PROBES #23.2 Devoted to Exploring the Complex Map of Sound Art from Different Points of View Organised in Curatorial Series
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The KNIGHT REVISION of HORNBOSTEL-SACHS: a New Look at Musical Instrument Classification
The KNIGHT REVISION of HORNBOSTEL-SACHS: a new look at musical instrument classification by Roderic C. Knight, Professor of Ethnomusicology Oberlin College Conservatory of Music, © 2015, Rev. 2017 Introduction The year 2015 marks the beginning of the second century for Hornbostel-Sachs, the venerable classification system for musical instruments, created by Erich M. von Hornbostel and Curt Sachs as Systematik der Musikinstrumente in 1914. In addition to pursuing their own interest in the subject, the authors were answering a need for museum scientists and musicologists to accurately identify musical instruments that were being brought to museums from around the globe. As a guiding principle for their classification, they focused on the mechanism by which an instrument sets the air in motion. The idea was not new. The Indian sage Bharata, working nearly 2000 years earlier, in compiling the knowledge of his era on dance, drama and music in the treatise Natyashastra, (ca. 200 C.E.) grouped musical instruments into four great classes, or vadya, based on this very idea: sushira, instruments you blow into; tata, instruments with strings to set the air in motion; avanaddha, instruments with membranes (i.e. drums), and ghana, instruments, usually of metal, that you strike. (This itemization and Bharata’s further discussion of the instruments is in Chapter 28 of the Natyashastra, first translated into English in 1961 by Manomohan Ghosh (Calcutta: The Asiatic Society, v.2). The immediate predecessor of the Systematik was a catalog for a newly-acquired collection at the Royal Conservatory of Music in Brussels. The collection included a large number of instruments from India, and the curator, Victor-Charles Mahillon, familiar with the Indian four-part system, decided to apply it in preparing his catalog, published in 1880 (this is best documented by Nazir Jairazbhoy in Selected Reports in Ethnomusicology – see 1990 in the timeline below). -
John Cage's Entanglement with the Ideas Of
JOHN CAGE’S ENTANGLEMENT WITH THE IDEAS OF COOMARASWAMY Edward James Crooks PhD University of York Music July 2011 John Cage’s Entanglement with the Ideas of Coomaraswamy by Edward Crooks Abstract The American composer John Cage was famous for the expansiveness of his thought. In particular, his borrowings from ‘Oriental philosophy’ have directed the critical and popular reception of his works. But what is the reality of such claims? In the twenty years since his death, Cage scholars have started to discover the significant gap between Cage’s presentation of theories he claimed he borrowed from India, China, and Japan, and the presentation of the same theories in the sources he referenced. The present study delves into the circumstances and contexts of Cage’s Asian influences, specifically as related to Cage’s borrowings from the British-Ceylonese art historian and metaphysician Ananda K. Coomaraswamy. In addition, Cage’s friendship with the Jungian mythologist Joseph Campbell is detailed, as are Cage’s borrowings from the theories of Jung. Particular attention is paid to the conservative ideology integral to the theories of all three thinkers. After a new analysis of the life and work of Coomaraswamy, the investigation focuses on the metaphysics of Coomaraswamy’s philosophy of art. The phrase ‘art is the imitation of nature in her manner of operation’ opens the doors to a wide- ranging exploration of the mimesis of intelligible and sensible forms. Comparing Coomaraswamy’s ‘Traditional’ idealism to Cage’s radical epistemological realism demonstrates the extent of the lack of congruity between the two thinkers. In a second chapter on Coomaraswamy, the extent of the differences between Cage and Coomaraswamy are revealed through investigating their differing approaches to rasa , the Renaissance, tradition, ‘art and life’, and museums. -
Studies in Instrumentation and Orchestration and in the Recontextualisation of Diatonic Pitch Materials (Portfolio of Compositions)
