DOCSLIB.ORG

Subito Simply Means “Suddenly,” Indicating an Andrei Morelos Abrupt, Striking Shift in Dynamics Or Tempo (It’S Also the “S.” in “V.S.”—Volti

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

SPRING 2018 STUDENT VOICES from PORTLAND STATE UNIVERSITY SCHOOL OF MUSIC & THEATER MUSIC JOURNAL ISSUE 1, SPRING 2018 EDITOR-IN-CHIEF Matthew Neil Andrews ART DIRecTOR From the Editor Angelica G. Hesse ASSISTANT EDITORS All of a sudden, Portland State University has a journal of music. Christina Ebersohl Thanks to the combined efforts of the people named on this page, you Bailey Paugh now hold in your hands a collection of writings and conversations by PSU COPY CHIEF students and faculty. Thus have we made an immediate leap from zero Harlie Hendrickson issues to one. COPY EDITOR The musical term subito simply means “suddenly,” indicating an Andrei Morelos abrupt, striking shift in dynamics or tempo (it’s also the “S.” in “V.S.”—volti CONTRIBUTING WRITERS subito—indicating a quick page turn). The Italian word, like the Latin word Adam Brooker from which it descends, emerges from the union of sub- (“under” as in Ricky Chan “submarine”) and -ito (“to go” as in “Romani ite domum”), and carries two Ian Cooper layers of meaning. Alexis Deona In one sense, subito suggests an undertaking, an ordeal which one Christina Ebersohl undergoes, as in Nietzsche’s untergehen or the French subir (cognate with Harlie Hendrickson the English “suffer”). The second layer of meaning evokes immediacy, Angelica G. Hesse Bailey Paugh quickness, and the uncanny sensation of incipient epiphany, a lightning Chris Poulakidas bolt of astonishment sneaking up on you, leaping out from behind a blind Aaron Richardson corner like the proverbial thief in the night. Patrick Rooney All of which brings us back around to the primary musical meaning: Charles Rose a dramatic change which arrives, seemingly, out of nowhere. And yet the Aaron Shingles best subito experiences, in music as in life, are those in which the shock- SHADOW ADVISER ing revelation seems inevitable, even familiar. Jelena Simonovi ´c Schiff In these pages, dear reader, you will find conversations, interviews, Direct inquiries to: Dr Jelena S. Schiff book and album reviews, musical analysis, and varied perspectives on School of Music & Theater Portland State University Schubert’s Winterreise, American composer Lou Harrison, and the impact PO Box 751 Portland, OR 97207 of War on Artists. We are especially pleased by our extensive, exclusive e-mail: [email protected] interview with the newly appointed Dean of the College of the Arts, Dr. The articles printed in Subito represent the viewpoints of the Leroy E. Bynum, Jr., on page 27. authors and do not necessarily represent the opinions of the University. I hope you will enjoy reading our journal as much as we’ve enjoyed All Rights Reserved. No article or part of this publication may creating it. be reproduced or copied in any form without prior written permission of the publisher. Copyright ©2018 Portland State Matthew Neil Andrews University, Portland, OR Editor-In-Chief PRINTED BY B+B Print Source, Tigard, OR SPecIAL THANKS TO Abbey Gaterud Bonnie Miksch Reaz Mahmood Rick Van Sant 1 Contents CENTRAL THEME ART + ARMISTICE OREGON CORNER CELEBRATING LOU HARRISON 3 Introduction 37 Syncretism and Universality in Language and Music: Esperanto in 4 The Bludgeon, Grief, and Pride of War: Lou Harrison’s La Koro Sutro, King Albert's Book, HARLIE HENDRICKSON CHRISTINA EBERSOHL 7 A Reflection of Broken Humanity: 39 Mixing Melodicism with French Composers Respond to Experimentation: Lou Harrison and The Great War, CHRISTINA EBERSOHL the Classical Guitar, ADAM BROOKER 13 Conflict and Folk Music: Britain’s 42 Compositional Practice as Expression Musical Development during of Cultural Hybridity in Lou Harrison’s and after The Great War, PATRICK ROONEY Double Concerto for Violin, Cello, and 15 Expressionism, Hope, and Horror: Javanese Gamelan, MATTHEW NEIL ANDREWS Austro-Germanic Painters and 45 A Tale to Warm the Heart and Stimulate Composers of the Great War, the Mind: Review of Lou Harrison: BaILEY PAUGH American Musical Maverick, 18 From Nationalism to Neoclassicism: ADAM BROOKER & MATTHEW NEIL ANDREWS Igor Stravinsky's Wartime Style Shift, 47 Lou Harrison Recordings: Four Good RICKY CHAN Albums from the Vast Acreage, 20 The US Enters the War. Ives Reacts., MATTHEW NEIL ANDREWS IAN COOPER & AARON SHINGLES 21 Wartime Songs. Concord Sonata., ALBUM REVIEW AARON RICHARDSON 49 The Space Between Us, ALEXIS DEONA CONCERT REFLECTIONS NEW WORK 22 Dying Together in the Snow: 50 David Ludwig’s Pangæa: A Winterreise Conversation, Overview, Listener’s Guide, HARRY BaECHTEL, CHUCK DILLARD, Interview with the Composer, ANGELICA HESSE, CHRIS POULAKIDAS MATTHEW NEIL ANDREWS & CHARLES ROSE FACULTY SPOTLIGHT 27 Where Luck Meets Preparation: An Interview with Dean Bynum, MATTHEW NEIL ANDREWS Subito | SPRING ‘18 3 ART + ARMISTICE Art and Armistice Matthew Neil Andrews omain, https://commons.wikimedia.org/w/index.php?curid=63298854 D cotland, Public cotland, S ibrary of of ibrary L his year (2018) we