The Negation of a Negation Fixed in a Form
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Programmheft 13.11.2015
Wider das Vergessen Freitag, 13. November 2015, 20 Uhr Spätgotische Stadtkirche Stuttgart-Bad Cannstatt 418. Konzert der MUSIK AM 13. 2 Am Ausgang erbitten wir Ihre Spende (empfohlener Betrag 10,- ¤). Herzlichen Dank dafür! Die MUSIK AM 13. wird wohlwollend unterstützt durch die Stadt- und Luthergemeinde, die Gesamtkirchengemeinde Bad Cannstatt, den Evangelischen Oberkirchenrat, die Jörg-Wolff-Stiftung, die Martin Schmälzle-Stiftung, die Stadt Stuttgart und das Land Baden-Württemberg. Allen Förderern gilt unser herzlicher Dank. 3 Programm Wider das Vergessen Anton Bruckner 1824-1896 Locus iste WAB 23 Os justi WAB 30 Christus factus est WAB 11 Motetten für vierstimmigen Chor a capella Luigi Nono 1924-1990 Ricorda cosa ti hanno fatto in Auschwitz (1966) (Erinnere dich, was sie dir in Auschwitz angetan haben) für Magnettonband Anton Bruckner Libera me für fünfstimmigen Chor und Orgel WAB 22 Totenlied »O ihr, die ihr heut mit mir zum Grabe geht« WAB 47,1 Iam lucis orto sidere für vierstimmigen Männerchor WAB 18 Tantum ergo für vierstimmigen Chor und Orgel WAB 42 Choral »Dir Herr, dir will ich mich ergeben« für vierstimmigen Chor WAB 12 Karlheinz Stockhausen 1928-2007 Gesang der Jünglinge im Feuerofen (1955) für Vierkanal-Elektronik Anton Bruckner Virga jesse für vierstimmigen Chor a cappella WAB 52 Tota pulchra es für vierstimmigen Chor und Orgel WAB 46 Ave Maria für siebenstimmigen Chor a cappella WAB 6 Ioanna Solomonidou Orgel Otto Kränzler Elektronik Cantus Stuttgart Jörg-Hannes Hahn Leitung 19.15 Uhr Einführung Prof. Dr. Rudolf Frisius 4 Zum Programm Größer könnten die Gegensätze kaum sein. Auf der einen Seite die Motetten Anton Bruckners, reduziert auf die menschliche Stimme und die physische Präsenz der Sänger im Raum. -
School of Music Undergraduate Journal
39 20th Century Discussions on Instrumentation and Timbre in Regards to Pierre Boulez and Le marteau sans maître By: Elsa Marshall As elements of music, including tonality, rhythm, and form, became more and more unfamiliar in modern compositions of the 20th century, the instrumentation of a piece sometimes provided the only link to the familiarity of Western art music. The use of unconventional timbres in other pieces further weakened relations to what was conventionally understood to be music and lead to intellectual debates on what is sound and what is music. The role of electronic instruments and machines in composition, as well as the inclusion of non-Western instruments beyond the role of sound effects, were new considerations for composers of the time. For some, the inclusion of these new sounds was necessary to the development of new music. In this paper I will first discuss composers John Cage, Edgard Varèse, and Pierre Boulez's ideas about instruments and timbres. I will then examine Boulez's ideas more specifically and how these relate to the aforementioned ideas. Finally, I will study various analyses of his instrumentation in Le marteau sans maître (1952-55) in relation to these modern debates. Discussions of Technology and Sound in Compositions and Writings of Boulez, Varèse, and Cage A large part of the discussions about defining music in the writings and interviews of Cage, Varèse, and Boulez consists of the analysis of timbres used in musical composition. More specifically, there are debates over the role of timbre in composition and the distinction or lack thereof between an object that produces sound and a musical instrument. -
Kolloquium 6 Sprachkomposition in Der Neuen Musik Seit 1945 Was
1 --=----~-- - - -- - 1 Kolloquium 6 Sprachkomposition in der Neuen Musik seit 1945 Rudolf Stephan Was bedeutet der Verzicht auf fixierte Tonhöhen? Überlegungen zur Situation der Sprachkomposition Der Titel dieses Kolloquiums, «Sprachkomposition in der Neuen Musik seit 1945», könnte den Eindruck erwecken, als markiere das genannte Jahr eine Zäsur in der Musikgeschichte, oder doch wenigstens in der Ent- wicklung des angesprochenen Problems. Dies ist jedoch nicht der Fall. Die serielle Musik, die doch die erste wirklich neue in der Zeit nach dem Kriege war, entstand erst um (vornehmlich nach) 1950, die Vokalwerke, deren Sprachbehandlung Veranlassung gegeben hat (und noch immer gibt) sie als neuartig zu betrachten, wurden erst in den Fünfzigerjahren geschaffen. Karlheinz Stockhausen begann denn auch seine vergleichende Betrachtung dreier einschlägiger Werke, die er unter dem Titel «Sprache und Musik» (zuerst) in den Darmstädter Beiträgen zur neuen Musik (1, 1958, S. 57-81) erscheinen ließ mit einem Hinweis auf die Urauffilhrungsdaten der drei besprochenen Werke: 1955/56. Gegenstand der Betrachtung waren die Werke Le marteau sans maitre von Pierre Boulez, II canto sospeso von Luigi Nono und der eigene Gesang der Jünglinge. Diese Werke sind, ebenso wie der genannte, vielfach nachgedruckte Aufsatz Stockhausens (z.B. in: Die Reihe 6, 1960, S. 36-58, abweichend in Karlheinz Stockhausen: Texte, 2, 1964), als Dokumente einer bestimmten Phase der Musikentwicklung (und der zugehörigen Überlegungen) allbekannt. Das mit ihnen beginnende Neue wird gewiß -
