DOCSLIB.ORG

The Instruments Were Highly Resonant

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Instruments Were Highly Resonant i ABSTRACT Lou Harrison’s “Old Granddad”: A Composer’s Guide by Brady J. Spitz American composer Lou Harrison was known for his activity in blending the music of the world’s cultures and, later in life, building unique instruments. An example of this is the creation of his “American Gamelan” in the late 1960s and early 1970s. He and William Colvig created a set of tuned pipes and aluminum slabs that were fixed to a single key; and, because the instruments were highly resonant metallophones, they became known as the “American Gamelan” (even though Harrison’s own compositional practice with them bore little resemblance to the music of Indonesia at this point). The music of these instruments (which came to be known as “Old Granddad”) is a truly significant achievement in the history of Western music. The first three chapters of this document include a history of the Old Granddad instruments, technical diagrams and descriptions, and a discussion of their tuning. Their purpose is to help future musicians build a replica. The following three chapters analyze Harrison’s three major works for Old Granddad: the opera Young Caesar (1971); the oratorio La Koro Sutro (1972); and the Suite for Violin and American Gamelan (1974). Their purpose is to provide a model for composers who wish to write more works for the instrument. A synthesis of this historical, technical, and theoretical information offers practical details that may be of use to future ii composers. The document concludes with Laurel—a commissioned piece by Shane Monds that tests the conclusions of my research. iii Acknowledgments I would first like to thank my advisor Dr. Peter Loewen for graciously shepherding me through not just the creation of this document, but also the end of my studies at Rice. His thoughts constantly challenged me to find new depth and meaning in my own work. He remains an inspiration for my future academic life. I would also like to thank the faculty and staff at Rice University. I have been fortunate these past years to be a member of such a close-knit community of artists. I received friendship, encouragement, and artistic inspiration from almost every employee of the Shepherd School of Music. I would especially like to thank Professors Richard Brown and Matthew Strauss for helping cultivate both a deeper musicianship and stronger humanity in me. Throughout the creation of this document, several people have proved immeasurably valuable. Gratitude must go to Eva Soltes, director of the Harrison House, for providing rich first-person accounts of the life of Lou Harrison. Thanks also to Richard Cooke, who was gracious enough to invite me to his home in Durango, CO and provide me with original documentation for the repair and replication of Old Granddad. My immense appreciation goes to Jody Diamond, without whose guidance and patience in the musical world I would surely be lost. Your life’s work is an example to aspire to and I treasure our friendship. Thank you to Dr. Shane Monds for your wonderful piece Laurel. This piece is evidence of a monumental intellect. I have so valued our past personal friendship iv and professional collaboration. I am excited to see what you will contribute to our profession. To all my Rice Percussion colleagues, thank you for the support and inspiration these past years. It is a gift to go to work every day in a place that gives you great artistic satisfaction and professional excitement. To my DMA classmates, thank you for providing me with constant support and encouragement. In our vast network of academic peers, in my eyes you have no equal. Thanks to Jessica Quah for acting as a sounding board and helping me edit time and again. For my other friends inside and outside the Shepherd School, thank you for your consummate artistry, professionalism, and warm affections, you cannot know how much they have meant to me. Finally, I would like to thank my family, most especially my wife, Graciela Ruiz. Thank you for your patience and understanding throughout my degree and the creation of this document. Thank you for supporting me through late nights, early mornings, and days seemingly without end. Thank you for your constant cheerleading. Without your love, none of this would be possible. v Contents Acknowledgments ..