DOCSLIB.ORG

American Society O-F University Composers

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
American Society O-F University Composers American S ociety o-f University Composers Proceedings of the Second Annual Conference / April 1967 AMERICAN SOCIETY OF UNIVERSITY COMPOSERS Proceedings of the Second Annual Conference, April, 1967 Copyright © 1969 The American Society of University Composers, Inc. clo Department of Music, Dodge Hall C<1lumbia University New York, N. Y. 10027 Subscription Information: Proceedings of The American Society of University Composers are published annually by the American Society of University Com­ posers, Inc. Subscriptions are available at $5.00 per year (domestic) and $6.00 per year (foreign). Back issue rate: $5.00 per volume. Subscription requests should be addressed to: Proceedings Editor American Society of University Composers Department of Music, Columbia University New York, New York 10027, U.S.A. AMERICAN SOCIETY OF UNIVERSITY COMPOSERS Proceedings of the Second Annual Conference, April, 1967 H eld at Washington University, St. Louis, Missouri in cooperation with the Department of Music, Washington University The Society gratefully acknowledges the support of THE A LICE M. DITSON F UND in assisting the publication of this volume. Founding Committee BENJAMIN BORETZ, DONALD MARTINO, J. K. RANDALL, CLAUDIO SPIES, HENRY WEINBERG, PETER WESTERGAARD, CHARLES WUORINEN National Council ALLEN BRINGS, BARNEY CHILDS, RANDOLPH E. COLEMAN (Chairman), DAVID EPSTEIN, CARLTON GAMER, LOTHAR KLEIN, DONALD MACINNIS, CLIFFORD TAYLOR Executive Committee ELAINE BARKIN, RICHMOND BROWNE, CHARLES DODGE, WILLIAM HIBBARD, HUBERT S. HOWE, JR., BEN JOHNSTON, JOEL MANDELBAUM, RAOUL PLESKOW, HARVEY SOLLBERGER Editor of Proceedings HUBERT S. HOWE, JR. CONTENTS I Proceedings of the 1967 Conference Part I: Sung Language 9 PETER WESTERGAARD Sung Language Part II: Performance Pr.oblems 39 MELVIN STRAUSS Performance Problems in Contemporary Music 42 JoEL CHADABE Performing Problems 45 FRED COULTER Simplification of Complex Musical Structures 48 CHARLES WUORINEN Comment on Fred Coulter Part III: Professional Colloquium 51 PAUL A. PISK Arnold Schoenberg as Teacher 54 ROY TRAVIS Directed Motion in Webern's Piano Variations, Op. 27/II 61 JOHN ROGERS Toward a System of Rotational Arrays Part IV: Microtonal Music in America 77 LEIGH GERDINE Introductory Remarks 79 PETER YA TES Micro tones 89 BEN JOHNSTON Three Attacks on a Problem 99 LEJAREN A. HILLER, JR. Electronic Synthesis of Microtonal Music 107 JOEL MANDELBAUM The Isolation of the Microtonal Composer 113 CARL TON GAMER Deep Scales and Difference Sets in Equal-Tempered Systems 123 Other Presentations 125 Membership List, February, 1969 The music examples in this issue are reprinted by kind permission of the copyright owners as follows: Theodore Presser Co., Bryn Mawr. Webern: Symphony, Op. 21, Copyright 1929, Universal Edition; Piano Variations, Op. 27, Copyright 1937, Universal Edition. The Proceedings are printed by LIPSIUS PRESS, 460 Amsterdam Avenue, New York, N. Y.10024, U.S.A. PART I SUNG LANGUAGE PETER WESTERGAARD 9 SUNG LANGUAGE I WOULD like to talk about some of the problems that come up when composers write vocal music with a text. The problems that I have in mind are not the aesthetic ones caused by mixing up two different communications systems; ·they are the compositional ones caused by the fact that both systems depend on the articulation and perception of sequences of differentiated sounds. That is not to say ·that both systems use the same differentiations or that the same differentiations, should they exist in both systems, would serve the same structural functions. But there is no avoiding the fact that in vocal music with a text some of the differentiations are bound to be the same for both systems and some of the struc­ tural functions of each will either join forces or collide. Now while I assume that you all know all about the differentia­ tions among sounds and their structural functions in music, I won't 10 assume the same for language. So at the risk of appearing to treat my colleagues like a bunch of freshmen, I will devote the first half of my talk to an informal resume of some of the findings of linguistics that seem to me to be relevant to composing. 