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6th European Music Analysis Conference – VII. Jahreskongress der Deutschen Gesellschaft für Musiktheorie Druck: Rombach Druck- und Verlagshaus GmbH & Co KG, Freiburg Redaktion: Prof. Ludwig Holtmeier Jens Awe Torang Sinaga Satz/Layout: Miriam Rieckmann Torang Sinaga Redaktionsadresse: Studium generale Belfortstr. 20, 79085 Freiburg Anfahrtsbeschreibung und Übersicht der Veranstaltungsorte Universität Freiburg Kollegiengebäude (KG) „Haus zur Lieben Hand“, Br eis Löwenstr.16 ac h . e r r S P t t s Domsingschule r. r e g Hochschule für Musik r u b s b P a H . Fahnen- B3 tr s DB bergpl. r e Freiburg L re ß e eo e a le p t r Hbf. l o in t a ld s ri W k r. ng lz c t r S o P Rotteckr. - h Be h g h ma rto P p in c lds B3 e r is tr. s A s o Münster rg u E B J to Werth- - e ba r b h mann- e s n s S s zu i alzs P o b Belfor Pl. a tr. l Schlossberg r tstr. K h in c g . er r g S M b n P it i AltstadtSchwaben- te in r l r torpl. w e e d r Kartäuserstr n . e h L c W eo -W S B31 o indenburgstr. D S h H b c r . reisam Dreisamstr. hw le r b g a -S st rz ß Hochschule . w tr unzstr. n r Schillerstr. a . R o l e t lds für Musik s tr. F n . al ro A K t Tal ) Sch s str. warzw r aldstr. e t ) n ü . S Stadt- tr ch - G s ü r tz e a en halle l a s in llee m ö e S M Anfahrtsbeschreibung Universität Freiburg: Anfahrtsbeschreibung zur Musikhochschule: mit Straßenbahn (Linie 1/3/5 Richtung Bertoldsbrun- Von der Stadtmitte aus mit der Straßenbahnlinie nen): Haltestelle „Stadttheater/Universitätszentrum“. 1 Richtung Littenweiler bis Haltestelle Stadthalle. mit dem Auto: Autobahnabfahrt Zubringer Mitte Abfahrt „Stadtmitte“/“Universität“ Kollegiengebäude, Werthmannplatz 3 Musikhochschule, Schwarzwaldstr. 141 Kongressbüro: 0761/2033090 Kongressbüro: 0761/319150 KGII KGIII M HS2006 Kammermusiksaal KGI HS3044 HS3043 117 Eingang Kongressbüro/ HS3042 Information Opernschule HS1119 (Musikwiss. Kongressbüro/ (1.OG) Seminar 1.OG) M Information 139 Aula Eingang (1.OG) Haus „Zur 156 lieben Hand“ Aufzug Konzertsaal Eingang Eingang Donnerstag, 11. Oktober 2007 Musikwissenschaftliches Seminar, Universität Freiburg, Werthmannplatz 3, KG I ab 9:00 Anmeldung Universität Freiburg, Werthmannplatz 3, KG I, Aula 10:00 Eröffnungsveranstaltung Prof. Dr. Karl-Reinhard Volz, Prorektor der Albert-Ludwigs-Universität Freiburg, Dr. Rüdiger Nolte, Rektor der Musikhochschule Freiburg Prof. Stefan Rohringer, Präsident der GMTH, Prof. Ludwig Holtmeier, Konferenzleitung 10:30 Eröffnungsvortrag: Eckehard Kiem (Musikhochschule Freiburg) Modell und Komposition – Analytisches zu Jacobus Vaet 11:15 Pause KG III, Anbau, HS 3044 KG III, Anbau, HS 3043 KG III, Anbau, HS 3042 KG I, HS 1119 11:30 Sektion Formenlehre I Sektion Kunstlied Sektion Performance Studies Sektion Methodologie I Chair: Clemens Kemme Chair: Hans Niklas Kuhn Chair: Mario Baroni Chair: Michel Imberty Florian Edler (D): „Satz“, „Bar- Harald Krebs (CA): Text/Music Nicolas Donin (F): Analyse musi- José Oliveira Martins (P): Affi nity form“, „Fortspinnungstypus“: Zur Incongruence in the Late Songs cale et analyse d‘activité face aux Spaces: Medieval Conceptions in the systematischen und stilgeschichtli- of Robert Schumann enregistrements de l‘interprétation Analysis of Twentieth-century Music chen Problematik von Grundbegrif- fen der Deutschen Formenlehre 12:00 Stefan Rohringer (D): Noch Martin Günther (D): Zwischen Miriam Quick (UK): Making Jean-Marc Chouvel (F): Application einmal: „Struktur“ und „Design“: Die Hausmusik und Hochkultur: sense of structure: Recordings de l‘analyse de fourrier différentielle syntaktischen Typen „Periode“ und Schuberts Lieder als aufgeführ- of Webern’s Variations for Piano à l‘analyse de l‘interprétation: Une „Satz“ unter der Perspektive des te Kunst im 