……………………………………………………………………………………… iii Contents ..………………………………………………………………………………………………………. v List of Figures ...………………………………………………………………………………………….. viii List of Tables ...………………………………………………………………………………………………. x Introduction ..………………………………………………………………………………………………… 1 Chapter 1: A History of Lou Harrison’s “Old Granddad” .………………………………. 8 1.1. Childhood and World Music Influence …………………………………………………... 8 1.2. Cage, Cowell, and Dance: The Beginning of Dance Music in America ………. 11 1.3. Harrison’s Introduction to Just Intonation ……………………………………………. 15 1.4. The Arrival of William Colvig ……………………………………………………………….. 20 1.5. Old Granddad #1 and Young Caesar ……………………………………………..……… 22 1.6. Old Granddads #2 and #3 ………………………………………………………………….... 28 1.7. Refurbishing Old Granddad #1 ……………………………………………………………. 33 1.8. Old Granddad #4 ………………………………………………………………………………… 34 Chapter 2: The Instruments ………………………………………………………………………… 38 2.1. Soprano Bells – Steel …………………………………………………………………………... 40 2.2. Soprano Bells – Aluminum ………………………………………………………………….. 43 2.3. Tenor Bells – Steel ……………………………………………………………………………… 45 2.4. Tenor Bells – Aluminum ……………………………………………………………………… 48 2.5. Baritone Keys ……………………………………………………………………………………… 51 2.6. Bass Keys ……………………………………………………………………………………………. 54 2.7. Other Instruments ………………………………………………………………………………. 58 2.8. A Note About “Change Out” Pitches ……………………………………………………… 61 Chapter 3: Tuning and Timbre …………………………………………………………………….. 64 3.1. Timbre and Sound Quality …………………………………………………………………… 71 3.1.1. General ……………………………………………………………………………………………. 71 3.1.2. Bells ………………………………………………………………………………………………… 73 3.1.3. Keys ………………………………………………………………………………………………… 81 Chapter 4: Young Caesar ……………………………………………………………………………… 88 4.1. Background and Influences ………………………………………………………………..... 88 4.1.1. 1971 Premiere Performance ……………………………………………………..……… 91 4.1.2. 1988 Revision ………………………………………………………………………………….. 94 vi 4.1.3. 1998 and 2007 Revisions …………………………………………………………………. 96 4.1.4. 2017 Los Angeles Philharmonic Reproduction …………………………………... 97 4.2. Musical Analysis ………………………………………………………………………………... 102 4.2.1. General Concepts ……………………………………………………………………………. 103 4.2.2. Beginning ……………………………………………………………………………………….. 106 4.2.3. Overture to Act One ………………………………………………………………………… 107 4.2.4. Scene One ………………………………………………………………………………………. 109 4.2.5. Scenes Two Through Four ………………………………………………………………. 110 4.2.6. Scene Five ……………………………………………………………………………………… 111 4.2.7. Scene Six ………………………………………………………………………………………… 113 4.2.8. Scene Seven ………………………………………………………………………………….... 114 4.2.9. Overture to Act Two ……………………………………………………………………….. 115 4.2.10. Scene Eight …………………………………………………………………………………….. 117 4.2.11. Scene Nine ……………………………………………………………………………………… 118 4.2.12. Scene Ten ……………………………………………………………………………………….. 118 4.2.13. Scene Eleven …………………………………………………………………………………... 121 4.2.14. Scene Twelve …………………………………………………………………………………. 121 4.2.15. Scene Thirteen ……………………………………………………………………………….. 122 4.2.16. Scene Fourteen ………………………………………………………………………………. 124 4.2.17. Conclusion ……………………………………………………………………………………... 127 Chapter 5: La Koro Sutro ……………………………………………………………………………. 128 5.1. Background ………………………………………………………………………………………. 128 5.2. Musical Analysis ………………………………………………………………………………... 132 5.2.1. General Concepts …………………………………………………………………………..... 132 5.2.2. Kunsunoro kaj Gloro ……………………………………………………………………… 138 5.2.3. 1a Paragrafo ……………………………………………………………………………..……. 139 5.2.4. 2a Paragrafo ………………………………………………………………………………..