1.1 SPEECH SOUNDS 1. SPOKEN LANGUAGE Consider for a moment your capabilities as a sound generator. If you push with your diaphragm or squeeze with the mus.cles between your ribs or just plain let your chest sag, you can force air out of your lungs, up your windpipe, through your open vocal chords, and (if you've closed off your nasal passages with your soft palate) out through your mouth. As the air moves out through the relatively wide aperture, the friction will produce a wide band of white noise of rather weak intensity [h] .1 To get a stronger signal you must limit the aperture and increase the pressure. By placing the tip of your tongue against your lower front teeth and the edges of your tongue against your back upper teeth and then almost closing your jaws you can c-reate a much smaller aperture at the front of the mouth. Air passing through this aperture will be vibrating at around 3900 c/ s and up [s]. By gradually widening the aperture and moving it back into your mouth, you can lower the bottom limit of the band to around 2000 c/s [s+SJ.2 By limiting the aperture to a thin space between the tip of your tongue and your upper front teeth you can get another kind of band 1 Square brackets around a symbol mean the sound indicated by the sym­ bol. One of the advantages of giving this paper orally was that I could simply make the necessary sound at the appropriate place in the sentence. Anyone who reads the paper will of course have to make the sound for himself. For those not familiar with I.P.A., here are some of the symbols used in this paper that are not self-explanatory together with examples of words that use the sound they represent. [f1 ship [f IP] [8] thin [81n] [3] vision [vi;•ml [17] sing [s111] [x] loch [bxl [:J] log [l:J g] [t] bet [btt] [re] bat [bretl 2 + means a continuous change from the first sound to the second. [8]; by putting your lower lip against your upper front teeth, yet an- 11 other [f]. Since the envelope of these sounds is controlled by the breathing apparatus, the rise time tends to be pretty long - the big- ger the aperture, the longer; steady states are possible for as long as you've got air. (The bigger the aperture, the more air you'll have to use.) To get a fast attack on a high narrow band, put the front of your tongue against the ridge of your hard palate (just above your upper front teeth) so it closes off the air; build up the pressure, and then release it in a sudden puff [t]. To get a slightly wider, considerably lower band in a slightly slower attack, close off the air with your lips instead [p]. To get a still wider and lower band in a still slower attack close off the air with the very back of your tongue against the soft part of the roof of your mouth [k]. Now none of the sounds described so far has had a pitch. To get a pitch you have to close your vocal cords to a thin chink. The moving air will then set the cords in periodic vibration and itself be set into periodic vibrations. Pitches can be added to any of the foregoing noises. Because of the common envelope they are easily associated into a single complex sound [t], [d]; [p], [b]; [k], [g]; [s], [z]; [SJ, [J]; ff], [v]; [e], [8]. In each case the rise time is a little longer for the complex (or voiced) sound than it is for the straight noise (or unvoiced) sound. To produce a pitch without a noticeable noise component you must cut down the friction by sending the periodically vibrating air through a wider aperture. But even with a wider aperture you can still shape the passage and channel the vibrating air past soft tissues or bony walls, thereby damping some partials and boosting others. Jamming the edges of your tongue against your upper molars will channel the vibrating air between the soft groove of your tongue and the hard roof of your mouth [r]; putting the tip of your tongue against the ridge just above your upper front teeth will channel the vibrating air past your even harder back upper teeth and the edges of your tongue, to produce yet another timbre [l]. To get an essen­ tially different kind of timbre you can open the valve to your nose and close your mouth sending the vibrating air through the soft tissues of the nasal passages: if you close off the whole resonating chamber of your mouth by closing the valve at the back of the mouth you get one timbre [>;]; if you close off the front half of your mouth (including your teeth) by putting your tongue against the ridge above your upper front teeth, you get another [n]; or, if you close off the mouth at the lips only, yet another [m]. 12 Now you can make any of these sounds as soft as you want to, but you can't make all of them equally loud. Try as you may you will never be able to get [h] or [8] anywhere near the maximum loudness of [s] or [ S]. Of the voiced sounds described so far the ones with the biggest dynamic range were the last five [r], [1], [m], · [n], and [1]. But there is another class of sound with a much greater dynamic range.