Studies in Instrumentation and Orchestration and in the Recontextualisation of Diatonic Pitch Materials (Portfolio of Compositions) by Chris Paul Harman Submitted to The University of Birmingham for the degree of DOCTOR OF PHILOSOPHY Department of Music School of Humanities The University of Birmingham September 2011 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. Abstract: The present document examines eight musical works for various instruments and ensembles, composed between 2007 and 2011. Brief summaries of each work’s program are followed by discussions of instrumentation and orchestration, and analysis of pitch organization. Discussions of instrumentation and orchestration explore the composer’s approach to diversification of instrumental ensembles by the inclusion of non-orchestral instruments, and redefinition of traditional hierarchies among instruments in a standard ensemble or orchestral setting. Analyses of pitch organization detail various ways in which the composer renders diatonic -
The Singing Guitar
August 2011 | No. 112 Your FREE Guide to the NYC Jazz Scene nycjazzrecord.com Mike Stern The Singing Guitar Billy Martin • JD Allen • SoLyd Records • Event Calendar Part of what has kept jazz vital over the past several decades despite its commercial decline is the constant influx of new talent and ideas. Jazz is one of the last renewable resources the country and the world has left. Each graduating class of New York@Night musicians, each child who attends an outdoor festival (what’s cuter than a toddler 4 gyrating to “Giant Steps”?), each parent who plays an album for their progeny is Interview: Billy Martin another bulwark against the prematurely-declared demise of jazz. And each generation molds the music to their own image, making it far more than just a 6 by Anders Griffen dusty museum piece. Artist Feature: JD Allen Our features this month are just three examples of dozens, if not hundreds, of individuals who have contributed a swatch to the ever-expanding quilt of jazz. by Martin Longley 7 Guitarist Mike Stern (On The Cover) has fused the innovations of his heroes Miles On The Cover: Mike Stern Davis and Jimi Hendrix. He plays at his home away from home 55Bar several by Laurel Gross times this month. Drummer Billy Martin (Interview) is best known as one-third of 9 Medeski Martin and Wood, themselves a fusion of many styles, but has also Encore: Lest We Forget: worked with many different artists and advanced the language of modern 10 percussion. He will be at the Whitney Museum four times this month as part of Dickie Landry Ray Bryant different groups, including MMW. -
Here to Be Objectively Apprehended
UMCSEET UNEARTHING THE MUSIC Creative Sound and Experimentation under European Totalitarianism 1957-1989 Foreword: “Did somebody say totalitarianism?” /// Pág. 04 “No Right Turn: Eastern Europe Revisited” Chris Bohn /// Pág. 10 “Looking back” by Chris Cutler /// Pág. 16 Russian electronic music: László Hortobágyi People and Instruments interview by Alexei Borisov Lucia Udvardyova /// Pág. 22 /// Pág. 32 Martin Machovec interview Anna Kukatova /// Pág. 46 “New tribalism against the new Man” by Daniel Muzyczuk /// Pág. 56 UMCSEET Creative Sound and Experimentation UNEARTHING THE MUSIC under European Totalitarianism 1957-1989 “Did 4 somebody say total- itarian- ism?” Foreword by Rui Pedro Dâmaso*1 Did somebody say “Totalitarianism”* Nietzsche famously (well, not that famously...) intuited the mechanisms of simplification and falsification that are operative at all our levels of dealing with reality – from the simplification and metaphorization through our senses in response to an excess of stimuli (visual, tactile, auditive, etc), to the flattening normalisation processes effected by language and reason through words and concepts which are not really much more than metaphors of metaphors. Words and concepts are common denominators and not – as we'd wish and believe to – precise representations of something that's there to be objectively apprehended. Did We do live through and with words though, and even if we realize their subjectivity and 5 relativity it is only just that we should pay the closest attention to them and try to use them knowingly – as we can reasonably acknowledge that the world at large does not adhere to Nietzsche’s insight - we do relate words to facts and to expressions of reality. -
