DOCSLIB.ORG

Jon Phetteplace Papers

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

http://oac.cdlib.org/findaid/ark:/13030/kt2r29r4xt No online items Jon Phetteplace Papers Finding aid prepared by Special Collections & Archives Special Collections & Archives, UC San Diego 9500 Gilman Drive La Jolla, California, 92093-0175 858-534-2533 [email protected] Copyright 2008 Jon Phetteplace Papers MSS 0135 1 Descriptive Summary Title: Jon Phetteplace Papers Identifier/Call Number: MSS 0135 Contributing Institution: Special Collections & Archives, UC San Diego 9500 Gilman Drive La Jolla, California, 92093-0175 Languages: English Physical Description: 15.0 Linear feet (6 archives boxes, 6 records cartons, 2 card file boxes and 52 oversize folders) Date (inclusive): 1885 - 1991 (bulk 1965 - 1991) Abstract: Papers of Jon Phetteplace, composer and performer of contemporary music. The papers include drafts, transparencies, and Ozalid prints of his own scores, as well as materials for the performance of works by others; correspondence with composers and friends in English and Italian; programs from Phetteplace's activity with orchestras and small ensembles; miscellaneous appointment books, calendars, and journals; photographs; subject files; notebooks; and audio recordings of his work and the work of others. One of the strengths of the collection is the extensive documentation of his time in Italy, both in terms of his own work and that of others. Creator: Phetteplace, Jon, 1940- Scope and Content of Collection The Jon Phetteplace Papers contain the scores of Phetteplace's musical compositions, in manuscript and printed versions, in addition to notes and sketches which document his major activities from 1965 to 1991. There are also materials for the performance of works by others, including printed scores and annotations. Sometimes, the performances involved composing a score for the performance itself, and these are also included. There is a slight amount of correspondence, the content of which occasionally, as in the case of John Cage's Rozart Mix, directly relate to questions of performance. There are also photographs that document various activities, including photo-projections, and a large number of audiotapes, which document performances of both Phetteplace's work and that of his contemporaries. From 1968 to 1972, Phetteplace was very active as a composer and performer of new music, which is well-documented in the collection. The papers also include later materials, such as journals and notebooks. Arranged in eight series: 1) CORRESPONDENCE, 2) MUSICAL WORKS BY PHETTEPLACE, 3) MUSICAL WORKS BY OTHERS, 4) EPHEMERA, 5) PHOTOGRAPHS, 6) WRITINGS, 7) MISCELLANEOUS, and 8) AUDIO RECORDINGS. Biography Jon Dale Phetteplace was born February 4, 1940, in Fullerton, California. He studied cello with Frieda Belinfante before graduating from Fullerton High School in 1958, and after a year in Vienna, Austria (1959-1960), he moved to Siena, Italy, where he took masterclasses at the Accademia Chigiana. He then studied with Mario Bianchi and Pietro Grossi at the Conservatorio Luigi Cherubini in Florence, where, with Grossi, he began to study electronic music and composition. After returning briefly to the United States, Phetteplace moved back to Italy, where in 1965 he again studied cello and electronic music in Florence and worked in the Studio Fiorentino di Fonologica Musicale (S2FM). He also worked with Sylvano Bussotti, creating photographic projections for Bussotti's opera Passion selon Sade. By 1966, he was active as a performer in Italy, and moved to Rome in 1967, where, until 1968, he was associated with Musica Elettronica Viva (MEV), a group known for performing live electronic music. MEV is also known for not having any fixed set of members, although, according to Phetteplace, the original ensemble was constituted by Allan Bryant, Alvin Curran, Carol Plantamura, Frederic Rzewski, Ivan Vandor, and himself. Phetteplace participated in many of the concerts that MEV gave throughout Europe, and these concerts sometimes featured his music. He also participated in The Contraband, an offshoot of MEV, which also featured a rotating set of members, including Steve Lacy and Richard Teitelbaum, both of whom also collaborated with MEV. Phetteplace left Italy in 1969, returning to Southern California, where he continued to be active as a composer, although there is a shift in emphasis away from composition after 1972. In the early 1970s, he was active as a cellist in a number of Southern California orchestras and was associated with UC San Diego as a student and employee, working with the tape archives in the Music Library. From 1972 to 1985, he lived in Harry Partch's former home in Encinitas. He was also active as a photographer, having a one-person show at the Unicorn Gallery in La Jolla in 1973, and producing