19. Jahrhundert Op. 27 première approche Schenkerschen Formbegriffs 12:30 Emil Platen (D): Der ‚Dreischritt‘: Mart Humal (EE): Treatment of Hans Peter Reutter (D): Strawinsky Daniel Shanahan (IR): Melodic Ex- Ein elementares Formprinzip der text and music in Schubert‘s als Interpret: Der Zusammenhang pectation and Static Temporality: An tonalen Musik Heidenröslein von Tempo und Tonalität. Analyse Investigation into the Implicative Conse- des ersten Satzes der Sinfonie in C quences of Inert Structures in Music 13:00 Mittagspause 14:30 Sektion Formenlehre I (cont.) Sektion Kunstlied (cont.) Sektion Performance Studies Sektion Methodologie I (cont.) (cont.) Danuta Mirka (UK): Punctuation Arno Lücker Christine Esclapez (F): Histoires Julia Kreinin (IL): Paul Klee’s Forms and Sense in Late-Eighteenth- (D):Wissenschaftstheoretische d’interprétation: Le Sacre du print- in Motion as an instrument of 20th Century Music Probleme der Liedanalyse emps, Pierre Boulez (1963) et Fazil century music analysis Say (2000) 15:00 Patrick McCreless (USA): Liquida- Melissa Hoag (USA): Multiply- Mario Vogt (D): Divergierende Kon- Robert Zierolf (USA): Futurism’s tion and Rhythmic Foreshortening: Directed Moments in Brahms’s zepte musikalischer Zeitgestaltung in Legacy Implications for performance Schön war, das ich dir weihte der performativen Realisierung von Beethovens letzter Klaviersonate 15:30 Martin Küster (USA): Gavotte, Frederik Knop (D): Das Ver- Fériel Kaddour (F): Analyse et Michael Clarke (UK): An interactive Polonaise und die musikalische hältnis von Vokalstimme und interprétation: Lecture analytique et aural approach to musical analysis Vermessungskunst Instrumenten in György Ligetis gestes de pianistes: Sur la sonate D letzten Liedern Sippal, dobbal, 960 de Schubert nadyhegedüvel für Mezzosopran und vier Schlagzeuger (2000) 16:00 Anne Margaret Hyland (UK): The Robert Cook (USA): Emerson’s Pause Pause Rhetorical Telos in Schubert: An Compensation and a Whitman Alternative to Deformation Song by Crumb 16:30 Pause Pause Sektion Formenlehre II Sektion Neue Musik I Chair: Stefan Rohringer Chair: Rossana Dalmonte Ulrich Kaiser (D): „…eine Sache Amanda Bayley (UK): The relation- der Auffassung und des beziehen- ship between notation and perfor- 17:00 Sektion Wiener Schule I (Theorie) Sektion Musik und Text I den Denkens“: Der Begriff der „Über- mance practice in Michael Finnissy’s Chair: Michiel Schuijer Chair: Markus Jans leitung“ und die Musik Mozarts Second StringQuartet (2007) Christopher Wintle (UK): „Ent- Annick Dubois (F): La musique Christian Raff (D): „Tempo di Anne-Sylvie Barthel-Calvet (F): wicklung“, „Abwicklung“ and des mots de la mort: L’œuvre Menuetto“: Eine Satzüberschrift und Performing Xenakis: Rhythmical „Aneinanderreihung“: Arnold de M. A. Charpentier (1645- ihre formalen Konsequenzen purposes and diffi culties Schoenberg‘s theory of forms 1704): Une poétique libérée des contraintes linguistiques 17:30 Nikolaus Urbanek (A): Zum Ver- Luigi Collarile (I): Metrische Michel Vallières (CA): Les pas- Janine Droese (D): Das Verhältnis hältnis von Analyse, Formenlehre Aspekte der lateinischen Dich- sages pré-cadentiels chez Corelli: der spektralen zur seriellen Musik: und Interpretation in der Wiener tung für Musik im 17. Jahrhun- le cas des Sonates pour violon et Analytische Überlegungen zu Gérard Schule dert: der venezianische Kontext continuo op.5 Griseys Vortex temporum 18:00 Norton Dudeque (BR): Systemati- Toomas Siitan (EE): Von der Markus Neuwirth (B): Recom- Jean-Pascal Chaigne (F): Le silence sing Schoenberg‘s analytic theory: Semantik der textlichen und posed Recapitulatory Main Themes comme vecteur de la dramaturgie A possible approach musikalischen Symmetrie der in the Keyboard Sonatas by Joseph musicale chez Brian Ferneyhough: Bachkantate Actus tragicus Haydn: A Descriptive and Explana- L‘exemple des Kurze Schatten II (BWV 106) tory Approach 18:30 Lubomir Spurny (CZ): Arnold Ana Stefanovic (YU): Berlioz Marc Rigaudière (F): La For- Paolo Dal Molin (F): Codomaines Schönberg liest Alois Hába: Einige and French Baroque Opera: Re- menlehre au 19e siècle: De de Pierre Boulez: Incidences de Bemerkungen zur Hábas Neuer lation between Text and Music l’observation des modèles à la l’itinéraire du soliste Harmonielehre and Stylistic Reference pratique compositionnelle 19:00 Pause Musikhochschule Kammermusiksaal 20:30 Konzert I: „Text und Musik“, Hans-Jörg Mammel, Tenor und Michael Behringer, Fortepiano Freitag 12. Oktober 2007 Musikwissenschaftliches Seminar, Universität Freiburg, Werthmannplatz 3, KG I ab Anmeldung 8:30 Universität Freiburg,Werthmannplatz 3, KG I, KGII, KG III, Anbau KG III, Anbau, HS 3044 KG III, Anbau, HS 3043 KG III, Anbau, HS 3042 KG I, HS 1119 9:00 Sektion Schenkerian Studies Sektion Wiener Schule II (Text) Sektion Musik und Text II Sektion 19. Jahrhundert Chair: Oliver Schwab-Felisch Chair: Christian Berger Chair: Jan Philipp Sprick Chair: Robert Hatten Don Traut (USA): Same Struc- Hans-Niklas Kuhn (CH): Das Florian Wetter (D): Musik als fi lmi- David Maw (UK): The Beethoveni- tural Level, Different Formal Verhältnis zum Text: Schönberg scher Subtext: Béla Bartóks 3. Satz an „Anti-tonic“ Potential: Some Observations und George der Musik für Saiteninstrumente, about Schenker’s Deep-Midd- Schlagzeug und Celesta im Spiegel leground Paradigms von Stanley Kubricks The Shining 9:30 Xavier Hascher (F): Two Jerry M. Cain (USA): Webern’s Andrew Davis (USA): Preparing Martin Skamletz (CH): Originalität (beautiful) instances of long- Encounter with Kraus on the Ariadne: Implications of Structural in der Unscheinbarkeit: Normierte range voice-leading in Ravel’s Wayward „Path to Twelve-Tone Symmetry in Hofmannsthal‘s Ariad- Tonartenwechsel und instrumentale Concerto in G Composition“ ne auf Naxos Libretto Grenzen in der Musik um 1800 10:00
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  • Three Case Studies in Twentieth-Century Performance Practice Tina Huettenrauch Louisiana State University and Agricultural and Mechanical College, Thuett1@Lsu.Edu

    Three Case Studies in Twentieth-Century Performance Practice Tina Huettenrauch Louisiana State University and Agricultural and Mechanical College, [email protected]

    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2012 Three case studies in twentieth-century performance practice Tina Huettenrauch Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Huettenrauch, Tina, "Three case studies in twentieth-century performance practice" (2012). LSU Doctoral Dissertations. 547. https://digitalcommons.lsu.edu/gradschool_dissertations/547 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. THREE CASE STUDIES IN TWENTIETH-CENTURY PERFORMANCE PRACTICE A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The School of Music by Tina Huettenrauch B.A., Millsaps College, 2005 M.M., Louisiana State University and Agricultural and Mechanical College, 2008 August 2012 ACKNOWLEDGEMENTS First and foremost I wish to express my deepest gratitude to my dissertation advisor, Jan Herlinger, for his tireless commitment to this project, unceasing encouragement, precise and careful editing of my writing, and many insightful suggestions and comments. His dedication to his students and the field of musicology has always been a tremendous inspiration and I am truly grateful to have had him to guide me on this journey. I wish to thank my committee, Brett Boutwell, Andreas Giger, Alison McFarland, Robert Peck, and John Pizer for their continuous support, meticulous reading of the chapter drafts, and ready willingness to help.
