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Hans Werner Henze Und Ingeborg Bachmann: Die Gemeinsamen Werke
Christian Bielefeldt Hans Werner Henze und Ingeborg Bachmann: Die gemeinsamen Werke Christian Bielefeldt, Dr. phil., Studium in Hamburg, Tätigkeit als Theatercellist, 1994 Gründung von TRE MODI, Ensemble für Alte und Neue Musik. 1998-2000 Stipendiat am DFG-Graduiertenkolleg »In- termedialität« (Siegen). Veröffentlichungen zu Neuer Musik und Filmmusik. Christian Bielefeldt Hans Werner Henze und Ingeborg Bachmann: Die gemeinsamen Werke Beobachtungen zur Intermedialität von Musik und Dichtung Der Abdruck von Zitaten aus dem unveröffentlichten Nachlass Inge- borg Bachmanns geschieht mit ausdrücklicher Erlaubnis der Erben, bei denen die Abdruckrechte gleichwohl verbleiben. This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 License. Bibliografische Information der Deutschen Bibliothek Die Deutsche Bibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Angaben sind im Internet über http://dnb.ddb.de abrufbar. © 2003 transcript Verlag, Bielefeld Umschlaggestaltung: Kordula Röckenhaus, Bielefeld, unter Verwendung einer Partiturseite aus: Hans Werner Henze, Reinschrift der Musik zu Ingeborg Bachmanns Hörspiel »Die Zikaden« (1955/56), S. 1; © Sammlung Hans Werner Henze (Depositum Schott Musik International), Paul Sacher Stiftung, Basel Lektorat & Satz: Christian Bielefeldt Druck: Majuskel Medienproduktion GmbH, Wetzlar ISBN 3-89942-136-1 INHALT Vorwort 9 Biographisches 14 Zur Forschung 17 I. Konzepte von Intermedialität bei Henze und Bachmann 21 Erster Auftakt: Die Konstruktion der Überschreitung 27 Lacan. Sprache, Musik und das Genießen 31 Der Braunschweiger Vortrag: Henzes „geistige Rede der Musik“ 37 Zweiter Auftakt: Die menschliche Stimme 43 Barthes. Die Stimme und das Genießen 45 Musik und Dichtung: Die Intermedialität der Stimme 49 II. Ballettpantomime: Der Idiot 57 Musik aus der Hand der Trauer: Reihen- und Zitattechnik im Idioten 62 Intrada und Danse Nr. -
Zeitgenössische Musik
Montag, 9. bis Freitag, 13. Februar 2015 AKADEMIE FÜR ZEITGENÖSSISCHE MUSIK Internationale Masterclasses Luzern Flöte | Saxofon | Klarinette | Trompete | Gitarre | Violine | Violoncello | Kontrabass | Klavier | Akkordeon | Gesang | Schlagzeug | Harfe | Kammermusik | Komposition | Improvisation 2 Im Mittelpunkt des Kurses steht eine intensive Auseinandersetzung mit dem Repertoire des 20. und 21. Jahrhunderts. Neben der Zusammenarbeit mit dem Composer-in-Residence Wolfgang Rihm finden diverse Workshops und Seminare zu den Themen Aufführung, Geschichte und Analyse der Neuen Musik statt. Die Dozierenden sind Mitglieder der europaweit führenden Ensembles für Neue Musik sowie international gefragte Solistinnen und Pädagogen. Sie werden im Unterricht sowie in Form von Vorträgen Fragen thematisieren, die für Verständnis und Ausführung von zeitgenössischer Musik entscheidend sind. 3 Dozierende David Alberman, Dieter Ammann, Sascha Armbruster, Anne Bassand, Marco Blaauw, Erik Borgir, Andreas Brenner, Uli Fussenegger, Pirmin Grehl, Florian Hoelscher, Anne-Maria Hölscher, Angelika Luz, Urban Mäder, Heinrich Mätzener, Ulrich Mosch, Pascal Pons, Wolfgang Rihm, Mats Scheidegger Kursprogramm Montag, 09. Februar 2014 09.00 Uhr Einschreibung 10.00 bis 12.45 Uhr Instrumentalunterricht | Seminare 14.00 bis 17.30 Uhr Kammermusik | Workshops 19.00 Uhr Dozierendenkonzert Dienstag, 10. bis Freitag, 13. Februar 2015 09.15 bis 12.45 Uhr Instrumentalunterricht | Seminare 14.00 bis 17.30 Uhr Kammermusik | Workshops 19.00 bis 21.00 Uhr Abendveranstaltungen Workshops -