celebrate the cen- unique perspectives. Each one focuses on a ational N tennial of Armistice—the moment, different country impacted by the war. Subito symbolic and political, when the Copy Chief Harlie Hendrickson opens the sec- Tleaders of the nations involved in The Great War tion with her overview of King Albert’s Book, of 1914-18 decided the fighting would official- surveying its contents and placing them in ly end. During those four years, the world had their socio-historical context. Assistant Editors been utterly transformed by the deaths and inju- Christina Ebersohl and Bailey Paugh consider, his image is available from the from is available his image T ries suffered by millions of soldiers and civilians; respectively, the responses of artists in France by the concurrent revolutions, civil wars, geno- and the German-speaking countries. Patrick ROOKS. B cides, famines, and epidemics which spread all Rooney examines musical shifts in Great Britain RNEST RNEST across Europe; by the astonishing horrors of during and after the Great War, and Ricky Chan E modern mechanized warfare, war profiteering, analyzes Stravinsky’s shift from nationalist to OTO: OTO: H P and war crimes; and by the uneasy imbalances neoclassicist during the composer’s wartime of global power which tilted and shifted along years in Switzerland. Finally, Aaron Shingles and fault lines created by centuries of tension, con- Ian Cooper join Aaron Richardson in discussing flict, and mistrust. the works of U.S. composer Charles Ives. Swept up in all of this, along with everyone Ebersohl’s article contains a remarkable else, were musicians whose names are famil- phrase: “throughout the chaos, humanity fought iar to us all. Debussy and Ravel. Schoenberg to understand and overcome the devastation and Webern. Holst and Vaughan Williams. with weapons of art.” As we hold on to hope in Stravinsky. this strange, troubled year (2018), let us remem- Eight Portland State music students tack- ber to always keep such spiritual armaments led six subtopics, approaching the subject from near to hand. Subito | SPRING ‘18 4 ART + ARMISTICE The Bludgeon, Grief, and Pride of War KING ALBERT'S BOOK Harlie Hendrickson elgium was thrown into the first gift of reverence from allied European coun- World War on August 5, 1914, de- tries to an unfairly devastated nation. Europe spite taking a neutral position in the was greatly shaken by the war, and from its Bbrewing conflict, with no revenge to seek and people came a huge crop of rich, patriotic art no benefit in taking up arms. The first alterca- born from the bludgeon, grief, and pride of tion came when Germany forced entry through war. For our little plucky Belgium, peoples from to France. Germany had delivered an ultima- far-reaching places contributed their poems, tum to Belgian King Albert I: allow Germany to art, music, and other supportive sentiments pass safely or be subject to its sword. Belgium, as a way to raise money for Belgian refugees jealous of its independence and neutrality, as- and the ravaged land where they once peace- sumed in honorable defiance the burden of fully lived. The Daily Telegraph published the war—to devastating effects. The country did book four months after Germany’s invasion, on not wish to be the battleground for France and Christmas Day 1914. Germany, yet the result was a pillage through Belgian artists contributed poetic accounts Belgium, the loss of many of its capitals of cul- of national pride—pride of persistent morality ture, and the deaths of many Belgian civilians. and brave defeat. Particularly notable is Belgian As morbid as the thought may be, great and writer Emile Cammaerts’ poem “Carillon” profound art can emerge from such gruesome (English translation by Cammaerts' wife, Tita extremes as the tremors of war. Brand): As a formal ally of Belgium, Britain was compelled to declare war on Germany the day Sing, Belgians, Sing! the invasion started. British writer Hall Caine, Although our wounds may bleed, moved to pity and admiration, compiled and Although our voices break, edited King Albert’s Book: A Tribute to the Louder than the storm, louder than the guns, Belgian King and People from Representative Sing of the pride of our defeats Men and Women Throughout the World—a 'Neath this bright Autumn sun, Subito | SPRING ‘18 5 ART + ARMISTICE mangled bodies in trenches, famine, and And sing of the joy of honour When cowardice might be so sweet. ultimate folly. He believes he can stop the war by poisoning his master and preventing British composer Edward Elgar composed “the ultimatum”—the fateful meeting with an orchestral accompaniment for the reci- tation of “Carillon,” with ringing bells me- the Belgian king demanding safe passage morializing Belgian bell towers destroyed for the German military. Just as the chirop- by German raids. Elgar captures the rap- odist is about to poison the king’s drink and turous pride of the poet’s words with ener- save millions of lives, a royal duke enters getic march sections, weaving in somber and offers him a prominent post.
Recommended publications
  • 4. Non-Heptatonic Modes