five books of his own "photo-prints" from 1976-1980. Phetteplace moved from California to Honolulu, Hawaii, in 1985, and in 1988, he moved to Tucson, Arizona. In Tucson, he returned to photography, printing many of the images that he had taken in Europe in the 1960s. Preferred Citation Jon Phetteplace Papers, MSS 0135. Special Collections & Archives, UC San Diego. Jon Phetteplace Papers MSS 0135 2 Acquisition Information Acquired 1997, 2009. Restrictions Audio recordings in Series 8 are restricted; researchers must request listening copies be produced. Fragile documents have been restricted for preservation reasons; photocopies can be found in place of these originals. Publication Rights Publication rights are held by the creator of the collection. OFF-SITE STORAGE COLLECTION STORED OFF-SITE: ALLOW ONE WEEK FOR RETRIEVAL OF MATERIALS. Subjects and Indexing Terms Phetteplace, Jon, 1940- -- Archives Composers -- United States -- Biography Music -- United States -- 20th century CORRESPONDENCE Scope and Content of Series Series 1) CORRESPONDENCE: Phetteplace's correspondence from 1965 to 1991, arranged alphabetically by correspondent. The amount of correspondence is not extensive, sometimes consisting of only single letters or postcards. This is the case for Larry Austin, Allan Bryant, Peter Garland, Otto Luening, Pauline Oliveros, and Ned Rorem. There are multiple letters, however, from several correspondents, most particularly, Robert Ashley, Sylvano Bussotti, Alvin Curran, C.F. Peters, John Cage, Giuseppe Chiari, and Pietro Grossi. The correspondence with Bussotti, Chiari, and Grossi is in Italian. The correspondence with C.F. Peters and John Cage documents a dispute over tapes of Cage's Imaginary Landscape No.5 and Where Are We Going? And What Are We Doing? that Phetteplace prepared for performance in 1967. Box 1, Folder 1 A-Z Miscellaneous Box 1, Folder 2 Andrews, Bruce 1973 Box 1, Folder 3 Ashley, Robert 1972 Box 1, Folder 4 Austin, Larry 1968 Box 1, Folder 5 Bryant, Allan 1970 Box 1, Folder 6 Bussotti, Sylvano 1970 and 1990-1991 Box 1, Folder 7 C.F. Peters Corporation 1965 - 1967 Box 1, Folder 8 Cage, John 1965 - 1972 Box 1, Folder 9 Chiari, Giuseppe 1967-1970 and 1991 Box 1, Folder 10 Curran, Alvin 1969 - 1991 Box 1, Folder 11 Garland, Peter 1972 Box 1, Folder 12 Grossi, Pietro 1969 - 1977 Box 1, Folder 13 Johnson, Maxine-Karen 1986 Box 1, Folder 14 Kosugi, Takehisa 1978 Box 1, Folder 15 Lacy, Steve 1978 and 1990 Box 1, Folder 16 Luening, Otto 1972 Box 1, Folder 17 Lund, Ross 1970 - 1971 Box 1, Folder 18 Oliveros, Pauline 1982 Box 1, Folder 19 Partch, Harry 1972 - 1974 Box 1, Folder 20 Pfeiffer, John F. 1973 - 1991 Box 1, Folder 21 Phetteplace, Dale [Jon Phetteplace's father] 1983 - 1989 Box 1, Folder 22 Rorem, Ned 1983 Box 1, Folder 23 Schloss, Edith undated Box 1, Folder 24 Subotnick, Morton 1970 Box 1, Folder 25 Teitelbaum, Richard 1970 - 1971 Box 1, Folder 26 Wakoski, Diane 1975 and 1989 Jon Phetteplace Papers MSS 0135 3 MUSICAL WORKS BY PHETTEPLACE Musical Compositions MUSICAL WORKS BY PHETTEPLACE Scope and Content of Series Series 2) MUSICAL WORKS BY PHETTEPLACE. Arranged in two subseries: A) Musical Compositions, and B) Working Materials. A) Musical Compositions: Musical scores, sketches and notes, which take the form of both drafts of works in progress and instructions on performance. B) Working Materials: Drafts of works that remain unfinished, notebooks in which notes for works remain bound with other material, and texts, such as computer routines, which are not clearly defined as works. The notebooks contain details on the planning and execution of performances during the late sixties and early seventies. These notebooks double as a chronicle of performances with MEV and with others. Lastly, there is a significant amount of material for computer music, often consisting of transcriptions of J.S. Bach. Musical Compositions Oversize FB-296-01 Accordo (No. 5) - Includes transparency, Ozalid print, and notes 1968 Oversize FB-296-02 Displacements - Includes transparencies, Ozalid prints, photocopy of score, and notes 1967 Oversize FB-296-03 ESA/me, for Mauricio Kagel - Includes letter from Kagel, first draft of score, and photocopy and carbon of the letter to Kagel which includes the score 1967 Box 1, Folder 27 Four-Tape Version of J.S. Bach's Die Kunst Der Fuge - Includes holograph score and photocopies 1984 Oversize FB-296-04 Free Lecture - Notes and Sketches. Includes texts by Aldo Braibanti 1967 - 1970 Oversize FB-296-05 Free Lecture - Scores. Versions I and II. Includes transparencies, Ozalid prints, and photocopies 1967 - 1970 Oversize FB-296-06 Gira-Gira. Includes transparency and Ozalid prints 1967 Oversize FB-296-07 Last Blues - Holograph score or sketch undated Oversize FB-296-08 Mimneogram - Transparency
Recommended publications
  • The Rai Studio Di Fonologia (1954–83)

