Convergence Lines
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Edited by Aaron Cassidy and Aaron Einbond Published by University of Huddersfield Press
EDITED BY AARON CASSIDY AND AARON EINBOND Published by University of Huddersfield Press University of Huddersfield Press The University of Huddersfield Queensgate Huddersfield HD1 3DH Email enquiries [email protected] First published 2013 Text © The Authors 2013 Images © as attributed Every effort has been made to locate copyright holders of materials included and to obtain permission for their publication. The publisher is not responsible for the continued existence and accuracy of websites referenced in the text. All rights reserved. No part of this book may be reproduced in any form or by any means without prior permission from the publisher. A CIP catalogue record for this book is available from the British Library. ISBN 978-1-86218-118-2 Designed and printed by Jeremy Mills Publishing Limited 113 Lidget Street Lindley Huddersfield HD3 3JR www.jeremymillspublishing.co.uk Contents Acknowledgements vii Contributors ix Introduction xiii Aaron Cassidy and Aaron Einbond Part 1: Theories, Speculations, & Reassessments Interview Ben Thigpen 3 Chapter 1 Black Square and Bottle Rack: noise and noises 5 Peter Ablinger Interview Antoine Chessex 9 Chapter 2 Un-sounding Music: noise is not sound 11 James Whitehead ( JLIAT) Interview Alice Kemp (Germseed) 31 Chapter 3 Noise and the Voice: exploring the thresholds of vocal transgression 33 Aaron Cassidy Interview Maja Solveig Kjelstrup Ratkje 55 Chapter 4 Subtractive Synthesis: noise and digital (un)creativity 57 Aaron Einbond Interview Pierre Alexandre Tremblay 77 10.5920/noise.fulltext -
Proquest Dissertations
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. Bell & Howell Information and Learning 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA UMI 800-521-0600 SYMBOLIC STRUCTURE IN THE MUSIC OF GUBAIDULINA DMA DOCUMENT Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Fay Damaris Neary, B.Mus. ***** The Ohio State University 1999 Document Committee: Approved by Professor Jan Radzynski, Adviser Professor Donald Harris Adviser Music School Professor Arved Ashby UMI Number: 9951703 UTVLI UMI Microform 9951703 Copyright 2000 by Bell & Howell Information and Learning Company. -
Instrumental Modifications and Extended Performance Techniques
Instrumental modifications and extended performance techniques. The instrumentarium of Western music throughout its history has been in a state of continuous change, and every type and period of music has given rise to its own modifications of existing instruments and playing techniques. The desire for instruments capable of greater range, volume and dynamic control has led not only to the use of new materials and improvements in design but also to the invention of new instruments, many of which have achieved small success and are now regarded as little more than curiosities. These developments, naturally, form the matter of other articles in this dictionary, in which the evolution of individual instruments to their present state is fully described. The 20th century saw an unprecedented expansion in the instrumentarium and a host of new approaches by composers and performers to the use of existing instruments; because these experiments often took place outside the mainstream of musical life it seems appropriate to discuss them as a group. 1. Introduction. In the second half of the 20th century the problem of creating a repertory for a new or modified instrument became less significant than in the past, when even instruments for which major composers wrote important works (such as Schubert's Sonata for arpeggione and piano, d821) were not thereby guaranteed survival; indeterminate and graphic scores and compositions with unspecified instrumentation, together with various areas of free improvisation, have supplemented the compositions of those who often combine the three distinct functions of instrument inventor and/or builder, performer and composer in a single person. -
Let the Harp Sound!
