DOCSLIB.ORG

Summer Institute

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Summer Institute AMERICAN SOCIETY OF UNIVERSITY COMPOSERS SUMMER INSTITUTE Presented in Cooperation with THE UNIVERSITY OF ILLINOIS SCHOOL OF MUSIC THE KRANNERT CENTER FOR THE PERFORMING ARTS And With the Assistance of The Alice M. Ditson Fund The Fromm Foundation The Quincy Foundation AUGUST 9-14, 1970 Events to be held at: Allerton House, Monticello, Illinois The Krannert Center for the Performing Arts, Urbana, Illinois Smith Music Hall, Urbana, Illinois Teaching Staff: JAMES BEAUCHAMP EDWARD KOBRIN CHARLES BRAUGHAM EDWIN LONDON BENJAMIN JOHNSTON THOMAS SiwE Composers in Residence: DAVID BURGE WENDELL LOGAN GEORGE BURT DONALD MARTINO BARNEY CHILDS SALVATORE MARTIRANO RANDOLPH COLEMAN ELLIOTT ScHwARTZ SIDNEY HODKINSON PAUL ZoNN M. WILLIAM KARLINS Students are invited to solicit private conferences with Resident Composers All events are at Allerton House unless otherwise specified SCHEDULE OF EVENTS SUNDAY, AUGUST 9, 1970 4:00 p.m., Smith Music Hall Program of University of Illinois Student Composers 8:00 p.m. Electronic Music Program presented by Experimental Music Studio, University of Illinois JAMES BEAUCHAMP, Director MONDAY, AUGUST 10, 1970 9:00 a.m. to 11 :00 a.m. "The Computer as Composer: (1) Programming" EDWARD KOBRIN 1 :00 p .m. to 3 :00 p .m. "Survey of Percussion Instruments" THOMAS SiwE 3 :00 p.m. to 5 :00 p.m. Open reading and recording of selected student compositions University of Illinois Contemporary Chamber Players EDWIN LONDON, Director 7 :30 p.m. to 9 :30 p.m. Lecture: "Problems of Notation and Autography" by DONALD MARTINO Panel Discussion: BENJAMIN JOHNSTON, moderator, BARNEY CHILDS, ELLIOTT SCHWARTZ, RANDOLPH COLEMAN TUESDAY, AUGUST 11, 1970 9 :00 a.m. to 11 :00 a .m. "The Computer as Composer: (2) Programming and Hardware" EDWARD KOBRIN 1 :00 p.m. to 3 :00 p.m. "Notation and Interpretation for Drum Set" University of Illinois Jazz Band with Charles Braugham 3 :00 p.m. to 5 :00 p.m. Open reading and recording of selected student compositions University of Illinois Contemporary Chamber Players EDWIN LONDON, Director 8:00 p.m., Krannert Center for the Performing Arts Contemporary Chamber Players Concert WEDNESDAY, AUGUST 12, 1970 9 :00 a.m. to 11 :00 a.m. "Sound Synthesis via Computer: Music V'" JAMES BEAUCHAMP 1 :00 p.m. to 3 :00 p.m. "Multi-Percussion Possibilities" THOMAS SIWE 3 :00 p.m. to 5 :00 p.m. Open reading and recording of selected student compositions University of Illinois Contemporary Chamber Players EDWIN LONDON, Director 8 :00 p.m., Krannert Center for the Performing Arts Concert: DAVID BURGE, Piano THURSDAY, AUGUST 13, 1970 9 :00 a.m. to 11 :00 a.m. "The Computer as Composer: (3) A Project" EDWARD KOBRIN, BENJAMIN JOHNSTON Followed by an Open Round Table Discussion 1 :00 p.m. to 3 :00 p.m. "The Percussion Section: Score Order and Notation" THOMAS SIWE 3 :00 p.m. to 5 :00 p.m. Open reading and recording of selected student compositions University of Illinois Contemporary Chamber Players EDWIN LONDON, Director 8 :00 p.m., Krannert Center for the Performing Arts Concert: University of Illinois Contemporary Chamber Players EDWIN LONDON, Director FRIDAY, AUGUST 14, 1970 9 :00 a.m. to 11 :00 a.m. Rap Session CONCERT PROGRAMS SUNDAY, AUGUST 9, 1970, ALLERTON HOUSE RECENT STUDIO MUSIC Abroad Tokyo Mandara ( 1969)------- -------------- -- -----------------TOSHIRO MAYUZUMI Utrecht Textuur ( 1968) ---------------------- --- ---------------------------FRITS WEILAND Warsaw Solitaire ( 1968) -------------------------------- ----- -----------ARNE NORDHEIM U.S. Ann Arbor Golden Wedding ( 1969)------------------------------------GERALD PLAIN Albany Rendezvous ( 1969)--------------------------------------------JOEL CHADABE Trumansburg Act of Openings ( 1969)-------------------------------------- ------JON