The Free Music Directory Mon, 06 Dec 2021 01:48:30 +0000 en-US hourly 1 The Free Music Directory 32 32 Florida survives punitive performance in TCU painting Mon, 06 Dec 2021 00:47:00 +0000

The Texas Christian women’s basketball team, at one point early in their game against the Gators, was shooting 63 percent from the field, but the Horned Frogs were unable to secure the victory.

How is it possible? The answer is turnaround. Every 22.

Florida (7-3) came away with a 63-54 victory over the TCU (3-4) on Sunday in Fort Worth, TX, though they were outscored in the paint by senior Yummy Morris, the graduate student Lauren Heard and junior Tavy Diggs.

This SEC and Big 12 showdown began as a competitive display of both teams’ attacking skills.

Florida junior Lavender Briggs and graduate student Kiara Smith made their veteran presence known early on, as Smith scored six points and four rebounds while Briggs scored four points on her own.

Diggs led the way for the Horned Frogs with six points, including a smooth jumper to give TCU an 18-17 lead at the end of the first 10 minutes.

In the second, Heard and Morris continued to run for the Horned Frogs, as they actively claimed the ball and pinned their opponents behind them under the basket. Sophomore Jordyn Merritt proved to be the difference for the Gators in the second quarter, as her six points helped Florida lead 8-0 to close the first half 37-31.

TCU’s persistent and harassing defense created six turnovers in Florida in the first half. But the Horned Frogs were also inclined to return the ball, committing 10 of their own.

The third quarter only exacerbated the Horned Frogs’ inability to score. TCU was pulling 16.7% midway through the third quarter. The turnovers continued to pile up, as the Horned Frogs coughed the ball 16 times in the first 30 minutes.

Briggs continued her dominance in the fourth quarter, as she finished the night with 22 points and six rebounds. Smith didn’t ease off either, as she landed a double-double with 12 points and 10 rebounds.

Heard kept his team in the game, ending the afternoon with 17 points and four rebounds. Senior Okako Adika also had an impressive 11 points and four rebounds, but the Horned Frogs had no answer for Briggs and Smith.

This Sunday afternoon game also saw the return of Florida senior guard Kristina Moore, who played two minutes on the bench early. Moore hasn’t been available since injuring her ankle in Florida’s 70-55 home win over Grambling State.

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The victory comes at the end of a four-game road swing for the Gators, and they return home to the Stephen O’Connell Center on December 8 to face Dayton. The game is scheduled to start at 2 p.m. and can be streamed on SEC Network +.

Contact Brenda Bogle at Follow her on Twitter @bogle_brenda.

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Review: An ambitious project returns to the Philharmonie Sun, 05 Dec 2021 16:26:30 +0000

After a long delay, Joan Tower’s “1920/2019” premiered on Friday by the New York Philharmonic at Alice Tully Hall. It was worth the wait for this 14-minute work from one of America’s most eminent composers – who, at 83, is still so inventive.

The piece is part of Project 19, the orchestra’s initiative to commission 19 female composers to honor the centenary of the 19th Amendment, which extended the vote to women. It all started well in February 2020 with “Tread softly” by Nina C. Young and, later in the month, “Stride” by Tania León, which won the Pulitzer Prize this year.

Ellen Reid also got her work under the wire before the pandemic put an end to the performing arts. But with the premiere of Tower’s dark and rushed new room, Project 19 has finally resumed. Its title juxtaposes 1920, when the Amendment was ratified, with 2019 – “another important year for women,” as Tower wrote in a program note, “the pinnacle of the #MeToo movement, which raised the status of women at another level. “

In his description, Tower leaves the broader thematic resonances to listeners’ perceptions and focuses on the materials – regular repeated notes, chords, series of scales and the like – that bring the music to life. The piece begins with heavy blocks of orchestral chords lifting up to kinetic rhythmic riffs. The climb goes up and, soon, a persistent but variable five-note pattern continues to soar. Imaginative percussion writing and lively rhythmic activity – long strokes of Tower’s music – run through this choppy episodic score. On the surface, the atmosphere is menacing, even menacing. But the sheer complexity gives a moving force to the music.