    4. Non-Heptatonic Modes

    Tagg: Everyday Tonality II — 4. Non‐heptatonic modes 151 4. Non‐heptatonic modes If modes containing seven different scale degrees are heptatonic, eight‐note modes are octatonic, six‐note modes hexatonic, those with five pentatonic, while four‐ and three‐note modes are tetratonic and tritonic. Now, even though the most popular pentatonic modes are sometimes called ‘gapped’ because they contain two scale steps larger than those of the ‘church’ modes of Chapter 3 —doh ré mi sol la and la doh ré mi sol, for example— they are no more incomplete FFBk04Modes2.fm. 2014-09-14,13:57 or empty than the octatonic start to example 70 can be considered cluttered or crowded.1 Ex. 70. Vigneault/Rochon (1973): Je chante pour (octatonic opening phrase) The point is that the most widespread convention for numbering scale degrees (in Europe, the Arab world, India, Java, China, etc.) is, as we’ve seen, heptatonic. So, when expressions like ‘thirdless hexatonic’ occur in this chapter it does not imply that the mode is in any sense deficient: it’s just a matter of using a quasi‐global con‐ vention to designate a particular trait of the mode. Tritonic and tetratonic Tritonic and tetratonic tunes are common in many parts of the world, not least in traditional music from Micronesia and Poly‐ nesia, as well as among the Māori, the Inuit, the Saami and Native Americans of the great plains.2 Tetratonic modes are also found in Christian psalm and response chanting (ex. 71), while the sound of children chanting tritonic taunts can still be heard in playgrounds in many parts of the world (ex.
  • Models of Octatonic and Whole-Tone Interaction: George Crumb and His Predecessors

    Models of Octatonic and Whole-Tone Interaction: George Crumb and His Predecessors

    Models of Octatonic and Whole-Tone Interaction: George Crumb and His Predecessors Richard Bass Journal of Music Theory, Vol. 38, No. 2. (Autumn, 1994), pp. 155-186. Stable URL: http://links.jstor.org/sici?sici=0022-2909%28199423%2938%3A2%3C155%3AMOOAWI%3E2.0.CO%3B2-X Journal of Music Theory is currently published by Yale University Department of Music. Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/about/terms.html. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/journals/yudm.html. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. The JSTOR Archive is a trusted digital repository providing for long-term preservation and access to leading academic journals and scholarly literature from around the world. The Archive is supported by libraries, scholarly societies, publishers, and foundations. It is an initiative of JSTOR, a not-for-profit organization with a mission to help the scholarly community take advantage of advances in technology. For more information regarding JSTOR, please contact [email protected]. http://www.jstor.org Mon Jul 30 09:19:06 2007 MODELS OF OCTATONIC AND WHOLE-TONE INTERACTION: GEORGE CRUMB AND HIS PREDECESSORS Richard Bass A bifurcated view of pitch structure in early twentieth-century music has become more explicit in recent analytic writings.
  • Focus 2020 Pioneering Women Composers of the 20Th Century