WEISS Urbana Not Machine Music II ( 1970) ...................... VERONIKA CoHEN Saturday Night Hoopla ( 1969)----- ------------- ------EDWIN LONDON Four Little Radio Pieces ( 1969)------------------- -CHARLES MADDEN Mouth ( 1970 )------------------------------------- --- ----------------BARRY BROSCH COMPUTER SYNTHESIS MUSIC Urbana Points (from Four Studies for Illiac II) ( 1966 )----------- ------------ -- ---------------GARY GROSSMAN Princeton Lyric Variations, 6-10 ( 1966) ----------------- -- ---------JAMES RANDALL Urbana Infraudables ( 1967 )-------- ----------------- -------------------HERBERT BRUN Princeton Changes ( 1970)-------- ------ ----------------------------------CHARLES DoDGE TUESDAY, AUGUST 11, 1970, GREAT HALL Gestures for Eleven ( 1964 )--------------------------- -----------------------------HERBERT BRUN Chroma ( 1968) ----- ----- -------- ------------- ---------------------------------------------------PAUL ZoNN Loneliness ( 1969)-----------------------------------------------------------------·--MoRGAN PowELL Trio ( 1968)------------- ------------------------------------------------ ---- -- ---------------- -ROBERT KELLY Concatenations ( 1969 )------------------------------------------ ----------------------GEORGE WILSON INTERMISSION IN LOBBY The Holy Ghost Vacuum or America Faints ____________________ GEoRGE CACIOPPO Trio ( 1968) ········-··························------············----··-······--THOMAS FREDRICKSON Souvenirs of Munich (The Tristan and Isolde Quadrille) ---·········-······································-EMANUEL CHABRIER Requiems for the Party Girl ( 1968) ·-·····-······-··-·········-H. MURRAY SCHAFFER WEDNESDAY, AUGUST 12, 1970, ALLERTON HOUSE DAVID BURGE, Piano KARLHEINZ STOCKHAUSEN: Klavierstiick VIII ( 1954) LUCIANO BERIO: Cinque Variazioni ( 1952/ 3 - rev. 1966) ERNST KRENEK: Fourth Piano Sonata (1948) INTERMISSION DAVID BURGE: Two Piano Pieces Eclipse II ( 1966) Sources IV ( 1969) GEORGE CRUMB: Five Pieces for Piano (1962) SALVATORE MARTIRANO: Cocktail Music (1962) Mr. Burge has recorded the compositions by Stockhausen, Krenek, and Berio for Candide Records. The works by Crumb, Martirano, and Burge's "Eclipse II" are recorded on the Advance label. THURSDAY, AUGUST 13, 1970, GREAT HALL Music for Tenor Saxophone and Piano (1969)--------·-··M. WILLIAM KARLINS Song of Sixpence ( 1967) ··············----------------------·----------------···-·-·----DAVID BURGE Melted Ears ( 1969) -·-···-··········--··--···--··-······--····-··--·····-······-·-·····PHILIP WINSOR Akrata ( 1964) ---· ---·-·-·--------·-·-·-···············-·-···-------···-------------------IANNIS XENAKIS INTERMISSION IN LOBBY Auto-Mobile ( 1969)----------- ---- -- ------ ---- -----BEN JOHNSTON and JAAP SPEK Trio ( 1956, revised 1969)------ --- ---- ---------- -- -- --- --------------------- --- ------EDWIN LONDON Casta Maggi ( 1969) ----------------- ------------- ----- -·---·-----------------------·---BEN JOHNSTON Canzonetta, Op. 62A----·-·----··-·------ ---- --·------------ --------- ---·-·-------- ----- --JEAN SIBELIUS arr. by Igor Stravinsky Blind Men ( 1966) -- -- - - ----~------ ~ ------ - ------- · - - ----------------------- - ---------RoGER REYNOLDS 1970 Summer Institute of New Music for STUDENTS of COMPOSITION ALLERTON HOUSE ALLERTON PARK UNIVERSITY OF ILLINOIS AUGUST 9-14 MONTICELLO, ILLINOIS 1. SEMINAR: "Computer-- as- Composer" 2. WORKSHOP: "Contemporary Percussion Resources: a comprehensive survey" 3. READINGS in Open Rehearsal Contemporary Chamber Players, Ineluctable Modality 4. CONCERT SERIES Krannert Center for the Performing Arts 5. LECTURES Allerton House 6. PRIVATE CONFERENCES WITH COMPOSERS .... 