PROJECTE FINAL.Paula Martínez
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Opera & Ballet 2017
12mm spine THE MUSIC SALES GROUP A CATALOGUE OF WORKS FOR THE STAGE ALPHONSE LEDUC ASSOCIATED MUSIC PUBLISHERS BOSWORTH CHESTER MUSIC OPERA / MUSICSALES BALLET OPERA/BALLET EDITION WILHELM HANSEN NOVELLO & COMPANY G.SCHIRMER UNIÓN MUSICAL EDICIONES NEW CAT08195 PUBLISHED BY THE MUSIC SALES GROUP EDITION CAT08195 Opera/Ballet Cover.indd All Pages 13/04/2017 11:01 MUSICSALES CAT08195 Chester Opera-Ballet Brochure 2017.indd 1 1 12/04/2017 13:09 Hans Abrahamsen Mark Adamo John Adams John Luther Adams Louise Alenius Boserup George Antheil Craig Armstrong Malcolm Arnold Matthew Aucoin Samuel Barber Jeff Beal Iain Bell Richard Rodney Bennett Lennox Berkeley Arthur Bliss Ernest Bloch Anders Brødsgaard Peter Bruun Geoffrey Burgon Britta Byström Benet Casablancas Elliott Carter Daniel Catán Carlos Chávez Stewart Copeland John Corigliano Henry Cowell MUSICSALES Richard Danielpour Donnacha Dennehy Bryce Dessner Avner Dorman Søren Nils Eichberg Ludovico Einaudi Brian Elias Duke Ellington Manuel de Falla Gabriela Lena Frank Philip Glass Michael Gordon Henryk Mikolaj Górecki Morton Gould José Luis Greco Jorge Grundman Pelle Gudmundsen-Holmgreen Albert Guinovart Haflidi Hallgrímsson John Harbison Henrik Hellstenius Hans Werner Henze Juliana Hodkinson Bo Holten Arthur Honegger Karel Husa Jacques Ibert Angel Illarramendi Aaron Jay Kernis CAT08195 Chester Opera-Ballet Brochure 2017.indd 2 12/04/2017 13:09 2 Leon Kirchner Anders Koppel Ezra Laderman David Lang Rued Langgaard Peter Lieberson Bent Lorentzen Witold Lutosławski Missy Mazzoli Niels Marthinsen Peter Maxwell Davies John McCabe Gian Carlo Menotti Olivier Messiaen Darius Milhaud Nico Muhly Thea Musgrave Carl Nielsen Arne Nordheim Per Nørgård Michael Nyman Tarik O’Regan Andy Pape Ramon Paus Anthony Payne Jocelyn Pook Francis Poulenc OPERA/BALLET André Previn Karl Aage Rasmussen Sunleif Rasmussen Robin Rimbaud (Scanner) Robert X. -
Creative Musical Instrument Design
CREATIVE MUSICAL INSTRUMENT DESIGN: A report on experimental approaches, unusual creations and new concepts in the world of musical and sound instruments. A thesis submitted to the SAE Institute, London, in fulfillment of the requirements for the degree in Recording Arts, awarded by Middlesex University. Author: Andrea Santini Student: 42792 Intake: RAD0503X Project Tutors: Christopher Hayne Darren Gash London, August 2004 c r e a t i v e m u s i c a l i n s t r u m e n t d e s i g n Abstract The following document presents the results of an investigation into the current reality of creative musical-instrument and sound-instrument design. The focus of this research is on acoustic and electro-acoustic devices only, sound sources involving oscillators, synthesis and sampling, be it analogue or digital, have therefore been excluded. Also, even though occasional reference will be made to historical and ‘ethnical’ instruments, they will not be treated as a core issue, the attention being primarily centered on contemporary creations. The study includes an overview of the most relevant “sonic creations” encountered in the research and chosen as representative examples to discuss the following aspects: o Interaction between body and instrument. o Sonic Space o Tuning and layout of pitches o Shapes, materials and elements o Sonic objects, noise and inharmonic sources o Aesthetics: sound instruments as art objects o Amplification and transducer technologies These where chosen to provide some degree of methodology during the research process and a coherent framework to the analysis of a subject which, due to its nature and to the scarcity of relevant studies, has unclear boundaries and a variety of possible interdisciplinary connections. -
December 2000