    Focus 2020 Pioneering Women Composers of the 20Th Century

    Focus 2020 Trailblazers Pioneering Women Composers of the 20th Century The Juilliard School presents 36th Annual Focus Festival Focus 2020 Trailblazers: Pioneering Women Composers of the 20th Century Joel Sachs, Director Odaline de la Martinez and Joel Sachs, Co-curators TABLE OF CONTENTS 1 Introduction to Focus 2020 3 For the Benefit of Women Composers 4 The 19th-Century Precursors 6 Acknowledgments 7 Program I Friday, January 24, 7:30pm 18 Program II Monday, January 27, 7:30pm 25 Program III Tuesday, January 28 Preconcert Roundtable, 6:30pm; Concert, 7:30pm 34 Program IV Wednesday, January 29, 7:30pm 44 Program V Thursday, January 30, 7:30pm 56 Program VI Friday, January 31, 7:30pm 67 Focus 2020 Staff These performances are supported in part by the Muriel Gluck Production Fund. Please make certain that all electronic devices are turned off during the performance. The taking of photographs and use of recording equipment are not permitted in the auditorium. Introduction to Focus 2020 by Joel Sachs The seed for this year’s Focus Festival was planted in December 2018 at a Juilliard doctoral recital by the Chilean violist Sergio Muñoz Leiva. I was especially struck by the sonata of Rebecca Clarke, an Anglo-American composer of the early 20th century who has been known largely by that one piece, now a staple of the viola repertory. Thinking about the challenges she faced in establishing her credibility as a professional composer, my mind went to a group of women in that period, roughly 1885 to 1930, who struggled to be accepted as professional composers rather than as professional performers writing as a secondary activity or as amateur composers.
  • The Curtis Institute of Music Roberto Díaz, President

    The Curtis Institute of Music Roberto Díaz, President

    The Curtis Institute of Music Roberto Díaz, President This concert will be available online for free streaming 2008–09 Student Recital Series and download on Thursday, February 19. The Edith L. and Robert Prostkoff Memorial Concert Series Visit www.instantencore.com/curtis after 12 noon and enter this download code in the upper-right corner of the webpage: Feb09CTour Forty-Fourth Student Recital: Curtis On Tour Click “Go” and follow the instructions on the screen to save music Wednesday, February 18 at 8 p.m. Field Concert Hall onto your computer. Divertimento for Violin and Piano Igor Stravinsky Next Student Recital Sinfonia (1882–1971) Friday, February 20 at 8 p.m. Danses suisses 20/21: The Curtis Contemporary Music Ensemble— Scherzo Second Viennese School, Program III Pas de deux: Adagio—Variation—Coda Field Concert Hall Josef Špaček, violin Kuok-man Lio, piano Berg Sieben frühe Lieder Amanda Majeski, soprano Three Pieces for Clarinet Solo Stravinsky Mikael Eliasen, piano Yao Guang Zhai, clarinet String Quartet, Op. 3 From the Rubáiyát of Omar Khayyám David Ludwig Joel Link, violin (world premiere) (b. 1972) Bryan A. Lee, violin Secrets of Creation Milena Pajaro-van de Stadt, viola Turning of Time Camden Shaw, cello Labor of Life Floating Particles Schoenberg Das Buch der hängenden Gärten, Op. 15 Carpe Diem Charlotte Dobbs, soprano Allison Sanders, mezzo-soprano David Moody, piano Yao Guang Zhai, clarinet William Short, bassoon Phantasy, Op. 47 Christopher Stingle, trumpet Elizabeth Fayette, violin Ryan Seay, trombone Pallavi Mahidhara, piano Benjamin Folk, percussion Josef Špaček, violin Programs are subject to change. Harold Hall Robinson, double bass Call the Recital Hotline, 215-893-5261, for the most up-to-date information.
  • Pitch-Class Set Theory: an Overture

