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Stony Brook University
SSStttooonnnyyy BBBrrrooooookkk UUUnnniiivvveeerrrsssiiitttyyy The official electronic file of this thesis or dissertation is maintained by the University Libraries on behalf of The Graduate School at Stony Brook University. ©©© AAAllllll RRRiiiggghhhtttsss RRReeessseeerrrvvveeeddd bbbyyy AAAuuuttthhhooorrr... Discourses on Time in the European Avant-Garde A Dissertation Presented by Aaron Allen Hayes to The Graduate School in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in Music (Music History and Theory) Stony Brook University May 2016 Stony Brook University The Graduate School Aaron Allen Hayes We, the dissertation committee for the above candidate for the Doctor of Philosophy degree, hereby recommend acceptance of this dissertation. Judith Lochhead – Dissertation Advisor Professor, Department of Music, Stony Brook University Stephen Decatur Smith – Chairperson of Defense Assistant Professor, Department of Music, Stony Brook University Edward Casey Professor, Department of Philosophy, Stony Brook University Benjamin Steege Assistant Professor, Department of Music, Columbia University Brian Hulse – Outside Member Associate Professor, Department of Music, College of William and Mary This dissertation is accepted by the Graduate School Charles Taber Dean of the Graduate School ii Abstract of the Dissertation Discourses on Time in the European Avant-Garde by Aaron Allen Hayes Doctor of Philosophy in Music (Music History and Theory) Stony Brook University 2016 In the 1950s and 1960s, European composers, especially those interested in the development of serialism and electronic music, framed many of their aesthetic and compositional challenges as problems of time. This dissertation examines the writings and music of five notable composers from this era, and reconstructs the philosophical discourses that implicitly and explicitly provide the intellectual horizons for these temporal problems. -
Works Cited in Alex Ross's the Rest Is Noise
Works Cited in Alex Ross’s The Rest Is Noise Collections: Berlin Document Center, microfilm copies at National Archives II, College Park, MD. Leonard Bernstein Collection, Music Division, Library of Congress. Aaron Copland Collection, Music Division, Library of Congress. Records of the Federal Music Project, RG 69, National Archives II, College Park, MD. Morton Feldman Papers, Music Library, University at Buffalo, State University of New York. George Gershwin Collection, Music Division, Library of Congress. Serge Koussevitzky Archive, Music Division, Library of Congress. Alma Mahler-Werfel Collection, University of Pennsylvania. Records of the Office of Military Government, United States, RG 260, National Archives II, College Park, MD. Princeton Radio Research Project, Paul Lazarsfeld Papers, Columbia University. Britten-Pears Library, Aldeburgh, England. Arnold Schönberg Center, Vienna. Third Reich Collection, Rare Book and Special Collections, Library of Congress. Bernd Alois Zimmermann Collection, Archives of the Akademie der Künste, Berlin. Interviews: John Adams, Thomas Adès, Björk, Russell Campitelli, Alexander Dunkel, Osvaldo Golijov, György Ligeti, Donald Mitchell, Carlos Moseley, Kent Nagano, David Raksin, Steve Reich, Esa-Pekka Salonen, Alfred Schnittke, Ronald Schoenberg, Christian Strauss, Michael Tilson Thomas, Milton Weiss. Published sources: Adorno, Theodor W. Aesthetic Theory, ed. Gretel Adorno and Rolf Tiedemann, trans. C. Lenhardt (Routledge, 1984). ______. Alban Berg: Master of the Smallest Link, trans. Juliane Brand and Christopher Hailey (Cambridge University Press, 1991). ______. Essays on Music, ed. Richard Leppert, trans. Susan H. Gillespie (University of California Press, 2002). ______. “Kritik des Musikanten,” in Gesammelte Schriften (Suhrkamp, 1973), vol. 14, pp. 67–107. ______. Minima Moralia: Reflections from Damaged Life, trans. E.F.N. -
Stockhausen's Influence on Popular Music
