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The Synthesis of Jazz and Classical Styles in Three Piano Works of Nikolai Kapustin
THE SYNTHESIS OF JAZZ AND CLASSICAL STYLES IN THREE PIANO WORKS OF NIKOLAI KAPUSTIN __________________________________________________ A monograph Submitted to the Temple University Graduate Board __________________________________________________________ in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF MUSICAL ARTS __________________________________________________________ by Tatiana Abramova August 2014 Examining Committee Members: Dr. Charles Abramovic, Advisory Chair, Professor of Piano Harvey Wedeen, Professor of Piano Dr. Cynthia Folio, Professor of Music Studies Richard Oatts, External Member, Professor, Artistic Director of Jazz Studies ABSTRACT The Synthesis of Jazz and Classical Styles in Three Piano Works of Nikolai Kapustin Tatiana Abramova Doctor of Musical Arts Temple University, 2014 Doctoral Advisory Committee Chair: Dr. Charles Abramovic The music of the Russian-Ukrainian composer Nikolai Kapustin is a fascinating synthesis of jazz and classical idioms. Kapustin has explored many existing traditional classical forms in conjunction with jazz. Among his works are: 20 piano sonatas, Suite in the Old Style, Op.28, preludes, etudes, variations, and six piano concerti. The most significant work in this regard is a cycle of 24 Preludes and Fugues, Op. 82, which was completed in 1997. He has also written numerous works for different instrumental ensembles and for orchestra. Well-known artists, such as Steven Osborn and Marc-Andre Hamelin have made a great contribution by recording Kapustin's music with Hyperion, one of the major recording companies. Being a brilliant pianist himself, Nikolai Kapustin has also released numerous recordings of his own music. Nikolai Kapustin was born in 1937 in Ukraine. He started his musical career as a classical pianist. In 1961 he graduated from the Moscow Conservatory, studying with the legendary pedagogue, Professor of Moscow Conservatory Alexander Goldenweiser, one of the greatest founders of the Russian piano school. -
Sophie Stévance* Université Laval, Québec Faculty of Music
Article received on 25th May 2011 Article accepted on 12th April 2012 UDC: 78(714.1) 78.07 Мекрир П. Sophie Stévance* Université Laval, Québec Faculty of Music CONTEMPORARY MUSIC AT THE FRINGE: THE EXAMPLE OF “MUSIQUE ACTUELLE” IN CANADA Abstract: The International Week of Today’s Music (SIMA), organised in 1961 by Pierre Mercure within the framework of the Montreal Festivals, is a master event: beside the works of Serge Garant, Karlheinz Stockhausen or Iannis Xenakis, this event permitted to the experimental music of today to be heard as provocative and heterogeneous as it may be, in particular with Cage Atlas Eclipticalis’ creation or Richard Maxfield’s Piano Concert for David Tudor. Mercure challenged an American experimental aesthetic’s different from Europeans experimentations. The hypothesis of this paper is that what has been called “musique actuelle” since 1979 in Quebec, refers to Mercure’s artistic perspectives. How affiliated is musique actuelle to the SIMA? This paper seeks to answer this question by looking at the different uses of the expression of musique actuelle so as to bring to light the historical reasons, roots and fundaments of the expression since its first uses. The ac- tualist movement has in common with Mercure’s project more than a name: it carries and maybe focuses for the Mercure’s aesthetic and social policy by refusing certain zone sys- tem within cultural poles with creation methods such as free and collective improvisation. But beyond this project, it’s definitely of Mercure event’s tradition that actualists arose and built their identity field. * Author contact information: [email protected] 51 New Sound 38, II/2011 Keywords: Musique actuelle, actualism, Pierre Mercure, Productions SuperMusique, mu- sical identity, The International Week of Today’s Music Апстракт: Међународна недеља савремене музике (SIMA), коју је, у оквиру Монт- реалских фестивала, 1961. -
Music Making Politics: Beyond Lyrics
Politik Nummer 1 | Årgang 23 | 2020 Music making politics: beyond lyrics M.I. Franklin, Professor of Global Media and Politics, Goldsmiths University of London In this article I argue that considering how any sort of music is made more closely - as sonic material, performance cultures, for whom and on whose terms, is integral to pro- jects exploring the music-politics nexus. The case in point is “My Way”, a seemingly apo- litical song, as it becomes repurposed: transformed through modes of performance, unu- sual musical arrangements, and performance contexts. The analysis reveals a deeper, underlying politics of music-making that still needs unpacking: the race, gender, and class dichotomies permeating macro- and micro-level explorations into the links between music, society, and politics. Incorporating a socio-musicological analytical framework that pays attention to how this song works musically, alongside how it can be