Let the Harp Sound! Updating the understanding of the sound and artistic role of the harp in Norwegian contemporary music by Sunniva Rødland Critical reflection 2014/Rødland 2 Sunniva Rødland E-mail: [email protected] Mobile: 915 37337 Web: www.sunnivawettre.com Let the Harp Sound! Updating the understanding of the sound and artistic role of the harp in Norwegian contemporary music Artistic Research Project The Norwegian Artistic Research Fellowship Programme First supervisor: Ivar Frounberg Second supervisor (2009–2010): Godelieve Schrama Critical reflection 2014/Rødland 3 Contents Foreword 5 About the artistic research project 9 1. Introduction a. Goals and contributions of “Let the Harp Sound!” 9 b. An artistic research project 9 2. Artistic result 11 3. Research questions 11 4 Critical reflection 12 a. Choosing the format of the critical reflection 12 b. Disposition of the critical reflection 14 Section I Updating the understanding of the harp 15 I.1. About a. Background 15 b. Strategy 17 I.2. How to write for harp 19 I.3. Workshops 19 I.4. Repertoire 21 I.5. Conclusion of section I 26 Section II Initiating artistic explorations 27 II.1. About a. Background 27 b. Strategy 27 II.2. A collaboration with Mark Adderley 29 II.3. A collaboration with Øyvind Torvund 33 II.4. A collaboration with Simon Steen-Andersen 37 II.5. A collaboration with Henrik Hellstenius 43 II.6. Conclusion of section II 47 Section III Gaining experience 49 III.1. About a. Background 49 b. Strategy 50 III.2. The harpist conversations 51 III.3. Learning “Grains” 53 III.4. -
Vol. 3 No. 1 TRIO Vol
Vol. 3 no. 1 TRIO vol. 3 no. 1 Toukokuu 2014 Trio_1_2014_kansi_fin.indd 1 29.4.2014 14.31 TRIO vol. 3 no. 1 Toukokuu 2014 Toimituskunta: professori Veijo Murtomäki, päätoimittaja (SibA/Säte), MuT Jorma Hannikainen (SibA/Kimu), MuT Tuire Kuusi (SibA/DocMus), FT Inkeri Ruokonen (HY) ja MuT dosentti Timo Virtanen (KK/JSW). Toimitusneuvosto: MuM Jenni Lättilä (SibA/DocMus), professori Anne Sivuoja (SibA/DocMus), professori Lauri Suurpää (SibA/Säte), MuT Olli Väisälä (SibA/Säte), lehtori Risto Väisänen (SibA/Säte) Toimitussihteeri: MuT Markus Kuikka (SibA/DocMus) Taitto: Tiina Laino Painopaikka: Unigrafia Oy, Helsinki 2014 Toimituksen osoite: Taideyliopisto, Sibelius-Akatemia DocMus-tohtorikoulu PL 30, 00097 Taideyliopisto http://www.siba.fi/art-and-research/research/research-publications ISBN 978-952-5959-68-0978-952-5959-67-3 ISSN-L 2242-6418 ISSN 2242-6418 (painettu) ISSN 2242-6426 (verkkojulkaisu) Trio_1_2014_kansi_fin.indd 2 29.4.2014 14.31 SISÄLLYS Lukijalle .............................................................................................................4 ARTIKKELIT IRMA JÄRVELÄ, TUIRE KUUSI: Geenitutkimukset, musiikki ja musikaalisuus ......................................................6 BÉLA BARTÓK: Omaelämäkerta ja muita esseitä ........................................................................17 ILKKA ORAMO: Kolme Bartókin esseetä .....................................................................................29 MARKUS SARANtoLA: Vibratosta eri aikakausina sekä estetiikan muutoksista yleisemminkin ................35 -
The Prepared Flute: a Survey of Its History, Techniques, and Repertoire
University of South Carolina Scholar Commons Theses and Dissertations 2016 The rP epared Flute: A Survey of its History, Techniques, and Repertoire Stacey Lee Russell University of South Carolina Follow this and additional works at: https://scholarcommons.sc.edu/etd Part of the Music Performance Commons Recommended Citation Russell, S. L.(2016). The Prepared Flute: A Survey of its History, Techniques, and Repertoire. (Doctoral dissertation). Retrieved from https://scholarcommons.sc.edu/etd/3795 This Open Access Dissertation is brought to you by Scholar Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. The Prepared Flute: A Survey of its History, Techniques, and Repertoire by Stacey Lee Russell Bachelor of Music Education Cedarville University, 2007 Master of Music Wright State University, 2011 ________________________________________________ Submitted in Partial Fulfillment of the Requirements For the Degree of Doctor of Musical Arts in Music Performance School of Music University of South Carolina 2016 Accepted by: Jennifer Parker-Harley, Major Professor Michael Harley, Committee Member John Fitz Rogers, Committee Member Phillip Bush, Committee Member Lacy Ford, Senior Vice Provost and Dean of Graduate Studies © Copyright by Stacey Lee Russell, 2016 All Rights Reserved. ii ACKNOWLEDGEMENTS Warmest thanks to my supervisor, teacher and mentor Dr. Jennifer Parker- Harley for her guidance, encouragement, and dedication in helping me produce this document. Her many hours of proofreading, planning, and excitement were priceless. I am grateful to my committee members, Dr. Michael Harley, Dr. John Fitz Rogers, and Mr. Philip Bush for their expertise, support, and inspiration. -
Convergence Lines: a Musical Distillation of Thomas Pynchon's V