STOCKHAUSEN’S INFLUENCE ON POPULAR MUSIC: AN OVERVIEW AND A CASE STUDY ON BJÖRK’S MEDÚLLA by Claire Elizabeth Richardson, B.M. A thesis submitted to the Graduate Council of Texas State University in partial fulfillment of the requirements for the degree of Master of Music with a Major in Music May 2015 Committee Members: Kevin E. Mooney, Chair Ludim Pedroza Nico Schüler COPYRIGHT by Claire Elizabeth Richardson 2015 FAIR USE AND AUTHOR’S PERMISSION STATEMENT Fair Use This work is protected by the Copyright Laws of the United States (Public Law 94-553, section 107). Consistent with fair use as defined in the Copyright Laws, brief quotations from this material are allowed with proper acknowledgment. Use of this material for financial gain without the author’s express written permission is not allowed. Duplication Permission As the copyright holder of this work I, Claire Elizabeth Richardson, refuse permission to copy in excess of the “Fair Use” exemption without my written permission. ACKNOWLEDGEMENTS First, I thank the faculty of the School of Music and the Graduate College of Texas State University for providing me the resources and knowledge that have been indispensable for my research and writing. I owe much gratitude to my advisor, Dr. Kevin Mooney, for his exceptional guidance during my work on this thesis. His incisive feedback and endless support have driven me to continue to work diligently and think critically. The enthusiasm in his words “I like it!” continues to serve as one of my best motivators. I also want to thank Dr. Ludim Pedroza and Dr. -
BILL HOPKINS Lindaraja (1901/1975) Für Orchester Uraufführung 6'
NEUE MUSIK MUSIK DER ZEIT [6] BRÜCHE. STILLE WDR SINFONIEORCHESTER ILAN VOLKOV SONNTAG 31. MÄRZ 2019, 18.00 UHR FUNKHAUS WALLRAFPLATZ, KÖLN MUSIK DER ZEIT [6] BRÜCHE. STILLE SO 31. MÄRZ 2019 17:15 EINFÜHRUNG MIT MAURO LANZA UND NICOLAS HODGES 18:00 KONZERT FUNKHAUS WALLRAFPLATZ, KLAUS-VON-BISMARCK-SAAL, KÖLN WDR SINFONIEORCHESTER ILAN VOLKOV / Leitung MARTINA SEEBER / Moderation SENDUNG WDR 3 23. April 2019, 20.04 Uhr ZUM NACHHÖREN IM in Stereo und 5.1 Surround WDR 3 KONZERTPLAYER PROGRAMM 3 CLAUDE DEBUSSY/BILL HOPKINS Lindaraja (1901/1975) für Orchester Uraufführung 6' BILL HOPKINS Musique de l’indifférence (1964 – 65) für Orchester Uraufführung 35' I. tableau blanc II. tableau bleu III. tableau noir IV. tableau rouge V. tableau gris Pause PER NØRGÅRD Voyage into the Golden Screen (1968) für Kammerorchester 17' MAURO LANZA Experiments in the Revival of Organisms (2019) für Kammerorchester Kompositionsauftrag des WDR und der BBC Uraufführung 12' 4 MUSIK DER ZEIT [4] BRÜCHE. STILLE 5 BRÜCHE. STILLE Zwei Orchesterstücke, die länger auf ihre Uraufführung gewartet haben, als ihr Komponist Zeit zum Leben hatte: Bill Hopkins (1943–81) schrieb sein Ballett »Musique de l’indifférence« Mitte der 1960er Jahre, doch nach seinem frühen Tod geriet das Werk in Vergessenheit und harrt bis heute seiner klingenden Realisa- tion. Ebenso ist seine Orchesterbearbeitung von Claude Debus- sys »Lindaraja« für zwei Klaviere bis dato noch nicht aufgeführt worden. Das WDR Sinfonieorchester begibt sich auf eine Ent- deckungsreise und bringt Hopkins’ Orchesterstücke erstmalig zum Erklingen. Bill Hopkins hätte eine vielversprechende Karriere vor sich ge- habt – das prophezeiten einige seiner Zeitgenossen –, wäre ihm nur ein längeres Leben vergönnt gewesen. -
Serialism 1 Serialism
Serialism 1 Serialism In music, serialism is a method or technique of composition (Griffiths 2001, 116) that uses a series of values to manipulate different musical elements. Serialism began primarily Six-element row of rhythmic values used in Variazioni canoniche by Luigi Nono with Arnold Schoenberg's twelve-tone (Whittall 2008, 165) technique, though his contemporaries were also working to establish serialism as one example of post-tonal thinking (Whittall 2008, 1). Twelve-tone technique orders the 12 notes of the chromatic scale, forming a row or series and providing a unifying basis for a composition's melody, harmony, structural progressions, and variations. Other types of serialism also work with sets, collections of objects, but not necessarily with fixed-order series, and extend the technique to other musical dimensions (often called "parameters"), such as duration, dynamics, and timbre. The idea of serialism is also applied in various ways