  • Openmusic Nieuw Ensemble

    Openmusic Nieuw Ensemble

    OpenMusic Nieuw Ensemble dirigent Lucas Vis musici fluit Harrie Starreveld hobo Ernest Rombout (bas)klarinet Arjan Kappers mandoline Martine Sikkenk gitaar Helenus de Rijke harp Ernestine Stoop piano John Snijders slagwerk Herman Halewijn viool Marin Mars altviool Julie Barnes cello Robert Putowski contrabas Rozemarie Heggen cursus OpenMusic Rozalie Hirs gastlezingen Mikhail Malt Benjamin Thigpen Niels Bogaards Marco Stroppa Tristan Murail leiding practicum Joël Bons gastdocenten Richard Ayres Stefano Bellon Wim Henderickx Fabio Nieder Richard Rijnvos concertdatum vrijdag 9 juni 2006 Amsterdam Paradiso 20.30 Dit concert vindt plaats in het kader van de serie Wilde Bloesem, die mede dankzij financiële ondersteuning van het Amsterdams Fonds voor de Kunst, Prins Bernhard Cultuurfonds en Paradiso tot stand komt. Het concert is daarnaast onderdeel van Hutspot, het eindexamenfestival compositie van het Conservatorium van Amsterdam. Het programma wordt door de Concertzender opgenomen voor uitzending op een nader te bepalen tijdstip. 2 OpenMusic slotconcert compositiepracticum Nieuw Ensemble Conservatorium van Amsterdam dirigent Lucas Vis première programma Rodrigo Tascón Potential landscape Daniel Gutierrez Berumen Whispers in a Dutch sky Ignacio Fernández Bollo Eclosión Andrzej Kwiecinski nr 27,1950 pauze Justin Christensen She said I could Chikage Imai Vectorial projection I Miguelángel Clerc Parada La Raíz Lanzada al Aire Ernesto Illescas Peláez Rituales improbables alle werken zijn ontstaan tijdens het compositiepracticum OpenMusic en geschreven voor het Nieuw Ensemble 3 Inleiding De computer heeft in het leven van het gros van de wereldbevolking een centrale plaats ingenomen. Zo ook in dat van componisten. De nieuwste muziek komt veelvuldig met behulp van de computer tot stand. Maar op de Nederlandse conservatoria wordt geavanceerde technologie nog nauwelijks onderwezen.
  • Reconsidering Conventional Techniques in the Performance of the Violin Music of the Second Viennese School

    Reconsidering Conventional Techniques in the Performance of the Violin Music of the Second Viennese School

    Reconsidering Conventional Techniques in the Performance of the Violin Music of the Second Viennese School Emily Westen Doctor of Music Schulich School of Music McGill University, Montreal A paper submitted to McGill University in partial fulfillment of the requirements of the degree ofD.Mus. Performance Studies August 2011 © Emily Westell, 2011 ABSTRACT This thesis provides possible solutions for incorporating the musical language of the Sec­ ond Viennese School into the canon of violin technique. Following a review of the pre­ existing literature in order to assess the areas of contemporary technique that have al­ ready been studied and published, the influence of two violinists is examined, that of Rudolf Kolisch and Louis Krasner. Both artists performed the music during the compos­ ers' lifetimes and both worked directly with each composer during the performance preparations. This important historical fact allows us to understand how certain elements of violin technique were used in performances heard by the composers. Subsequently, in order to expand the technical abilities and musical understanding of today's violinists, sample technical exercises and etudes are provided with explana­ tions that attend to matters specific to the violin music of the Second Viennese School. Sample exercises include left hand techniques such as fingering, shifting, and intonation, as well as right hand techniques, addressing issues of bowing, dynamics, and extended techniques. Musical considerations such as ensemble playing, gesture, and syntax are also included, as these are directly connected to the School's compositional techniques. The concepts presented in this thesis provide a framework for, and suggest guidelines to, ap- proaching the School's violin music in order to expand the pedagogical approach to vio­ lin technique while incorporating other issues found in this music.