    Pitch-Class Set Theory: an Overture

    Chapter One Pitch-Class Set Theory: An Overture A Tale of Two Continents In the late afternoon of October 24, 1999, about one hundred people were gathered in a large rehearsal room of the Rotterdam Conservatory. They were listening to a discussion between representatives of nine European countries about the teaching of music theory and music analysis. It was the third day of the Fourth European Music Analysis Conference.1 Most participants in the conference (which included a number of music theorists from Canada and the United States) had been looking forward to this session: meetings about the various analytical traditions and pedagogical practices in Europe were rare, and a broad survey of teaching methods was lacking. Most felt a need for information from beyond their country’s borders. This need was reinforced by the mobility of music students and the resulting hodgepodge of nationalities at renowned conservatories and music schools. Moreover, the European systems of higher education were on the threshold of a harmoni- zation operation. Earlier that year, on June 19, the governments of 29 coun- tries had ratifi ed the “Bologna Declaration,” a document that envisaged a unifi ed European area for higher education. Its enforcement added to the urgency of the meeting in Rotterdam. However, this meeting would not be remembered for the unusually broad rep- resentation of nationalities or for its political timeliness. What would be remem- bered was an incident which took place shortly after the audience had been invited to join in the discussion. Somebody had raised a question about classroom analysis of twentieth-century music, a recurring topic among music theory teach- ers: whereas the music of the eighteenth and nineteenth centuries lent itself to general analytical methodologies, the extremely diverse repertoire of the twen- tieth century seemed only to invite ad hoc approaches; how could the analysis of 1.
  • The Lowdown on the Octatonic Scale by Frank Horvat

    The Lowdown on the Octatonic Scale by Frank Horvat

    The Lowdown on the Octatonic Scale By Frank Horvat Within the last year, RCM Examinations has revised its Theory Syllabus. A number of new topics have been added to the course of study. In Grade One Rudiments, scale types such as the octatonic scale are now expected to be part of a student's knowledge base. An octatonic scale includes eight pitches per octave arranged in a pattern of alternating semitones and whole tones (for example: c c# d# e f# g a a# c). Octatonic scales can start on any pitch and do not require a key signature. Although the concept of the octatonic scale might be foreign to some, one does not have to look too far for musical examples. One of the first composers to use this scale was Rimsky-Korsakov who looked to "exotic" non-Western scales as a basis for some of his melodic ideas. It was Rimsky-Korsakov who would introduce it to the next generation of Russian composers including Skryabin & Stravinsky who used it in a variety of their compositions in the early 1900s. Bartok also used the octatonic scale in a number of his works including pieces within the Mikrokosmos. Look to Nos. 101 & 109 for clear examples of usage. Later in the 20th century, Messiaen would use it in works as a basis for his tone rows, as part of his philosophy of integral serialism. In order to help your students grasp this scale, here are a few activities that you can try in your studio: • Draw the scale on manuscript paper assigning a variety of starting notes • Have them sing or play it so they can hear the uniqueness of the set of pitches • Sight read pieces from excerpts of Bartok's Mikrokosmos • Suggest that they compose or improvise a short piece based on a melody constructed from the notes of an octatonic scale.
  • Musical Narrative As a Tale of the Forest in Sibelius's Op

    Musical Narrative As a Tale of the Forest in Sibelius's Op

    Musical Narrative as a Tale of the Forest in Sibelius’s Op. 114 Les Black The unification of multi-movement symphonic works was an important idea for Sibelius, a fact revealed in his famous conversation with Gustav Mahler in 1907: 'When our conversation touched on the essence of the symphony, I maintained that I admired its strictness and the profound logic that creates an inner connection between all the motifs.'1 One might not expect a similar network of profoundly logical connections to exist in sets of piano miniatures, pieces he often suggested were moneymaking potboilers. However, he did occasionally admit investing energy into these little works, as in the case of this diary entry from 25th July 1915: "All these days have gone up in smoke. I have searched my heart. Become worried about myself, when I have to churn out these small lyrics. But what other course do I have? Even so, one can do these things with skill."2 While this admission might encourage speculation concerning the quality of individual pieces, unity within groups of piano miniatures is influenced by the diverse approaches Sibelius employed in composing these works. Some sets were composed in short time-spans, and in several cases included either programmatic titles or musical links that relate the pieces. Others sets were composed over many years and appear to have been compiled simply to satisfied the demands of a publisher. Among the sets with programmatic links are Op. 75, ‘The Trees’, and Op. 85, ‘The Flowers’. Unifying a set through a purely musical device is less obvious, but one might consider his very first group of piano pieces, the Op.
  • Understanding Music Past and Present