The Late Choral Works of Igor Stravinsky
THE LATE CHORAL WORKS OF IGOR STRAVINSKY: A RECEPTION HISTORY _________________________________________________________ A Thesis presented to the Faculty of the Graduate School at the University of Missouri-Columbia ________________________________ In Partial Fulfillment of the Requirements for the Degree Master of Arts ____________________________ by RUSTY DALE ELDER Dr. Michael Budds, Thesis Supervisor DECEMBER 2008 The undersigned, as appointed by the dean of the Graduate School, have examined the thesis entitled THE LATE CHORAL WORKS OF IGOR STRAVINSKY: A RECEPTION HISTORY presented by Rusty Dale Elder, a candidate for the degree of Master of Arts, and hereby certify that, in their opinion, it is worthy of acceptance. _________________________________________ Professor Michael Budds ________________________________________ Professor Judith Mabary _______________________________________ Professor Timothy Langen ACKNOWLEDGEMENTS I would like to express my deepest gratitude to each member of the faculty who participated in the creation of this thesis. First and foremost, I wish to recognize the ex- traordinary contribution of Dr. Michael Budds: without his expertise, patience, and en- couragement this study would not have been possible. Also critical to this thesis was Dr. Judith Mabary, whose insightful questions and keen editorial skills greatly improved my text. I also wish to thank Professor Timothy Langen for his thoughtful observations and support. ii TABLE OF CONTENTS ACKNOWLEDGEMENTS……………………………………………………………...ii ABSTRACT……………………………………………………………………………...v CHAPTER 1. INTRODUCTION: THE PROBLEM OF STRAVINSKY’S LATE WORKS…....1 Methodology The Nature of Relevant Literature 2. “A BAD BOY ALL THE WAY”: STRAVINSKY’S SECOND COMPOSITIONAL CRISIS……………………………………………………....31 3. AFTER THE BOMB: IN MEMORIAM DYLAN THOMAS………………………45 4. “MURDER IN THE CATHEDRAL”: CANTICUM SACRUM AD HONOREM SANCTI MARCI NOMINIS………………………………………………………...60 5. -
Ich Sitze Und Schaue Aus: Genesis, Evolution, and Interpretation Of
ICH SITZE UND SCHAUE AUS: GENESIS, EVOLUTION, AND INTERPRETATION OF K.A. HARTMANN’S FIRST SYMPHONY by DAVID ALLEN CHAPMAN, JR. (Under the Direction of David Haas) ABSTRACT This thesis seeks to identify the personal forces that motivated the composition of the Karl Amadeus Hartmann’s Symphony no. 1, Versuch eines Requiems, and how these may inform an interpretation of the Symphony today. These issues include the influences that led to Hartmann’s unique style in the 1930s, the politics of the work’s would-be reception in the early years of the Nazi Regime, and the post-war changes in the composer’s own interpretation of the work. The final chapter proposes an interpretive reading of the work as a dramatic monologue by the Allmutter, personified by the alto singer, and who mourns the loss of “her sons, her daughters” in a great and oppressive “misery” – an obvious comment on the cruelty and destruction of the Third Reich. The untexted theme and variations movement is seen as a meaningful gesture of identification with those oppressed by the Regime. INDEX WORDS: Karl Amadeus Hartmann, Music History, Walt Whitman, Modernism, Symphony, Hermeneutics, Germany, Nazism, Music and Politics ICH SITZE UND SCHAUE AUS: GENESIS, EVOLUTION, AND INTERPRETATION OF K.A. HARTMANN’S FIRST SYMPHONY by DAVID ALLEN CHAPMAN, JR. B.M., Kennesaw State University, 2001 A Thesis Submitted to the Graduate Faculty of The University of Georgia in Partial Fulfillment of the Requirements for the Degree MASTER OF ARTS ATHENS, GEORGIA 2006 © 2006 David Allen Chapman, Jr. All Right Reserved ICH SITZE UND SCHAUE AUS: GENESIS, EVOLUTION, AND INTERPRETATION OF K.A. -