'Jtote----- * * Student Composers wishing to have works read and recorded on tape in rehearsals should submit scores arid parts to: TEACHING PERSONNEL: James Beauchamp, Charles Braugham, Ben Johnston, Edward Kobrin, Edwin London, Thomas Siwe Edwin London• If possible, selected student works will be presented in a public concert series COMPOSERS IN RESIDENCE: David Burge, George Burt, Barney Childs, at the Krannert Center for the Perform­ Randolph Coleman, Sidney Hodkinson, M. William Karlins, Wendell Logan, ing Arts. Donald Martino, Salvatore Martirano, Elliott Schwartz, Paul Zonn Cost for the Summer Institute: $100. 00 including room and board. All Applicants Should Submit Scores, Tapes (if possible), and Let­ ters of Recommendation to: DEADLINE FOR THE SUBMISSION *A. S. U. C. SUMMER INSTITUTE -- OF SCORES AND PARTS IS: Edwin London c;0 JUNE 15, 1970 School of Music University of Illinois Urbana, Illinois 61801 A LIMITED NUMBER OF PARTIAL GRANTS OF TUITION AID WILL BE AVAILABLE .
Load more

Recommended publications
  • 2012 02 20 Programme Booklet FIN
    COMPOSITION - EXPERIMENT - TRADITION: An experimental tradition. A compositional experiment. A traditional composition. An experimental composition. A traditional experiment. A compositional tradition. Orpheus Research Centre in Music [ORCiM] 22-23 February 2012, Orpheus Institute, Ghent Belgium The fourth International ORCiM Seminar organised at the Orpheus Institute offers an opportunity for an international group of contributors to explore specific aspects of ORCiM's research focus: Artistic Experimentation in Music. The theme of the conference is: Composition – Experiment – Tradition. This two-day international seminar aims at exploring the complex role of experimentation in the context of compositional practice and the artistic possibilities that its different approaches yield for practitioners and audiences. How these practices inform, or are informed by, historical, cultural, material and geographical contexts will be a recurring theme of this seminar. The seminar is particularly directed at composers and music practitioners working in areas of research linked to artistic experimentation. Organising Committee ORCiM Seminar 2012: William Brooks (U.K.), Kathleen Coessens (Belgium), Stefan Östersjö (Sweden), Juan Parra (Chile/Belgium) Orpheus Research Centre in Music [ORCiM] The Orpheus Research Centre in Music is based at the Orpheus Institute in Ghent, Belgium. ORCiM's mission is to produce and promote the highest quality research into music, and in particular into the processes of music- making and our understanding of them. ORCiM
    [Show full text]
  • The Ten String Quartets of Ben Johnston, Written Between 1951 and 1995, Constitute No Less Than an Attempt to Revolutionize the Medium
    The ten string quartets of Ben Johnston, written between 1951 and 1995, constitute no less than an attempt to revolutionize the medium. Of them, only the First Quartet limits itself to conventional tuning. The others, climaxing in the astonishing Seventh Quartet of 1984, add in further microtones from the harmonic series to the point that the music seems to float in a free pitch space, unmoored from the grid of the common twelve-pitch scale. In a way, this is a return to an older conception of string quartet practice, since players used to (and often still do) intuitively adjust their tuning for maximum sonority while listening to each other’s intonation. But Johnston has extended this practice in two dimensions: Rather than leave intonation to the performer’s ear and intuition, he has developed his own way to specify it in notation; and he has moved beyond the intervals of normal musical practice to incorporate increasingly fine distinctions, up to the 11th, 13th, and even 31st partials in the harmonic series. This recording by the indomitable Kepler Quartet completes the series of Johnston’s quartets, finally all recorded at last for the first time. Volume One presented Quartets 2, 3, 4, and 