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Contact: a Journal for Contemporary Music (1971-1988) Citation
Contact: A Journal for Contemporary Music (1971-1988) http://contactjournal.gold.ac.uk Citation Waugh, Jane and Waugh, W. A. O’N. 1977. ‘Die Reihe in Perspective’. Contact, 16. pp. 3-7. ISSN 0308-5066. ! [[] JANE ANDW.A.O'N. WAUGH 16 Die Reihe in Perspective IN 1955 A PERIODICAL, Die Reihe, was launched under the editorship ofHerbert Eimert and Karlheinz Stockhausen. Both editors were associated with the Cologne Electronic Music Studio, and the first number was devoted to electronic music. Seven more issues followed: 2. Anton Webern, 3. Musikalisches Handwerk ('Musical Craftsmanship'), 4. lunge Komponisten ('Young Composers'), 5. Berichte, Analysen ('Reports, Analyses'), 6. Sprach und Musik ('Speech and Music'), 7. Form-Raum ('Form-Space'), 8. Riickblicke ('Retrospective'). The finality suggested by the title of No. 8 was appropriate, since with that number ( 1962) publication ceased. Die Reihe was, however, no ordinary periodical. It aimed at definitive statements and at studies that were both extensive and deep (see for example No. 2, devoted to Anton Webern). It was translated, and published in English (No. 1, 1957, to No. 8, 1968): Universal Edition, who in 1968 took over the copyright to the second, revised edition still have it in print. Such a history of a short-lived periodical demands consideration of its contents as they were seen in the context of the early 1960s, as they are to be seen now and of the changes in the surrounding circumstances between then and now. Die Reihe started several years earlier tha.n its American counterpart Perspectives ofNew Music, which has lived longer; both are highly technical in subject-matter, vocabulary and spirit. -
Zur Au Ührungspraxis Von Karlheinz Stockhausens Instrumentalem
Kunstuniversität Graz Institut 1 für Komposition, Dirigieren und Musiktheorie Künstlerische Masterarbeit Zur Auührungspraxis von Karlheinz Stockhausens instrumentalem Musiktheater dargestellt am Beispiel von HALT aus DONNERSTAG aus LICHT von Margarethe Maierhofer-Lischka künstlerische Betreuung: Uli Fussenegger wissenschaftliche Betreuung: Prof. Dr. Christian Utz Matrikelnr.: 1073168 Graz 17. Dezember 2012 Zahlreiche zeitgenössische Instrumentalwerke überschreiten die Grenzen zwischen In- strumentalmusik und Musiktheater und stellen damit die Interpret/innen vor neue An- forderungen. Das Werk Karlheinz Stockhausens, insbesondere sein Musiktheaterzyklus LICHT, stellt dafür im Musikschaen des 20. Jahrhunderts ein herausragendes Beispiel dar. Diese Arbeit dokumentiert die auührungspraktische Auseinandersetzung mit die- sem Werkkomplex. Anhand der Szene HALT aus DONNERSTAG aus LICHT, die letz- tes Jahr im Rahmen eines künstlerischen Forschungsprojekts einstudiert und aufgeführt wurde, wird ein Einblick in Stockhausens ästhetische und musiktheatralische Konzepte vermittelt. Inhaltliche Kriterien für die Entwicklung einer werktreuen Neuinterpretati- on werden genauso vorgestellt wie performative Aufgaben, denen Musiker/innen für die Arbeit an musikalisch-szenischen Werken gewachsen sein müssen. Many contemporary instrumental works are crossing the borders between instrumental music and music theatre, thus imposing new challenges to their interpreters. One import- ant example for such an interdisciplinary body of works contained in the 20th -
Karlheinz Stockhausen: Works for Ensemble English