Load more

Recommended publications
  • A Historiography of Musical Historicism: the Case Of
    A HISTORIOGRAPHY OF MUSICAL HISTORICISM: THE CASE OF JOHANNES BRAHMS THESIS Presented to the Graduate Council of Texas State University-San Marcos in Partial Fulfillment of the Requirements for the Degree Master of MUSIC by Shao Ying Ho, B.M. San Marcos, Texas May 2013 A HISTORIOGRAPHY OF MUSICAL HISTORICISM: THE CASE OF JOHANNES BRAHMS Committee Members Approved: _____________________________ Kevin E. Mooney, Chair _____________________________ Nico Schüler _____________________________ John C. Schmidt Approved: ___________________________ J. Michael Willoughby Dean of the Graduate College COPYRIGHT by Shao Ying Ho 2013 FAIR USE AND AUTHOR’S PERMISSION STATEMENT Fair Use This work is protected by the Copyright Laws of the United States (Public Law 94-553, section 107). Consistent with fair use as defined in the Copyright Laws, brief quotations from this material are allowed with proper acknowledgement. Use of this material for financial gain without the author’s express written permission is not allowed. Duplication Permission As the copyright holder of this work, I, Shao Ying Ho, authorize duplication of this work, in whole or in part, for educational or scholarly purposes only. ACKNOWLEDGEMENTS My first and foremost gratitude is to Dr. Kevin Mooney, my committee chair and advisor. His invaluable guidance, stimulating comments, constructive criticism, and even the occasional chats, have played a huge part in the construction of this thesis. His selfless dedication, patience, and erudite knowledge continue to inspire and motivate me. I am immensely thankful to him for what I have become in these two years, both intellectually and as an individual. I am also very grateful to my committee members, Dr.
    [Show full text]
  • New and Old Tendencies in Labour Mediation Among Early Twentieth-Century US and European Composers
    Anna G. Piotrowska New and Old Tendencies in Labour Mediation among Early Twentieth-Century U.S. and European Composers: An Outline of Applied Attitudes1 Abstract: New and Old Tendencies in Labour Mediation among Early Twen- tieth-Century U.S. and European Composers: An Outline of Applied Atti- tudes.This paper presents strategies used by early twentieth-century compos- ers in order to secure an income. In the wake of new economic realities, the Romantic legacy of the musician as creator was confronted by new expecta- tions of his position within society. An analysis of written accounts by com- posers of various origins (British, German, French, Russian or American), including their artistic preferences and family backgrounds, reveals how they often resorted to jobs associated with musicianship such as conducting or teaching. In other cases, they willingly relied on patronage or actively sought new sources of employment offered by the nascent film industry and assorted foundations. Finally, composers also benefited from organized associations and leagues that campaigned for their professional recognition. Key Words: composers, 20th century, employment, vacation, film industry, patronage, foundations Introduction Strategies undertaken by early twentieth-century composers to secure their income were highly determined by their position within society.2 Already around 1900, composers confronted a new reality: the definition of a composer inherited from earlier centuries no longer applied. As will be demonstrated by an analysis of their Anna G. Piotrowska, Institute of Musicology, the Jagiellonian University (Krakow), ul. Westerplatte 10, PL-31-033 Kraków; [email protected] ÖZG 24 | 2013 | 1 131 memoirs, diaries and correspondence, those educated as professional musicians and determined to make their living as active composers had to deal with similar career challenges – regardless of their origins (British, German, French, Russian or Ameri- can), their artistic preferences, or their family backgrounds.