…. 141 5.2.5. 3a Paragrafo ………………………………………………………………………………….. 142 5.2.6. 4a Paragrafo ………………………………………………………………………………..…. 144 5.2.7. 5a Paragrafo ………………………………………………………………………………….... 147 5.2.8. 6a Paragrafo ………………………………………………………………………………..…. 147 5.2.9. 7a Paragrafo …………………………………………………………………………………... 149 5.2.10. Mantro kaj Kunsonoro ………………………………………………………………….… 149 5.3. Conclusion ……………………………………………………………………………………….. 152 Chapter 6: Suite for Violin and American Gamelan ……………………………………... 153 6.1. Background ………………………………………………………………………………………. 153 6.2. Musical Analysis ……………………………………………………………………………….. 157 6.2.1. General Considerations …………………………………………………………………… 157 6.2.2. Threnody ……………………………………………………………………………………….. 158 6.2.3. Estampie ………………………………………………………………………………………… 159 vii 6.2.4. Air …………………………………………………………………………………………………. 162 6.2.5. Jahlas One Through Three ………………………………………………………………. 162 6.2.6. Chaconne ……………………………………………………………………………………….. 164 6.2.7. Conclusion ……………………………………………………………………………………… 166 Chapter 7: Miscellaneous Repertoire and New Projects ………………………..…… 167 7.1. Solo to Anthony Cirone ……………………………………………………………………… 168 7.2. Film Music ………………………………………………………………………………………… 169 7.3. Old Granddad #3 ……………………………………………………………………………….. 171 7.4. MIT Old Granddad Project …………………………………………………………………. 172 7.5. Conclusion ………………………………………………………………………………………… 174 Chapter 8: General Performance Considerations ………………………………………. 176 8.1. Implements ………………………………………………………………………………………. 177 8.2. Personnel …………………………………………………………………………………………. 179 8.3. Colotomy and Rhythmic Notation ……………………………………………………… 181 8.4. Technique and Execution …………………………………………………………………... 182 8.5. Future Concerns ………………………………………………………………………………... 185 Chapter 9: Test Case - Work Title by Dr. Shane Monds……………………………..….
Load more

Recommended publications
  • The Development of Art Learning Model at School (A Review of Music Education Learning in Indonesia)
    HARMONIA : Journal of Arts Research and Education 15 (1) (2015), 1-8 p-ISSN 1411-5115 Available online at http://journal.unnes.ac.id/nju/index.php/harmonia e-ISSN 2355-3820 DOI: 10.15294/harmonia.v15i1.3690 THE DEVELOPMENT OF ART LEARNING MODEL AT SCHOOL (A REVIEW OF MUSIC EDUCATION LEARNING IN INDONESIA) Dieter Mack University of Music, Lübeck, Germany Musikhochschule Lübeck, Große Petersgrube 21, 23552 Lübeck, Germany E-mail: [email protected] Received: April 22, 2015. Revised: May 5, 2015. Accepted: June 13, 2015 Abstract At the present time, art education is often ignored. Focus on teaching and learning at school seems to accentuate other subjects, such as: science, economics, and technology. This trend is becoming more concerning for the arts is a field of study, which draws attention to the development of perceptual sensitivity, creativity, as well as social responsibility. However, if art education, in this case is music education, is taught theoretically based on other cultural materials, then the consequences will be worse for students. This study is aimed to draw outlines of music education which hopefully can answer the three aspects of music which are previously described. The outlines are arranged based on recent discoveries in audio perceptions. Keywords: Art Learning Model; Music Education Learning; Indonesia How to Cite: Mack, D. (2015). The Development of Art Learning Model at School (A Review of Music Education Learning in Indonesia). Harmonia: Journal of Arts Research And Education, 15(1). doi:http://dx.doi.org/10.15294/harmonia.v15i1.3690 INTRODUCTION Another reason behind the proposed idea is because a Western art has its own Before explaining the core problems culture with its typical history which is of art education learning materials, the- essential can be understood as the Wes- re are three main factors related to music tern cultural context and may influence education at school which need to be no- the awareness of students live in Western ted: countries.
