How this extraordinary musician will play the exceptional organ for this revered event is another miracle to appreciate during Advent, writes Eden Gilbreath. Read the full story and interview in Hood County News.
Advent Organ Recital Works by Bach, Held, Sriveyner and Improvisations Sunday, December 8 at 4 p.m. Reception following. Good Shepherd Anglican Church, Granbury, TX For further questions call 817-326-2035 or go to granburyanglican.org.
]]>Inspired by the sanctuary’s stained-glass windows, designed by Cecil Casebier (1922-1996), each event features a different art form, such as music, literature, film, sculpture, painting, architecture, or performance.
The event, designed to be inclusive and accessible, is free and open to the public, welcoming people of all ages and backgrounds. Visit here for more information.
March 29, 2025 at 7 p.m.
Zvony Nagy, organist
November 2, 2024 at 7 p.m. in the Atrium
Experience the beauty of All Saints’ Day through music, prayer, and reflection with choristers, Michaella Prussack, Ivan Rodriguez, Marcus Rodriguez, and Kelly Schaaf, accompanied by Christina Birdwell on cello, Halie Wyckoff on harp, and Zvony Nagy on organ.
May 18, 2024 at 7 p.m. in the Atrium
Take a spiritual journey as we meditate through sound on the light within and shadow beyond. Held in King of Glory’s acoustically splendid Atrium, this Stained Glass Vespers features the Sanctuary Choir and soloists with responses, hymns, and anthems by Helvey, Lauredsen, Nagy, and Visser.
Multimedia Meditations on the Cross Through Music, Images, and Film March 2, 2024 at 7 p.m.
Inspired by a series of paintings by American abstract painter, Barnett Newman. Featuring multimedia electronic music and video. The series of meditations on the cross offered a contemplative space for Lenten reflection.
Zvony Nagy, organist - October 5, 2003 at 7 p.m.
King of Glory Lutheran Church 6411 LBJ Freeway Dallas, TX 75240
]]>The featured compositions are:
Anima Animae, for string quartet air for piano [a]new for clarinet Angelus for organ
]]>Saybrook’s humanistic and clinical psychology programs are designed for those who wish to contribute creatively to improving the human condition. Students are encouraged to explore different approaches through interdisciplinary programs that combine complementary approaches–including meditation, nutrition, energy medicine, biofeedback, and spirituality—with more traditional forms of care.
Creativity results from our actions and interactions with the world around us. I think of creativity as poiesis, which means to create or bring something into being. This involves different creative processes, forms of knowledge, and perspectives. I suggest that three types of poiesis show how the creative agency works: autopoiesis, where a system can recreate itself; allopoiesis, where a system can create something different from itself; and practopoiesis, where creative agency adjusts itself by working through a series of interactions among its creative processes. This results in a type of creativity independent of other creative processes and their own creative spaces, providing a different perspective on our understanding of musical creativity.
In the lecture, I discuss how cultivating one’s creative skills reveal meaningful differences and cultivate a sense of responsibility to bring them out at their best in the context of poiesis and the typologies of musical creativity. I further explore “creative spaces” and where we can find inspiration to understand creativity and in turn be more creative. I used several different sources like biology, philosophy, and humanistic psychology (specifically music and creativity studies) to make my point. My goal is to show how we can connect the science of life and mind with our own experiences and feelings when it comes to making music.
As a multimodal interplay of creative actions and interactions, creativity is viewed as a composite of culturally and socially conditioned processes and products. In recent studies on embodied music cognition, it has been suggested that creativity is a product of our bodies’ actions and interactions with the environment.
The author places creativity in the context of poiesis: to make or to bring something into being. Poiesis implies a synergy of creative processes, forms of knowledge, and perspectives. Defining poiesis as creative agency, the author focuses on a complementary aspect of poiesis, one of emergence. Expanding upon the notion of embodied creative spaces, the author proposes the formation of typologies of emerging creative processes. In turn, the author describes three types of poiesis as instances of self-referential creative agency: autopoiesis, the process by which a system can recreate itself; allopoiesis, the process by which a system can create something other than itself; and practopoiesis, the process by which creative agency’s autopoiesis works through a series of interactions among its creative processes to adjust itself. This, in turn, results in a type of creativity characterized by self-referential processes that are independent of other creative processes and their own creative spaces.
Informed by the creative potentiality of artistic agency and to provide a complementary perspective on our understanding of musical creativity, the author presents three short case studies that illustrate the different types of topologies of creativity that emerge within the acts of musical composition.
Creativity results from our actions and interactions with the world around us. I think of creativity as poiesis, which means to create or bring something into being. This involves different creative processes, forms of knowledge, and perspectives. I suggest that three types of poiesis show how the creative agency works: autopoiesis, where a system can recreate itself; allopoiesis, where a system can create something different from itself; and practopoiesis, where creative agency adjusts itself by working through a series of interactions among its creative processes. This results in a type of creativity independent of other creative processes and their own creative spaces, providing a different perspective on our understanding of musical creativity.
I thank Weatherford College and Southwesern Adventist University for supporting this research. I look forward to giving a lecture on this topic at Saybrook University in August 2023.
As a multimodal interplay of creative actions and interactions, creativity is viewed as a composite of culturally and socially conditioned processes and products. In recent studies on embodied music cognition, it has been suggested that creativity is a product of our bodies’ actions and interactions with the environment.
The author places creativity in the context of poiesis: to make or to bring something into being. Poiesis implies a synergy of creative processes, forms of knowledge, and perspectives. Defining poiesis as creative agency, the author focuses on a complementary aspect of poiesis, one of emergence. Expanding upon the notion of embodied creative spaces, the author proposes the formation of typologies of emerging creative processes. In turn, the author describes three types of poiesis as instances of self-referential creative agency: autopoiesis, the process by which a system can recreate itself; allopoiesis, the process by which a system can create something other than itself; and practopoiesis, the process by which creative agency’s autopoiesis works through a series of interactions among its creative processes to adjust itself. This, in turn, results in a type of creativity characterized by self-referential processes that are independent of other creative processes and their own creative spaces.
Informed by the creative potentiality of artistic agency and to provide a complementary perspective on our understanding of musical creativity, the author presents three short case studies that illustrate the different types of topologies of creativity that emerge within the acts of musical composition.
Published by Universal Edition.
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