    [Show full text]
  • Msm Camerata Nova
    Saturday, March 6, 2021 | 12:15 PM Livestreamed from Neidorff-Karpati Hall MSM CAMERATA NOVA George Manahan (BM ’73, MM ’76), Conductor PROGRAM JAMES LEE III A Narrow Pathway Traveled from Night Visions of Kippur (b. 1975) CHARLES WUORINEN New York Notes (1938–2020) (Fast) (Slow) HEITOR VILLA-LOBOS Chôros No. 7 (1887–1959) MAURICE RAVEL Introduction et Allegro (1875–1937) CAMERATA NOVA VIOLIN 1 VIOLA OBOE SAXOPHONE HARP Youjin Choi Sara Dudley Aaron Zhongyang Ling Minyoung Kwon New York, New York New York, New York Haettenschwiller Beijing, China Seoul, South Korea Baltimore, Maryland VIOLIN 2 CELLO PERCUSSION PIANO Ally Cho Rei Otake CLARINET Arthur Seth Schultheis Melbourne, Australia Tokyo, Japan Ki-Deok Park Dhuique-Mayer Baltimore, Maryland Chicago, Illinois Champigny-Sur-Marne, France FLUTE Tarun Bellur Marcos Ruiz BASSOON Plano, Texas Miami, Florida Matthew Pauls Simi Valley, California ABOUT THE ARTISTS George Manahan, Conductor George Manahan is in his 11th season as Director of Orchestral Activities at Manhattan School of Music, as well as Music Director of the American Composers Orchestra and the Portland Opera. He served as Music Director of the New York City Opera for 14 seasons and was hailed for his leadership of the orchestra. He was also Music Director of the Richmond Symphony (VA) for 12 seasons. Recipient of Columbia University’s Ditson Conductor’s Award, Mr. Manahan was also honored by the American Society of Composers and Publishers (ASCAP) for his “career-long advocacy for American composers and the music of our time.” His Carnegie Hall performance of Samuel Barber’s Antony and Cleopatra was hailed by audiences and critics alike.
    [Show full text]
  • National Endowment for the Arts Annual Report 1990
    National Endowment For The Arts Annual Report National Endowment For The Arts 1990 Annual Report National Endowment for the Arts Washington, D.C. Dear Mr. President: I have the honor to submit to you the Annual Report of the National Endowment for the Arts for the Fiscal Year ended September 30, 1990. Respectfully, Jc Frohnmayer Chairman The President The White House Washington, D.C. April 1991 CONTENTS Chairman’s Statement ............................................................5 The Agency and its Functions .............................................29 . The National Council on the Arts ........................................30 Programs Dance ........................................................................................ 32 Design Arts .............................................................................. 53 Expansion Arts .....................................................................66 ... Folk Arts .................................................................................. 92 Inter-Arts ..................................................................................103. Literature ..............................................................................121 .... Media Arts: Film/Radio/Television ..................................137 .. Museum ................................................................................155 .... Music ....................................................................................186 .... 236 ~O~eera-Musicalater ................................................................................