    [Show full text]
  • Gamelan Gender Wayang of Bali: Form and Style
    ..................~~.~.~.. ~------------------ WESLEYAN UNIVERSITY Gamelan Gender Wayang of Bali: Form and Style by Kalafya Brown A thesis submitted to the facuIty of Wesleyan University in partial fulfillment of the requirements for the degree of Master of Arts in Music May, 2000 Middletown, Connecticut My teacher, Kak Luweng, and myself playing gender (above) and just sitting (below), 2 Introduction and Acknowledgements I began studying gamelan music in 1994 while I was an undergraduate at the Massachusetts Institute of Technology. No one tends offhand to associate gamelan with MIT. but there it is. Professor Evan Ziporyn has been directing the gong kebyar ensemble Gamelan Galak Tika at MIT since 1993, and I was an active member from 1994 until 1997. Unfortunately the pressure of my studies at Wesleyan has not allowed me to play with Galak Tika as much as I would like in the past few years. For the three years of my tenure with Galak Tika we were blessed with the artistry of the Balinese husband and wife team of I Nyoman Catra and Desak Made Suarti Laksmi. The magnificent teaching and performance prowess of Evan, Catra and Desak formed the basis of my introduction to gamelan music. In 1997 I came to Wesleyan University to study for the degree of Master of Arts in Music, of which this thesis is a part. Here at Wesleyan I have had the great honor of studying with I. M. Harjito and Sumarsam, two Javanese artists. I sincerely thank them for broadening my awareness of the multifaceted natures of Indonesian music and for sharing with me the great beauty of the central Javanese court gamelan.
    [Show full text]
  • Fenomena Dan Dampak Arus Globalisasi Terhadap Perkembangan Kesenian Joged Bumbung
    Fenomena dan Dampak Arus Globalisasi Terhadap Perkembangan Kesenian Joged Bumbung Oleh I Nyoman Mariyana Mahasiswa Pascasarjana (S2) ISI Denpasar Joged Bumbung Gamelan joged bumbung adalah sebuah barungan gamelan yang dipergunakan untuk mengiringi tarian joged bumbung, sebuah tari pergaulan yang ada di Bali. Dalam tarian ini, seorang penari wanita berhiaskan sejenis legong menjawat (memilih) seorang penonton untuk di ajak menari. Gamelan joged bumbung disebut juga gamelan grantangan, karena pokok- pokok instrumennya adalah grantang yaitu gender yang terbuat dari bambu, berbentuk bumbung dan memakai laras selendro lima nada. Larasnya serupa dengan gamelan gender wayang. Dalam buku Evolusi Tari Bali, gamelan joded bumbung disebutkan “bumbung” berarti tabung (bamboo), sebuah istilah untuk memberikan nama kepada seperangkat gamelan joged. Dalam hal ini ialah gamelan joged bumbung (proyek panggilan/pembinaan seni budaya klasik/tradisional dan baru). Bila dilihat dari instrumentasinya, gamelan Joged Bumbung terdiri dari berbagai instrumen diantaranya ; 1. Grantang, yang terdiri dari empat grantang gede dan dua grantang kecil, berfungsi sebagai pembawa melodi pokok, dimainkan dengan dua tangan mempunyai tekhnik pukulan sejenis gender wayang dengan memakai polos dan sangsih. 2. Gong Pulu dibuat dari besi atau kerawang. Bentuknya seperti jegogan di dalam gamelan gong, berbilah dua (nada yang sama ngumbang dan ngisep) berfungsi sebagai finalis didalam lagu-lagu joged bumbung, menggantikan gong gede di dalam gamelan gong. 3. Tawa-tawa, sebuah instrument pembawa matra. Bentuk kettle ( atau gong kecil ) 4. Klenang, sejenis kajar, berfungsi sebagai penombal kajar. 5. Kecek adalah ceng-ceng kecil yang berfungsi untuk memperkaya ritme didalam gamelan joged bumbung. 6. Kendang satu buah berfungsi untuk pemurba irama, pengatur tinggi rendah dan cepat lambatnya dari lagu-lagu joged bumbung.