Chris Cutler, Loops Analogiques, Digitales, À L'unisson, Déphasées, Multipistes, Échantillonnées Ou Improvisées. Les Usage
Culture, le magazine culturel en ligne de l'Université de Liège Chris Cutler, Loops Analogiques, digitales, à l'unisson, déphasées, multipistes, échantillonnées ou improvisées. Les usages que revêtent les boucles musicales sont multiples. Elles se déploient dans les studios d'enregistrement, envahissent les radios, tournent dans les supermarchés, ou accompagnent les jeux vidéo. On les a d'abord entendues chez Pierre Schaeffer et Karlheinz Stockhausen, ou peut-être avant dans les premiers synthétiseurs, voire en appelant les premières horloges parlantes. On les entendait surtout lorsque les disques se rayaient depuis le début du 19 e siècle. Elles ont conquis Steve Reich et Terry Riley, puis Brian Eno et Kraftwerk, Grandmaster Flash et Boards of Canada. Il était même des humains pour les imiter : Glenn Branca, Rhys Chatham avec leurs armées de guitares en premier. Boucles et répétitions semblent avoir bel et bien assujetti le monde à l'aube du 21 e siècle. C'est afin d'interroger les multiples usages et sens de la boucle et de distinguer cette structure des autres formes de répétition dans son rapport au temps et à l'espace qu'est né le projet « Understanding the Loop » sous les auspices du CIPA (Centre Interdisciplinaire de Poétique Appliquée). Ce projet prend également en considération de façon historique les techniques et spécificités historiques propres aux différentes formes d'art où on lui reconnaît un rôle prépondérant ; tout comme de rendre compte des manières distinctes de moduler la répétition qui dépassent le simple argument trop souvent avancé de la logique « non linéaire » qui serait mise en place par la boucle. -
Transitions-Review-1.Pdf
ENCORE > ARTS COUNCIL MALTA WHETHER IT’S A BACH FUGUE, A MOZART SONATA OR A CHOPIN NOCTURNE, THE SCORE IS THE ONLY LINK BETWEEN THE PIANIST AND THE COMPOSER. BUT WHAT IF TODAY’S CONCERT PIANIST COULD ACTUALLY CONSULT THE COMPOSER HIMSELF? FOR PIANIST TRICIA DAWN WILLIAMS, CONVERSING WITH THE COMPOSER IS NOT A SÉANCE WITH THE DEPARTED BECAUSE SHE SPECIALISES IN CONTEMPORARY REPERTOIRE AND IN MOST CASES THE COMPOSER IS ALIVE AND KICKING. THANKS TO ARTS COUNCIL MALTA’S CULTURAL EXPORT FUND, WILLIAMS TRAVELLED TO NEW YORK FOR MASTER CLASSES WITH PIANIST MARGARET LENG TAN; A MUSIC JOURNEY THAT TOOK HER FROM THE PRINTED SCORES TO AN ENCOUNTER WITH AMERICAN COMPOSER GEORGE CRUMB ENCORE > ARTS COUNCIL MALTA In 2015, Tricia Dawn Williams decided to tackle the ground-breaking work Makrokosmos by George Crumb which is divided into two volumes: Volume I SHE HAS was composed in 1972 and Volume II in 1973. This monumental work is unlike any other piece ever PROGRESSIVELY written for the piano. In fact Makrokosmos remains the most comprehensive and influential exploration PERFECTED of the new technical resources of the piano from the twentieth century. One of the major challenges of this work is that it requires the pianist to exercise many AN INDIVIDUAL unorthodox playing practices, like plucking strings inside the piano, playing glissandi across strings, STYLE FUSING sliding a scrape along a string, damping the strings with various objects (like paper, a metal chain, glass) SOUND, as well as whistling tones and vocal utterances. This dazzling exploration of musical timbre is probably the CHOREOGRAPHY most famous aspect of Makrokosmos. -
A History of Siamese Music Reconstructed from Western Documents 1505-1932
