131,425 research outputs found
Goodwin / de Borah: SCHUMANN
No full textResearch Background
This album publication is the culmination of creative research into the lieder of Robert Schumann undertaken by two of Australia’s leading performing artists, Andrew Goodwin (tenor) and Daniel de Borah (piano) between 2007 – 2019. The resulting CD album “Goodwin / de Borah: SCHUMANN” is published by Walkway Records (Denmark) and presents a survey of Schumann’s two most important song cycles, Liederkreis, Op.39 and Dichterliebe, Op.48.
Research Contribution
The research adds a unique voice to the catalogue of published renditions of this repertoire. As two Australian artists whose distinct musical personas were influenced by their studies at leading conservatoires in Russia, Hungary and the UK, Goodwin and de Borah’s reimaginings offer a unique and cosmopolitan outlook on this core material.
The lieder of Schumann have been central to Goodwin and de Borah’s creative output since their professional association began in 2006. They first presented Dichterliebe in 2007 in Brighton, UK, followed by Liederkreis in 2010 in Sydney for Musica Viva. Subsequently they have continued to revisit, refine and redefine their relationship with these scores through regular concert performances at major venues and festivals around Australia. Alongside the resulting studio recording publication, the duo also presented both cycles in live video recordings for the Phoenix Central Park recording project in 2019:
https://www.youtube.com/watch?v=QskgWnnIyhw
https://www.youtube.com/watch?v=Q_2nhXYy1GY
Research Significance
The research was released online in January 2021 on the Walkway Records label (Denmark) and widely disseminated via online streaming services and music stores including Apple Music, Spotify and YouTube:
https://music.apple.com/au/album/goodwin-de-borah-schumann/1545230339
https://open.spotify.com/album/2mHuhJJxJeeYXjyCwk9HOU?si=o6k5WP4qTJKPevwCNMNhdw&nd=1
https://youtube.com/playlist?list=OLAK5uy_mEDa64mZ6EsU9azeqdh_lHbE6ZVru3gugNo Full Tex
R&D employee tenure in MNC subsidiaries: the role of institutional distance and experience
No full textLong tenure of research and development (R&D) employees helps organisations to utilise employees' knowledge over a sustained time period and strengthen their competitive advantage. It also allows organisations to benefit from the training investments made on their R&D employees. Thus, identifying the determinants of R&D employees' tenure is crucial for designing effective R&D employee retention strategies. This paper analyses the factors explaining R&D employees' tenure in the subsidiaries of multinational corporations (MNCs). Building on institutional theory, we claim that formal and informal institutional distance between MNCs' home and host country might lead to R&D employees' short tenure in subsidiaries. We further suggest that R&D employees' international experience and MNCs' host country experience play a moderating role. We find support for our hypotheses by mobilising an original database that combines patent data and the LinkedIn profiles of 939 R&D employees in 256 MNC subsidiaries in India
Sonatina For Flute and Piano
No full textDescription:
Virginia Taylor and Daniel de Borah - a new work and recording of Sonatina for Flute and Piano by composer Heather Percy. Recorded in Brisbane at Queensland Conservatorium, Griffith University.
Research Background:
The collaboration of Virginia Taylor (flute), Daniel de Borah (piano) and Australian composer Heather Percy realised a new work for flute and piano in the form of a “Sonatina for Flute and Piano” The linked movements combine to form a work of over 8 minutes in length. The new work has since been aired nationally on ABC Classic radio. The funding was provided by Taylor and de Borah. Score and parts are available through https://www.heatherpercymusic.com
Research Contribution:
A new and substantial work for flute and piano by an Australian female composer is significant. This research is part of an ongoing project to commission Australian female composers. The new work increases the limited Australian repertoire for flute and piano and reflects a collaboration with a leading female Australian composer. Challenges, due to distances and working with the composer from across different cities were varied. The aim was to achieve a work which would expand, challenge and complement both instruments. Prior to recording, skype, pdf drafts and recordings were shared. The work was workshopped and developed at QCGU in the final days before recording.