composed 137 works for ensemble (2 players or more) from 1950 to 2007. SCORES , compact discs, books , posters, videos, music boxes may be ordered directly from the Stockhausen-Verlag . A complete list of Stockhausen ’s works and CDs is available free of charge from the Stockhausen-Verlag , Kettenberg 15, 51515 Kürten, Germany (Fax: +49 [0 ] 2268-1813; e-mail [email protected]) www.stockhausen.org Karlheinz Stockhausen Works for ensemble (2 players or more) (Among these works for more than 18 players which are usu al ly not per formed by orches tras, but rath er by cham ber ensem bles such as the Lon don Sin fo niet ta , the Ensem ble Inter con tem po rain , the Asko Ensem ble , or Ensem ble Mod ern .) All works which were composed until 1969 (work numbers ¿ to 29) are pub lished by Uni ver sal Edi tion in Vien na, with the excep tion of ETUDE, Elec tron ic STUD IES I and II, GESANG DER JÜNGLINGE , KON TAKTE, MOMENTE, and HYM NEN , which are pub lished since 1993 by the Stock hau sen -Ver lag , and the renewed compositions 3x REFRAIN 2000, MIXTURE 2003, STOP and START. Start ing with work num ber 30, all com po si tions are pub lished by the Stock hau sen -Ver lag , Ket ten berg 15, 51515 Kürten, Ger ma ny, and may be ordered di rect ly. [9 ’21”] = dura tion of 9 min utes and 21 sec onds (dura tions with min utes and sec onds: CD dura tions of the Com plete Edi tion ). -
INS Price 1F-$0.65 HC Not Available from EDRS. Basic Song List, While
DOCUMENT RESUME ED 048 320 T7 499 843 TITLE Music Appreciation for High School. Curriculum Bulletin, 1969-70 Series, No. 4. INSTITUTICN New York City Board of Education, Brooklyn, N.Y. Bureau of Curriculum Development. PUB DATE 69 NOTE 188p. AVAILABLE ERCM Eoard of Education of the City of Pew York, Publications Sales Office, 110 Livingston Street, Brooklyn, N.Y.11201 ($4.00). Make checks payable to Auuitor, Board of Education FURS PRICE INS Price 1F-$0.65 HC Not Available from EDRS. DESCRIPTORS Bands (Music), Choral Music, Educational Objectives, *"tunic Activities, nisical Instruments, *Music Appreciatlon, *Music Education, Music Reading, Music Theory, Opera, Or-Jlestras, Oriental Music, Teaching Procedures, Vocal Music ABSTRACT Organized flexibly- these 17 unit. outlines are arranged to provide articulation with lower levels, utilization of student-preferred material, and coverage of the most essential instructional aspects of music appreciation in an increasing order of complexity. Each unit outline contains (1)aims and objectives, (2) vocabulary, (3) suggested and alternate lesson topics, (4) procedures,(F) summary concepts, (6) references, (7) audiovis.ial mat, al lists., (8) sample lesson plans, and (9) sample worksheets. The ,ntroducticn includes a sample pupil inventory lorm, an auditory discrimination test(of both performers and symphonic wor%s), and a basic song list, while suppleentary materials conclude the syllabus with lists of popular songs, au%iovisual aids, and recordings; an outline of musical rudimEnts; a sample lesson plan for appreciation and understanding of prograff music; and a bibliography. (JMC) OS DEPARTMENT OF HEALTH, EDUCATION a WAR! OFFICE OF EDUCATIO! !HIS DOCUMENT HIS ND REPRODUCED EXACTLY A: WEND IROM THE PERSON CR ORGANIZATtOH CR161111E10 ItPOINTS Of 011W OR OPINIONS STATED DO NOT KCESSIPILY REPREtrif OFFICIII OFFICE OF FIIKVION POSITION OR POOCH. -
Programmheft (PDF 2.3
… und der Zukunft zugewandt … SA 9. NOV 2019 | KULTURPALAST Spartacus FR 29. NOV 2019 | 19.30 Uhr SA 30. NOV 2019 | 19.30 Uhr KULTURPALAST TSCHAIKOWSKI ›Manfred‹-Sinfonie h-Moll PROKOFJEW Violinkonzert Nr. 2 g-Moll CHATSCHATURJAN Auszüge aus dem Ballett ›Spartacus‹ DMITRIJ KITAJENKO | Dirigent SERGEJ KRYLOV | Violine DRESDNER PHILHARMONIE Tickets 39 | 34 | 29 | 23 | 18 € [email protected] dresdnerphilharmonie.de 9 € Schüler, Studenten © Klaus Rudolph PROGRAMM 17.00 Uhr, Konzertsaal Musik – Demokratie – Europa Harald Muenz (* 1965) [ funda'men de'nit ] per dieci voci, für zehn Stimmen, para diez voces, for ten voices, pour dix voix auf Textauszüge aus dem Grundgesetz der Bundesrepublik Deutschland (1949) und der Charta der Grundrechte der Europäischen Union (2000), eingerichtet vom Komponisten (2019) Stefan Beyer (* 1981) »Vi« für Vokalensemble und Elektronik (2019) Hakan Ulus (* 1991) »Auslöschung II« für zehn Stimmen (2019) Chatori Shimizu (* 1990) »Rightist Mushrooms« für zehn Stimmen (2019) Fojan Gharibnejad (* 1995) Zachary Seely (* 1988) »hēmi« für zehn Sänger (2019) Olaf Katzer | Leitung AUDITIVVOKAL DRESDEN Die fünf Werke entstanden im Auftrag von AUDITIVVOKAL DRESDEN und erklingen als Urauührungen. PROGRAMM 18.30 Uhr, Konzertsaal I have a dream Kurzeinführung: Zeitzeugen im Gespräch mit Jens Schubbe Friedrich Schenker (1942 – 2013) Sinfonie »In memoriam Martin Luther King« (1969/70) Sehr langsam – Schnell – Ruhige Halbe (in der Art eines Chorals) – Tempo I Schnell und rigoros – Langsam – Ruhig ießend – Tempo I Jonathan -