9; Volume Two 1, 5, and 10; and here we have Nos. 6, 7, and 8, plus a small piece for narrator and quartet titled Quietness. As Timothy Ernest Johnson has documented in his exhaustive dissertation on Johnston’s Seventh Quartet, Johnston’s string quartets explore extended tunings in three phases.1 Skipping over the more conventional (though serialist) First Quartet, the Second and Third expand the pitch spectrum merely by adding in so-called five-limit intervals (thirds, fourths, and fifths) perfectly in tune (which means unlike the imperfect, compromised way we tune them on the modern piano).
    [Show full text]
  • Curriculum Vitae
    Curriculum Vitae Nathan E. Nabb, D.M. Associate Professor of Music – Saxophone Stephen F. Austin State University www.nathannabbmusic.com Contact Information: 274 Wright Music Building College of Fine Arts - School of Music Stephen F. Austin State University TEACHING EXPERIENCE Associate Professor of Saxophone Stephen F. Austin State University 2010 to present Nacogdoches, Texas Maintain and recruit private studio averaging 20+ music majors Applied saxophone instruction to saxophone majors (music education and performance) Saxophone quartets (number depending on enrollment) Private Applied Pedagogy and Repertoire for graduate saxophone students Recruitment tour performances and master classes with other wind faculty Saxophone studio class Assistant Professor of Saxophone Morehead State University 2005 to 2010 Morehead, Kentucky Maintain and recruit private studio averaging 17-22 music majors Applied saxophone instruction to saxophone majors (education, performance and jazz) Saxophone quartets (three or four depending on enrollment) Woodwind methods course (flute, clarinet and saxophone) Saxophone segment of Advanced Woodwind Methods Course Private Applied Pedagogy and Performance Practice for graduate saxophone students Guided independent study courses for graduate saxophone students Present annual clinics for Kentucky high-school saxophonists for the MSU Concert Band Clinic Present annual All-State audition preparation clinics Academic advisor for undergraduate private applied saxophonists Saxophone studio class Nathan E. Nabb Curriculum
    [Show full text]
  • Liner Notes, Visit Our Web Site
    The World’s Longest Melody is the title of this CD, the sixth to date devoted entirely to Larry Polansky’s music, and, curiously, the title of not one but two of the pieces on it: The World’s Longest Melody (Ensemble), and “The World’s Longest Melody (Trio): ‘The Ever-Widening Halfstep’”, the final piece of for jim, ben and lou. On casual listening, the two pieces seem to bear little relationship to each other. In fact, “The World’s Longest Melody” is a generic title, which referred originally to a simple but powerful theoretical melodic algorithm that Polansky devised and first published in a set of pieces called Distance Musics in the mid-1980s; the title then became attached both to the software itself (several generations thereof) as well as to a number of compositions of radically different form and character that resulted from its use. This situation shows something of the nature of Polansky’s musical and conceptual world, where ideas constantly grow, mutate, and branch out in unexpected directions. There are no clear lines of demarcation between his activities as composer, performer, improviser, theorist, computer musician, teacher, publisher, editor, musicologist: Polansky’s whole artistic endeavor might be thought of as a search for ways of participating responsibly in the complexity and plenitude of the world, and of sharing its abundance with others. The guitar has long been an important component in Polansky’s musical explorations, and this CD has grown from the enthusiasm for his work by the musicians of the Belgian electric guitar quartet ZWERM.