    [Show full text]
  • The Rite of Spring: Rhythmic Rebirths As Delivered by Messiaen and Boulez
    Te Rite of Spring: Rhythmic Rebirths as Delivered by Messiaen and Boulez* Wai Ling Cheong A century has passed since Te Rite of Spring (Le sacre du printemps) provoked a riot at the Téâtre des Champs-Élysées on 29 May 1913 and harvested a captivating success from the Parisian audience soon after wards.1 Some of the best minds of our times, Messiaen and Boulez foremost among them, attempted to unravel the ‘secrets’ of Te Rite of Spring, with rhythm prioritised as one of their main concerns. Even be- fore the end of World War II, during the difcult years of the Occupa- tion, Messiaen had already shared his pioneering study of Te Rite of Spring with his star students from the Paris Conservatoire at a private analysis class.2 Messiaen’s insightful analysis of Te Rite of Spring is often praised in a vacuum. For a very long time the details of Messiaen’s anal- ysis were known rather exclusively only to his students. In 1953 Boulez, then in his late twenties, published his exegesis of Te Rite of Spring – Stravinsky Remains (Strawinsky demeure) – which soon became one of his best known analyses and has since then left an indelible imprint on the reception history of the masterpiece.3 Te lack of any formal documen- * Tis project (CUHK14613417) is supported by the Hong Kong Research Grants Council. 1 According to Jonathan Cross, Sergey Diaghilev had assumed a critical role in engi- neering the riotous premiere. See Jonathan Cross, Rewriting “Te Rite of Spring”: Creative Responses to “Le Sacre du printemps”, in: Avatar of Modernity: Te Rite of Spring Reconsidered, ed.
    [Show full text]
  • Pengembangan Aplikasi Game Simulasi Virtual Tingklik Dan Suling Bali Berbasis Android
    ISSN 2252-9063 Kumpulan Artikel Mahasiswa Pendidikan Teknik Informatika (KARMAPATI) Volume 2, Nomor 6, Agustus 2013 PENGEMBANGAN APLIKASI GAME SIMULASI VIRTUAL TINGKLIK DAN SULING BALI BERBASIS ANDROID I Nyoman Agus Permadi 1, I Gede Mahendra Darmawiguna 2, I Made Gede Sunarya 3 Jurusan Pendidikan Teknik Informatika Universitas Pendidikan Ganesha Singaraja, Bali E-mail: [email protected] 1, [email protected] 2, [email protected] 3 Abstrak —Tingklik adalah alat musik rubber on it's tip), Tingklik made of bamboo and tradisional Bali dan dimainkan dengan cara di generally played by farmers in their fields. Flute pukul dengan panggul. Panggul adalah bambu/kayu is a traditional Balinese musical instrument that yang diujungnya terdapat karet berbentuk often played together with Tingklik. Flute imade lingkaran, tingklik terbuat dari bambu dan of bamboo and played by blowing. As modern umumnya di mainkan oleh para petani di sawah mereka. Suling adalah alat musik tradisional Bali musical instruments are getting more popular, yang sering dimainkan bersamaan dengan tingklik, Tingklik and Suling are being forgotten.s suling terbuat dari bambu dan dimainkan dengan This study aims to (1) design an android-base cara ditiup. Seiring berjalannya waktu kedua alat Tingklik and Suling simulation game, (2) musik tradisional itu makin dilupakan karena implement the design of android-base Tingklik tergeser oleh adanya alat musik modern. and Suling simulation game. This simulation Penelitian ini bertujuan untuk (1) merancang game developed for android smartphone by using aplikasi game simulasi tingklik dan suling Bali the Waterfall method and implemented in the berbasis android; (2) mengimplementasikan Java programming language using Eclipse rancangan aplikasi game simulasi tingklik dan suling Bali berbasis android.