Defining Instrumental Collage Music in Tempered Confetti and Venni, Viddi
TEMPERED CONFETTI: DEFINING INSTRUMENTAL COLLAGE MUSIC IN TEMPERED CONFETTI AND VENNI, VIDDI, – Andrew Campbell Thesis Prepared for the Degree of MASTER OF ARTS UNIVERSITY OF NORTH TEXAS August 2016 APPROVED: Panayiotis Kokoras, Major Professor Jon Nelson, Committee Member Joseph Klein, Committee Member and Chair of the Division of Music Composition John Richmond, Dean of the College of Music Victor Prybutok, Vice Provost of the Toulouse Graduate School Campbell, Andrew S. Tempered Confetti: Defining Instrumental Collage Music in Tempered Confetti and Venni, Viddi, –. Master of Arts (Composition), August 2016, 83 pp., 4 figures, 9 examples, bibliography, 40 titles. This thesis explores collage music's formal elements in an attempt to better understand its various themes and apply them in a workable format. I explore the work of John Zorn; how time is perceived in acoustic collage music and the concept of "super tempo"; musical quotation and appropriation in acoustic collage music; the definition of acoustic collage music in relation to other acoustic collage works; and musical montages addressing the works of Charles Ives, Lucciano Berio, George Rochberg, and DJ Orange. The last part of this paper discusses the compositional process used in the works Tempered Confetti and Venni, Viddi, – and how all issues of composing acoustic collage music are addressed therein. Copyright 2016 by Andrew Campbell ii TABLE OF CONTENTS Page LIST OF FIGURES .........................................................................................................................v -
A Prima Vista
A PRIMA VISTA a survey of reprints and of recent publications 2003/1 BROEKMANS & VAN POPPEL Van Baerlestraat 92-94 Postbus 75228 1070 AE AMSTERDAM sheet music: 020-6796575 CDs: 020-6751653/fax: 020-6646759 also on INTERNET: www.broekmans.com e-mail: [email protected] 2 CONTENTS A PRIMA VISTA 2003/1 PAGE HEADING 03 PIANO 2-HANDS 08 PIANO 4-HANDS, 2 AND MORE PIANOS 09 HARPSICHORD, ORGAN 12 KEYBOARD 1 STRING INSTRUMENT WITHOUT ACCOMPANIMENT: 13 VIOLIN SOLO, CELLO SOLO 1 STRING INSTRUMENT WITH ACCOMPANIMENT, piano unless stated otherwise: 13 VIOLIN with accompaniment 15 VIOLIN PLAY-ALONG 16 VIOLA with accompaniment, VIOLA PLAY-ALONG, CELLO with accompaniment 17 CELLO PLAY-ALONG, DOUBLE BASS with accompaniment, VIOLA DA GAMBA with accompaniment 17 2 AND MORE STRING INSTRUMENTS WITH AND WITHOUT ACCOMPANIMENT: 1 WIND INSTRUMENT WITHOUT ACCOMPANIMENT: 21 FLUTE SOLO 22 OBOE SOLO, CLARINET SOLO 23 BASSOON SOLO, HORN SOLO, TROMBONE SOLO 1 WIND INSTRUMENT WITH ACCOMPANIMENT, piano unless stated otherwise: 24 PICCOLO with accompaniment, FLUTE with accompaniment 25 FLUTE PLAY-ALONG, OBOE with accompaniment 26 CLARINET with accompaniment, CLARINET PLAY-ALONG, SAXOPHONE with accompaniment 27 SAXOPHONE PLAY-ALONG, BASSOON with accompaniment 28 TRUMPET with accompaniment, TRUMPET PLAY-ALONG, HORN with accompaniment 29 TROMBONE with accompaniment, BARITONE with accompaniment 30 TENOR HORN with accompaniment, TUBA with accompaniment 2 AND MORE WIND INSTRUMENTS WITH AND WITHOUT ACCOMPANIMENT: 30 2 AND MORE WOODWIND INSTRUMENTS 33 2 AND MORE BRASS INSTRUMENTS, COMBINATIONS OF WOODWIND AND BRASS INSTRUMENTS 34 COMBINATIONS OF WIND AND STRING INSTRUMENTS 35 RECORDER 37 GUITAR 39 HARP, PERCUSSION 41 MISCELLANEOUS 42 SOLO VOICE, SOLO VOICE(S) AND/OR CHOIR WITH INSTRUMENTAL ACCOMPANIMENT 46 SOLO VOICE(S) AND/OR CHOIR WITH ORCHESTRAL ACCOMPANIMENT, UNACCOMPANIED CHOIR 47 UNACCOMPANIED CHOIR 49 OPERA, OPERETTA, MUSICAL, ORATORIO, ORCHESTRA WITH AND WITHOUT INSTRUMENTAL SOLOISTS 51 BOOKS OF MUSICAL INTEREST 62 CD-ROMs 63 CDs compilation by Jan A. -