Department of Musicology, Faculty of Music, University of Arts in Belgrade Editors Prof. Dr. Tijana Popović Mladjenović Prof
Department of Musicology, Faculty of Music, University of Arts in Belgrade MUSICOLOGICAL STUDIES: MONOGRPAHS CONTEXTUALITY OF MUSICOLOGY – What, How, WHY AND Because Editors Prof. Dr. Tijana Popović Mladjenović Prof. Dr. Ana Stefanović Dr. Radoš Mitrović Prof. Dr. Vesna Mikić Reviewers Prof. Dr. Leon Stefanija Prof. Dr. Ivana Perković Prof. Dr. Branka Radović Proofreader Matthew James Whiffen Publisher Faculty of Music in Belgrade For Publisher Prof. Ljiljana Nestorovska, M.Mus. Dean of the Faculty of Music in Belgrade Editor-in-Chief Prof. Dr. Gordana Karan Executive Editor Marija Tomić Cover Design Dr. Ivana Petković Lozo ISBN 978-86-81340-25-7 This publication was supported by the Ministry of Education, Science and Technological Development of the Republic of Serbia. CONTEXTUALITY OF MUSICOLOGY What, How, Why and Because Editors Tijana Popović Mladjenović Ana Stefanović Radoš Mitrović Vesna Mikić UNIVERSITY OF ARTS IN BELGRADE FACULTY OF MUSIC Belgrade 2020 УНИВЕРЗИТЕТ УМЕТНОСТИ У БЕОГРАДУ ФАКУЛТЕТ МУЗИЧКЕ УМЕТНОСТИ UNIVERSITY OF ARTS IN BELGRADE FACULTY OF MUSIC Contents 7 Marija Maglov Musicology in the Context of Media – Media in the Context of Musicology ................................................... 279 Ivana Perković, Radmila Milinković, Ivana Petković Lozo Digital Music Collections in Serbian Libraries for New Music Research Initiatives .............................................. 293 IV What, How, Why and Because Nikola Komatović The Context(s) of Tonality/Tonalities ............................... 311 John Lam Chun-fai Stravinsky à Delage: (An)Hemitonic Pentatonicism as Japonisme ....... 319 Fabio Guilherme Poletto When Different Cultural Contexts Resize a Popular Song: A Study about The Girl from Ipanema .............................. 334 Ana Djordjević Music Between Layers – Music of Lepa sela lepo gore in The Context of Film Narrative ................................... -
Programmheft Und Die Konzerteinführung Gehören Zu Den Ergebnissen Dieser Arbeit
© Stockhausen-Archiv Ensemble Earquake Oboe..................................Margarita Souka Violoncello.........................Claudia Cecchinato Klarinette...........................Man-Chi Chan Fagott................................Berenike Mosler Violine.................................Anna Teigelack Tuba...................................Sandro Hartung Flöte...................................Samantha Arbogast Posaune.............................Daniil Gorokhov (a.G.) Viola...................................Tom Congdon Trompete...........................Jonas Heinzelmann Kontrabass.........................Marian Kushniryk Horn...................................Lukas Kuhn Schlagzeug........................Nadine Baert Klangregie.........................Selim M’rad Caspar Ernst Ernst-Lukas Kuhlmann Tutor...................................Orlando Boeck Musikalische Leitung.........Kathinka Pasveer Gesamtleitung...................Merve Kazokoğlu Was bedeutete „Neue Musik“ für Karlheinz Stockhausen? Ganz und gar optimistisch, neugierig und kosmopolitisch scheint Stockhausens Musik – und nicht mehr in den engen Grenzen europä- ischer Musikästhetik verstehbar. Zwar war Stockhausen selbst ein Teil der westdeutschen musikalischen Avantgarde nach 1945 und prägte daher zahlreiche Neuerungen der hiesigen damaligen Musikgeschich- te, – hier sind serielle Techniken ebenso wie die künstliche Tonerzeu- gung mit Studiotechnik erwähnenswert, – endgültig verpflichtet bliebt er jedoch keinem der dort erprobten Ansätze und verband die gewon- nenen Anregungen -
A Conductor's Study of George Rochberg's Three Psalm Settings David Lawrence Louisiana State University and Agricultural and Mechanical College
