An alumni of Cornell’s College of Engineering and a popular author, coder, DIY enthusiast, and YouTuber with over 100,000 subscribers, Blum took courses in computer music at Cornell, including Ernste’s popular Music 2421: Computers in Music Performance, where he designed a glove interface controller for sound, video, and lighting. This device, called the “Sudo Glove” had many novel applications beyond music and was featured at the time on the Discovery Channel.
Jeremy is currently the head of electrical engineering at Shaper Tools, maker of an innovative new tool for computer-assisted design. He was formerly a “Hardware Astronaut” at GoogleX, part of their Google Glass team, and is admired as a prolific inventor and Arduino (open-source hardware) master. His recent book, “Exploring Arduino: Tools and Techniques of Engineering Wizardy”, and it’s companion website has received significant critical attention.
Jeremy’s ongoing work and contributions to the world of engineering, open-source software, and DIY can be seen on his website.
Composer and conductor Karel Husa served on the Cornell University faculty from 1954 until his retirement in 1992. An American citizen since 1959, Husa was born in Prague on August 7, 1921. He studied at the Prague Conservatory and Academy of Music, and later at the National Conservatory and Ecole Normale de Musique in Paris. Among his teachers were Arthur Honegger, Nadia Boulanger, Jaroslav Ridky, and conductor André Cluytens.
Professor Husa was widely acclaimed during his career, and his stature in the composition world was international in scope. He was the recipient of several honors, including the Pulitzer Prize (1969), the Grawemeyer Award (1993) and, in 1995, the Czech Republic’s highest civilian recognition, the State Medal of Merit, First Class. He also received nine honorary doctoral degrees and numerous other composition prizes and fellowships. Commissions came from some of the major arts organizations in the country, including the Koussevitzky Music Foundation, the New York Philharmonic (twice), the Chicago Symphony, and many others. As a conductor he worked with major orchestras throughout Europe, Asia, and America, and as a guest conductor on many college campuses. Several of his works have entered the modern repertoire, led by Music for Prague 1968 (commissioned for wind ensemble by Ithaca College and later transcribed by the composer for symphony orchestra), with over 7,000 performances to date. Husa’s music has been frequently recorded on major classical music record labels.
Composer Roberto Sierra, Old Dominion Foundation Professor in the Humanities, notes that Husa was “one of the most distinguished and admired composers of the second half of the 20th century. At Cornell he taught generations of composers who became important figures in the American musical landscape.” Mark Davis Scatterday, Professor of Conducting and Chair of the Conducting and Ensembles Department at the University of Rochester’s Eastman School of Music, and Husa’s former colleague and mentee, remembers breaking down emotionally at a first performance of one of Husa’s iconic works – Apotheosis of This Earth – in a new arrangement that the composer also conducted. “I was not embarrassed by this moment,” Scatterday reveals, recalling it instead as a “changing point in my career.” Since that life-altering event, Scatterday has “always strived to experience this kind of true emotion” in his own musical work. Sierra adds that Husa “will be remembered for his great music and unique compositional voice.”
The Department of Music sends its best wishes to Professor Husa’s family and his many admirers.
In it, Professor Hicks illuminates how a cosmological aesthetics based on the “music of the spheres” both governed the moral, physical, and psychic equilibrium of the human, and assured the coherence of the universe as a whole. With a rare convergence of musicological, philosophical, and philological rigor, Hicks presents a narrative tour through medieval cosmology with reflections on important philosophical movements along the way, raising connections to Cartesian dualism, Uexküll’s theoretical biology, and Deleuze and Guattari’s musically inspired language of milieus and (de)territorialization. Hicks ultimately suggests that the models of musical cosmology popular in late antiquity and the twelfth century are relevant to our modern philosophical and scientific undertakings. Impeccably researched and beautifully written, Composing the World will resonate with a variety of readers, and it encourages us to rethink the role of music and sound within our greater understanding of the universe.
Composing the World can be ordered from the Oxford University Press website.
Since its inception, French opera has embraced dance, yet all too often operatic dancing is treated as mere decoration. Dance and Drama in French Baroque Opera exposes the multiple and meaningful roles that dance has played, starting from Jean-Baptiste Lully’s first opera in 1672. It counters prevailing notions in operatic historiography that dance was parenthetical and presents compelling evidence that the divertissement – present in every act of every opera – is essential to understanding the work. The book considers the operas of Lully – his lighter works as well as his tragedies – and the 46-year period between the death of Lully and the arrival of Rameau, when influences from the commedia dell’arte and other theatres began to inflect French operatic practices. It explores the intersections of musical, textual, choreographic and staging practices at a complex institution – the Académie Royale de Musique – which upheld as a fundamental aesthetic principle the integration of dance into opera.
The book can be purchased from the CUP website.
See also: Musicologist Revives Dance in French Baroque Opera in the Cornell Chronicle
One exciting aspect of the Luminos platform is its capacity to incorporate audio and video materials, which are best integrated in the downloadable ePub version of the book. The multimedia content of Keys to Play includes music by Louis Couperin, d’Anglebert, Mozart, Beethoven, Bizet, and others recorded by Cornell faculty Malcolm Bilson, Ariana Kim, and Moseley himself, as well as graduate students Matthew Hall and Shin Hwang.
The book is also available to purchase from Amazon.com