21ST CENTURY MUSIC DECEMBER 2000 INFORMATION FOR SUBSCRIBERS 21ST-CENTURY MUSIC is published monthly by 21ST-CENTURY MUSIC, P.O. Box 2842, San Anselmo, CA 94960. Subscription rates in the U.S. are $84.00 (print) and $42.00 (e-mail) per year; subscribers to the print version elsewhere should add $36.00 for postage. Single copies of the current volume and back issues are $8.00 (print) and $4.00 (e-mail) Large back orders must be ordered by volume and be pre-paid. Please allow one month for receipt of first issue. Domestic claims for non-receipt of issues should be made within 90 days of the month of publication, overseas claims within 180 days. Thereafter, the regular back issue rate will be charged for replacement. Overseas delivery is not guaranteed. Send orders to 21ST-CENTURY MUSIC, P.O. Box 2842, San Anselmo, CA 94960. e-mail: [email protected]. Typeset in Times New Roman. Copyright 2000 by 21ST-CENTURY MUSIC. This journal is printed on recycled paper. Copyright notice: Authorization to photocopy items for internal or personal use is granted by 21ST-CENTURY MUSIC. INFORMATION FOR CONTRIBUTORS 21ST-CENTURY MUSIC invites pertinent contributions in analysis, composition, criticism, interdisciplinary studies, musicology, and performance practice; and welcomes reviews of books, concerts, music, recordings, and videos. The journal also seeks items of interest for its calendar, chronicle, comment, communications, opportunities, publications, recordings, and videos sections. Typescripts should be double-spaced on 8 1/2 x 11 -inch paper, with ample margins. Authors with access to IBM compatible word-processing systems are encouraged to submit a floppy disk, or e-mail, in addition to hard copy. -
{FREE} Flute Ebook, Epub
FLUTE PDF, EPUB, EBOOK James Galway | 256 pages | 01 Apr 2003 | KAHN & AVERILL | 9781871082135 | English | London, United Kingdom flute | Definition, History, & Types | Britannica Articles from Britannica Encyclopedias for elementary and high school students. The Editors of Encyclopaedia Britannica Encyclopaedia Britannica's editors oversee subject areas in which they have extensive knowledge, whether from years of experience gained by working on that content or via study for an advanced degree See Article History. Britannica Quiz. A Study of Composers. What composer wrote symphonies and other major works before he was 13 years old? Get exclusive access to content from our First Edition with your subscription. Subscribe today. Learn More in these related Britannica articles:. Sound is generated by different methods in the aerophones designated as flutes and reeds in the Sachs-Hornbostel system. In flutes, the airstream is directed against a sharp edge; in reeds, the air column in the tube is caused to vibrate between beating…. Flute s were ubiquitous in antiquity. In early depictions, they are sometimes confused with reedpipes. What is thought to be the earliest example of a Western flute was discovered in at Hohle Fels cave near Ulm, Germany. The instrument, made of a vulture bone…. The Renaissance recorder blended well in consort but was weak in its upper register and needed modification to meet the demand for an expressive melodic style. The very nature of the instrument, with its lack of lip control, prevented much dynamic control, but the…. History at your fingertips. In a regional dialect of Gujarati, a flute is also called Pavo. -
12/29/06 I First Became Acquainted with the Artistry
12/29/06 I first became acquainted with the artistry and innovation of Swiss flutist, Matthias Ziegler when I listened to his submitted tape recording of Marsyas' Song. I was program chair for the 1992 Los Angeles convention. I listened to this tape and could not believe my ears. It was like nothing I had ever heard before. I knew at once that I must invite Matthias Ziegler to give his first NFA performance at the convention in Los Angeles. He is now a well-known artist in this country, having performed on numerous tours and at many conventions since that date. I was therefore thrilled to have the opportunity to bring Matthias to the Ohio State University to play a concert and a master class for my students. His music making, his instruments, his compositions, his personality and his teaching style blew my students away. So was I!! Later, Victoria Jicha asked me to interview Mr. Ziegler while he was in Columbus. We talked for hours. Here are excerpts from that interview. Matthias Ziegler Interview Family Where did you grow up? I grew up in Zurich, Switzerland where I still live close-by in a village by the lake with my family, my wife and two kids. Samuel my son is eight, he plays the cello. My daughter, Anahita she is six and she plays the violin. Samuel is a name that has been in my family quite frequently. My wife's family is from Tehran so we have some relation to this culture. Anahita is actually an old, Iranian name, the goddess of water. -
