ST. LOUIS, MO (KTVI) – Lileana Ibur, 13, is a singer-songwriter.  She just won the annual COMP (Creating Original Music Project) contest put on by the University of Missouri-Columbia.

The Wydown Middle School student composed an original song titled, “Nothing Boy”. She is performing it this Saturday, April 21 at Mizzou at the COMP Music Festival.

Found online at: http://fox2now.com/2012/04/18/wydown-middle-school-student-wins-mizzou-contest/

Like

Unlike

Related posts:

Creating Original Music Project (C.O.M.P.) rewards student composers from across Missouri

For 2012, a total of 22 elementary, middle school and high school students from across Missouri have been awarded prizes in the competition. As a reward for their work, they’ll get a chance to perform their winning compositions at the 2012 Creating Original Music Project Festival. The Festival will take place:

C.O.M.P. is a joint venture of the University of Missouri School of Music and the Sinquefield Charitable Foundation, which provides an annual gift of $50,000 to sponsor the competition. The program was created in 2005 to encourage K-12 students in Missouri to write original musical works and to encourage performances of those works. The 2012 competition had a total of 94 entries in eight different categories, with winners ranging in age from eight years old to 18.

“Since we first started C.O.M.P. seven years ago, we’ve had nearly 500 entries from young composers across the state,” said Jeanne Sinquefield of the Sinquefield Charitable Foundation. “A number of them have gone on to become multiple winners, and we’re delighted to give them an opportunity to express themselves and develop their skills. Their success is an indication of real progress towards our goal of making Missouri a center for the composition of new music.”

The 2012 Creating Original Music Project (C.O.M.P.) competition categories and winners include:

Elementary – Song with words
1) Menea Vladi Kefalov & Ande Celeste Siegel of Reed Elementary School, St. Louis, for “War.” Music teacher: Sarah Schwartz.
2) Elizabeth Y. Murray of Reeds Spring Elementary, Reeds Springs, for “The Road Home Song.” Music teacher: Sue Gillen.
3) Grace Filer of Harrisonville Christian School, Harrisonville, for “Only Holy One.” Music teacher: Kay Schrock.

Elementary – Instrumental
1) Hyun Jun (John) Yoo of Fairview Elementary, Columbia, for “Earthquake’s Destruction.” Music teacher: Sara Dexheimer.
2) Tristan Handy of Daniel Young Elementary, Blue Springs, for “Windswept Dreams.” Music teachers: Connie Bates and Debbie Gray.
3) Olivia Bennett of Mathews Elementary, Nixa, for “Count Olaf.” Music teacher: Annette Genung.

Middle School – Popular
1) Anthony Delia of Holy Infant School, Ballwin, for “Words.” Music teacher: Eric Henson.
2) Lileana Ibur of Wydown Middle School, Clayton, for “Nothing Boy.” Music teachers: Aaron Doerr and Jerry Estes.
3) Sarah Meadows of West Junior High, Columbia, for “Another New Day Begins.” Music teachers: Sutu Forte and James Melton.

Middle School – Fine Art
1) Savannah Kitchen of Lange Middle School, Columbia, for “Winter’s Waltz.” Music teachers: Suzanne Kitchen and Allison Schmidt.
2) Alice Ann Yu of West Junior High, Columbia, for “Traveling Around The World.” Music teachers: Mabel Kinder and Margaret Lawless.
3) Edward Tsang of Heartland High School, Belton, for “Dramatization.” Music teacher: Nah Han Dahmer.

High School – Fine Art
1) Gus Knobbe of Webster Groves High School, Webster Groves, for “Madness.” Music Teacher: Dane Williams
2) Carter Datz of Hickman High School, Columbia, for “Celtic Blessing.” Music Teacher: Matt Felts.
3) Bryan Gibson of Webb City High School, Webb City, for “Salva me.”
Music teacher: Diana Williams.

High School – Jazz
1) Benedetto Colagiovanni of Clayton High School, Clayton, for “Waltz For Bill.” Music Teachers: Rick Zelle and Alice Fasman.
2) Brandon Moore of Dexter High School, Dexter, for “Morning Jog.” Music teacher: Scott Rybolt.
3) Ben Bergstrom of Rock Bridge High School, Columbia, for “Nessy.” Music teacher: Steve Mathews.

High School – Popular
1) Ross Menefee of Hickman High School, Columbia, for “Turn Your Shoulder.” Music teacher: Denis Swope
2) Tanner Qualls, a home-schooled student from Lee’s Summit, for “Secrets and Lies.”
3) Jaron Christopher Geil, a home-schooled student from Grandview, for “This Crime.”