Research Significance:
The newly published work received its world premiere recording in December 2019. The work has since received several live performances in Australia. ABC Classic was very keen to have this recording available to them and has featured it on their Breakfast program in 2020. Taylor has several CDs on various labels including Tall Poppies, ABC and Move. This new work will form part of a planned CD which will feature commissions of Australian female composers.No Full Tex
R&D Employee Tenure in MNC Subsidiaries: The Role of Institutional Distance and Experience
No full textPygmalion and Galatea, Connor Fogarty (2020) - World Premiere (2021)
No full textResearch Background:
This research involved the selection, preparation, rehearsal, workshopping and world premiere performance of a new work for Cello and Piano by Australian composer Connor Fogarty, entitled “Pygmalion and Galatea”. The work was unanimously selected as winner of the 2020 Accompanists’ Guild of South Australia Composition Award by adjudicators Umberto Clerici (piano) and Daniel de Borah (piano), who subsequently workshopped the composition with the composer before presenting a public performance.
Research Contribution:
The research represents an important new addition to the contemporary Australian classical cello & piano repertoire. Inspired by the Ancient Greek myth of Pygmalion and Galatea, Fogarty’s work explores themes of love, yearning and animation, exploiting the possibilities of the cello/piano duo through innovative textural and harmonic devices built upon the pervading idea of a rising sixth. By supporting the AGSA Composition Award, engaging with the work of budding Australian composers and providing a public platform for the winning entrant, the research also serves to promote the long-term advancement of Australian art music culture.
Research Significance
The work was publicly workshopped with the composer at the AGSA Conference on 12 June 2021 (see video link) and premiered in a public performance at Elder Hall (Adelaide) on 13 June 2021. The performance was recorded and disseminated by 5MBS Radio (see audio link).
Rehearsal Video:
https://drive.google.com/file/d/15U3-NODcR7yovxO0VvPbkCcIbfJYbAJt/view
Performance Audio: https://drive.google.com/file/d/1kkTsrTUpJpnmYDQkcaESamf4oTzXI3kf/view
AGSA Festival Flyer:
https://accompanist.org.au/2021-festival-of-collaborative-artists/No Full Tex
Peliosanthes Borah & Taram & Tanaka 2024
No full text<p> <i>Peliosanthes maheswariana</i></p> <p>D.Borah, N.Tanaka & Taram, sp. nov.</p> <p>(Figs 1, 2; Table 1).</p> <p> <i>Peliosanthes maheswariana</i> sp. nov. is similar to <i>P. sinica</i> F.T.Wang & Tang in having an elongate proximally creeping stem, short anthers and a pistil distally abruptly tapering into a conical style, but differs mainly by the larger leaves with more numerous longitudinal veins, longer peduncle, larger drooping (vs ascending) flowers, internally whitish yellow (vs purple or greenish purple) perianth, larger corona with a relatively narrow distal opening, and almost superior (vs half-inferior) ovary.</p> <p> TYPE MATERIAL. — <b>India</b> • Arunachal Pradesh, West Kameng district, West Kameng; alt. 800-900 m; 10.I.2023; <i>D. Borah 4045</i> (holo-, ASSAM!; iso-, ARUN!).</p> <p>ETYMOLOGY. — The species is named in honor of Shri. Maheswar Borah, a dedicated plant grower of Biswanath, Assam, who has funded the trips of the first author to remote localities of the region in search of plants.</p> <p>DISTRIBUTION. — NE India (Arunachal Pradesh).</p> <p>PHENOLOGY. — Flowering in December-February.