A HISTORY OF SIAMESE MUSIC RECONSTRUCTED FROM WESTERN DOCUMENTS 1505-1932 This content downloaded from 96.9.90.37 on Thu, 04 Feb 2021 07:36:11 UTC All use subject to https://about.jstor.org/terms Introduction The writing of music history, the chief activity of the musicologist, depends almost entirely on the existence of written documents. Historical studies of various musics of the world have appeared wherever there are such documents: Europe, China, Japan, Korea, India, and in the Islamic cultural area of Western Asia and North Africa. Mainland Southeast Asia, however, has remained much of a musico-historical void since little has remained besides oral traditions and a few stone carvings, although Vietnamese music is an exception to this statement. The fact that these countries have so few trained musicologists also contributes to the lack of research. In the case of the Kingdom of Thailand, known before 1932 as Siam, little has been attempted in the way of music history in languages other than Thai, and those in Thai, also not plentiful, remain unknown to the outside world.l Only the European-trained Prince Damrong has attempted a comprehensive history, but it is based as much on tradition and conjecture as on concrete evidence and is besides quite brief. David Morton's classic study of Thai traditional music, The Traditional Music of Thailand, includes some eighteen pages of history, mostly based on oral traditions, conjecture, circumstantial evidence from neighboring musical cultures (Cambodia, China, and India), and some from the same documents used in this study. At least three reasons can be given for the lack of historical materials originating in Thailand. -
Wolfson Long Composer
David Wolfson is a composer, music director, arranger, and pianist who lives in New York City, currently a PhD candidate in composition at Rutgers University. He holds an MA in composition from Hunter College, where he studied with Shafer Mahoney and Richard Burke, and a BM from the Cleveland Institute of Music, where he studied with Eugene O'Brien and John Rinehart, graduating in 1985. In that same year he was awarded the first annual Darius Milhaud Award by the Darius Milhaud Society and won the Bascom Little Musical Theatre Composition Competition for his short opera, Rainwait. Mr Wolfson’s music has been called “brilliant” by the Cleveland Plain Dealer; the New York Times referred to it as “musically inventive” and “theatrically forceful.” His concert works have been performed by such notable performers as Margaret Leng Tan, Jenny Lin, and the cello quartet Cello. Recent premieres include Ruck, for saxophone quartet, at Marble Collegiate Church in New York City; Twinkle, Dammit!, for toy piano and toys by Margaret Leng Tan at the 1st International Toy Piano Festival; and Rapture, a short opera, on the Pocket Opera series at Hunter College in New York City. A film version of another short opera, Maya’s Ark (produced by Grethe Holby’s Ardea Arts), recently had its premiere screening. Mr. Wolfson is the composer of Story Salad, a series of stage revues for children, which toured nationally for fourteen seasons beginning in 1988, and was seen by well over a million children, teachers and parents. He has supplied incidental music for several off-off-Broadway plays, created sound designs for a set of Macy’s window displays, and written songs for an amusement park big-headed-costumed-character show, Riverside Park’s Country Critter Jamboree. -
The Biography of Wintergatan
The Biography of Wintergatan The Swedish band Wintergatan is about music. And musical instruments. And sounds and melodies. With pounding beats in the bottom end, autoharp and accordion in the middle and Vibraphone, Glockenspiel and Music box towards the high end the sound of Wintergatan is both beauty and beast. Grand and minimalistic. Occasionally the Modulin, a monophonic analogue homebuilt theremin/violin-esque syntheseizer dives in singing in the sci-fi key. Being instrumental Wintergatan´s music is direct, driven by melodies that catches on and tell tales without using words. The band´s name derives from the recording session where Wintergatan created their debut album in a vast forest in Sweden. Wintergatan is Swedish for "The Milky Way" and on cloudfree nights in the forest, distant from citylights blocking your eyesight you can see how our galaxy lies tilted, as a line crossing the starry sky. This sensation of actually being a part of and in the galaxy gave name to the band. The first thing ever to come out from Wintergatan was the song and video of “Sommarfågel”. “Sommarfågel” immediately got wings of its own and an extensive live tour was booked without anything else released. A second song and video, “Starmachine 2000”, was released shortly after that. Wintergatan then released their selftitled debut album on May 1, 2013, on their own record label. In October 2013 Wintergatan released a single named after Gothenburg´s fastest bike - Tornado. With “Tornado” and another bike related track "Biking is Better", taken from the album, Wintergatan salutes the superiority of bikes as the best inner city transport vehicle. -