Each student who enters the competition must have the signature and sponsorship of his or her school’s music teacher. Community agencies, churches, after-school programs, private teachers and other musical mentors also may sponsor their young musicians in partnership with the student’s school music teacher.

The Creating Original Music Project (C.O.M.P) is part of the Mizzou New Music Initiative, a diverse array of programs intended to position the University of Missouri School of Music as a leading center in the areas of composition and new music. The Initiative is the direct result of the generous support of Dr. Jeanne and Mr. Rex Sinquefield and the Sinquefield Charitable Foundation.

For more information:

University of Missouri School of Music:
http://music.missouri.edu/

Mizzou New Music Initiative:
http://mizzounewmusic.missouri.edu/

Creating Original Music Project (C.O.M.P.):
http://music.missouri.edu/COMP/

Sinquefield Charitable Foundation:
http://www.sinquefieldcharitablefoundation.com/

Like

Unlike

Related posts:

Missouri Student Composers Win Prizes In Statewide Music Competition

Children’s Education Alliance of Missouri Sponsors Teacher’s Blog

In addition to being an excellent player himself, Rex has devoted substantial time and resources to making St. Louis the destination for chess fans. He will be inducted into our state’s Sports Hall of Fame on January 29, 2012. Other inductees include former St. Louis Cardinal and eight-time Gold Glove winner Jim Edmonds, legendary Kansas City Chiefs cornerback Emmitt Thomas, and former NBA star and Mizzou guard Jon Sundvold.

Dr. Jeanne Sinquefield will also be honored at the ceremonies on January 29. She is receiving the Missouri Sports Hall of Fame Achievement Award for her instrumental role in the introduction of a Boy Scouts Merit Badge in Chess. Jeanne supports the teaching of chess in schools, where the sport contributes significantly to children’s math and critical thinking skills.

The team at Slay & Associates is proud to work with Rex and Jeanne Sinquefield and congratulates them on their Hall of Fame honors.

Related posts:

Rex Sinquefield Inducted into the Missouri Sports Hall of Fame

MIZZOU Alumni Magazine Recognizes Sinquefield Composition Prize and Talks with 2011 Winner Patrick Clark

Listen to his great conversation with host Mike McConnell.

Rex-Interview with Mike McConnell-4 Mike McConnell – October 6, 2011 10:00 am to 11:00 am(CST)

Rex Sinquefield, the President of Show-Me Institute drops in to the glass studio to talk with Mike about ridding the personal income tax. Rex argues that the personal income tax stalls the economy and explains how a sales tax would be a better alternative. A Colorado farmer, John Herald discusses how hiring locals to farm his crops didn’t pan out so well. Despite a high unemployment rate, John tells Mike that people would quit the job because of the hard labor that offered reasonable pay.

Online at: http://www.wgnradio.com/shows/mikemcconnell/wgnam-mike-mcconnell-100611-uncut-c,0,2567552.mp3file

Like

Unlike

Related posts:

Listen as Rex Sinquefield talks taxes with Post-Dispatch

Three Local Couples Honored at “St. Louis Celebrates Champions of Strong Marriage and Community” Event

Take a look at the video and the photo slideshow from this year’s celebration on September 22, 2011. Find the photos of you and your friends. If you missed this year’s event, take a look at what you missed and why you don’t want to miss this next year!

To view all 35 photos and to share and download yours, click here

St. Louis Healthy Families is dedicated to the support and encouragement of healthy families and relationships through education and community awareness.

Sound relationships in homes, places of worship, schools, and work impact the quality of life for all of us. With respect and understanding, we bring like-minded people and organizations together to encourage and promote healthy relationship skills in the St. Louis community.

Like

Unlike

Related posts:

Relive Thursday’s St. Louis Healthy Marriage Champions of Strong Marriage & Community Event

Like

Unlike

Related posts:

CEAM Announces Financial Assistance and Parent Training Program

Rex and Jeanne share the importance of tapping into undiscovered talents, finding and growing composition in Missouri, and the goals and success of the Missouri New Music Initiative.