</p> <p> HABITAT AND ECOLOGY. — The new species was growing abundantly on rocks or forest floor in the slopes of the type locality above 800 m a.s.l. The area was very close to a perennial stream, but the area remains dry from November to March. It was growing in association with <i>Begonia hatacoa</i> Buch. -Ham. ex D.Don, <i>Dendrocnide sinuata</i> (Blume) Chew, <i>Begonia</i> sp., <i>Pothos</i> sp., <i>Syzygium</i> sp., <i>Psychotria</i> sp., <i>Dalhousiea bracteata</i> (Roxb.) Graham ex Benth., <i>Pseuderanthemum leptanthum</i> (C.B.Clarke) Lindau, etc.</p> <p>DESCRIPTION</p> <p> Terrestrial or lithophytic, glabrous evergreen perennial herbs. <b>Stem</b> distally erect to ascending, proximally creeping and rhizome-like, part above ground up to 1 m tall (including leaves on top of stem), proximal creeping part up to 1 m long, terete, up to 0.8 cm in diam., green, annual nodes spaced at intervals of 8-14.5 cm, up to <i>c.</i> 1.8 cm in diam.; <b>scaly leaves</b> (scales) deltoid-ovate, lanceolate, or narrowly deltoid, 1-20 cm long, 0.8-2 cm wide at base (when expanded), acute or acuminate, brownish, hyaline along margins, ephemeral, those sheathing apical portion of stem several, basally imbricate; scars (nodes) of scales between annual nodes 11-15, often with fibrous remnants, spaced at intervals up to 1.7 cm long. <b>Roots</b> 1 to a few (<i>c.</i> 3) from annual nodes aged at least 1 year, wiry, some stilt-like, proximally rigid, up to 3 mm in diam. <b>Leaves</b> 1-2 from annual node, persistent usually for up to 3 years, petiolate; <i>petiole</i> rigid, subterete, 10-30 cm long, 3-5 mm wide, suberect; <i>blade</i> (narrowly) elliptic, 20-40 cm long, 5-10 cm wide, arcuate, base attenuate, margins entire, apex acute to acuminate, sub-plicate, glabrous, glossy on both surfaces, longitudinal veins 64-68 (16-17 thicker and 3 thinner veins within the thicker ones), cross-veinlets fine, inconspicuous, perpendicular to oblique to longitudinal veins, straight to variously curved. <b>Flowering stem</b> (including peduncle and inflorescence rachis) 25-32 cm long, usually slightly declined, flattened and narrowly two-edged; <i>peduncle</i> often slightly curved near base, rigid, up to 17 cm long, 3 mm wide, green; <i>inflorescence</i> a raceme, rachis (6) 9-15 cm long, green, bearing 18- 30 flowers. <b>Bracts</b> (including those on peduncle) antrorse, narrowly triangular to subulate, 4-23 mm long, 1.5-5 mm wide (at base), green or light green, hyaline along margins; sterile bracts on peduncle 2-5 (excluding basal ones); fertile (floral) bracts 2 (1 outer bract and 1 inner bracteole) for each flower, outer bracts exceeding floral buds, inner bracteoles 1-2 mm long, <i>c.</i> 1 mm wide, lanceolate, acuminate. <b>Flowers</b> turned toward the same side, slightly drooping, solitary in bracts, 1.3-1.6 cm across, pedicellate; <i>pedicels</i> terete, 2-3 mm long, straight and ascending when flowers are in bud, becoming curved in flower and in fruit, green, purplish or blackish green. <b>Perianth</b> bowl-shaped, fleshy, externally green to dark purple, glossy, internally whitish yellow, distally 6-cleft; <i>proximal syntepalous part</i> flatly saucer-shaped, 3.5-3.8 mm long, basally abruptly narrowed into a very small stalk much shorter than pedicel; <i>segments</i> obliquely spreading, broadly or deltoid-ovate, 4-6 mm long, 4.5-5 mm wide, apex obtuse to rounded, entire. <b>Stamens</b> 6, monadelphous; <i>corona</i> epitepalous, hemispheric or conoid with wall incurved distally, thickened toward base, wall at base 1.5-1.8 mm thick, basal outline orbicular, 6-7.5 mm in diam. at base, 3 mm high, surface whitish yellow, fleshy, apical opening relatively narrow, rounded, scarcely lobed, 2 mm in diam.; <i>anthers</i> 6, sessile, nearly vertically attached to orifice of corona, ovate, 1.2-1.3 mm long, introrse, creamy; <i>pollen</i> creamy. <b>Pistil</b> 1, 3 mm high, pale green; <i>ovary</i> almost superior (or very slightly half-inferior), hemispheric, 1.5 mm high and 3.5 mm wide at base, trilocular; <i>ovules</i> 4 per locule, borne on basal central placenta; <i>style</i> subconic, truncate at apex, 1.5 mm long, 1-1.5 mm wide at base, <i>stigma</i> trisected, 0.8 mm wide. <b>Immature seeds</b> ovoid-ellipsoid, up to 1.5 cm long, 1 cm wide, green.