Developing Sound Spatialization Tools for Musical Applications with Emphasis on Sweet Spot and Off-Center Perception
Sweet [re]production: Developing sound spatialization tools for musical applications with emphasis on sweet spot and off-center perception Nils Peters Music Technology Area Department of Music Research Schulich School of Music McGill University Montreal, QC, Canada October 2010 A thesis submitted to McGill University in partial fulfillment of the requirements for the degree of Doctor of Philosophy. c 2010 Nils Peters 2010/10/26 i Abstract This dissertation investigates spatial sound production and reproduction technology as a mediator between music creator and listener. Listening experiments investigate the per- ception of spatialized music as a function of the listening position in surround-sound loud- speaker setups. Over the last 50 years, many spatial sound rendering applications have been developed and proposed to artists. Unfortunately, the literature suggests that artists hardly exploit the possibilities offered by novel spatial sound technologies. Another typical drawback of many sound rendering techniques in the context of larger audiences is that most listeners perceive a degraded sound image: spatial sound reproduction is best at a particular listening position, also known as the sweet spot. Structured in three parts, this dissertation systematically investigates both problems with the objective of making spatial audio technology more applicable for artistic purposes and proposing technical solutions for spatial sound reproductions for larger audiences. The first part investigates the relationship between composers and spatial audio tech- nology through a survey on the compositional use of spatialization, seeking to understand how composers use spatialization, what spatial aspects are essential and what functionali- ties spatial audio systems should strive to include. The second part describes the development process of spatializaton tools for musical applications and presents a technical concept. -
Survey of Music History I
MUHL M106 Introduction to Music Literature 2 credits Spring semester 2019 Ravi Shankar and Philip Glass working on Passages, 1990 (image from Maria Popova, “Remembering the Godfather of World Music: Ravi Shankar + Philip Glass, 1990,” Brain Pickings (13 December 2013), https://www.brainpickings.org/2012/12/13/pa ssages-ravi-shankar-philip-glass-1990/ , accessed 1 January 2020) Classes TR 8:30-9:20, CM 204g WF 10:30-11:20, CM 135 Bulletin description This course is an introduction to fundamental musical concepts and terminology as applied to listening skills. Students will study a selected body of standard genres and styles used in western art music from c. 800 to the present. This semester I am experimenting: rather than the “snapshots” focused on single pieces we have used in this course in recent years, we will consider specific decades (“snapshots”) in the “long twentieth century” (for me starting in 1889, the year Claude Debussy encountered gamelan music at the Paris World Exhibition), bringing together musics from across the traditional boundaries of western art music (aka “classical” music), jazz, popular, and world musics. We will, as usual, begin with a more general unit on the elements of music. A major focus throughout the course will be on developing skills in active listening and writing/talking about music. Prerequisites Co-requisite: MUTH-M103. This means you must currently be taking (or have taken) Theory II. Please let me know if you have questions on this front or are unsure if this course is appropriate for you. This course is not available for Loyola Core credit. -
Thesis Submission
Rebuilding a Culture: Studies in Italian Music after Fascism, 1943-1953 Peter Roderick PhD Music Department of Music, University of York March 2010 Abstract The devastation enacted on the Italian nation by Mussolini’s ventennio and the Second World War had cultural as well as political effects. Combined with the fading careers of the leading generazione dell’ottanta composers (Alfredo Casella, Gian Francesco Malipiero and Ildebrando Pizzetti), it led to a historical moment of perceived crisis and artistic vulnerability within Italian contemporary music. Yet by 1953, dodecaphony had swept the artistic establishment, musical theatre was beginning a renaissance, Italian composers featured prominently at the Darmstadt Ferienkurse , Milan was a pioneering frontier