    [Show full text]
  • Dissertation 3.19.2021
    Cultivating the Contemporary Clarinetist: Pedagogical Materials for Extended Clarinet Techniques Caitlin Beare A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts University of Washington 2021 Reading Committee: Timothy Salzman, Chair David Rahbee Benjamin Lulich Program Authorized to Offer Degree: Music © Copyright 2021 Caitlin Beare University of Washington Abstract Cultivating the Contemporary Clarinetist: Pedagogical Materials for Extended Clarinet Techniques Caitlin Beare Chair of the Supervisory Committee: Timothy Salzman School of Music The exploration and implementation of new timbral possibilities and techniques over the past century have redefined approaches to clarinet performance and pedagogy. As the body of repertoire involving nontraditional, or “extended,” clarinet techniques has grown, so too has the pedagogical literature on contemporary clarinet performance, yielding method books, dissertations, articles, and online resources. Despite the wealth of resources on extended clarinet techniques, however, few authors offer accessible pedagogical materials that function as a gateway to learning contemporary clarinet techniques and literature. Consequently, many clarinetists may be deterred from learning a significant portion of the repertoire from the past six decades, impeding their musical development. The purpose of this dissertation is to contribute to the pedagogical literature pertaining to extended clarinet techniques. The document consists of two main sections followed by two appendices. The first section (chapters 1-2) contains an introduction and a literature review of extant resources on extended clarinet techniques published between 1965–2020. This literature review forms the basis of the compendium of materials, found in Appendix A of this document, which aims to assist performers and teachers in searching for and selecting pedagogical materials involving extended clarinet techniques.
    [Show full text]
  • Other Minds in Association with the Berkeley Art
    OTHER MINDS IN ASSOCIATION WITH THE BERKELEY ART MUSEUM/ PACIFIC FILM ARCHIVE & THE MISSION DOLORES BASILICA PRESENTS OTHER MINDS FESTIVAL 22 FEBRUARY 18, 19 & MAY 20, 2017 MISSION DOLORES BASILICA, SAN FRANCISCO & BERKELEY ART MUSEUM/PACIFIC FILM ARCHIVE, BERKELEY 2 O WELCOME FESTIVAL TO OTHER MINDS 22 OF NEW MUSIC The 22nd Other Minds Festival is present- 4 Message from the Artistic Director ed by Other Minds in association with the 8 Lou Harrison Berkeley Art Museum/Pacific Film Archive & the Mission Dolores Basilica 9 In the Composer’s Words 10 Isang Yun 11 Isang Yun on Composition 12 Concert 1 15 Featured Artists 23 Film Presentation 24 Concert 2 29 Featured Artists 35 Timeline of the Life of Lou Harrison 38 Other Minds Staff Bios 41 About the Festival 42 Festival Supporters: A Gathering of Other Minds 46 About Other Minds This booklet © 2017 Other Minds, All rights reserved 3 MESSAGE FROM THE EXECUTIVE DIRECTOR WELCOME TO A SPECIAL EDITION OF THE OTHER MINDS FESTIVAL— A TRIBUTE TO ONE OF THE MOST GIFTED AND INSPIRING FIGURES IN THE HISTORY OF AMERICAN CLASSICAL MUSIC, LOU HARRISON. This is Harrison’s centennial year—he was born May 14, 1917—and in addition to our own concerts of his music, we have launched a website detailing all the other Harrison fêtes scheduled in his hon- or. We’re pleased to say that there will be many opportunities to hear his music live this year, and you can find them all at otherminds.org/lou100/. Visit there also to find our curated compendium of Internet links to his work online, photographs, videos, films and recordings.