</p> <p>TAXONOMIC RELATIONSHIPS</p> <p> <i>Peliosanthes maheswariana</i> sp. nov. shares a long, proximally creeping stem with six other species so far known. Three of these six species were originally described from SW China; <i>P. sinica</i>, <i>P. pachystachya</i> W.H.Chen & Y.M.Shui (Chen & Shui 2003: 489) and <i>P. minutiflora</i> N.Tanaka, J.Murata & S.K.Wu (Tanaka <i>et al.</i> 2013: 135). The new species is distinguishable from them chiefly by the larger leaf blades with more numerous longitudinal veins, longer peduncle, larger drooping (vs ascending) flowers, internally whitish yellow (vs purple or greenish purple) perianth, larger corona with a relatively narrow distal opening, and almost superior (vs distinctly half-inferior) ovary. The other three of the six species were described from NE India; <i>P. arunachalensis</i> (Roy <i>et al.</i> 2017), <i>P. nagalandensis</i> and <i>P. tobuensis</i> (Odyuo <i>et al.</i> 2020). <i>P.maheswariana</i> sp. nov. differs from <i>P.arunachalensis</i> mainly by the longer leaf blades (20-40 vs 16.5-21.5 cm), longer racemes (6-15 vs 2-3 cm), more numerous flowers (18-30 vs 7-10), and shorter anthers (1.2-1.3 vs 3-3.5 mm); from <i>P. tobuensis</i> by the longer racemes (6-15 vs 2-4 cm), orbicular (vs hexagonal) corona and longer anthers (1.2-1.3 vs 0.3-0.4 mm); from <i>P. nagalandensis</i> by its shorter anthers (1.2-1.3 vs 2-2.5 mm) and almost superior (vs inferior) ovaries. Several selected key distinguishing characters of <i>P. maheswariana</i> sp. nov. and four other related species are compared in Table 1. For the details of differences between the six previously known long-caulescent species and an identification key to them, see Odyuo <i>et al.</i> (2020).</p> <p> The long, proximally creeping stem of these seven species (including <i>P.maheswariana</i> sp. nov.) is deemed as apomorphic (vs acaulescent or short stem). The species having this trait are hence regarded as members of a monophyletic group. It is highly desirable to conduct a further analysis of their evolutionary relationships.</p>Published as part of <i>Borah, Dipankar, Taram, Momang & Tanaka, Noriyuki, 2024, Peliosanthes maheswariana D. Borah, N. Tanaka & Taram, sp. nov. (Asparagaceae), from Arunachal Pradesh, NE India, and P. sinica new to India, pp. 1-8 in Adansonia (3) (3) 46 (1)</i> on pages 2-4, DOI: 10.5252/adansonia2024v46a1, <a href="http://zenodo.org/record/10473197">http://zenodo.org/record/10473197</a>
Four Songs from Hafez
No full textResearch Background:
The research involved the Australian Premiere of the work “Four Songs from Hafez” (2007) by prominent British composer Sally Beamish (OBE) alongside leading British baritone Roderick Williams (OBE), as guest artists at the Australian Festival of Chamber Music (AFCM) in 2018.
Research Contribution:
“Four Songs from Hafez” is a notable song cycle by an international composer of high repute, consisting of settings of the 14th-century Persian Sufi poet in English translations by the Iranian-born, Glasgow-based artist Jila Peacock. Each song uses a bird or animal to describe separation from, and longing for, the Beloved. Introducing this important new music - with its unique rich blend of diverse cultural influences - to Australian audiences represents a significant contribution to the New Music landscape in this country.