for electronic composition, and contemporary music journals and concerts had become major cultural loci. What happened to effect these monumental stylistic and historical transitions? In addressing this question, this thesis provides a series of studies on music and the politics of musical culture in this ten-year period. It charts Italy’s musical journey from the cultural destruction of the post-war period to its role in the early fifties within the meteoric international rise of the avant-garde artist as institutionally and governmentally-endorsed superman. Integrating stylistic and aesthetic analysis within a historicist framework, its chapters deal with topics such as the collective memory of fascism, internationalism, anti- fascist reaction, the appropriation of serialist aesthetics, the nature of Italian modernism in the ‘aftermath’, the Italian realist/formalist debates, the contradictory politics of musical ‘commitment’, and the growth of a ‘new-music’ culture. In demonstrating how the conflict of the Second World War and its diverse aftermath precipitated a pluralistic and increasingly avant-garde musical society in Italy, this study offers new insights into the transition between pre- and post-war modernist aesthetics and brings musicological focus onto an important but little-studied era. -
18 Contemporary Opera and the Failure of Language
18 CONTEMPORARY OPERA AND THE FAILURE OF LANGUAGE Amy Bauer Opera after 1945 presents what Robert Fink has called ‘a strange series of paradoxes to the historian’.1 The second half of the twentieth century saw new opera houses and companies pro- liferating across Europe and America, while the core operatic repertory focused on nineteenth- century works. The collapse of touring companies confined opera to large metropolitan centres, while Cold War cultural politics often limited the appeal of new works. Those new works, whether written with political intent or not, remained wedded historically to ‘realism, illusion- ism, and representation’, as Carolyn Abbate would have it (as opposed to Brechtian alienation or detachment).2 Few operas embraced the challenge modernism presents for opera. Those few early modernist operas accepted into the canon, such as Alban Berg’s Wozzeck, while revolu- tionary in their musical language and subject matter, hew closely to the nature of opera in its nineteenth-century form as a primarily representational medium. As Edward Cone and Peter Kivy point out, they bracket off that medium of representation – the character singing speech, for instance, in an emblematic translation of her native tongue – to blur diegetic song, ‘operatic song’ and a host of other conventions.3 Well-regarded operas in the immediate post-war period, by composers such as Samuel Barber, Benjamin Britten, Francis Poulenc and Douglas Moore, added new subjects and themes while retreating from the formal and tonal challenges of Berg and Schoenberg. -
It Worked Yesterday: on (Re-) Performing Electroacoustic Music
University of Huddersfield Repository Berweck, Sebastian It worked yesterday: On (re-)performing electroacoustic music Original Citation Berweck, Sebastian (2012) It worked yesterday: On (re-)performing electroacoustic music. Doctoral thesis, University of Huddersfield. This version is available at http://eprints.hud.ac.uk/id/eprint/17540/ The University Repository is a digital collection of the research output of the University, available on Open Access. Copyright and Moral Rights for the items on this site are retained by the individual author and/or other copyright owners. Users may access full items free of charge; copies of full text items generally can be reproduced, displayed or performed and given to third parties in any format or medium for personal research or study, educational or not-for-profit purposes without prior permission or charge, provided: • The authors, title and full bibliographic details is credited in any copy; • A hyperlink and/or URL is included for the original metadata page; and • The content is not changed in any way. For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. http://eprints.hud.ac.uk/ It worked yesterday On (re-)performing electroacoustic music A thesis submitted to the University of Huddersfield in partial fulfilment of the requirements for the degree of Doctor of Philosophy Sebastian Berweck, August 2012 Abstract Playing electroacoustic music raises a number of challenges for performers such as dealing with obsolete or malfunctioning technology and incomplete technical documentation. Together with the generally higher workload due to the additional technical requirements the time available for musical work is significantly reduced. -
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. -
Twelve-Tone Serialism: Exploring the Works of Anton Webern James P