A symposium of America’s leading arts donors

July 1, 2011

Tell Me Something I Don’t Know About Giving to the Arts

“Tapping Into Undiscovered Talents”

Just giving money to composers and music programs isn’t enough. The Missouri New Music

Initiative is designed to find composers, to assist them in the development of their skills by

arranging for them to work with musical groups, and to have their compositions performed by

encouraging orchestras and ensembles to perform newly commissioned pieces. In the last 6 years,

the Missouri New Music Initiative has resulted in more than 100 new pieces of music being written

by composers aged 7 to 82 and being performed by ensembles, symphonies, and other musical groups. Giving to the

arts is a great way to tap into undiscovered talents and interests. With some thought and planning, arts contributors

can inspire composers, musicians, and audiences to think in new ways, to see the world in a new light, and to appreciate

things that they never knew they liked or possibly did not know existed.

What is Your Favorite Hidden gem in Arts and Culture?

“Finding and Growing Composers in Missouri”

As the result of our dedication to finding and growing composers in Missouri, we are now finding

hidden gems of new music now are popping up in unexpected and wonderful places throughout

mid-Missouri and St. Louis. In the last five years, two mid-Missouri orchestras have performed a

total of 20 new compositions. Recently, a winning composition from the Creating Original Music

Program was played by an orchestra in Thailand and by the St. Louis Symphony’s Youth Orchestra.

A new project called the Sound of Art was inspired by collaborations with the Missouri Botanical Garden and the

Contemporary Art Museum of Missouri.

Tell Me about a Really Smart Grant to the Arts

“Missouri New Music Initiative”

There is music being composed in the minds of hundreds, perhaps thousands, of Missourians—music that is never

performed and never heard. The Sinquefield Charitable Foundation established the Missouri New Music Initiative t

o find and grow composers throughout the state and turn Missouri into a mecca for the original composition of music.

It began with the Creating Original Music Program for Missouri’s K–12th graders, in affiliation with the University of

Missouri–Columbia. The program is a competition for original compositions, where the winners receive a cash prize

and their entries are performed at our annual music festival. That program has expanded to a high school summer

camp, undergraduate and graduate level programs, a distance learning program, the Missouri New Music Ensemble,

and a New Music Summer Festival that attracts composers from all over the world to Missouri for a week-long

program.

—Index fund pioneer Rex Sinquefield co-founded Dimensional Fund Advisors (DFA). Jeanne Sinquefield oversaw trading at DFA and is a string bassist in three Missouri symphonies. They are co-founders of the Sinquefield Charitable Foundation.

Online at: http://www.philanthropyroundtable.org/article.asp?article=1682&paper=0&cat=149
http://www.philanthropyroundtable.org/article.asp?article=1683&paper=0&cat=149
http://www.philanthropyroundtable.org/article.asp?article=1685&paper=0&cat=149

Related posts:

Jeanne Sinquefield – “Music is the Joy of my life”

By AARIK DANIELSEN

Posted July 11, 2011 at 12:24 p.m.

After seeing a transcendent live performance from a young and as yet unknown singer-songwriter, rock critic Jon Landau put pen to paper in 1974 andwrote, “I saw rock and roll’s future and its name is Bruce Springsteen.”

Upon hearing the music of Anna Clyne, enthusiasts in a variety of camps – those who identify themselves among the classical, new music and electronic and traditions – might well be able to say they have seen the future of music itself.

Born in 1980, Clyne has already compiled an artistic resume that would make even the most seasoned composer do a double take. She has enjoyed commissions from Carnegie Hall and the Los Angeles Philharmonic, had her work programmed by artists the caliber of Björk, Martin Scorsese and Alex Ross and contributed to a number of exciting collaborations with artists in a variety of mediums, from dance to visual art and film.

Her work both sounds remarkable and signifies a dynamic new direction in which music and other mediums are connected at an almost cellular level. Clyne is one of two guest composers at the second Mizzou New Music Summer Festival, which begins today. She and Pulitzer Prize winner Roger Reynolds will interact with eight resident composers, including MU graduate student Patrick David Clark, lending guidance and wisdom to their pursuits. Clyne’s own music will be performed throughout the festival as well. She recently engaged in an email exchange with the Tribune, discussing the remarkable arc of her career and the arc of art music today.

Tribune: You have received many accolades and accomplished a great deal, yet you’ve just entered your thirties. To what to do you attribute the recognition you’ve garnered to date? What has been the most satisfying experience of your career thus far?

Clyne: I feel extremely fortunate to have had so many wonderful opportunities as a young composer. I hope that the recognition I have gained to date stems from my hard work and a musical language that speaks with real emotion. Moving to New York with a bag and a cello when I was 21 was a risk, being from a very modest background. I worked as a waitress, cleaner, florist, freelance cellist, teacher – often several at the same time – to make ends meet. There was no back-up option, which gave me a real sense of drive to make the most of this vibrant city and the opportunities it offers.