THE SEASONS Berlin Philharmonic Wind Quintet
Fergus McWilliam · Henning Trog · Michael Hasel · Andreas Wittmann · Walter Seyfarth THE SEASONS berlin philharmonic wind quintet BIS-2072 BIS-2072_f-b.indd 1 2013-02-18 12.20 The Seasons 20th-Century Music for Wind Quintet Printemps · Summer Music L’autunno · Winter Songs Philharmonisches Bläserquintett Berlin Berlin Philharmonic Wind Quintet Michael Hasel flute Andreas Wittmann oboe Walter Seyfarth clarinet Fergus McWilliam horn Henning Trog bassoon Total playing time: 4h 28m 43s 2 Disc 1 [70'00] · Printemps IBERT, Jacques (1890–1962) Trois pièces brèves for wind quintet (1930) (Leduc) 6'54 1 I. Allegro 2'20 2 II. Andante 1'42 3 III. Assez lent – Allegro scherzando 2'46 TOMASI, Henri (1901–71) Printemps for wind quintet and saxophone (1963) (Leduc) 9'09 4 I. Réveil des oiseaux 1'34 5 II. Chant d’amour 1'46 6 III. Danse des oiseaux 5'48 Manfred Preis alto saxophone MILHAUD, Darius (1892–1974) La Cheminée du roi René (Albert J. Andraud) 13'07 for wind quintet (1939) 7 I. Cortège 2'01 8 II. Aubade 1'47 9 III. Jongleurs 1'12 10 IV. La Maousinglade 2'31 11 V. Joutes sur l’Arc 0'55 12 VI. Chasse à Valabre 1'29 13 VII. Madrigal-nocturne 2'50 3 Disc 1 · Printemps KŒCHLIN, Charles (1867–1951) Septuor pour instruments à vent (1937) (L’oiseau-lyre) 15'52 14 I. Monodie 2'36 15 II. Pastorale 4'01 16 III. Intermezzo 1'48 17 IV. Fugue 1'42 18 V. Sérénité 3'45 19 VI. Fugue 1'32 Manfred Preis alto saxophone Gerhard Stempnik cor anglais FRANÇAIX, Jean (1912–97) Quintette no 1 (1948) (Schott) 20'24 20 I. -
The Elements of Contemporary Turkish Composers' Solo Piano
International Education Studies; Vol. 14, No. 3; 2021 ISSN 1913-9020 E-ISSN 1913-9039 Published by Canadian Center of Science and Education The Elements of Contemporary Turkish Composers’ Solo Piano Works Used in Piano Education Sirin A. Demirci1 & Eda Nergiz2 1 Education Faculty, Music Education Department, Bursa Uludag University, Turkey 2 State Conservatory Music Department, Giresun University, Turkey Correspondence: Sirin A. Demirci, Education Faculty, Music Education Department, Bursa Uludag University, Turkey. E-mail: [email protected] Received: July 19, 2020 Accepted: November 6, 2020 Online Published: February 24, 2021 doi:10.5539/ies.v14n3p105 URL: https://doi.org/10.5539/ies.v14n3p105 Abstract It is thought that to be successful in piano education it is important to understand how composers composed their solo piano works. In order to understand contemporary music, it is considered that the definition of today’s changing music understanding is possible with a closer examination of the ideas of contemporary composers about their artistic productions. For this reason, the qualitative research method was adopted in this study and the data obtained from the semi-structured interviews with 7 Turkish contemporary composers were analyzed by creating codes and themes with “Nvivo11 Qualitative Data Analysis Program”. The results obtained are musical elements of currents, styles, techniques, composers and genres that are influenced by contemporary Turkish composers’ solo piano works used in piano education. In total, 9 currents like Fluxus and New Complexity, 3 styles like Claudio Monteverdi, 5 techniques like Spectral Music and Polymodality, 5 composers like Karlheinz Stockhausen and Guillaume de Machaut and 9 genres like Turkish Folk Music and Traditional Greek are reached. -