reshaped through radical performance and production practices, shows how artists in diverging contexts can ‘re-music’ even the most hackneyed song into a form of political engage- ment. Introduction In 2016, Bob Dylan was awarded the Nobel Prize for Literature. In 2018 Kendrick Lamar became the first Rap artist to win the Pulitzer Prize for Music. Between these two medi- atized moments of public recognition, across the race and genre divides of contemporary culture lie many musico-political timelines, recording careers, playlists, and embodied musicalities. This article aims to show why, and how theory and research into the rela- tionship between (the study of) politics and music-making need to move beyond indica- tors of political relevance that are based on lyrics, an artist’s public persona, public profile or critical acclaim. -
The Trumpet As a Voice of Americana in the Americanist Music of Gershwin, Copland, and Bernstein
THE TRUMPET AS A VOICE OF AMERICANA IN THE AMERICANIST MUSIC OF GERSHWIN, COPLAND, AND BERNSTEIN 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 Amanda Kriska Bekeny, M.M. * * * * * The Ohio State University 2005 Dissertation Committee: Approved by Professor Timothy Leasure, Adviser Professor Charles Waddell _________________________ Dr. Margarita Ophee-Mazo Adviser School of Music ABSTRACT The turn of the century in American music was marked by a surge of composers writing music depicting an “American” character, via illustration of American scenes and reflections on Americans’ activities. In an effort to set American music apart from the mature and established European styles, American composers of the twentieth century wrote distinctive music reflecting the unique culture of their country. In particular, the trumpet is a prominent voice in this music. The purpose of this study is to identify the significance of the trumpet in the music of three renowned twentieth-century American composers. This document examines the “compositional” and “conceptual” Americanisms present in the music of George Gershwin, Aaron Copland, and Leonard Bernstein, focusing on the use of the trumpet as a voice depicting the compositional Americanisms of each composer. The versatility of its timbre allows the trumpet to stand out in a variety of contexts: it is heroic during lyrical, expressive passages; brilliant during festive, celebratory sections; and rhythmic during percussive statements. In addition, it is a lead jazz voice in much of this music. As a dominant voice in a variety of instances, the trumpet expresses the American character of each composer’s music. -
Short Version
Wynton Marsalis Wynton assembled his own band in 1981 and hit the road, performing over 120 concerts every year for 15 consecutive years. With the power of his superior musicianship, the infectious sound of his swinging bands and an exhaustive series of performances and music workshops, Marsalis rekindled widespread interest in jazz throughout the world. Students of Marsalis’ workshops include: James Carter, Christian McBride, Roy Hargrove, Harry Connick Jr., Nicholas Payton, Eric Reed and Eric Lewis, to name a few. Classical Career At the age of 20, Wynton recorded the Haydn, Hummel and Leopold Mozart trumpet concertos. His debut recording received glorious reviews and won the Grammy Award® for “Best Classical Soloist with an Orchestra.” Marsalis went on to record 10 additional classical records, all to critical acclaim. Wynton performed with leading orchestras including the New York Philharmonic, Los Angeles Philharmonic, Boston Pops, The Cleveland Orchestra, Saint Louis Symphony Orchestra, ynton Marsalis is an internationally acclaimed English Chamber Orchestra, Toronto Symphony Orchestra and musician, composer, bandleader, educator and a London’s Royal Philharmonic, working with an eminent group of Wleading advocate of American culture. He is the conductors including: Leppard, Dutoit, Maazel, Slatkin, Salonen world’s first jazz artist to perform and compose across the full and Tilson-Thomas. Famed classical trumpeter Maurice André jazz spectrum from its New Orleans roots to bebop to modern praised Wynton as “potentially the greatest trumpeter of all jazz. By creating and performing an expansive range of brilliant time.” new music for quartets to big bands, chamber music ensembles to symphony orchestras, tap dance to ballet, Wynton has The Composer expanded the vocabulary for jazz and created a vital body of To date Wynton has produced over 70 records which have work that places him among the world’s finest musicians and sold over seven million copies worldwide including three Gold composers. -
Woodrow Wilson Fellows-Pulitzer Prize Winners