    [Show full text]
  • Wiki Comp-Pub Black.Cwk
    Carlton Gamer Compositions From my youth: Fifty pieces for solo piano, voice, chamber ensembles, or orchestra (1937-1947) Nocturne for cello and piano (1944, revised 1992) Wer nie sein brot mit Tränen ass (J. W. von Goethe, from Wilhelm Meister ) for soprano and baritone duet and piano (1945) “Go where glory waits thee” (Thomas Moore) for mezzo-soprano and piano (1945) “Reverie” (Langston Hughes) for mezzo-soprano or baritone and piano (1946) “Sea Charm” (Langston Hughes) for mezzo-soprano or baritone and piano (1946) Two songs from “A Shropshire Lad” (A. E. Housman) for tenor and piano: “Along the field as we came by” and “On your midnight pallet lying” (1946) “Drink in the beauty of this night” (Ream Lazaro) for baritone and piano (1946) Fragments for piano or harpsichord (1947, 1984) Barcarolle and Chaconne for piano (1947- 1949) Sonnet: “Oh, never say that I was false of heart” (William Shakespeare) for tenor and piano (1948, 1969) Two Songs to texts by Li Po for mezzo-soprano and flute: “On hearing the flute at Lo-Cheng one spring night” (1948, 1990) and “In the mountains” (1990) “After two years” (Richard Aldington) for tenor and piano (1949) Song: “A dream of death” (William Butler Yeats) for baritone or mezzo-soprano and piano (1949) String Quartet (1950, revised and re-entitled Between Heaven and Earth, 2012) Pastorale for flute, clarinet, and strings (1950-51) Fantasy for Orchestra (1951, revised and re-entitled Generation, 2012-13) Conversation for flute (or recorder) and piano (1952) Serenade for flute, violin, and clarinet (1952, revised 1964) Theme and Variations for Clarinet and Piano (1953) Fantasy for Flute, Clarinet, and Piano (1953) Aria da Capo (composition for dance with narrator) (text by Ilka Suarez and Carlton Gamer, after Edna St.
    [Show full text]
  • 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]
  • Expanding Horizons: the International Avant-Garde, 1962-75
    452 ROBYNN STILWELL Joplin, Janis. 'Me and Bobby McGee' (Columbia, 1971) i_ /Mercedes Benz' (Columbia, 1971) 17- Llttle Richard. 'Lucille' (Specialty, 1957) 'Tutti Frutti' (Specialty, 1955) Lynn, Loretta. 'The Pili' (MCA, 1975) Expanding horizons: the International 'You Ain't Woman Enough to Take My Man' (MCA, 1966) avant-garde, 1962-75 'Your Squaw Is On the Warpath' (Decca, 1969) The Marvelettes. 'Picase Mr. Postman' (Motown, 1961) RICHARD TOOP Matchbox Twenty. 'Damn' (Atlantic, 1996) Nelson, Ricky. 'Helio, Mary Lou' (Imperial, 1958) 'Traveling Man' (Imperial, 1959) Phair, Liz. 'Happy'(live, 1996) Darmstadt after Steinecke Pickett, Wilson. 'In the Midnight Hour' (Atlantic, 1965) Presley, Elvis. 'Hound Dog' (RCA, 1956) When Wolfgang Steinecke - the originator of the Darmstadt Ferienkurse - The Ravens. 'Rock All Night Long' (Mercury, 1948) died at the end of 1961, much of the increasingly fragüe spirit of collegial- Redding, Otis. 'Dock of the Bay' (Stax, 1968) ity within the Cologne/Darmstadt-centred avant-garde died with him. Boulez 'Mr. Pitiful' (Stax, 1964) and Stockhausen in particular were already fiercely competitive, and when in 'Respect'(Stax, 1965) 1960 Steinecke had assigned direction of the Darmstadt composition course Simón and Garfunkel. 'A Simple Desultory Philippic' (Columbia, 1967) to Boulez, Stockhausen had pointedly stayed away.1 Cage's work and sig- Sinatra, Frank. In the Wee SmallHoun (Capítol, 1954) Songsfor Swinging Lovers (Capítol, 1955) nificance was a constant source of acrimonious debate, and Nono's bitter Surfaris. 'Wipe Out' (Decca, 1963) opposition to himz was one reason for the Italian composer being marginal- The Temptations. 'Papa Was a Rolling Stone' (Motown, 1972) ized by the Cologne inner circle as a structuralist reactionary.