Though tough at times, New York was the perfect playground to make these explorations and to meet some incredibnly inspiring musicians and artists. The most moving experience in my career so far was hearingEsa-Pekka Salonen premiere “Within Her Arms” with 15 strings from the LA Philharmonic at Walt Disney Concert Hall in April 2009. He captured the essence of the music from the core, and led a performance that will stay in my memory forever.

Tribune: Who are some of the composers – and/or artists in other mediums – with whom you feel the most creative/stylistic kinship? Are there people or movements which have influenced your sound that might not be discernable upon a first or even second listen?

Clyne: My music has many influences, including my teachers Marina Admia, at Edinburgh University, Julia Wolfe and Nils Vigeland at Manhattan School of Music. I am also often inspired by artists from other fields within the arts – examples include choreographer Kitty McNamee of Hysterica Dance Company; visual artist Joshue Ott with his custom live drawing software, superDraw; and painter Josh Dorman who created exquisite paintings with collage, drawing and painting. When I start a piece, it often has a visual image or a sense of movement, so collaborating with artists who specialize in these forms of expression can be really exciting and inspiring.

I’m not from a musical family, and I didn’t grow up around classical music. As a child, my parents’ LP collection ranged from Pink Floyd, The Beatles, Lou Reed, Nina Simone and Bob Dylan to Chilean folk music from the ’70s and ’80s. When I was 7, family friends gave us a piano with randomly missing keys. My mother, then a midwife, was nursing for a lady whose husband, David, taught piano. I took lessons, and as I began to play, I simultaneously began to compose – my first piece being a little piano solo “The Sea.” Composition has always been a great love of mine – a chance to escape into an imaginary world. It wasn’t until I was 20, however, that I had my first formal composition lessons at Queen’s University in Canada. I sometimes wonder whether the freedom of a non-musically-inclined household, and a late start with formal training, provided an open canvas in which to explore sound for myself, with no preconceptions or pressures.

Tribune: Your artistic statement speaks clearly of the need to dialogue, of your intent to complement and interact with other art forms and artists. When did this desire emerge and begin to shape your purpose as a composer? What are some of the more memorable or significant artistic lessons you’ve learned from fellow collaborators?

Clyne: At Edinburgh University, where I received my Bachelor of Music degree, I became friends with a lot of artists outside of the music department – including students at the Edinburgh College of Art, which was close to the music building. My first collaboration was with a visual artist, Joshua Bryan, who created a short 6-minute film – “Approach” – which I scored for metronome, instrumental trio and electronics. Next was a score for a theatrical adaptaion of Oscar Wilde’s “Fairy Stories” for the Edinburgh Fringe Festival in 2002, which included music for dance, song and underscoring. With this I was hooked on collaborating with other arts/artists.

Tribune: In this same spirit of collaboration and give-and-take, what do you hope to impart as you work with emerging composers at the Mizzou New Music Summer Festival, and what do you hope to glean for yourself? If you had only five or ten minutes in a room with another composer, what sorts of questions would you ask or ideas would you introduce so that you might mutually benefit?

Clyne: I am very much looking forward to getting to know the Fellows and their music at this year’s Mizzou New Music Summer Festival. I hope to listen as carefully as possible to their music and questions and to give as much feedback as possible. I hope that our discussions will include a range of topics, from analysis and the use of technology to life as a composer. Leaving school and mentorship is a challenging transition. In many ways, one has to become one’s own teacher – questioning musical decisions in the process of writing, and finding a critical eye for yourself. I hope that I can offer some form of perspective on this and will feel rewarded if this happens! I thoroughly enjoy teaching composition. In New York, I directed the New York Youth Symphony’s award-winning young composers’ program, Making Score, with students ranging from 11-20. Here in Chicago, I have a private studio and also teach workshops for local young composers and incarcerated youth at a nearby juvenile detention center – all very different contexts, and all with their own challenges.

Tribune: Give local audiences a bit of context for the works you will be presenting at next week’s festival. What experiences informed those works? Do you have any expectations or desires whatsoever for how an audience might interact with them?

Clyne: I feel extremely honored that Alarm Will Sound will perform “BLUSH” and that students from the University of Missouri will perform “steelworks” and “rapture.”