    Understanding Music Past and Present

    Understanding Music Past and Present N. Alan Clark, PhD Thomas Heflin, DMA Jeffrey Kluball, EdD Elizabeth Kramer, PhD Understanding Music Past and Present N. Alan Clark, PhD Thomas Heflin, DMA Jeffrey Kluball, EdD Elizabeth Kramer, PhD Dahlonega, GA Understanding Music: Past and Present is licensed under a Creative Commons Attribu- tion-ShareAlike 4.0 International License. This license allows you to remix, tweak, and build upon this work, even commercially, as long as you credit this original source for the creation and license the new creation under identical terms. If you reuse this content elsewhere, in order to comply with the attribution requirements of the license please attribute the original source to the University System of Georgia. NOTE: The above copyright license which University System of Georgia uses for their original content does not extend to or include content which was accessed and incorpo- rated, and which is licensed under various other CC Licenses, such as ND licenses. Nor does it extend to or include any Special Permissions which were granted to us by the rightsholders for our use of their content. Image Disclaimer: All images and figures in this book are believed to be (after a rea- sonable investigation) either public domain or carry a compatible Creative Commons license. If you are the copyright owner of images in this book and you have not authorized the use of your work under these terms, please contact the University of North Georgia Press at [email protected] to have the content removed. ISBN: 978-1-940771-33-5 Produced by: University System of Georgia Published by: University of North Georgia Press Dahlonega, Georgia Cover Design and Layout Design: Corey Parson For more information, please visit http://ung.edu/university-press Or email [email protected] TABLE OF C ONTENTS MUSIC FUNDAMENTALS 1 N.
  • A Symphonic Psalm, After a Drama by René Morax King David

    A Symphonic Psalm, After a Drama by René Morax King David

    ELLIOT JONES MUSIC DIRECTOR A Symphonic Psalm, after a drama by René Morax Music by Arthur Honegger (1892-1955) Please silence all cellular phones and other electronic devices King David PART I 1. Introduction (Orchestra & Narrator) 2. The song of David, the shepherd: God shall be my shepherd kind. 3. Psalm: All praise to him, the Lord of glory, the everlasting God my helper. 4. Fanfare and entry of Goliath 5. Song of victory: David is great, the Philistines overthrown. Chosen of God is he. 6. Psalm: In the Lord I put my faith, I put my trust. 7. Psalm: O had I wings like a dove, then I would fly away and be at rest. 8. Song of the prophets: Man that is born of a woman lives but a little while. 9. Psalm: Pity me Lord, for I am weak. 10. Saul’s camp 11. Psalm: God, the Lord shall be my light and my salvation. What cause have I to fear? 12. Incantation of the Witch of Endor 13. March of the Philistines 14. The lament of Gilboa: Ah! Weep for Saul. 1 PART II ORCHESTRA 15. Song of the daughters of Israel: Sister, oh sing thy song! Never has God forsaken us. 16. The dance before the ark: Mighty God be with us, O splendor of the morn. FLUTE and PICCOLO CELLO Alexander Lipay, Paula Redinger Anne Gratz INTERMISSION OBOE and ENGLISH HORN BASS PART III Marquise Demaree Dylan DeRobertis 17. Song: Now my voice in song up-soaring shall loud proclaim my king afar. 18.
  • Alternative 2020