Percussive Arts Society International Convention November 19–22
PASIC 2014 PROGRAM PASICPercussive Arts Society International 14 Convention November 19–22 • Indianapolis, Indiana 1 Untitled-4 1 10/31/14 2:15 PM ©2014 Avedis Zildjian Company THE LEGACY CONTINUES... The Zildjian Company is proud to honor 2014 PASIC Hall of Fame inductee, Art Blakey. His aggressive approach to drumming and influence on Jazz music makes him one of the most important musicians of all time. Paying tribute to Art with an evening concert at PASIC is Carl Allen, who continues Art’s legacy as one of the most respected drummers of our generation. ZILDJIAN.COM SOUND LEGACY PAS President’s Welcome 6 Donations to the Logistics Incentives Program 7 Special Thanks 8 Area Map and Restaurant Guide 10 Convention Center Map 12 Rhythm! Discovery Center Map 13 Exhibitors by Name 14 Exhibit Hall Map 15 Exhibitors by Category 16 Exhibitor Company Descriptions 18 Artist Sponsors 30 11.19.14 Schedule at a Glance 36 11.19.14 Schedule of Events 38 Focus Day Program Notes 39 11.20.14 Schedule at a Glance 46 11.20.14 Schedule of Events 48 11.21.14 Schedule at a Glance 54 11.21.14 Schedule of Events 56 11.22.14 Schedule at a Glance 60 11.22.14 Schedule of Events 62 TABLE OF CONTENTS About the Artists 66 PASIC Listening Room 83 PAS History 84 PAS Hall of Fame 86 PAS 2014 Awards 88 PASIC 2014 Advertisers 90 CSM7195 PASIC spread ad 2014_Layout 1 10/9/14 2:52 PM Page 1 7300 Series OnlyYamaha Yamaha Corporation is recognized around the world as the leader in musical instruments and sound reinforcement products. -
The Commissioned Works of the National Flute Association For
THE COMMISSIONED WORKS OF THE NATIONAL FLUTE ASSOCIATION FOR THE YOUNG ARTIST AND HIGH SCHOOL SOLOIST COMPETITIONS DOCUMENT Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Kimberlee Goodman, M.M. ***** The Ohio State University 2007 Document Committee: Approved by Professor Katherine Borst Jones, Adviser Dr. Robert Ward _____________________________ Dr. Susan Powell Adviser Music Graduate Program ABSTRACT The National Flute Association, an organization of professionals, amateurs, teachers, performers, and students has been active in the commissioning of new music for some of its competitions since 1986. The organization is responsible for more than forty new works for the Young Artist and High School Soloist competitions alone. The commissioning process has changed vastly over the years that the organization has been in existence. The National Flute Association commissions composers from all over the world to write pieces for two of its competitions; the Young Artist Competition has been commissioning works since 1986, and the High School Soloist Competition began commissioning new works in 1989. Additionally, the importance of the National Flute Association has led to many world premiere performances and individuals commissioning works to be premiered at the annual conventions. The purpose of this document is to highlight the competition commissioned works of this organization and its continuing commitment to presenting and championing new music. The National Flute Association has established itself as a leading organization in creating new works, and these commissioned pieces now represent a major body of work and a substantial portion of the newly composed repertoire for flute. -
Revista Acadêmica De Música
REVISTA ACADÊMICA DE MÚSICA volumejaneiro/junho - 2011 23 ISSN: 1517-7599 Editorial Este volume 23 de Per Musi - Revista Acadêmica de Música, juntamente com o volume 22, são volumes temáticos de- dicados ao estudo da música popular, uma das sub-áreas que mais tem crescido no meio acadêmico brasileiro, finalmente refletindo uma das mais fortes vocações musicais deste país. O grande número de textos selecionados – 38, incluindo três partituras inéditas - permitiu alguns agrupamentos temáticos (como o hibridismo na música popular brasileira), manifes- tações tradicionais (como o lundu, choro, samba, canções, bossa-nova, baião, repente, ragtime, jazz moderno e musicais) ou mais recentes (como o axé, o mangue beat, música infantil e a nova música instrumental brasileira) e personalidades referenciais (como Ernesto Nazareth, Pixinguinha, K-Ximbinho, Gnattali, Guerra-Peixe, Tom Jobim, Hermeto Pascoal, Baden Powell, Egberto Gismonti, Victor Assis Brasil e o