BLUSH (baritone, laptop, instrumental ensemble – 2007) was commissioned by Carnegie Hall for the Profesional Training Workshop with Dawn Upshaw and Osvaldo Golijov. Alan Pierson conducted the premiere. The work is strictly notated, other than the laptop part which is more freely notated with a series of instructions. For this performance we are trying something new with the piece – 4 additional musicians/instruments have been added to the mix and will be improvising from the laptop and vocal score. I love that Alarm Will Sound are open to trying to this and look forward to hearing the results!

“steelworks” (flute/piccolo, bass clarinet, percussion, tape and film – 2006) was commissioned by TACTUS, the contemporary music ensemble at Manhattan School of Music, in 2005 and premiered at Greenfield Hall in New York City, 2006. A film was created for the work by visual artist Luke DuBois. The tape part incorporates recordings of interviews with employees and machinery at Flame Cut Steelworks, the last steelworks factory in Brooklyn, which later relocated from its Williamsburg location. These recordings became the kernel for the music. “steelworks” was choreographed by Matthew Neenan and premiered with his company, BalletX, at Wilma Theater, Philadelphia in 2008. Subsequent performances include musicians from the Chicago Symphony Concert at MusicNOW, and in New York City at Cornelia Street Cafe and NewMusicMannes at the Mannes School of Music, with performances further afield by Sentieri Selvaggi in Italy, and Psappha in the UK. This performance will include the film made by Luke.

“rapture” [clarinet with effects & tape - 2005] was composed for Australian clarinetist Eileen Mack and was premiered at Symphony Space in New York City, 2005, with live visuals created by Joshue Ott and his custom program, superDraw. Other performances in the U.S. include the Bang on a Can Marathon, New York; The Stone, New York; f(x) Music Marathon, Miami; Poncho Concert Hall, Seattle and recent European performances in Croatia, Denmark, Latvia and Poland. This performance will include a pre-recorded version of the live visuals by Joshue Ott/superDraw. This piece is very intense … I wonder how the audience will respond …

Both “steelworks” and “rapture” are very challenging technically, and I am thrilled that the students have undertaken these works.

Tribune: You are someone on the vanguard of an area that has been called new music, art music, classical music (as well as a variety of other designations). You also have an entire career ahead of you. What direction do you see art music going and how do you believe your work can play a part in that trajectory?

Clyne: It’s a very exciting time to be a composer. Boundaries between different musical genres have been smashed open and technology has revolutionized music making – from notation programs to wild electronics. I hope to expand my work through working with experts in a wider array of fields – I have a wonderful friend, Elizabeth Tasker, an excellent astrophysicist who specializes in theoretical galaxy formations. Despite the disparate nature of our fields, we both utilize electronics extensively in our work and we face many of the same challenges. It would be great to work on a new work together – perhaps coupling her images and code with music. It seems that the various art mediums are becoming increasingly combined in such a way that classifications become less obvious. For example, live visualists can create an additional “instrument” to the ensemble.

An example that springs to mind is “TENDER HOOKS,” a double laptop concerto that was premiered by the American Composers Orchestra at Carnegie Hall in 2008. This piece was scored for orchestra and live visuals (laptop 1) and live electronics (laptop 2), performed by Joshue Ott and Jeremy Flower, respectively. In this piece, both laptops were used as instruments – and each with a carefully detailed part within the score. It was also an experiment in making an organic relationship between the three elements – we hooked up a whole bunch of cables and triggers (such as theremins and foot pedals) to transfer data between the three, so at any given moment one would be influencing the other. Experimentation in new sound worlds is going to be a fascinating development into the future.

Anna Clyne’s “rapture” will be performed 8 p.m. Tuesday night at Whitmore Recital Hall, on the University of Missouri campus, as part of “Another World’s Rapture Remix: An Electroacoustic Chamber Recital.” “BLUSH” will be performed Thursday on the program “Seasons with Alarm Will Sound and Susan Narucki”; the concert takes place at 7 p.m. at Missouri Theatre Center for the Arts. “steelworks” will be performed 7 p.m. Friday at the Missouri Theatre during “Mizzou’s Right to Bear New Music.” All concerts are $10 for adults, $5 for students.

Additionally, Clyne will give a presentation at 7 tonight in the Fine Arts Building, room 145, on the MU campus. That event is free and open to the public. For a full Mizzou New Music Summer Festival schedule, go here. Photo credit: Courtesy Mizzou New Music Summer Festival.

Online at: http://www.columbiatribune.com/weblogs/art-axis/2011/jul/11/clyne/

Like

Unlike

Related posts:

Columbia Missourian Features the Mizzou New Music Summer Festival