    Alternative 2020

    Mediabase Charts Alternative 2020 Published (U.S.) -- Currents & Recurrents January 2020 through December, 2020 Rank Artist Title 1 TWENTY ONE PILOTS Level Of Concern 2 BILLIE EILISH everything i wanted 3 AJR Bang! 4 TAME IMPALA Lost In Yesterday 5 MATT MAESON Hallucinogenics 6 ALL TIME LOW Monsters f/blackbear 7 ABSOFACTO Dissolve 8 POWFU Coffee For Your Head 9 SHAED Trampoline 10 UNLIKELY CANDIDATES Novocaine 11 CAGE THE ELEPHANT Black Madonna 12 MACHINE GUN KELLY Bloody Valentine 13 STROKES Bad Decisions 14 MEG MYERS Running Up That Hill 15 HEAD AND THE HEART Honeybee 16 PANIC! AT THE DISCO High Hopes 17 KILLERS Caution 18 WEEZER Hero 19 TWENTY ONE PILOTS The Hype 20 WALLOWS Are You Bored Yet? 21 LOVELYTHEBAND Broken 22 DAYGLOW Can I Call You Tonight? 23 GROUPLOVE Deleter 24 SUB URBAN Cradles 25 NEON TREES Used To Like 26 CAGE THE ELEPHANT Social Cues 27 WHITE REAPER Might Be Right 28 BLACK KEYS Shine A Little Light 29 LUMINEERS Life In The City 30 LANA DEL REY Doin' Time 31 GREEN DAY Oh Yeah! 32 MARSHMELLO Happier f/Bastille 33 AWOLNATION The Best 34 LOVELYTHEBAND Loneliness For Love 35 KENNYHOOPLA How Will I Rest In Peace If... 36 BAKAR Hell N Back 37 BLUE OCTOBER Oh My My 38 KILLERS My Own Soul's Warning 39 GLASS ANIMALS Your Love (Deja Vu) 40 BILLIE EILISH bad guy 41 MATT MAESON Cringe 42 MAJOR LAZER F/MARCUS Lay Your Head On Me 43 PEACH TREE RASCALS Mariposa 44 IMAGINE DRAGONS Natural 45 ASHE Moral Of The Story f/Niall 46 DOMINIC FIKE 3 Nights 47 I DONT KNOW HOW BUT THEY..
  • SMPC 2011 Attendees

    SMPC 2011 Attendees

    Society for Music Perception and Cognition August 11­14, 2011 Eastman School of Music of the University of Rochester Rochester, NY Welcome Dear SMPC 2011 attendees, It is my great pleasure to welcome you to the 2011 meeting of the Society for Music Perception and Cognition. It is a great honor for Eastman to host this important gathering of researchers and students, from all over North America and beyond. At Eastman, we take great pride in the importance that we accord to the research aspects of a musical education. We recognize that music perception/cognition is an increasingly important part of musical scholarship‐‐and it has become a priority for us, both at Eastman and at the University of Rochester as a whole. This is reflected, for example, in our stewardship of the ESM/UR/Cornell Music Cognition Symposium, in the development of several new courses devoted to aspects of music perception/cognition, in the allocation of space and resources for a music cognition lab, and in the research activities of numerous faculty and students. We are thrilled, also, that the new Eastman East Wing of the school was completed in time to serve as the SMPC 2011 conference site. We trust you will enjoy these exceptional facilities, and will take pleasure in the superb musical entertainment provided by Eastman students during your stay. Welcome to Rochester, welcome to Eastman, welcome to SMPC 2011‐‐we're delighted to have you here! Sincerely, Douglas Lowry Dean Eastman School of Music SMPC 2011 Program and abstracts, Page: 2 Acknowledgements Monetary
  • The Sorcerer's Apprentice Suite from Les Biches

    The Sorcerer's Apprentice Suite from Les Biches

    Paul Dukas / October 1, 1865 – May 17, 1935 THE SORCERER’S APPRENTICE Best known for its prominent role in Walt Disney’s Fantasia, Dukas’s scherzo is the translation into music of a poem by Johann von Goethe based on an ancient folk tale. The moral of the tale is ‘don’t try to run before you can walk,’ or ‘don’t meddle in matters you don’t understand.’ Goethe turned the fable into poetry, Dukas into a literal sound poem. Dukas’s programmatic music recounts the story of a magician who could turn a broom handle into a living object which would then execute the duties of a servant, such as fetching water. The secret of the trick lay in the magic words the sorcerer used to work this miracle. One day the sorcerer’s apprentice overheard him rehearsing these words, and while his boss was away on an errand, the apprentice decided to try the trick himself – with disastrous results. The broom did become a servant, and it did fetch water as commanded, but the apprentice had not overheard the words needed to put the magic in reverse. The mindless runaway broom proceeded to flood the house. Desperately, the apprentice took an axe to the broom, splitting it in two – but then there were two mindless creatures flooding the house. Fortunately, the sorcerer arrived and put a halt to the mayhem. Dukas’s clever music captures the story in great detail, with the bassoons and contrabassoon playing the part of the broom. As the flood increases, orchestral arpeggios create the effect of flooding water.