    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.
  • Music 80C History and Literature of Electronic Music Tuesday/Thursday, 1-4PM Music Center 131

    Music 80C History and Literature of Electronic Music Tuesday/Thursday, 1-4PM Music Center 131

    Music 80C History and Literature of Electronic Music Tuesday/Thursday, 1-4PM Music Center 131 Instructor: Madison Heying Email: [email protected] Office Hours: By Appointment Course Description: This course is a survey of the history and literature of electronic music. In each class we will learn about a music-making technique, composer, aesthetic movement, and the associated repertoire. Tests and Quizzes: There will be one test for this course. Students will be tested on the required listening and materials covered in lectures. To be prepared students must spend time outside class listening to required listening, and should keep track of the content of the lectures to study. Assignments and Participation: A portion of each class will be spent learning the techniques of electronic and computer music-making. Your attendance and participation in this portion of the class is imperative, since you will not necessarily be tested on the material that you learn. However, participation in the assignments and workshops will help you on the test and will provide you with some of the skills and context for your final projects. Assignment 1: Listening Assignment (Due June 30th) Assignment 2: Field Recording (Due July 12th) Final Project: The final project is the most important aspect of this course. The following descriptions are intentionally open-ended so that you can pursue a project that is of interest to you; however, it is imperative that your project must be connected to the materials discussed in class. You must do a 10-20 minute in class presentation of your project. You must meet with me at least once to discuss your paper and submit a ½ page proposal for your project.
  • Vocality and Listening in Three Operas by Luciano Berio

    Vocality and Listening in Three Operas by Luciano Berio

    Clare Brady Royal Holloway, University of London The Open Voice: Vocality and Listening in three operas by Luciano Berio Submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy in Music February 2017 The Open Voice | 1 Declaration of Authorship I, Patricia Mary Clare Brady, hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: February 1st 2017 The Open Voice | 2 Abstract The human voice has undergone a seismic reappraisal in recent years, within musicology, and across disciplinary boundaries in the humanities, arts and sciences; ‘voice studies’ offers a vast and proliferating array of seemingly divergent accounts of the voice and its capacities, qualities and functions, in short, of what the voice is. In this thesis, I propose a model of the ‘open voice’, after the aesthetic theories of Umberto Eco’s seminal book ‘The Open Work’ of 1962, as a conceptual framework in which to make an account of the voice’s inherent multivalency and resistance to a singular reductive definition, and to propose the voice as a site of encounter and meaning construction between vocalist and receiver. Taking the concept of the ‘open voice’ as a starting point, I examine how the human voice is staged in three vocal works by composer Luciano Berio, and how the voice is diffracted through the musical structures of these works to display a multitude of different, and at times paradoxical forms and functions. In Passaggio (1963) I trace how the open voice invokes the hegemonic voice of a civic or political mass in counterpoint with the particularity and frailty of a sounding individual human body.
  • Expanding Horizons: the International Avant-Garde, 1962-75

    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.
  • Nam June Paik Und Die Zeit