Research Significance:
The Australian Festival of Chamber Music is the foremost event of its kind in Australia, attracting large in-person audiences and broad listenership nationally and internationally via ABC Classic radio and digital service. This backdrop represents a significant platform from which to disseminate the research broadly alongside my distinguished international collaborator. The performance was further peer-reviewed in the most widely-read national classical music publication, Limelight Magazine (excerpt below):
“Love was the theme of the Australian Festival of Chamber Music’s eighth day … which featured a wonderful performance of Sally Beamish’s Four Songs from Hafez by baritone Roderick Williams and pianist Daniel de Borah …”
Limelight Magazine, 4 August 2018No Full Tex
Inventors’ mobility from MNC subsidiaries: The role of institutional distance and experience
No full textResearch on the internationalization of family firms has flourished in recent years, yet the mechanisms through which family involvement shapes the determinants, processes, and outcomes of internationalization remain little understood and largely undertheorized. We contribute to research at the intersection of international business and family business by examining the roles of different sources of family firm heterogeneity and the context in shaping the determinants, processes, and outcomes of business internationalization. Drawing on this analysis, we summarize the articles published in this special issue and set out an agenda for further research aimed at advancing a more fine-grained and contextualized understanding of internationalization in family firms
Speak, Harry Sdraulig, World Premiere 2018
No full textResearch Background
The research involved the workshopping and World Premiere of a new chamber work “Speak” (2018) for Flute/Piccolo, Clarinet, Violin, Cello and Piano by Australian composer Harry Sdraulig. The work was commissioned by Ensemble Q (founding members: Paul Dean, Trish O’Brien, Daniel de Borah) and premiered at the Conservatorium Theatre, Queensland Conservatorium Griffith University on 4 November 2018.
Research Contribution
“Speak” is a new chamber music work scored for the ‘Pierrot Ensemble’ combination of Flute/Piccolo, Clarinet, Violin, Cello and Piano. It is cast in 2 movements – “Dialogue” and “Inner Speak” - each of which describes a different domain of language and communication through innovative musical portrayals of intricate conversational interactions and internal monologue. By commissioning and premiering this work, Ensemble Q has contributed a significant addition to the contemporary Australian chamber music repertoire whilst, also giving voice to a young composer at the forefront of the evolution of Australia’s New Music scene.
Research Significance
“Speak” was premiered as part of Ensemble Q’s 2018 Concert Season at a public concert in the Queensland Conservatorium Theatre (Griffith University) on 4 November 2018. The ensemble was comprised of leading Australian practitioners including Sydney Symphony Orchestra concertmaster Andrew Haveron, Ensemble Q founding members Paul Dean, Trish O’Brien and Daniel de Borah, and flautist Kim Falconer. The concert was recorded and broadcast nationally and internationally via ABC Classic Radio and Digital. The performance has been further disseminated on multiple YouTube channels.
Video: https://www.youtube.com/watch?v=oeZgr-1WujU
Evidence of ABC Classic broadcast:
https://www.abc.net.au/classic/programs/evenings/ensemble-q:-frankenstein!!/10514142No Full Tex
Love's Torment, Love's Delight
No full textResearch Background
This research consists of a commercially produced CD Album of 19th century ensemble works for voices and piano, including the Liebeslieder-Walzer Op.52 by Johannes Brahms and the Spanische Liebeslieder Op.138 by Robert Schumann, alongside various lieder by Brahms and Felix Mendelssohn. The performer collaborators were Jacqueline Porter (soprano), Anna Dowsley (mezzo soprano), Andrew Goodwin (tenor), David Greco (baritone), Ian Munro and Daniel de Borah (piano). The recording was published by ABC Classics.
Research Contribution
Drawing on the diverse and considerable expertise of each member of the ensemble, the research represents an important and unique addition to the relatively scarce recorded performances of this repertoire. The ensemble was comprised of industry leading award-winning Australian artists whose combined areas of specialisation bring together early music and historically informed performance practice, new music and composition and a keenly shared area of research interest in 19th century German Lieder. Pianists Ian Munro and Daniel de Borah have previously collaborated on performance projects involving the four-hand piano music of Schumann and Brahms (Melbourne Recital Centre 2016, Sanguine Estate Music Festival 2016) which served as a platform on which to build in this project.
Research Significance
The research was released on the ABC Classics label in October 2020 and is widely available in hard copy as well as being disseminated worldwide via online platforms including Apple Music, Spotify and YouTube. The album has received extensive airplay on ABC Classic Fm radio.
https://www.abcmusic.com.au/discography/love%E2%80%99s-torment-love%E2%80%99s-delight-songs-brahms-schumann-mendelssohn
https://music.apple.com/us/album/loves-torment-loves-delight/1533927312
https://open.spotify.com/album/0M5VwGGV9ZzCd7wQ4t2I4l?si=b87qy-q5REGP_Zjs39Hr3g
https://www.youtube.com/results?search_query=love%27s+torment+love%27s+delightNo Full Tex
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