Polystylism and Narrative Potential in the Music of Alfred Schnittke
POLYSTYLISM AND NARRATIVE POTENTIAL IN THE MUSIC OF ALFRED SCHNITTKE by JEAN-BENOIT TREMBLAY B.Arts (education musicale), Universite Laval, 1999 B.Mus (mention en histoire), Universite Laval, 1999 M.Mus (musicologie), Universite Laval, 2001 A THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY in THE FACULTY OF GRADUATE STUDIES (Music, emphasis in musicology) THE UNIVERSITY OF BRITISH COLUMBIA April 2007 © Jean-Benoit Tremblay, 2007 ABSTRACT This dissertation examines the narrative potential created by polystylism in selected works of Alfred Schnittke. "Polystylism," the combination of many styles in a single work, is Schnittke's answer to a compositional crisis that he experienced as a young Soviet composer. Polystylistic works often present blunt juxtapositions of styles that cannot be explained by purely musical considerations. I argue that listeners, confronted with those stylistic gaps, instinctively attempt to resolve them by the construction of a narrative. Three works, each showing different approaches to polystylism, are examined. The Symphony No. 1, which constitutes a kind a polystylistic manifesto, presents a number of exact quotations of Beethoven, Grieg, Tchaikovsky and Chopin among others. It also makes uses of the Dies Irae and of various stylistic allusions. The result is a work in which Schnittke, asking how to write a Symphony, eventually kills the genre before resurrecting it. Elaborated from a fragment of a pantomime by Mozart, Mo^-Art is a reflection on the opposition between the old and the new, between the past and the present. The work builds upon the plurality of styles already present in Mozart's music. -
Ulrich Mosch – Bibliographie Sélective
Ulrich Mosch – bibliographie sélective Thèse de doctorat : Musikalisches Hören serieller Musik. Untersuchungen am Beispiel von Pierre Boulez' « Le Marteau sans maître », Saarbrucke : Pfau 2004 (en même temps thèse de doctorat, soutenue en 1991 à la Technische Universität Berlin) Critiques : Gerald Benett, « Was heißt hier Musik? », dans : Dissonanz/Dissonance, no. 89 (2005), pp. 52–53 Peter Becker, [Critique], dans : Neue Zeitschrift für Musik, 166 (2005), no. 1, p. 85 Thèse d'habilitation cumulative : Von Max Reger bis Wolfgang Rihm. Historische, ästhetische und quellenbezogene Studien zur Musik des 20. Jahrhunderts (soutenue en 2005), manuscrit non publié Éditeur : Wolfgang Rihm, Ausgesprochen. Schriften und Gespräche, sous la direction et avec une introduction d'Ulrich Mosch, 2 vols., Winterthour : Amadeus, 1997 (distribution : Schott Musik International, Mainz) « Einleitung », ibid., pp. 11–21 Massimo Mila, Maderna musicista europeo, nouvelle édition, sous la direction et avec une préface d'Ulrich Mosch, Turin : Einaudi, 1999 « Premessa del curatore », ibid., pp. VII–XIV réimprimée sous forme d'une traduction française dans : À Bruno Maderna, vol. 1, textes réunis sous la direction de Geneviève Mathon, Laurent Feneyrou et Giordano Ferrari, Paris : Basalte 2007, pp. 321–325 « Entre Denges et Denezy… » Dokumente zur Schweizer Musikgeschichte 1900–2000, catalogue accompagnant l'exposition du même nom à St. Moritz, 3 août au 3 septembre 2000, sous la direction d'Ulrich Mosch en collaboration avec Matthias Kassel, Mayence : Schott Musik International, 2000 le même en français et italien : « Entre Denges et Denezy... » Documenti sulla storia della musica in Svizzera 1900-2000, Lucca : LIM, 2001 »Entre Denges et Denezy...« La musique au XXe siècle en Suisse, manuscrits et documents, Genève : Contrechamps, 2001 Wolfgang Rihm, Offene Enden. -