    Nam June Paik Und Die Zeit

    Technische Universität Berlin Fakultät I – Geisteswissenschaften Institut für Sprache und Kommunikation Studiengang: Medienberatung Vertiefungsfach: Kunstgeschichte Nam June Paik und die Zeit Diplomarbeit Vorgelegt von Birgitta Wolf Erstgutachter: Prof. Dr. Friedrich Knilli Zweitgutachterin: Prof. Dr. Barbara von der Lühe Eingereicht am …………………………….. 1 INHALT I. Einleitung II. Kompositionen - Musik als „Zeitabfolge“: Bewusste Wahrnehmung von Bewegung, Veränderung und verschiedenen Geschwindigkeiten 1. Symphony for 20 Rooms: Partizipation und Indeterminismus, Langeweile und Veränderung, Vielfalt und Intensität 2. DO IT YOURSELF – Antworten an La Monte Young 3. Eine Sonate – für Radio 4. Metro-Musik 5. Symphonie Nr. 5 III. Von der Musik zum elektronischen Fernsehen 1. Performance – „Aktionsmusik“: Variabilität und Intensität; Zeitstrukturierung durch Geschwindigkeitswechsel a. Hommage à John Cage b. Auftritt in Karlheinz Stockhausens Originale c. One for Violin Solo 2. Experimente mit Radios und Fernsehern - „Zeit-Kunst“ 3. Fernsehtechnik in der bildenden Kunst - Vorläufer der Videokunst a. Fritz Wilhelm Winckel: Vom Ton zum Bild b. Oszillographenbilder von Ben F. Laposky: „Visuelle Musik“ c. Der Oszillograph im abstrakten Film - John und James Whitney: „Intensivierung und Verflüchtigung“ d. Karl Otto Götz: Kinetische Malerei - Fernsehen und Indeterminismus 2 4. Die Ausstellung Exposition of Music. Electronic TV a. Musik: Partizipation, Zufall und Random Access b. Fernsehen: Partizipation und Indeterminismus c. Post-Music:: Das „WANN“ in der Musik – Zufall und Aufführungszeitpunkt d. Indeterminismus, Überwindung des Dualismus und Langeweile (Text auf Ausstellungsflyer) e. Indeterminismus und Aufführungspraxis: Partizipation, Variabilität und freie Gestaltung der Zeit des Rezipienten (Über die Ausstellung der Musik) f. „Physikalische Musik“ : Simultaneität, Synchronizität und Verräumlichung des Zeitverlaufs (Nachspiel zur AUSSTELLUNG des EXPERIMENTEL- LEN FERNSEHENS) IV. Video und Zeit 1.
  • Holmes Electronic and Experimental Music

    Holmes Electronic and Experimental Music

    C H A P T E R 3 Early Electronic Music in the United States I was at a concert of electronic music in Cologne and I noticed that, even though it was the most recent electronic music, the audience was all falling asleep. No matter how interesting the music was, the audience couldn’t stay awake. That was because the music was coming out of loudspeakers. —John Cage Louis and Bebe Barron John Cage and The Project of Music for Magnetic Tape Innovation: John Cage and the Advocacy of Chance Composition Cage in Milan Listen: Early Electronic Music in the United States The Columbia–Princeton Electronic Music Center The Cooperative Studio for Electronic Music Roots of Computer Music Summary Milestones: Early Electronic Music of the United States Plate 3.1 John Cage and David Tudor, 1962. (John Cage Trust) 80 EARLY HISTORY – PREDECESSORS AND PIONEERS Electronic music activity in the United States during the early 1950s was neither organ- ized nor institutional. Experimentation with tape composition took place through the efforts of individual composers working on a makeshift basis without state support. Such fragmented efforts lacked the cohesion, doctrine, and financial support of their Euro- pean counterparts but in many ways the musical results were more diverse, ranging from works that were radically experimental to special effects for popular motion pictures and works that combined the use of taped sounds with live instrumentalists performing on stage. The first electronic music composers in North America did not adhere to any rigid schools of thought regarding the aesthetics of the medium and viewed with mixed skepticism and amusement the aesthetic wars taking place between the French and the Germans.
  • City, University of London Institutional Repository

    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).
  • Bird in a Cage Senior Workshop Plan Revision