    [Show full text]
  • BEN JOHNSTON's PITCH CHOICE in SUITE for MICROTONAL PIANO Ben Taylor October 25, 2012
    BEN JOHNSTON'S PITCH CHOICE IN SUITE FOR MICROTONAL PIANO Ben Taylor October 25, 2012 2 Ben Johnston is often given the unfortunate distinction of being the best unknown American composer of the past half-century.1 His credentials are certainly distinguished; between 1950 and 1959, Johnston studied with luminaries Harry Partch, Darius Milhaud, and John Cage.2 Johnston's work has remained in relative obscurity throughout his life mostly due to his use of advanced microtonality that can make his compositions difficult to perform. A barrier, too, is the lack of commercial appeal of microtonal music, and while the esteemed Kronos Quartet has repeatedly offered to record all ten of his string quartets, their record label has refused as many times.3 A few of his string quartets, especially String Quartet No. 4 (1973), are now programmed, but the rest of his work remains in obscurity. Written in proximity to String Quartet No. 4, Johnston's Suite for Microtonal Piano (1978) is a less-known composition but one that is equally representative of his mature style. The microtonal scale of the work features several rare and dissonant intervals, but to listen to the work is to hear a clarified and controlled harmonic vocabulary. Musicologist Heidi Van Gunden describes the Suite's fourth movement as “a simple song.”4 That opinion is corroborated in a review of the work, which describes movement four as having a “down-home folksiness.”5 These are unexpected adjectives for a work that pushed the limits of harmony. Through studying the unusual microtonal scale for the work, one can see how Suite for Microtonal Piano, and specifically its fourth movement, balances simplicity and complexity, and helps demonstrate Johnston's artistic goals at that time.
    [Show full text]
  • Just Guitars 2010
    JUST GUITARS John Schneider, adapted guitars Suite for National Steel (1952/2002)………………………………………. Lou Harrison Jahla • Solo • Palace Music • Threnody • Serenado por Gitaro Men are Men & Mountains are Mountains (2007) ..................John Schneider In Memoriam James Tenney electric guitar Tombeau for Lou Harrison (2006).........................................................John Schneider Plaint • Passacaglia • Valse Triste • Jahla • intermission • Quando Cosas Malas Caen del Cielo (2003). .................................Terry Riley • National Broadstreet March • Quando Cosas Malas Caen del Cielo The Tavern (1998) .................................................................................................... Ben Johnston (1926) 1. Prelude 2. Who Says Words With My Mouth 3. A Community of the Spirit 4. A Children’s Game 5. The Many Wines 6. Special Plates 7. Burnt Kabob 8. The New Rule Lou Harrison was one of the most extraordinary musical minds of the 20th century. Poet, dancer, calligrapher, maker & player of many instruments, fluent in Esperanto & American Sign Language, ardent Pacifist, voracious reader, his music is as bold, expansive, and elegantly singular as his personality. Having worked closely with such luminaries as Henry Cowell, Arnold Schoenberg, Charles Ives, Harry Partch & John Cage, Harrison went on to embrace non-Western traditions, integrating the music of other cultures into his robust musical output. I had been playing the music found in the Suite for National Steel Guitar for many years on various refretted just intonation guitars, but the creation of an 11-limit just National Steel guitar for Lou’s Scenes from Nek Chand (2002) inspired a new set of arrangements that put familiar works in new modes. Theses new interpretations delighted the composer so much that he requested charts for the tunings for his personal records.
