Michael Finnissy Singular Voices
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2010 AMTA Conference Promises to Bring You Many Opportunities to Network, Learn, Think, Play, and Re-Energize
Celebrating years Celebrating years ofof musicmusic therapytherapy the past... t of k ou oc R re utu e F th to in with ll nd o Music a R Therapy official conference program RENAISSANCE CLEVELAND HOTEL Program Sponsored by: CLEVELAND, OHIO welcome ...from the Conference Chair elcome and thank you for joining us in Cleveland to celebrate sixty years of music Wtherapy. And there is much to celebrate! Review the past with the historical posters, informative presentations and the inaugural Bitcon Lecture combining history, music and audience involvement. Enjoy the present by taking advantage of networking, making music with friends, new and old, and exploring some of the many exciting opportunities available just a short distance from the hotel. The conference offers an extensive array of opportunities for learning with institutes, continuing education, and concurrent sessions. Take advantage of the exceptional opportunities to prepare yourself for the future as you attend innovative sessions, and talk with colleagues at the clinical practice forum or the poster research session. After being energized and inspired the challenge is to leave Cleveland with both plans and dreams for what we can accomplish individually and together for music therapy as Amy Furman, MM, MT-BC; we roll into the next sixty years. AMTA Vice President and Conference Chair ...from the AMTA President n behalf of the AMTA Board of Directors, as well as local friends, family and colleagues, Oit is my distinct privilege and pleasure to welcome you to Cleveland to “rock out of the past and roll into the future with music therapy”! In my opinion, there is no better time or place to celebrate 60 years of the music therapy profession. -
© E Ugenie Brink
© Eugenie Brinkema EVAN JOHNSON (*1980) 1 hyphen (2002) 01:51 1 Peter Neville, crotales 2 – 3 ELISION: Carl Rosman, bass clarinet Richard Haynes, bass clarinet 4 Graeme Jennings, violin Apostrophe 1 (All communication is a form of complaint) 5 Mieko Kanno, violin (2007 – 2008) EXAUDI: Juliet Fraser, soprano Amanda Morrison, soprano 2 I. 19:59 Christopher Field, countertenor Tom Williams, countertenor 3 II. 03:25 Stephen Jeffes, tenor Jonathan Bungard, tenor James Weeks, conductor 6 Mabel Kwan, toy pianos 4 clutch (2005) 01:32 5 Colophons (“That other that ich not whenne”) reflecting pool / monument (2006) 08:11 6 Positioning in Radiography (2007) 13:14 TT 48:16 2 3 A paradox lies at the heart of Evan Most of the notes in these two pieces on either side, which give it its function At first glance, Johnson appears tied to Johnson’s music. When composing he of- move at high speed, and long pauses are and meaning. Those words constitute a a heavy, European tradition of rich nota- ten begins with a structure of durational used to extend the music’s duration be- sort of white or negative space, whose tional determination, formal complexity containers, proportionally related. He then yond just a few seconds. In clutch these presence and influence can be inferred and hierarchy. His scores – almost always follows this by trying to squeeze in ma- pauses comprise two sustained notes of even if the words themselves are not spo- hand-engraved, in a beautiful, precise and terials that are too large for those spac- around 30 seconds’ duration each – played ken. -
The Rai Studio Di Fonologia (1954–83)
ELECTRONIC MUSIC HISTORY THROUGH THE EVERYDAY: THE RAI STUDIO DI FONOLOGIA (1954–83) Joanna Evelyn Helms A dissertation submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music. Chapel Hill 2020 Approved by: Andrea F. Bohlman Mark Evan Bonds Tim Carter Mark Katz Lee Weisert © 2020 Joanna Evelyn Helms ALL RIGHTS RESERVED ii ABSTRACT Joanna Evelyn Helms: Electronic Music History through the Everyday: The RAI Studio di Fonologia (1954–83) (Under the direction of Andrea F. Bohlman) My dissertation analyzes cultural production at the Studio di Fonologia (SdF), an electronic music studio operated by Italian state media network Radiotelevisione Italiana (RAI) in Milan from 1955 to 1983. At the SdF, composers produced music and sound effects for radio dramas, television documentaries, stage and film operas, and musical works for concert audiences. Much research on the SdF centers on the art-music outputs of a select group of internationally prestigious Italian composers (namely Luciano Berio, Bruno Maderna, and Luigi Nono), offering limited windows into the social life, technological everyday, and collaborative discourse that characterized the institution during its nearly three decades of continuous operation. This preference reflects a larger trend within postwar electronic music histories to emphasize the production of a core group of intellectuals—mostly art-music composers—at a few key sites such as Paris, Cologne, and New York. Through close archival reading, I reconstruct the social conditions of work in the SdF, as well as ways in which changes in its output over time reflected changes in institutional priorities at RAI. -