Convergence Lines: A Musical Distillation of Thomas Pynchon’s V. Christopher Trapani Submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2017 © 2017 Christopher M. Trapani All rights reserved ABSTRACT Convergence Lines: A Musical Distillation of Thomas Pynchon’s V. Christopher Trapani This dissertation consists of two parts: Convergence Lines, my twenty-four-minute composition for ten instruments and electronics, and this subsidiary essay. Convergence Lines was written in 2013 to commemorate the 50th anniversary of the publication of Thomas Pynchon’s V. At the center of this discussion is my creative process in imagining a musical corollary to Pynchon’s fictional world: his large cast of vivid characters, far-flung settings, and disjointed sense of time. I also detail my attempt to fashion a formal parallel to the novel’s unorthodox structure of two independent strands of narrative that converge towards the end. I discuss the role of allusion in Pynchon’s work and in my own, and the various points of reference the music is meant to invoke. A second important topic is the role of electronics in the composition, presenting both a technical analysis of the tools employed and an aesthetic perspective, considering how the intrusion of non-acoustic sounds mirrors a central theme of V.: the gradual replacement of the animate by the inanimate. The thesis endeavors to explain from a composer’s perspective, and in an integrated, organic manner, the poetic, musical, and technical aspects behind my work. TABLE OF CONTENTS PAGE LIST OF CHARTS, GRAPHS, AND ILLUSTRATIONS iii LIST OF MEDIA EXAMPLES iv ACKNOWLEDGMENTS v INTRODUCTION 1 CHAPTER 1: 50 years of V. -
University of Huddersfield Repository
University of Huddersfield Repository Cassidy, Aaron and Einbond, Aaron Noise in and as music Original Citation Cassidy, Aaron and Einbond, Aaron (2013) Noise in and as music. University of Huddersfield, Huddersfield. ISBN 978-1-86218-118-2 This version is available at http://eprints.hud.ac.uk/18189/ The University Repository is a digital collection of the research output of the University, available on Open Access. Copyright and Moral Rights for the items on this site are retained by the individual author and/or other copyright owners. Users may access full items free of charge; copies of full text items generally can be reproduced, displayed or performed and given to third parties in any format or medium for personal research or study, educational or not-for-profit purposes without prior permission or charge, provided: • The authors, title and full bibliographic details is credited in any copy; • A hyperlink and/or URL is included for the original metadata page; and • The content is not changed in any way. For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. http://eprints.hud.ac.uk/ EDITED BY AARON CASSIDY AND AARON EINBOND Published by University of Huddersfield Press University of Huddersfield Press The University of Huddersfield Queensgate Huddersfield HD1 3DH Email enquiries [email protected] First published 2013 Text © The Authors 2013 Images © as attributed Every effort has been made to locate copyright holders of materials included and to obtain permission for their publication. The publisher is not responsible for the continued existence and accuracy of websites referenced in the text. -
Exploring Organic Decay Through Sound
Exploring Organic Decay through Sound Sylvia Yi Ling Lim Ph.D. Guildhall School of Music & Drama Composition Department April 2019 Contents 1. Context 1 Rationale 1 Research questions 2 Organic decay 3 Traditional Japanese aesthetics 3 Sound as physical object 4 Tactility: timbre as surface 6 Change 8 Beauty and decay 9 Collaboration 10 2. Works 11 Reordering the Unconsumed 11 Reframe 21 sounds which grow richer as they decay 31 remnants 35 Shifting 41 Colour Catalogue: Whites 46 unless it dies, it remains alone 51 Breathing bones 58 3. Reflections 62 4. Select Bibliography 68 Tables and Illustrations 1. Characteristics of wabi-sabi 4 2. Parallels between sounds, object/ organism and listener 10 3. Natasha Zielazinski and Christopher Brown playing Reordering the 11 Unconsumed in the Rose Lipman building (photo: Tom Medwell) 4. Dust collected from around London using sticky tape 12 5. Mould from residual tea 13 6. Mouldy matter (and bits of white paint) on acetate 14 7. Stills from final video 15 8. Form of Reordering the Unconsumed 16 9. Parallels with organic decay in Reordering the Unconsumed 16 10. Rhythmic gamut as an object with constituent parts 17 11. Rhythmic structure reflecting motion and entropy of decay 17 12. Parallels between pitch and collapse 18 13. Material reflecting high entropy in Reframe 23 14. Soft edges in section G of Reframe, movement 2 (Prolonged) 24 15. Part of a catalogue of textures during the creative process of Reframe 28 16. Mock-up recording of Reframe, movement 2 (partially shown) 28 17. The creative process 29 18. -
Experimental Musical Instruments Synopses of Articles
EXPERIMENTAL MUSICAL INSTRUMENTS SYNOPSES OF ARTICLES FOR THE COMPLETE SET OF 70 ISSUES, JUNE 1985 THROUGH JUNE 1999 This file contains descriptions of the contents of each article that appeared in the Experimental Musical Instruments journal. This is the best place to search for articles on or references to par- ticular topics. To search this file, use Adobe Acrobat’s search function: Click “edit” in the upper left of the screen, then “find” in the drop-down menu. In the space provided, type in the word or words you wish to search for. Hit return or click the “find” button to intiate the search. To jump to another page in this file: Click on the bookmarks tab on the left of your screen to open the bookmarks pane. There you can click on one of the bookmarks to jump to the selected location. To open a particular article: When you’ve found an article you want to see, note the issue number and page number for the article. If the issue is from Volumes I through VII, make sure that CD #1 is in your CD drive. If from VIII through XIV, make sure that CD #2 is in your drive. Once you’ve got the correct CD, you can open the article in the usual way: click on the file menu in the upper left of your screen, click “open,” click the CD drive where the disk is, and then click on the file name for the issue you want. That will take you to front page of the issue, and you can scroll through to the relevent page.