of the Music in the Alps program, which enabled her to explore Bad Gastein, Austria, for three weeks while learning and performing a wide array of music. She received vocal instruction, took master classes, and performed with professional Ukrainian singers.

The evidence establishes without contradiction that plaintiff has composed approximately fifty to seventy-five songs, many of which she submitted to publishers, but none was published. Her musical education consisted of studying singing while a university student and subsequently under an instructor. Later she conducted a class in harmony at Oklahoma University and she has also sung in Glee Clubs. Plaintiff has had no training in musical composition. For some years past she has been earning her livelihood as a clerical worker.

In the summer of 1941, she composed the words and music of the song entitled, "There'll Never Be Another You," alleged to have been infringed by the defendants. She made several copies of this song, including the one filed with the copyright office on September 5, 1941. One copy was forwarded to a music publishing house in New York City. Another was submitted to a publishing concern in the City of Los Angeles known as "Melody Lane," still another copy was sent to an organization called "B. M. I." It is her recollection that she made about five copies of this song in all. She further testified that she played the same sometime in 1941, in the presence of the Oklahoma W. P. A. State Supervisor of Music, and on another occasion played her composition for some friends, and that in addition she sent a recording thereof to a sister and another to a Miss Church-well. However, her testimony fails to disclose when she submitted any of these copies or recordings.

The music of plaintiff's composition consists of the melody only. The alleged infringing song is entitled: "There Will Never Be Another You". The music thereof includes both the melody and the accompaniment or harmony.

He likewise stated that he did not know plaintiff, and that prior to the filing of this litigation he had not heard or read either the music or the words of plaintiff's composition. He further testified that he had composed the music of the alleged infringing song without assistance from anyone else or from any other source, and that he submitted his work prior to the writing of the lyrics for the same by the co-defendant Gordon.

This defendant further testified that the rhythmic pattern of one full note followed by two short notes, which appears frequently in the alleged infringing song, has been employed by him in at least fifty other songs. He also asserted that there was a clear difference between the melodic structure of plaintiff's composition and that employed in his song, and, further, that there was no appreciable similarity between the two works from a musical standpoint.

Testifying on behalf of the co-defendants, Mayfair Music Company and Decca Records, Inc., Edwin H. Morris, President of the former, stated that throughout the summer and latter part of the year 1941, he personally examined all songs submitted to his company and selected therefrom those which his company published. He also asserted that his company published the alleged infringing song, and that the first time he heard anything concerning plaintiff's song was somewhere between six months and one year after publishing Gordon and Warren's composition. However, he said that he had never seen her song until this trial, and added that he was unacquainted with her.

Plaintiff's expert conceded that the alleged infringing composition when played bears very little, if any, resemblance to plaintiff's song, at least so far as the average person or ordinary listener is concerned. He also acknowledged that in the former there are four measures to each musical phrase, whereas in plaintiff's song the entire chorus and most of the verse consisted of phrases having three measures each. Likewise he admitted that although the key signature at the beginning of plaintiff's song purported to denote that it was written in the key of "F," also that whereas the rules for composing music require that the concluding note shall conform in key to the opening note, nevertheless, in plaintiff's composition the closing note does not conform to the beginning note. At the request of defense counsel, this witness undertook to compose and play the harmony for the concluding phrase of the chorus in plaintiff's work, upon the assumption that the latter had been written in the key of "F," and he thereupon admitted that correct harmonizing could not be accomplished in that key. He further conceded that no difficulty would be experienced if plaintiff's work were treated as being written in *704 the key of "C." However, he explained that, if he were undertaking to write the harmony for plaintiff's song, he would compose the harmony for the verse in the key of "F," and the harmony for the chorus in the key of "C." In addition, he acknowledged that plaintiff's work might be construed as having been written in any one of three different keys, towit: "B" flat, also "C" and "A" minor. He pointed out that he had made a comparative study of the two songs involved herein, particularly with respect to the music thereof, also that such study had been conducted upon the assumption that plaintiff's song was written in the key of "B" flat, and accordingly he had prepared certain comparative charts showing the melody of these songs in parallel lines, except that plaintiff's composition had been re-written so as to conform to the key in which defendant's song was written, namely, the key of "E" flat. However, it appeared that if in preparing these charts the witness had assumed plaintiff's composition as being originally written in the key of "C," then the transposition thereof to the key of "E" flat would have required different notes from those shown in said charts. 041b061a72


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