Opera in Miniature
Kurs: DA 4005 Självständigt arbete, 30 hp 2020 Konstnärlig masterexamen i musik, 120 hp Institutionen för komposition, dirigering och musikteori Handledare: Klas Nevrin Ryszard Alzin Opera in Miniature Around my piece Raport o stanie planety for four solo voices and ensemble Skriftlig reflektion inom självständigt arbete Det självständiga, konstnärliga arbetet finns dokumenterat i KMH:s digitala arkiv i Contents Introduction.............................................................................................................................. 1 1. Opera ................................................................................................................................... 4 1.1. The Genre .................................................................................................................... 4 1.1.1. The Paradox of Opera ......................................................................................... 4 1.1.2. Transformations of the Opera Genre ................................................................... 5 1.2. Opera in Miniature ...................................................................................................... 8 1.2.1. Connection with the Opera Genre ....................................................................... 8 1.2.2. The Ten Movements ............................................................................................ 9 2. Maximalism and Polystylism ............................................................................................. 14 2.1. Maximalism, -
Analyzing Gender Inequality in Contemporary Opera
ANALYZING GENDER INEQUALITY IN CONTEMPORARY OPERA Hillary LaBonte A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS August 2019 Committee: Jane Schoonmaker Rodgers, Advisor Kristen Rudisill Graduate Faculty Representative Kevin Bylsma Ryan Ebright Emily Pence Brown © 2019 Hillary LaBonte All Rights Reserved iii ABSTRACT Jane Schoonmaker Rodgers, Advisor Gender inequality is pervasive in the world of performing arts. There are far more female dancers, actresses, and singers than there are male performers. This inequality is amplified by fewer numbers of roles for women. This document examines gender inequality in contemporary North American operas, including the various factors that can influence the gender balance of a cast, with focused studies on commissioning organizations and ten works that feature predominantly female casts. Chapter 1 presents the analysis of all operas in OPERA America’s North American Works database written and premiered from 1995 to the present. Of the 4,216 roles in this data, 1,842 (43.6%) are for female singers. Operas written by a female composer or librettist have 48% roles for female singers, operas with a female lead character have 51%, and intentionally feminist or female-focused operas have 53% roles for female singers. Chapter 2 considers ten companies devoted to the creation and production of contemporary opera in North America. Works premiered by these companies have an average of 47% roles for women, and companies with a female executive or founder are more likely to have a higher average. Companies that use language like “innovative” or “adventurous” in their mission statement are more likely to have greater female representation in the casts of their commissioned works.