Louisiana State University LSU Digital Commons LSU Major Papers Graduate School 2002 A conductor's study of George Rochberg's three psalm settings David Lawrence Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_majorpapers Part of the Music Commons Recommended Citation Lawrence, David, "A conductor's study of George Rochberg's three psalm settings" (2002). LSU Major Papers. 51. https://digitalcommons.lsu.edu/gradschool_majorpapers/51 This Major Paper is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Major Papers by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. A CONDUCTOR’S STUDY OF GEORGE ROCHBERG’S THREE PSALM SETTINGS A Monograph Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the Requirements for the degree of Doctor of Musical Arts in School of Music By David Alan Lawrence B.M.E., Abilene Christian University, 1987 M.M., University of Washington, 1994 August 2002 ©Copyright 2002 David Alan Lawrence All rights reserved. ii TABLE OF CONTENTS LIST OF TABLES ....................................................................................................................v LIST OF FIGURES..................................................................................................................vi LIST -
Stockhausen Concerts and Classes for Clarinettists and Others. Clarinettists Have Reason to Be Very Happy with the Development
Stockhausen concerts and classes for clarinettists and others. Clarinettists have reason to be very happy with the development of their repertoire in de 20th century, as it had a previously unseen growth. One of the main figures of post war new music has been Karlheinz Stockhausen (1928-2007). This often controversial composer has enriched clarinet literature with an unprecedented number of works for clarinet, bassethorn and bass clarinet, especially after 1974. These sometimes demanding pieces, often with theatrical elements, require a specific approach and way of playing, easily underestimated. Stockhausen was well aware of this and started coaching a new generation of players in the 1980’s, in order to pass this tradition of interpretation on to others. In spite of Stockhausen’s compositions having the reputation of being difficult and intellectual (if not quasi-religious), to play, watch and listen to them is generally great fun, and very satisfying to work on - if done well. Because the music calls on many apects of performing (e.g. fysical and mental attitude on stage, memory, presentation, awareness of the structure of the music, disciplin) the leaning process has a beneficial influence on performing traditional music too. This series of concerts and courses offers the possibility to watch, listen, study and rehearse a number of Stockhausen’s works with Michel Marang, a clarinettist who worked with the composer since 1986 and performed his music hundreds of times worldwide. The course can have the character of an introductory lecture and concert, but eventually may result in seminars over a longer stretch of time, as much as needed to bring specific works on concert level. -
Separation Integration Programme
Edinburgh Research Explorer Separation - Integration Citation for published version: Williams, S, Separation - Integration: Concert of works centred on David C Johnson, 2014, Performance. Link: Link to publication record in Edinburgh Research Explorer Document Version: Publisher's PDF, also known as Version of record General rights Copyright for the publications made accessible via the Edinburgh Research Explorer is retained by the author(s) and / or other copyright owners and it is a condition of accessing these publications that users recognise and abide by the legal requirements associated with these rights. Take down policy The University of Edinburgh has made every reasonable effort to ensure that Edinburgh Research Explorer content complies with UK legislation. If you believe that the public display of this file breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 04. Oct. 2021 This