Pace Final 26.11.15
Positions, Methodologies and Aesthetics in the Published Discourse about Brian Ferneyhough: A Critical Study Ian Pace1 Since Brian Ferneyhough achieved a degree of public recognition following the premiere of his Transit (1972-75) in March 1975 at the Royan Festival, a range of writings on and reviews of his work have appeared on a relatively regular basis. The nature, scope, style, and associated methodologies of these have expanded or changed quite considerably over the course of Ferneyhough's career––in part in line with changes in the music and its realization in performance––but nonetheless one can discern common features and wider boundaries. In this article, I will present a critical analysis of the large body of scholarly or extended journalistic reception of Ferneyhough's work, identifying key thematic concerns in such writing, and contextualizing it within wider discourses concerning new music. Several key methodological issues will be considered, in particular relating to intentionality and sketch study, from which I will draw a variety of conclusions that apply not only to Ferneyhough, but to wider contemporary musical study as well. Early Writings on Ferneyhough The first extended piece of writing about Ferneyhough's work was an early 1973 article by Elke Schaaf2 (who would become Ferneyhough's second wife),3 which deals with Epicycle (1968), Missa Brevis (1969), Cassandra's Dream Song (1970), Sieben Sterne (1970), Firecyle Beta (1969-71), and the then not-yet-complete Transit. Schaaf’s piece already exhibits one of the most -
2012 02 20 Programme Booklet FIN
COMPOSITION - EXPERIMENT - TRADITION: An experimental tradition. A compositional experiment. A traditional composition. An experimental composition. A traditional experiment. A compositional tradition. Orpheus Research Centre in Music [ORCiM] 22-23 February 2012, Orpheus Institute, Ghent Belgium The fourth International ORCiM Seminar organised at the Orpheus Institute offers an opportunity for an international group of contributors to explore specific aspects of ORCiM's research focus: Artistic Experimentation in Music. The theme of the conference is: Composition – Experiment – Tradition. This two-day international seminar aims at exploring the complex role of experimentation in the context of compositional practice and the artistic possibilities that its different approaches yield for practitioners and audiences. How these practices inform, or are informed by, historical, cultural, material and geographical contexts will be a recurring theme of this seminar. The seminar is particularly directed at composers and music practitioners working in areas of research linked to artistic experimentation. Organising Committee ORCiM Seminar 2012: William Brooks (U.K.), Kathleen Coessens (Belgium), Stefan Östersjö (Sweden), Juan Parra (Chile/Belgium) Orpheus Research Centre in Music [ORCiM] The Orpheus Research Centre in Music is based at the Orpheus Institute in Ghent, Belgium. ORCiM's mission is to produce and promote the highest quality research into music, and in particular into the processes of music- making and our understanding of them. ORCiM -
Expanding Horizons: the International Avant-Garde, 1962-75
452 ROBYNN STILWELL Joplin, Janis. 'Me and Bobby McGee' (Columbia, 1971) i_ /Mercedes Benz' (Columbia, 1971) 17- Llttle Richard. 'Lucille' (Specialty, 1957) 'Tutti Frutti' (Specialty, 1955) Lynn, Loretta. 'The Pili' (MCA, 1975) Expanding horizons: the International 'You Ain't Woman Enough to Take My Man' (MCA, 1966) avant-garde, 1962-75 'Your Squaw Is On the Warpath' (Decca, 1969) The Marvelettes. 'Picase Mr. Postman' (Motown, 1961) RICHARD TOOP Matchbox Twenty. 'Damn' (Atlantic, 1996) Nelson, Ricky. 'Helio, Mary Lou' (Imperial, 1958) 'Traveling Man' (Imperial, 1959) Phair, Liz. 'Happy'(live, 1996) Darmstadt after Steinecke Pickett, Wilson. 'In the Midnight Hour' (Atlantic, 1965) Presley, Elvis. 'Hound Dog' (RCA, 1956) When Wolfgang Steinecke - the originator of the Darmstadt Ferienkurse - The Ravens. 