in the visual arts, design, and architecture (Bandur 2001, 5, 12, 74; Gerstner 1964, passim). The musical use of the word "series" should not be confused with the mathematical term "series." Integral serialism or total serialism is the use of series for aspects such as duration, dynamics, and register as well as pitch (Whittall 2008, 273). Other terms, used especially in Europe to distinguish post–World War II serial music from twelve-tone music and its American extensions, are general serialism and multiple serialism (Grant 2001, 5–6). Composers such as Arnold Schoenberg, Anton Webern, Alban Berg, Karlheinz Stockhausen, Pierre Boulez, Luigi Nono, Milton Babbitt and Jean Barraqué, used serial techniques of one sort or another in most of their music. -
THESIS by Stuart W
UNIVERSITY OF CINCINNATI DATE: July 15 2003 I, Stuart W. Gerber , hereby submit this as part of the requirements for the degree of: Doctor of Musical Arts in: Percussion It is entitled: Karlheinz Stockhausen’s Solo Percussion Music: A Comprehensive Study Approved by: Russell Burge James Culley Allen Otte KARLHEINZ STOCKHAUSEN’S SOLO PERCUSSION MUSIC: A COMPREHENSIVE STUDY A thesis submitted to the Division of Research and Advanced Studies of the University of Cincinnati in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS (DMA) In the Division of Performance Studies Department of Percussion of the College-Conservatory of Music 2003 by Stuart W. Gerber BM, Oberlin College, 1996 MM, University of Cincinnati, 1998 Committee Chair: Allen Otte, MM ABSTRACT Title: Karlheinz Stockhausen’s Solo Percussion Music: A Comprehensive Study Author: Stuart W. Gerber Committee Chair/Advisor: Allen Otte, MM Performance Studies Division, Percussion Department, College-Conservatory of Music Karlheinz Stockhausen (b.1928) is one of the most well-known and influential composers of the past fifty years. From his earliest music, dating from 1950, he has exploited the use of percussion and has, therefore, contributed immensely to the growth of the genre. Although much has been written about Stockhausen and his music, most of it is theoretical and/or biographical in nature. There has been relatively very little scholarship regarding the interpretation and performance practice of his music. This thesis is an in- depth study of Stockhausen’s three percussion solos Zyklus (1959), Nasenflügeltanz (1983), and Komet (1999) from an interpretive standpoint. Each of these pieces presents unique interpretive problems that are manifest in indeterminate elements whose decisions profoundly affect the final realization. -
Modern Music and After This Page Intentionally Left Blank Modern Music and After
Modern Music and After This page intentionally left blank Modern Music and After Paul Griffi ths 1 1 Oxford University Press, Inc., publishes works that Further Oxford University’s objective of excellence in research, scholarship, and education. Oxford New York Auckland Cape Town Dar es Salaam Hong Kong Karachi Kuala Lumpur Madrid Melbourne Mexico City Nairobi New Delhi Shanghai Taipei Toronto With offi ces in Argentina Austria Brazil Chile Czech Republic France Greece Guatemala Hungary Italy Japan Poland Portugal Singapore South Korea Switzerland Thailand Turkey Ukraine Vietnam Copyright © 2010 by Oxford University Press, Inc. Published by Oxford University Press, Inc. 198 Madison Avenue, New York, New York 10016 www.oup.com Oxford is a registered trademark of Oxford University Press All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of Oxford University Press. Library of Congress Cataloging-in-Publication Data Griffi ths, Paul, 1947 Nov. 24– Modern music and after / Paul Griffi ths.—3rd ed. p. cm. Includes bibliographical references and index. ISBN 978-0-19-974050-5 1. Music–20th century–History and criticism. I. Title. ML197.G76 2010 780.9′04–dc22 2009047959 1 3 5 7 9 8 6 4 2 Printed in the United States of America on acid-free paper for Edmund This page intentionally left blank Music Acknowledgments Examples are reproduced by kind permission of copyright holders or their agents as indicated. All rights are reserved by those copyright holders, and international copyright secured.