University of San Diego Digital USD Undergraduate Honors Theses Theses and Dissertations Spring 5-19-2015 Twelve-tone Serialism: Exploring the Works of Anton Webern James P. Kinney University of San Diego Follow this and additional works at: https://digital.sandiego.edu/honors_theses Part of the Music Theory Commons Digital USD Citation Kinney, James P., "Twelve-tone Serialism: Exploring the Works of Anton Webern" (2015). Undergraduate Honors Theses. 1. https://digital.sandiego.edu/honors_theses/1 This Undergraduate Honors Thesis is brought to you for free and open access by the Theses and Dissertations at Digital USD. It has been accepted for inclusion in Undergraduate Honors Theses by an authorized administrator of Digital USD. For more information, please contact [email protected]. Twelve-tone Serialism: Exploring the Works of Anton Webern ______________________ A Thesis Presented to The Faculty and the Honors Program Of the University of San Diego ______________________ By James Patrick Kinney Music 2015 Introduction Whenever I tell people I am double majoring in mathematics and music, I usually get one of two responses: either “I’ve heard those two are very similar” or “Really? Wow, those are total opposites!” The truth is that mathematics and music have much more in common than most people, including me, understand. There have been at least two books written as extensions of lecture notes for university classes about this connection between math and music. One was written by David Wright at Washington University in St. Louis, and he introduces the book by saying “It has been observed that mathematics is the most abstract of the sciences, music the most abstract of the arts” and references both Pythagoras and J.S. -
Luigi Nonos »Prometeo, Tragedia Dell'ascolto«
Aus: Martha Brech Der komponierte Raum: Luigi Nonos »Prometeo, tragedia dell'ascolto« August 2020, 270 S., kart., 94 SW-Abb. 40,00 € (DE), 978-3-8376-5293-2 E-Book: PDF: 39,99 € (DE), ISBN 978-3-8394-5293-6 Raum kann integraler Bestandteil einer Komposition sein – davon handelt der drit- te Teil der Trilogie zum hörbaren Raum und seiner Technologie. Im Mittelpunkt der Studie steht mit Nonos Prometeo eine der bekanntesten und komplexesten Raum- kompositionen des 20. Jahrhunderts. Ausgangspunkt der Untersuchung ist die Re- konstruktion des hörbaren Klangs der im speziellen Holzbau von Renzo Piano ver- teilt aufgestellten Musiker, Sänger und Lautsprecher bei der Uraufführung 1985. Die Analyse der Raum-Klang-Verhältnisse zeigt, dass die elf Teile des Prometeo aus sich ständig wandelnden Raumklangskulpturen bestehen, die mit den Texten aus Massimo Cacciaris Libretto interagieren. Martha Brech (PD Dr.) ist Musikwissenschaftlerin und Tontechnikerin. Sie forscht und lehrt zum Thema elektroakustischer Musik an der Technischen Universität Berlin im Fachgebiet Audiokommunikation. Weitere Informationen und Bestellung unter: www.transcript-verlag.de/978-3-8376-5293-2 © 2020 transcript Verlag, Bielefeld INHALT Vorwort / Danksagung | 7 Einleitung I Prometeo – Prometheus | 9 II Raum in der Musik / Raum im Prometeo | 11 III Musikalische Mittel in Raumkompositionen | 13 IV Zur Analyse der hörbaren klangräumlichen Beziehungen im Prometeo | 26 Analysen Vorbemerkungen | 55 Analyse Prologo | 57 Analyse 1° Isola | 91 Analyse 2° Isola / 2° Isola a (Io – Prometeo) -
BEETHOVEN Ideals of the French Revolution
BEETHOVEN Ideals of the French Revolution ORCHESTRE SYMPHONIQUE DE MONTRÉAL Kent Nagano CD1 The General, for orchestra with soprano, choir and narrator Music by Ludwig van Beethoven Text by Paul Griffiths © Maximilian Schell, narration Adrianne Pieczonka, soprano OSM Chorus Marika Kuzma, Chorus Director 1. Overture 8:29 [Egmont: Ouverture] 2. No.1 Song: A drum in the distance 3:55 [Egmont: No.1, Song: Die Trommel gerühret] 3. No.2 Melodrama: One thing I learned 2:03 [König Stephan: No.7, Melodrama] 4. No.3 Melodrama: Informants, spies 0:49 [König Stephan: No.5, Melodrama] 5. No.4 Interlude 1 3:34 [Egmont: No.6, Entr’acte 4] 6. No.5 Interlude 2 5:08 [Leonore Prohaska: Funeral March] 7. No.6 Interlude 3 / Melodrama: I could do something 3:18 [Egmont: No.2, Entr’acte 1] 8. No.7 Interlude 4 5:31 [Egmont: No.3, Entr’acte 2] 9. No.8 Interlude 5 2:14 [Egmont: No.7, Clara’s Death] 1 10. No.9 Melodrama: I was one human being 3:11 [Egmont: No.8, Melodrama] 11. No.10 Song: Lost and despairing 1:23 [Egmont: No.4, Song: Freudvoll und leidvoll] 12. No.11 Interlude 6 4:04 [Egmont: No.5, Entr’acte 3] 13. No.12 Interlude 7 1:40 [König Stephan: No.8, Solemn March] 14. No.13 Melodrama: I had nothing to say to these people 3:30 [König Stephan: No.8, Melodrama from Grave risoluto e ben marcato] 15. No.14 ‘Victory Symphony’ 0:28 [Egmont: No.9] 16. No.15 Finale 5:30 [Opferlied, Op.121b] CD2 Ludwig van Beethoven (1770 – 1827) Symphony No.5 in C minor, Op.