Vivianfung|Composer
vivianfung|Composer “Her music ... summons images of dusk and reaches for hidden places and states of mind.” San Jose Mercury News Vivian Fung Phone: (917) 535-0050 Email: [email protected] Website: www.vivianfung.net Vivian Fung has distinguished herself as a composer with a unique and powerful compositional voice. Since earning her doctorate from The Juilliard School in 2002, she has forged her own approach often merging western forms with non-western vivianfung|Composer influences such as Balinese and Javanese gamelan and folk songs from minority regions of China. The New “…as vital as encountering Steve Reich or the York Times has described her work as ―evocative,‖ Kronos for the first time.” and The Strad hails her Uighur-influenced music to be The Strad ―as vital as encountering Steve Reich or the Kronos for the first time.‖ Chicago Tribune described Fung‘s Yunnan Folk Songs as conveying ―a winning rawness that went beyond exoticism.‖ Fung has traveled extensively for her work. In 2004, she traveled to Bali, Indonesia Highlights of Fung's recent world as part of the Asia Pacific Performance Exchange premieres include: her Violin Concerto for Kristin Program, sponsored by the UCLA Center for Lee and Grammy nominated Metropolis Ensemble, Intercultural Performance. In summer 2010, as an Dust Devils commissioned by the Eastern Music ensemble member of Gamelan Dharma Swara, she Festival celebrating their 50th anniversary, Yunnan completed a performance tour of Bali including Folk Songs by Fulcrum Point New Music Project in competing in the Bali Arts Festival. Chicago; new choral works by the acclaimed Suwon Civic Chorale in South Korea; Chant by pianist Fung‘s works have increasingly Margaret Leng Tan at the Museum of Modern Art in become part of the core repertoire. -
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1114 IEIT liVE FESTIVIL 1994 NEXT WAVE COVEll AND POSTER AR11ST ROBERT MOS1tOwrrz •••I_lil , .1, lllE! II I E 1.lnII ImlEI 14. IS BAMBILL BROOKLYN ACADEMY OF MUSIC Harvey Lichtenstein, President & Executive Producer THE BROOKLYN PHILHARMONIC ORCHESTRA Dennis Russell Davies, Principal Conductor Lukas Foss, Conductor Laureate 41st Season, 1994/95 MIRROR IMAGES in the BAM Opera House October 14, 15, 1994 PRE-CONCERT RECITAL at 7pm PHILIP GLASS Six Etudes Dennis Russell Davies, Piano (American premiere) BROOKLYN PHILHARMONIC ORCHESTRA DENNIS RUSSELL DAVIES, Conductor MARGARET LENG TAN, Piano 8pm JOHN ZORN For Your Eyes Only (BPO Commission) CHEN YI Piano Concerto Margaret Leng Tan, Piano (BPO commission; premiere performance) - Intermission - PHILIP GLASS Symphony No.2 (BPO commission; premiere performance) Allegro Andante Allegro POST-CONCERT DIALOGUE with Chen Yi, Philip Glass, Dennis Russell Davies, and Joseph Horowitz Philip Glass' Symphony No.2 is commissioned by BPO with partial funding provided by the Mary Flagler Cary Charitable Trust. Symphony No.2 composed by Philip Glass. Copyright 1994 Dunvagen Music Publishers, Inc. THE STANLEY H. KAPLAN EDUCATIONAL CENTER ACOUSTICAL SHELL The Brooklyn Philharmonic and the Brooklyn Academy of Music gratefully acknowledge the generosity of Mr. and Mrs. Stanley H. Kaplan, whose assistance made possible the Stanley H. Kaplan Educational Center Acoustic Shell. THE BROOKLYN PHILHARMONIC ORCHESTRA IS THE RESIDENT ORCHESTRA OF BAM. _ MIRROR IMAGES _ mainly associate£! with opera; ballet. film. and experimentaltheatet~ the opportuni f,r to "think a\Jour tne tradition of &Ythphonic musk;/' Glass haSstateu. openeu "a new world ofmusic--and I am very much looking forward to what I will discover." Glass's Symphony No.