    [Show full text]
  • University of Oklahoma Graduate College
    UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE JAVANESE WAYANG KULIT PERFORMED IN THE CLASSIC PALACE STYLE: AN ANALYSIS OF RAMA’S CROWN AS TOLD BY KI PURBO ASMORO A THESIS SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the Degree of MASTER OF MUSIC By GUAN YU, LAM Norman, Oklahoma 2016 JAVANESE WAYANG KULIT PERFORMED IN THE CLASSIC PALACE STYLE: AN ANALYSIS OF RAMA’S CROWN AS TOLD BY KI PURBO ASMORO A THESIS APPROVED FOR THE SCHOOL OF MUSIC BY ______________________________ Dr. Paula Conlon, Chair ______________________________ Dr. Eugene Enrico ______________________________ Dr. Marvin Lamb © Copyright by GUAN YU, LAM 2016 All Rights Reserved. Acknowledgements I would like to take this opportunity to thank the members of my committee: Dr. Paula Conlon, Dr. Eugene Enrico, and Dr. Marvin Lamb for their guidance and suggestions in the preparation of this thesis. I would especially like to thank Dr. Paula Conlon, who served as chair of the committee, for the many hours of reading, editing, and encouragement. I would also like to thank Wong Fei Yang, Thow Xin Wei, and Agustinus Handi for selflessly sharing their knowledge and helping to guide me as I prepared this thesis. Finally, I would like to thank my family and friends for their continued support throughout this process. iv Table of Contents Acknowledgements ......................................................................................................... iv List of Figures ...............................................................................................................
    [Show full text]
  • Downloaded from Brill.Com09/26/2021 01:14:48PM Via Free Access Wim Van Zanten - 9789004261778 Downloaded from Brill.Com09/26/2021 01:14:48PM Via Free Access
    PART FIVE THE ETHNIC MODERN Wim van Zanten - 9789004261778 Downloaded from Brill.com09/26/2021 01:14:48PM via free access Wim van Zanten - 9789004261778 Downloaded from Brill.com09/26/2021 01:14:48PM via free access <UN> <UN> CHAPTER ELEVEN MUSICAL ASPECTS OF POPULAR MUSIC AND POP SUNDA IN WEST JAVA Wim van Zanten Introduction: Sundanese Music and the Technology of Enchantment Research on popular music, particularly in the field of cultural studies, has tended to focus on political and sociological aspects, to the exclusion of musical structures and actual sounds. Whereas in most societies musi- cal genres are in the first place classified by social criteria, it is undeniable that also the technicalities of the music play a role: audiences hear the differences between, for instance, jaipongan and degung kawih perfor- mances. This is because these musics are produced in different ways, using different instruments, tone material, musical structure, etc. Alfred Gell made an important contribution to the anthropological study of art by pointing out that the production of art is a technological process. He mentions that there are ‘beautiful’ things, like beautiful women, beautiful horses and a beautiful sunset. However, art objects are made ‘beautiful’ by human beings and this requires technology. He criti- cizes sociologists like Pierre Bourdieu, who do not really look at an art object as a concrete product of human ingenuity, but only elaborately look at the represented symbolic meanings (Gell 1999:162). In contrast, Gell proposes that anthropologists should look at art as a ‘component of technology.’ We call something an object of art if it is the outcome of a technological process, the kind of processes in which artists are skilled.
    [Show full text]
  • 7'Tie;T;E ~;&H ~ T,#T1tmftllsieotog
    7'tie;T;e ~;&H ~ t,#t1tMftllSieotOg, UCLA VOLUME 3 1986 EDITORIAL BOARD Mark E. Forry Anne Rasmussen Daniel Atesh Sonneborn Jane Sugarman Elizabeth Tolbert The Pacific Review of Ethnomusicology is an annual publication of the UCLA Ethnomusicology Students Association and is funded in part by the UCLA Graduate Student Association. Single issues are available for $6.00 (individuals) or $8.00 (institutions). Please address correspondence to: Pacific Review of Ethnomusicology Department of Music Schoenberg Hall University of California Los Angeles, CA 90024 USA Standing orders and agencies receive a 20% discount. Subscribers residing outside the U.S.A., Canada, and Mexico, please add $2.00 per order. Orders are payable in US dollars. Copyright © 1986 by the Regents of the University of California VOLUME 3 1986 CONTENTS Articles Ethnomusicologists Vis-a-Vis the Fallacies of Contemporary Musical Life ........................................ Stephen Blum 1 Responses to Blum................. ....................................... 20 The Construction, Technique, and Image of the Central Javanese Rebab in Relation to its Role in the Gamelan ... ................... Colin Quigley 42 Research Models in Ethnomusicology Applied to the RadifPhenomenon in Iranian Classical Music........................ Hafez Modir 63 New Theory for Traditional Music in Banyumas, West Central Java ......... R. Anderson Sutton 79 An Ethnomusicological Index to The New Grove Dictionary of Music and Musicians, Part Two ............ Kenneth Culley 102 Review Irene V. Jackson. More Than Drumming: Essays on African and Afro-Latin American Music and Musicians ....................... Norman Weinstein 126 Briefly Noted Echology ..................................................................... 129 Contributors to this Issue From the Editors The third issue of the Pacific Review of Ethnomusicology continues the tradition of representing the diversity inherent in our field.