    [Show full text]
  • Walther Nernst, Albert Einstein, Otto Stern, Adriaan Fokker
    Walther Nernst, Albert Einstein, Otto Stern, Adriaan Fokker, and the Rotational Specific Heat of Hydrogen Clayton Gearhart St. John’s University (Minnesota) Max-Planck-Institut für Wissenschaftsgeschichte Berlin July 2007 1 Rotational Specific Heat of Hydrogen: Widely investigated in the old quantum theory Nernst Lorentz Eucken Einstein Ehrenfest Bohr Planck Reiche Kemble Tolman Schrödinger Van Vleck Some of the more prominent physicists and physical chemists who worked on the specific heat of hydrogen through the mid-1920s. See “The Rotational Specific Heat of Molecular Hydrogen in the Old Quantum Theory” http://faculty.csbsju.edu/cgearhart/pubs/sel_pubs.htm (slide show) 2 Rigid Rotator (Rotating dumbbell) •The rigid rotator was among the earliest problems taken up in the old (pre-1925) quantum theory. • Applications: Molecular spectra, and rotational contri- bution to the specific heat of molecular hydrogen • The problem should have been simple Molecular • relatively uncomplicated theory spectra • only one adjustable parameter (moment of inertia) • Nevertheless, no satisfactory theoretical description of the specific heat of hydrogen emerged in the old quantum theory Our story begins with 3 Nernst’s Heat Theorem Walther Nernst 1864 – 1941 • physical chemist • studied with Boltzmann • 1889: lecturer, then professor at Göttingen • 1905: professor at Berlin Nernst formulated his heat theorem (Third Law) in 1906, shortly after appointment as professor in Berlin. 4 Nernst’s Heat Theorem and Quantum Theory • Initially, had nothing to do with quantum theory. • Understand the equilibrium point of chemical reactions. • Nernst’s theorem had implications for specific heats at low temperatures. • 1906–1910: Nernst and his students undertook extensive measurements of specific heats of solids at low (down to liquid hydrogen) temperatures.
    [Show full text]
  • Oefeningen Voor Een Derde Oog
    Oefeningen voor een derde oog Dick Hillenius bron Dick Hillenius, Oefeningen voor een derde oog. De Arbeiderspers, Amsterdam 1965 Zie voor verantwoording: http://www.dbnl.org/tekst/hill005oefe01_01/colofon.htm © 2007 dbnl / erven Dick Hillenius 7 ± Chronologisch Dick Hillenius, Oefeningen voor een derde oog 9 [I] RESTJES WEESHUIS Ordesa 20 juli 1963. Toen wij de eerste keer met Tycho op reis wilden - hij was toen 10 maanden - kwamen er alle mogelijke betuttelaars in de weer. L. kwam zelfs met haar psychiater aandragen, vol afgrijzen over het te kwetsen zieleheil en dat het kind er nog jaren later moeilijkheden van zou ondervinden. Op die tientallen die zich vol bezorgdheid keren tegen het meenemen van kinderen op reis, is er nooit één die problemen ziet in het achterlaten bij verzorgers of in een tehuis. Ik weet niet, misschien is dat bij elk kind weer anders, maar wat mij zelf betreft ondervind ik nu, na bijna dertig jaar, de herinnering aan het 4 weken verzorgd achtergelaten zijn in een Hervormd Weeshuis, als een niet verdwenen aantasting. Een week voordat mijn jongste broer werd geboren, op mijn zevende verjaardag, werden mijn andere broer en ik door een tante die werksterdiensten verrichtte in de familie naar het Hervormde Weeshuis gebracht in de Volkerakstraat. Ik herinner me van de eerste dag een man met lange witte baard, de directeur, manden met potten jam, kinderen joelend op de binnenplaats. De kinderen droegen een uniform in de stijl van de tekeningen van Jetses, in de boekjes van Ot en Sien, mode van ±40 jaar tevoren. De meisjes droegen lang haar tot op de schouders (kort was toen mode), de jongens waren kaal met een kuifje van voren.