    [Show full text]
  • Contemporary Group
    University of Washington nIE SCHOOL OF MUSIC presents CONTEMPORARY "., '; • '!t' GROUP Stuart Dempster and William o. Smith, Co-directors performing works by Ben Johnston· Bob Snyder Reza Vall William o. Smith Diane Thome 8:00PM November 21, 1994 Meany Theater • CJ'r'4S .#=' I"~ ) 'PRO GRAM /2, '-t C99 - ,.' , 'D A;1 , , "/..:z.' ) ID 2-ONE MAN for Trombonist and Percussion.~................... Ben Johnston, (1967 & 1972) , (b. 1926) '.,.. Cross Keeping Still: Arousing Stuart Dempster Ib31lIEMOTIONOFFRAGRANCES (1991) ... ~~:J................ Bob Snyder for computer generated sounds (b. 1946) IDi FOLKSONGS (SET NO. 9) for Flute and Violoncello (1991) ..... Reza Vall Largo (72/ ) (b. 1952) Molto allegro Andonte Molto vivace Adq.gio , "",. ~,_, ., - .' -¥'Alle'8TO Sehert.tllJdt!T;": i'O,:",,; :. ,~ 1-"~: ~,; ".,.... , .. :~~ •.q ?':,,~ ~_.-t,!, "',,. 1,.,.,~:Atklgll).:;;! , ~-.,," ,;t,... .:;.~ ~:\~r~......" ... ~.·'t.,.-.:~'t:!-·,-~;;.\--;-:'l'.. ,'+--~,~ MtJI~gro . Sabra Weber. flutes; Loren Dempster. 'cello ' ..'.' : INTER MISSION ID~ INCANTATION for Solo Qarinet (1994).C.~:')............. William O. Smith (b. 1926) , William O. Smith ]t>i--MASKS OF ETERNI1Y for Solo Tape (1994) .... g..?.)......... Diane Thome in four movements (b. 1942) I'" Tape playback by Elizabeth Hoffman Technical Assistance by Richard Karpen. Gary Louie, and Meany Hall staff • • William O. Smith was born in Sacramento, California, in 1926. He sbldied at The Juilliard School, Mills College, the Paris Conservatory, and the University of California. His principal composition teacbers were Darius Milbaud and Roger Sessions. He bas received many awards and honors including the Prix de Paris, the Prix de Rome, two Guggenbeim fellowships and grants from the National Endowment of the Arts and the American Academy of Art and Letters. His music bas been published by Universal, Oxford University Press, Sball-U­ ; ...
    [Show full text]
  • Comprehensibility and Ben Johnston's String Quartet No. 9
    Comprehensibility and Ben Johnston’s String Quartet No. 9 * Laurence Sinclair Willis NOTE: The examples for the (text-only) PDF version of this item are available online at: hp://www.mtosmt.org/issues/mto.19.25.1/mto.19.25.1.willis.php KEYWORDS: just intonation, Ben Johnston, twentieth-century music, Harry Partch, string quartet ABSTRACT: Ben Johnston’s just-intonation music is of startling aural variety and presents novel solutions to age-old tuning problems. In this paper, I describe the way that Johnston reoriented his compositional practice in the 1980s as evidenced in his musical procedures. Johnston became aware of the disconnect between Western art music composers and their audiences. He therefore set about composing more accessible music that listeners could easily comprehend. His String Quartet No. 9 gives an instructive example of the negotiation between just intonation and comprehensibility. By integrating unusual triadic sonorities with background tonal relationships, Johnston reveals an evolution of just-intonation pitch structures across the work. This paper provides an example of an analytical method for exploring Johnston’s works in a way that moves beyond simply describing the structure of his system and into more musically tangible questions of form and process. Received June 2016 Volume 25, Number 1, May 2019 Copyright © 2019 Society for Music Theory [1.1] Perhaps the best way to introduce the music explored in this article is for you, the reader, to listen to some of it. So, please listen to Audio Example 1.(1) In some ways this music is very familiar: you heard a string quartet playing tonal music, and they used similar devices of phrasing that we might hear in a classical or romantic quartet.