programme is built around David C Johnson’s 4-channel tape piece Our third interruption is a realisation of Yoko Ono’s 1963 Tape Piece III: Telefun, realised in the WDR Studio for Electronic Music, Cologne. Snow Piece: Gemini 8 is a new work by Sean Williams for Grey Area based on NASA's Take a tape of the sound of the snow Gemini missions of the 1960s which paved the way for the Apollo missions to falling. the moon. Gemini 8, piloted by Neil Armstrong, was the first manned space This should be done in the evening. mission in which two spacecraft, launched an hour and a half apart, Do not listen to the tape. -
New 2014–2017
Stockhausen-Verlag, 51515 Kürten, Germany www.karlheinzstockhausen.org / [email protected] NEW 2014–2017 New scores (can be ordered directly online at www.stockhausen-verlag.com): TELEMUSIK (TELE MUSIC) Electronic Music (English translation) ................................ __________ 96 ¤ (54 bound pages, 9 black-and-white photographs) ORIGINALE (ORIGINALS) Musical Theatre (Textbook) ..................................................... __________ 88 ¤ (48 bound pages, 11 black-and-white photographs) TAURUS-QUINTET for tuba, trumpet, bassoon, horn, trombone .................................... __________ 60 ¤ (folder with score in C, 10 bound pages, cover in colour with Stockhausen’s original drawing, plus performance material: 5 loose-leaf parts for tuba, trumpet, bassoon, horn in F and trombone) CAPRICORN for bass and electronic music ................................................................................ __________ 65 ¤ (60 bound pages, cover in colour) KAMEL-TANZ (CAMEL-DANCE) .............................................................................................. __________ 30 ¤ (of WEDNESDAY from LIGHT) for bass, trombone, synthesizer or tape and 2 dancers (20 bound pages, cover in colour) MENSCHEN, HÖRT (MANKIND, HEAR) .................................................................................. __________ 30 ¤ (of WEDNESDAY from LIGHT) for vocal sextet (2 S, A, T, 2 B) (24 bound pages, cover in colour with Stockhausen’s original drawing) HYMNEN (ANTHEMS) Electronic and Concrete Music – study -
Michael Pelzel Gravity’S Rainbow 2
Michael Pelzel Gravity’s Rainbow 2 Michael Pelzel 3 Michael Pelzel: Gravity’s Rainbow 4 1. Mysterious Anjuna Bell (2016) 18:47 für Ensemble und Kammerorchester Ensemble ascolta und Stuttgarter Kammerorchester, Peter Rundel (Leitung) 2. Carnaticaphobia (2017) 16:18 für Perkussion, Klavier und Violoncello ensemble recherche 3. Gravity’s Rainbow (2016) 21:00 für CLEX (Kontrabassklarinette extended) und Orchester Ernesto Molinari (CLEX), Basel Sinfonietta, Peter Rundel (Leitung) 4. „Alf“-Sonata (2014) 08:25 5 für Violine und Horn Jetpack Bellerive: Noëlle-Anne Darbellay (Violine) und Samuel Stoll (Horn) Danse diabolique (2016) für Bläser, Harfe, Orgel, Klavier und Schlagzeug WDR Sinfonieorchester, Bas Wiegers (Leitung) 5. I. Introduction 03:28 6. II. Danse diabolique 08:25 Gesamtspieldauer 76:26 Im Sog des Klangstroms 6 Ein Klang, so überwältigend reich und vielfältig, dass er das Ensemble, das ihn hervorbringt, geradezu transzendiert. Eine Fülle an Farben, die ans Maß- lose grenzt. Ein Gewimmel von Gestalten, das die Ohren überfordert. Ein Ganzes, das weit mehr ist als seine Teile, doch ohne diese zu verschlucken. Solcherart mögen die ersten Eindrücke sein, die man von der Musik Michael Pelzels empfängt. Viel (und vieles zugleich) geschieht in ihr, und wer sie unbefangen hört, wird sich von ihr geradezu aufgesogen fühlen, hinein- gestoßen ins Klanggeschehen und zunächst einmal aller refl exiven Distanz beraubt. Tatsächlich hat diese Musik in der Üppigkeit ihrer Mittel etwas Dionysisches, Anarchisch-Ungebundenes – was freilich keineswegs einen Verzicht auf planvolle Strukturierung und kompositorisches Kalkül bedeutet. Ganz im Gegenteil: Die erste Lektion allen Kunstmachens, dass der ästhe- tische Schein von Freiheit gerade nicht aus einer völligen Freiheit des Ge- staltens resultiert, ist selbstverständlich auch Michael Pelzel geläufi g.