grupo UAKTI). O texto seminal do etnomusicólogo inglês Philip Tagg , em tradução de Fausto Borém, sobre o ensino da análise musical para iletrados em música, traz original e importante contribuição para inclusão do grande público de diletantes que fazem música no processo de compreendê-la e usufruí-la em níveis mais profundos do que o simples entretenimento. Para tratar da nueva canción e das relações entre e liberade de expressão e censura durante a ditadura na Argentina, a musicóloga argentina Silvina Luz Mansilla apresenta um estudo focado na música Hermano composta e interpretada por seus conterrâneos, o compositor Carlos Guastavino, o poeta Hamlet Lima Quintana e a cantora Mercedes Sosa. Leonardo Barreto Linhares e Fausto Borém revelam o hibridismo composicional e de práticas de performance entre dois gêneros populares - o baião brasileiro e o bebop norte-americano - na música Pro Zeca do saxofonista, compositor e arranjador Victor Assis Brasil. -
Creating Both Text and Music for Oratorios
Creating both text and music for oratorios: Portfolio of compositions and exegesis Callie Wood M.Mus. 2008 Submitted in fulfillment of the requirements for the degree of Doctor of Philosophy (PhD) Elder Conservatorium of Music Faculty of Humanities and Social Sciences University of Adelaide October 2012 2 Contents Page Abstract 5 Declaration 6 Acknowledgements 7 PART A: PORTFOLIO OF ORIGINAL COMPOSITIONS 8-266 A.1 Major Work 9-200 1.1 Bushfire Oratorio 10-200 1.1.1 Bushfire Oratorio – Libretto 11-33 1.1.2 Bushfire Oratorio - Musical Score 34-200 1.1.2.1a Bushfire Oratorio – “Prologue: Part 1” 35-53 1.1.2.1b Bushfire Oratorio – “Prologue: Part 2” 54-74 1.1.2.2 Bushfire Oratorio – “Scene 1” 75-84 1.1.2.3 Bushfire Oratorio – “Scene 2” 85-92 1.1.2.4 Bushfire Oratorio – “Scene 3” 93-96 1.1.2.5 Bushfire Oratorio – “Scene 4” 97-100 1.1.2.6 Bushfire Oratorio – “Scene 5” 101-106 1.1.2.7 Bushfire Oratorio – “Scene 6” 107-110 1.1.2.8 Bushfire Oratorio – “Scene 7” 111-118 1.1.2.9 Bushfire Oratorio – “Scene 8” 119-126 1.1.2.10 Bushfire Oratorio – “Scene 9” 127-130 1.1.2.11 Bushfire Oratorio – “Scene 10” 131-150 1.1.2.12 Bushfire Oratorio – “Scene 11” 151-156 1.1.2.13 Bushfire Oratorio – “Scene 12” 157-170 1.1.2.14 Bushfire Oratorio – “Scene 13” 171-174 1.1.2.15 Bushfire Oratorio – “Scene 14” 175-178 1.1.2.16 Bushfire Oratorio – “Scene 15” 179-182 1.1.2.17 Bushfire Oratorio – “Scene 16” 183-188 1.1.2.18 Bushfire Oratorio – “Scene 17” 189-194 1.1.2.19 Bushfire Oratorio – “Epilogue” 195-200 A. -
Developing a Repertoire of Extended Techniques for the Kingma System Alto and Bass Flute
Collaboration in practice: developing a repertoire of extended techniques for the Kingma System alto and bass flute Carla REES submitted for the degree of Doctor of Philosophy (Ph.D.) awarded by the Royal College of Music November 2014 Abstract This doctoral research explores the benefits of the Kingma System as applied to the alto and bass flute. It demonstrates each instrument’s potential for the use of extended techniques and the way in which these techniques are applied to the repertoire. The research takes places within the context of my own personal practice as a recitalist and chamber musician, and is represented through recordings of a selection of the repertoire and a website for each instrument, as well as a written commentary. The discussion of repertoire focuses on case studies selected from over 75 works composed for me using these Kingma System instruments. These case studies are presented through recordings, as well as in a detailed discussion of the use of specific aspects of the instruments’ capabilities, including multiphonics, microtonality, alternate fingerings, tone colour, articulation and other extended techniques. The approaches of different composers regarding the notation of these techniques within the repertoire are also explored, and the practical information arising from these case studies is presented as a reference guide for composers and performers in website form. These websites can be found at www.altoflute.co.uk and www.bassflute.co.uk, and include multimedia demonstrations, fingering charts and notational examples. Much of this information is being made available for the first time, and includes the most extensive published selection of multiphonics and trill fingerings for the alto and bass flute.