'Rock All Night Long' (Mercury, 1948) died at the end of 1961, much of the increasingly fragüe spirit of collegial- Redding, Otis. 'Dock of the Bay' (Stax, 1968) ity within the Cologne/Darmstadt-centred avant-garde died with him. Boulez 'Mr. Pitiful' (Stax, 1964) and Stockhausen in particular were already fiercely competitive, and when in 'Respect'(Stax, 1965) 1960 Steinecke had assigned direction of the Darmstadt composition course Simón and Garfunkel. 'A Simple Desultory Philippic' (Columbia, 1967) to Boulez, Stockhausen had pointedly stayed away.1 Cage's work and sig- Sinatra, Frank. In the Wee SmallHoun (Capítol, 1954) Songsfor Swinging Lovers (Capítol, 1955) nificance was a constant source of acrimonious debate, and Nono's bitter Surfaris. 'Wipe Out' (Decca, 1963) opposition to himz was one reason for the Italian composer being marginal- The Temptations. 'Papa Was a Rolling Stone' (Motown, 1972) ized by the Cologne inner circle as a structuralist reactionary. -
City, University of London Institutional Repository
City Research Online City, University of London Institutional Repository Citation: Pace, I. ORCID: 0000-0002-0047-9379 (2021). New Music: Performance Institutions and Practices. In: McPherson, G and Davidson, J (Eds.), The Oxford Handbook of Music Performance. Oxford, UK: Oxford University Press. This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/25924/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] New Music: Performance Institutions and Practices Ian Pace For publication in Gary McPherson and Jane Davidson (eds.), The Oxford Handbook of Music Performance (New York: Oxford University Press, 2021), chapter 17. Introduction At the beginning of the twentieth century concert programming had transitioned away from the mid-eighteenth century norm of varied repertoire by (mostly) living composers to become weighted more heavily towards a historical and canonical repertoire of (mostly) dead composers (Weber, 2008). -
May 26, 2016 for IMMEDIATE RELEASE MICHIGAN IRISH
May 26, 2016 FOR IMMEDIATE RELEASE MICHIGAN IRISH MUSIC FESTIVAL ANNOUNCES 2016 LINEUP 4-Day Festival Returns Sept. 15 - 18 The Michigan Irish Music Festival will kick off the 2016 festival with a Pub Preview Party again on Thursday night. The Pub Party will give patrons a preview of the weekend with food, beverage, and entertainment in the pub tent only. Entry is only $5 (cash only Thursday). Three bands will play Thursday. The full festival opens Friday with all five stages and the complete compliment of food, beverages (domestic beer, Irish whiskey, Irish cider and local craft beer), shopping and cultural/dance offerings. The music line-up is being finalized with over 20 bands on tap. Altan – The seeds of Altan lie in the music and spontaneity of sessions in kitchens and pubs in their hometown of Donegal, where their music was heard in an atmosphere of respect and intimacy. It is here that the band's heart still lies, whether they are performing on TV in Australia or jamming with Ricky Skaggs on the west coast of the United States. Andy Irvine – Andy Irvine is one of the great Irish singers, his voice one of a handful of truly great ones that gets to the very soul of Ireland. He has been hailed as "a tradition in himself." Musician, singer and songwriter, Andy has maintained his highly individual performing skills throughout his 45-year career. A festival favorite, Scythian, returns. Named after Ukrainian nomads, Scythian (sith-ee-yin) plays immigrant rock with thunderous energy, technical prowess, and storytelling songwriting, beckoning crowds into a barn-dance rock concert experience. -
Department of Music to Present Concert of Contemporary Italian Music
Department of Music to present concert of contemporary Italian music April 26, 1974 Contemporary Italian music will be presented in a concert Tuesday, May 7, by the Department of Music of the University of California, San Diego. The free concert will be held at 8:15 p.m. in Building 409 on the Matthews campus. Works of young or little known Italian composers will be performed by music faculty and graduate students under the direction of Roberto Laneri. The program will include "Gesti" for piano and "Variazioni su 'Fur Elise' di Beethoven" by Guiseppe Chiari, "Introduzione, Musique de Nuit e Toccata" for clarinet and percussion by Mauro Bortolotti and "Tre Piccoli Pezzi" for flute, oboe and clarinet by Aldo Clementi. Other works will be four songs by Laneri: a selection from "Black Ivory," "George Arvanitis at the Cafe Blue Note - 2:00 a.m. or so," "Per Guiseppe Chiari" and "Imaginary Crossroads #1." The performance will also include "VII" for voice and saxophone by Giacinto Scelsi and "Note e Non" for flute, trombone, violincello, contrabass and percussion by Giancarlo Schiaffini. Chiari, a resident of Florence, is considered a Dada musician. His work is viewed as an expression of revolution by the common people against the repressive division of work in class-oriented societies. Brotolotti and Clementi are composition teachers who helped establish the Nuova Consonanza, a music association for furthering new music in Rome. Their music is transitional between the post-Webern avant-garde style and the work of younger composers. Laneri, a clarinetist and composer, is a Ph.D. -