    [Show full text]
  • Concerts from the Library of Congress 2012-2013
    Concerts from the Library of Congress 2012-2013 LIBRARY LATE ACME & yMusic Friday, November 30, 2012 9:30 in the evening sprenger theater Atlas performing arts center The McKim Fund in the Library of Congress was created in 1970 through a bequest of Mrs. W. Duncan McKim, concert violinist, who won international prominence under her maiden name, Leonora Jackson; the fund supports the commissioning and performance of chamber music for violin and piano. Please request ASL and ADA accommodations five days in advance of the concert at 202-707-6362 or [email protected]. Latecomers will be seated at a time determined by the artists for each concert. Children must be at least seven years old for admittance to the concerts. Other events are open to all ages. Please take note: UNAUTHORIZED USE OF PHOTOGRAPHIC AND SOUND RECORDING EQUIPMENT IS STRICTLY PROHIBITED. PATRONS ARE REQUESTED TO TURN OFF THEIR CELLULAR PHONES, ALARM WATCHES, OR OTHER NOISE-MAKING DEVICES THAT WOULD DISRUPT THE PERFORMANCE. Reserved tickets not claimed by five minutes before the beginning of the event will be distributed to stand-by patrons. Please recycle your programs at the conclusion of the concert. THE LIBRARY OF CONGRESS Atlas Performing Arts Center FRIDAY, NOVEMBER 30, 2012, at 9:30 p.m. THE mckim Fund In the Library of Congress American Contemporary Music Ensemble Rob Moose and Caleb Burhans, violin Nadia Sirota, viola Clarice Jensen, cello Timothy Andres, piano CAROLINE ADELAIDE SHAW Limestone and Felt, for viola and cello DON BYRON Spin, for violin and piano (McKim Fund Commission) JOHN CAGE (1912-1992) String Quartet in Four Parts (1950) Quietly Flowing Along Slowly Rocking Nearly Stationary Quodlibet MICK BARR ACMED, for violin, viola and cello Intermission *Meet the Artists* yMusic Alex Sopp, flutes Hideaki Aomori, clarinets C.J.
    [Show full text]
  • Contact: a Journal for Contemporary Music (1971-1988) Citation
    Contact: A Journal for Contemporary Music (1971-1988) http://contactjournal.gold.ac.uk Citation Toplis, Gloria. 1983. ‘Stravinsky’s Pitch Organisation Re-Examined’. Contact, 27. pp. 35-38. ISSN 0308-5066. ! 36 material, each involving different textures, registers, Example 1 harmonies, rhythms, and metres, are set synchro- nically side by side; when considered apart from their immediate context, the blocks may be seen to possess one or another of these parameters in common.' The same author has defined the structur- ing of the first movement of the Symphony in C ( 1938- 40)-one of the neoclassical works most obviously conform to the dictates of functional tonality. The akin in spirit to Classical models-not in terms of the appropriateness of the octatonic theory to Stravin- tonal relationships of sonata form, but in terms of the sky' s output becomes increasingly obvious the more temporal proportion to one another of the sections closely the constitution of the scale itself is examined. (established by means of rather ill-defined tonal For example, each degree articulating a division at areas), which is very much the same as that of a the minor third supports both a minor and a major typical sonata form movement. 3 triad-in Example 1 C supports the triads C-E flat-G Stravinsky students in the sixties were strongly and C-E-G, E flat supports the triads E flat-G flat-B influenced by the somewhat scathing and (in the flat and E flat-G-B flat, and so on; overlapping opinion of later analysts) harmful remarks of Pierre tetrachords a minor third apart contain interlocking Boulez on the composer's compositional technique in minor/major thirds-C-C sharp-D sharp-E, D sharp- works following The Rite of Spring (1911-13).
    [Show full text]