    Bird in a Cage Senior Workshop Plan Revision

    Tic Ashfield Music"WSA Senior School Choral Workshop A Bird In A Cage The following document details an outline for creative musical composition workshops, aimed at student between the ages of 14 - 18. Although the workshops are specific to the A Bird In A Cage project many of the ideas and techniques designed to encourage the students to create their own music within a group setting are entirely transferable and could be employed within a different workshop setting. The workshops aim to facilitate song writing as well as encouraging more advanced musical compositional skills with reference to idiom, harmonic language, compositional technique and historical context. Furthermore it aims to inspire artistic creativity through the employment of graphic notation whilst emphasising the importance of working effectively and creatively in a group. Although technology is not an absolute necessity in regards to the running of this workshop, in this instant music technology is incorporated towards the end of the session to record the music created by the young musicians. If you do not wish to utilise technology in the workshops the suggested timings may require amendment. Key Words Relating to the Chosen Compositional Idiom (French Impressionism of the Early 20th Century) To be printed out for studentʼs reference. Hemiola Impressionism Polyrhythm Imitation Sforzando Sequence Binary Drone Pedal Ternary Inversions Through composed Modulation Cyclic Antiphony Coda Augmentation Treble clef Motivic development Rubato Key signatures consisting of up to 6 sharps or flats Cross-rhythms Tic Ashfield Music"WSA Work Shop Plan Specific Work Shop Timings: 3.10 pm - 5.15 pm Reference Scores for Printing: John Cage - Williams Mix Karlheinz Stockhausen - Helikopter Gyorgy Ligeti - Artikulation Krysztof Penderecki Contextual Information Surrounding Graphic Notation: ʻThis is a score (192 pages) for making music on magnetic tape.
  • UCLA Electronic Theses and Dissertations

    UCLA Electronic Theses and Dissertations

    UCLA UCLA Electronic Theses and Dissertations Title Performing Percussion in an Electronic World: An Exploration of Electroacoustic Music with a Focus on Stockhausen's Mikrophonie I and Saariaho's Six Japanese Gardens Permalink https://escholarship.org/uc/item/9b10838z Author Keelaghan, Nikolaus Adrian Publication Date 2016 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Performing Percussion in an Electronic World: An Exploration of Electroacoustic Music with a Focus on Stockhausen‘s Mikrophonie I and Saariaho‘s Six Japanese Gardens A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Musical Arts by Nikolaus Adrian Keelaghan 2016 © Copyright by Nikolaus Adrian Keelaghan 2016 ABSTRACT OF THE DISSERTATION Performing Percussion in an Electronic World: An Exploration of Electroacoustic Music with a Focus on Stockhausen‘s Mikrophonie I and Saariaho‘s Six Japanese Gardens by Nikolaus Adrian Keelaghan Doctor of Musical Arts University of California, Los Angeles, 2016 Professor Robert Winter, Chair The origins of electroacoustic music are rooted in a long-standing tradition of non-human music making, dating back centuries to the inventions of automaton creators. The technological boom during and following the Second World War provided composers with a new wave of electronic devices that put a wealth of new, truly twentieth-century sounds at their disposal. Percussionists, by virtue of their longstanding relationship to new sounds and their ability to decipher complex parts for a bewildering variety of instruments, have been a favored recipient of what has become known as electroacoustic music.
  • Department of Music to Present Concert of Contemporary Italian Music

    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.
  • Thesis Submission

    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.
  • Aldo Clementi Musicus Mathematicus

    Aldo Clementi Musicus Mathematicus

    Interdisciplinary Studies in Musicology 12,2012 © PTPN & Wydawnictwo Naukowe UAM, Poznań 2012 PAOLO EMILIO CARAPEZZA Aglaia Department. Greek, Latin and Musical Studies, University of Palermo Aldo Clementi musicus mathematicus ABSTRACT: Like that of Liszt and Stravinsky, the composers by whom he was attracted in his adolescence and early youth, Aldo dementi’s (Catania 1925-Rome 2011) musical production went through various phases, greatly changing on the surface and in appearance, though not in depth and substance. He himself suggests a division into five phases: 1. Preliminary (1944-1955), juvenile and apprenticeship works. 2. Structural (1956-1961). 3. Informal material (1961-1964). 4. Non-formal optical (1966-1970). 5. Polydiatonic (1970-2011): groups of letters indicating musical notes (for example: B-A-C-H), or canti dati (modal or tonal - monodic or polyphonic - compositions of the western tradition, from the Stele of Sicilus to Stravinsky), but most often segments of melodic lines inferred from them. But - in the polyphonic counterpoint that derives from it - they are simultaneously intoned in the different voices in different tonalities: hence their superimposition restores the chromatic dodecaphonic total. Clementi himself proclaims the constitutional continuity of this development. The substance of his music consists in the direct transposition of a figurative project into a sonorous structure. Geometrie di musica: the title of the 2001 book by Gianluigi Mattietti refers first of all, as the subtitle says, to The <poly> diatonic period of Aldo Clementi, but it perfectly defines his whole musical production, all pervaded by dense polyphonic counterpoints. For Clementi construction is a goal, not a means to articulate discourse: indeed, he was even to do without discourse in his three central creative periods; and when in the fifth and latest one he has returned to it, he has enslaved it entirely to construction : he draws fragments from it, to be used as raw material, i.e.