IAN PACE – Piano with Anna Vaughan, Viola; Charlotte Beale, Flute
IAN PACE – Piano with Anna Vaughan, viola; Charlotte Beale, flute Recital at City University, London Friday June 2nd, 2017, 7:00 pm ARTHUR LOURIÉ Forms en l’air (1915) SOOSAN LOLAVAR Black Dog for piano and live electronics (2012) STEFAN WOLPE Passacaglia (1936, rev. 1972) MARC YEATS william mumler’s spirit photography (2016) [World Premiere] LAUREN REDHEAD for Luc Brewaeys (2016) [UK Premiere] LUC BREWAEYS Nobody’s Perfect (Michael Finnissy Fifty) (1996) LUC BREWAEYS/ The Dale of Tranquillity (2004, completed 2017) MICHAEL FINNISSY [World Premiere of completed version] INTERVAL CHARLES IVES Piano Sonata No. 2 “Concord, Mass., 1840-1860” (1916-19, rev. 1920s-40s) 1. Emerson 2. Hawthorne 3. The Alcotts 4. Thoreau ARTHUR LOURIÉ, Forms en l’air (1915) Arthur Lourié (1891-1966) was a Russian composer whose work interacts with the music of Debussy, Busoni and Skryabin, as well as ideas from Futurism and early use of twelve-note complexes. Formes en l’air, which is dedicated to Pablo Picasso, uses a degree of notational innovation, with somewhat disembodied fragments presented on the page, and decisions on tempo and other aspects of interpretation left to the performer. The three short sections each feature a restricted range of gestures and textures, generally of an intimate and sensuous nature. © Ian Pace 2017. SOOSAN LOLAVAR, Black Dog for piano and live electronics (2012) The piece is based on the experience of depression and its effects on creativity. There is a long history of using the term black dog to refer to depression and my starting point for this work was a painting by Francisco de Goya entitled ‘The Dog’. -
ANODE 2014 Press Release
ANODE 2014 Festival and Symposium presented by FOCI Arts in partnership with Tulane University and Coup d'Oeil Art Consortium April 10-14, 2014 Press Contact: Ray Evanoff: 504.214.7503 | [email protected] ANODE 2014 ("Artistic New Orleans: Discussions & Extensions") is a brand new contemporary music festival taking place in New Orleans and Chicago in April 10-14, organized by FOCI Arts in partnership with Coup d'oeil Art Consortium and the Tulane University Music Department. It features concerts, public discussions, gallery shows, and educational events showcasing a variety of internationally- prominent contemporary musicians, both based in New Orleans and from across the globe. ANODE 2014 will showcase their work in performances, and explore the visual documentation of their music through a display of scores and sketches at Coup d'oeil Art Consortium's gallery. The festival will feature numerous world premieres and New Orleans first performances, and is the first event of its kind to take place in New Orleans, with a sister concert in Chicago. ANODE 2014 is made possible in part through the generous support of the Harry and Alice Eiler Foundation, inc, the Newcomb College Institute of Tulane University, and Coup d'Oeil Art Consortium. Claus-Steffen Mankopf's attendance is made possible through the generous support of the Goethe- Institut Chicago. The attendance of Kathryn Schulmeister and Joan Arnau Pàmies is made possible through the generous support of New Music USA. 7:30 - Amanda DeBoer Bartlett, Shanna Gutierrez, and Jesse Langen -
University of Huddersfield Repository
University of Huddersfield Repository Roche, Heather Dialogue and Collaboration in the Creation of New Works for Clarinet Original Citation Roche, Heather (2011) Dialogue and Collaboration in the Creation of New Works for Clarinet. Doctoral thesis, University of Huddersfield. This version is available at http://eprints.hud.ac.uk/17512/ 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/ 1 Dialogue and Collaboration in the Creation of New Works for Clarinet Heather Roche A thesis submitted to the University of Huddersfield in partial fulfilment of the requirements for the degree of Doctor of Philosophy September 2011 2 ACKNOWLEDGEMENTS.................................................................................4 STATEMENT OF