    [Show full text]
  • CONTEMPORARY PERFORMANCE PROGRAM Margaret Kampmeier, Artistic Director and Chair
    CONTEMPORARY PERFORMANCE PROGRAM Margaret Kampmeier, Artistic Director and Chair TACTUS George Manahan (BM ’73, MM ’76), Guest Conductor TUESDAY, FEBRUARY 19, 2019 | 7:30 PM NEIDORFF-KARPATI HALL TUESDAY, FEBRUARY 19, 2019 | 7:30 PM NEIDORFF-KARPATI HALL TACTUS George Manahan (BM ’73, MM ’76), Guest Conductor Oliver Hagen, Preparatory Conductor Corey Mahaney, Audio Engineer PROGRAM STEVE REICH Tehillim (1981) JOHN CAGE Atlas Eclipticalis (1961) (b. 1936) (1912–1992) Part I: Fast (attacca) Thomas Feng, conductor; Stefanie Proulx, and Part II: Fast Paul Mizzi, flutes;Tyler Neidermayer, clarinets; Part III: Slow (attacca) Jon Clancy, percussion; Edward Forstman and Part IV: Fast Jixue Yang, piano; Joshua Weinberg, harp; Shannyn Rinker, Amber Evans,** and Rose Xiu Yi Kow and Hyeiri Hattie Ahn, violins; Megan Schubert,** sopranos; Luke Paulino, Wickliffe Simmons, cello countertenor; Joshua Weinberg, flute; Stefanie Proulx, piccolo; Andres Ayola,* oboe; Joel Roches,* English horn; Tyler Neidermayer FREDERIC RZEWSKI Les Moutons de Panurge (1969) (b. 1938) and Alexander Parlee,* clarinets; Paul Mizzi, Stefanie Proulx and Morgan Davison,* bassoon; Jon Clancy, Joshua Weinberg, flutes; Hamza Able,* William Hopkins,* Riley Barnes,* Tyler Neidermayer, bass clarinet; Jon Clancy, Caitlin Cawley,** Matthew Ward,*** percussion; drums; Jixue Yang, piano; Edward Forstman and Thomas Feng and Edward Forstman, keyboards; Thomas Feng, keyboards; Joshua Weinberg, harp; Rose Xiu Yi Kow and Hyeiri Hattie Ahn, violins; Rose Xiu Yi Kow and Hyeiri Hattie Ahn, violins; Dudley Raine,* viola; Wickliffe Simmons, cello; Wickliffe Simmons, cello Zachary Merkovsky,* double bass George Manahan, conductor Intermission *Student guest performer **CPP alumni guest performer ***guest performer PROGRAM NOTES Steve Reich Tehillim Steve Reich has been called “America’s greatest living composer” (Village Reich was awarded the Gold Medal in Music by the American Academy of Voice), “the most original musical thinker of our time” (The New Yorker), Arts and Letters in 2012.
    [Show full text]
  • Kronos Quartet
    I::)AIVI bill Brooklyn Academy of Music 1996 Next Wave Festival Jim Dine, The Heart of BAM, 1996, Woodcut, 26-1/4" x 19-3/8" Kronos Quartet BAM 1996 Next Wave Festival and 135th Anniversary Season are sponsored by Philip Morris Companies Inc. The Brooklyn Academy of Music Bruce C. Ratner Chairman of the Board Harvey Lichtenstein President & Executive Producer presents Kronos Qua rtet David Harrington-violin Hank Dutt-viola John Sherba-violin Joan Jeanrenaud-cello BAM Carey Playhouse Running time: Aural Histories Medieval to Modern American Mavericks approximately two November 13 at 7pm November 15 at 8pm November 16 at 8pm hours per program, including intermission Ken Benshoof Ben Johnston John Zorn St. Francis Climbs Mt. Amazing Grace Cat 0' Nine Tails* Diablo (on His Way to Harry Partch Mark Feldman Heaven) *:1: (Arr. Ben Johnston) Resident Alien* 0 Jack Body Two Studies on Ancient Tim Berne Arum Manis * Greek Scales:t Dry Ink, Silence* 0 Mo Wuping 1.0Iympos' Pentatonic Lois V Vierk Village Ritua/:l: 2.Archytas'Enharmonk River Beneath the Istvan Marta Arvo Part / Psalom:l: River* Doom. A Sigh* Perotin (Arr. Kronos) Jon Hassell Viderunt Omnes t:l: Intermission Pano da Costa Judith Shatin Terry Riley (Cloth from the Coast) * Elijah's Chariot * :I: Cadenza on the Night Intermission Intermission Plain * Osvaldo Golijov Hildegard of Bingen/ The Dreams and Gerard McBurney Prayers of Isaac the Karitas Habundat t:l: * Written for Kronos Blind with special Henry Purcell tArranged for Kronos guest David Krakauer, Four Part Fantasia #2 :I: New York Premiere clarinets (June 11, 1680) o World Premiere John Cage (Arr.
    [Show full text]