    [Show full text]
  • The Influence of Plainchant on French Organ Music After the Revolution
    Technological University Dublin ARROW@TU Dublin Doctoral Applied Arts 2013-8 The Influence of Plainchant on rF ench Organ Music after the Revolution David Connolly Technological University Dublin Follow this and additional works at: https://arrow.tudublin.ie/appadoc Part of the Musicology Commons Recommended Citation Connolly, D. (2013) The Influence of Plainchant on rF ench Organ Music after the Revolution. Doctoral Thesis. Dublin, Technological University Dublin. doi:10.21427/D76S34 This Theses, Ph.D is brought to you for free and open access by the Applied Arts at ARROW@TU Dublin. It has been accepted for inclusion in Doctoral by an authorized administrator of ARROW@TU Dublin. For more information, please contact [email protected], [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-Share Alike 4.0 License The Influence of Plainchant on French Organ Music after the Revolution David Connolly, BA, MA, HDip.Ed Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy in Music Dublin Institute of Technology Conservatory of Music and Drama Supervisor: Dr David Mooney Conservatory of Music and Drama August 2013 i I certify that this thesis which I now submit for examination for the award of Doctor of Philosophy in Music, is entirely my own work and has not been taken from the work of others, save and to the extent that such work has been cited and acknowledged within the text of my work. This thesis was prepared according to the regulations for postgraduate study by research of the Dublin Institute of Technology and has not been submitted in whole or in part for another award in any other third level institution.
    [Show full text]
  • Misirli Ahmet: the Clay Darbuka Technique and Its Performance Analysis
    RAST MÜZİKOLOJİ DERGİSİ Uluslararası Müzikoloji Dergisi www.rastmd.com MISIRLI AHMET: THE CLAY DARBUKA TECHNIQUE AND ITS PERFORMANCE ANALYSIS Esra Karaol1 Nilgün Doğrusöz2 ABSTRACT Although its roots are seen in ancient times and despite the fact that it plays a huge role in the historical developments of Turkish and world music, the darbuka and its performance have not been extensively taken under musicological studies. This article is about the performance analysis of the darbuka techniques developed by Misirli Ahmet and studied under the light of the fact that the existing musical discourse has been transferred from teacher to student through ages orally. Parallel to the cultural changes, the advancement of civilizations throughout the course of history, the emergence of the instrument has shown differences. Therefore the material of the clay darbuka has been the most important factor affecting the different techniques of playing the instrument. The reason why we emphasize on the performance analysis is that it is of fundamental importance to make observations and decipher its characteristics within the discipline of musical theory. Keywords: Mısırlı (Egyptian) Ahmet, clay darbuka, split finger technique. MISIRLI AHMET: TOPRAK DARBUKA TEKNİĞİ VE İCRA ANALİZİ ÖZET Kökleri antik çağlara kadar dayandırılmasına, günümüze kadar Türk ve dünya müziklerinin tarihsel sürecinde önemli rolü olmasına rağmen, darbuka ve icrası müzikoloji çalışmalarında kapsamlı ele alınmamıştır. Müzikal tekniğin ustadan çırağa sözlü aktarım ve görsel öğrenim geleneği ile iletilmiş olduğu tespit edilmiştir. Toprak darbuka çalgısı üzerinde şekillenen, darbuka icracısı Mısırlı Ahmet’in geliştirdiği tekniğin icra 1 Yardımcı Doçent Doktor, Istanbul Üniversitesi Devlet Konservatuarı, Mirgün Köşkü-Emirgan & Türkiye, [email protected] 2 Profesör Doktor, Istanbul Teknik Üniversitesi, TMDK-Maçka & Türkiye, [email protected] 50 Mısırlı Ahmet: The Clay Darbuka Technique and Its Performance Analysis bağlamında analiz edildiği kısımlar vurgulanmaktadır.
    [Show full text]
  • Project-Isorhythm 2019
    Project 4: Isorhythmic Trio or Quartet after Messiaen What’s due when: 1. Online discussion comments posted by Tuesday October 1 at noon. 2. Preliminary analysis worksheet completed by Wednesday, October 2. 3. Rough draft completed by Wednesday, October 9. We will read them through (on piano, MIDI playback, and/or in ensemble) and discuss them in class. 4. Score and parts completed in neat copy (by hand or computer) by noon on Monday, October 14, to me by email (Sibelius or PDF; scans of neatly handwritten music are fine). Model: Messiaen “Liturgie de cristal” from Quartet for the End of Time. Instrumentation: 3-4 instruments. One and only one must be a “chord” instrument (piano, marimba, vibraphone, or guitar). The other 2-3 can be any available single-line instrument: voice, flute(s), clarinet, t. sax, bass. Duration: circa 2-5 minutes, circa 4-16 pages of score Formal procedure: Your piece will be based on one or more isorhythmic structures. Each isorhythm should employ a talea (rhythmic cycle) and color (pitch cycle) of different lengths. At least one of the isoryhthmic patterns should run through the entire movement. You may choose what elements are governed by isoryhthmic cycles: it could be certain instruments (like the piano and cello in the Messiaen), or it could be certain dimensions (for example, a harmonic progression, or the notes of a certain register) that are not necessarily localized to one particular instrument. Structure: Think about the relationship between isorhythmically determined and free writing in your piece. Remember that the isorhythmic elements are not “beyond your control” just because you follow a strict procedure, as you are determining the content of the talea and color.
    [Show full text]
  • 2008-2009 Annual Report
    ANNUAL REPORT OF THE JACKMAN HUMANITIES INSTITUTE 2008-2009 TABLE OF CONTENTS 1. Overview: The First Full Year at the Jackman Humanities Institute 1 2. Statement from the Director of the Jackman Humanities Institute 2 3. Governance 4 4. Space and Staffing 6 5. Fellows 9 6. Jackman Humanities Institute Program for the Arts 12 7. Jackman Humanities Institute Working Groups 14 8. Looking Ahead: Announcements for 2009–2010 15 1. OVERVIEW: THE FIRST FULL YEAR 1 1. Overview: The First Full Year at the Jackman Humanities Institute Annual Theme, 2008–2009: Telling Stories Most fellowships and programs at the Jackman Humanities Institute (JHI) are chosen for their achievement, scholarly merit and their relevance to a single annual theme. This annual focus permits coherent, imaginative and meaningful communication between widely separated disciplines, while the year-by-year variation allows for an equitable rotation of concentration between units. The themes are chosen by consensus of the Advisory Board of the Jackman Humanities Institute. The following are selected both for scholarly excellence and for relevance to the annual theme: Fellowships . Jackman Humanities Institute Faculty Research Fellowships (12 Month) . Andrew W. Mellon Postdoctoral Fellowships (incoming year only) . Chancellor Jackman Graduate Fellowships in the Humanities . Jackman Humanities Institute Undergraduate Fellowships . Jackman Humanities Institute Distinguished Visiting Fellows Programs . Jackman Humanities Institute Program for the Arts The following are selected for scholarly excellence independent of relevance to the annual theme: Professorships . Chancellor Henry N.R. Jackman Distinguished Professor in Philosophical Studies . Chancellor Jackman Professorships in the Arts Fellowships . Jackman Humanities Institute Faculty Research Fellowships (6 month) .
    [Show full text]