Woodrow Wilson Fellows—Pulitzer Prize Winners last updated January 2014 Visit http://woodrow.org/about/fellows/ to learn more about our Fellows. David W. Del Tredici Recipient of the 1980 Pulitzer Prize for Music In Memory of a Summer Day Distinguished Professor of Music • The City College of New York 1959 Woodrow Wilson Fellow Caroline M. Elkins Recipient of the 2006 Pulitzer Prize for General Nonfiction Imperial Reckoning: The Untold Story of Britain's Gulag in Kenya (Henry Holt) Professor of History • Harvard University 1994 Mellon Fellow Joseph J. Ellis, III Recipient of the 2001Pulitzer Prize for History Founding Brothers: The Revolutionary Generation (Alfred A. Knopf) Professor Emeritus of History • Mount Holyoke College 1965 Woodrow Wilson Fellow Eric Foner Recipient of the 2011Pulitzer Prize for History The Fiery Trial: Abraham Lincoln and American Slavery (W.W. Norton) DeWitt Clinton Professor of History • Columbia University 1963 Woodrow Wilson Fellow (Hon.) Doris Kearns Goodwin Recipient of the 1995 Pulitzer Prize for History No Ordinary Time: Franklin and Eleanor Roosevelt: The Home Front in World War II (Simon & Schuster) Historian 1964 Woodrow Wilson Fellow Stephen Greenblatt Recipient of the 2012 Pulitzer Prize for General Nonfiction The Swerve: How the World Became Modern (W.W. Norton) Cogan University Professor of the Humanities • Harvard University 1964 Woodrow Wilson Fellow (Hon.) Robert Hass Recipient of one of two 2008 Pulitzer Prizes for Poetry Time and Materials (Ecco/HarperCollins) Distinguished Professor in Poetry and Poetics • The University of California at Berkeley 1963 Woodrow Wilson Fellow Michael Kammen (deceased) Recipient of the 1973 Pulitzer Prize for History People of Paradox: An Inquiry Concerning the Origins of American Civilization (Alfred A. -
Slch Prog 2019-20 Ang F Nc Low.Pdf
T TABOUT US T Founded in 1904, the Schulich School of Music of McGill University is home to a diverse community of performers, composers, music theorists, educators, scientists, and researchers, and offers more than 45 undergraduate, graduate, and professional programs. In 2018, 513 undergraduate and 375 graduate students were enrolled at Schulich, with a third of that total coming from outside of Canada. This season, Schulich will present over 600 public events at a variety of venues within the School, throughout the City of Montreal, and elsewhere. S SSS S SCHULICH STUDENT POPULATION 63% 37% PERFORMANCE RESEARCH 34% 33% 33% FROM QUEBEC REST OF CANADA INTERNATIONAL S SSS S @schulichmusic INFORMATION S BOX OFFICE 514-398-4547 · mcgill.ca/music T TABLE OF CONTENTS T About Us ..........................................4 Musical Chairs Welcome Message ..........................5 Chamber Music Festival ...........25 McGill Symphony Orchestra........ 6-7 Schulich in Concert .................. 26-28 Opera McGill ................................ 8-9 Schulich in Your Neighbourhood ......28 Baroque Orchestra ........................10 McGill Noon-Hour Organ ..............29 Contemporary Music Ensemble .......11 Intermezzo .....................................29 McGill Choral Ensembles ........ 12-14 Musical 5 à 7 ..................................30 McGill Wind Orchestra ...................15 Schulich@COC ...............................31 McGill Jazz Ensembles ............ 16-17 Schulich@McCord .........................31 2019-2020 Competitions -
American Composers Orchestra Presents Next Composer to Composer Talks in January
FOR IMMEDIATE RELEASE Press Contact: Christina Jensen, Jensen Artists 646.536.7864 x1 [email protected] American Composers Orchestra Presents Next Composer to Composer Talks in January William Bolcom & Gabriela Lena Frank Wednesday, January 13, 2021 at 5pm ET – Online Registration & Information: http://bit.ly/ComposerToComposerBolcom John Corigliano & Mason Bates Wednesday, January 27, 2021 at 5pm ET – Online Registration & Information: http://bit.ly/ComposerToComposerCorigliano Free, registration recommended. New York, NY – American Composers Orchestra (ACO) presents its next Composer to Composer Talks online in January, with composers William Bolcom and Gabriela Lena Frank on Wednesday, January 13, 2021 at 5pm ET, and John Corigliano and Mason Bates on Wednesday, January 27, 2021 at 5pm ET. The talks will be live-streamed and available for on-demand viewing for seven days. Tickets are free; registration is highly encouraged. Registrants will receive links to recordings of featured works in advance of the event. ACO’s Composer to Composer series features major American composers in conversation with each other about their work and leading a creative life. The intergenerational discussions begin by exploring a single orchestral piece, with one composer interviewing the other. Attendees will gain insight into the work’s genesis, sound, influence on the American orchestral canon, and will be invited to ask questions of the artists. On January 13, Gabriela Lena Frank talks with William Bolcom about his Symphony No. 9, from 2012, of which Bolcom writes, “Today our greatest enemy is our inability to listen to each other, which seems to worsen with time. All we hear now is shouting, and nobody is listening because the din is so great. -
Program Notes
GIL ROSE, ARTISTIC DIRECTOR ORCHESTRAL SERIES COLGRASS KUBIK SHAPERO STUCKY BMOP2016 | 2017 JORDAN HALL AT NEW ENGLAND CONSERVATORY coming up next: The Picture of Dorian Gray friday, november 18 — 8pm IN COLLABORATION WITH ODYSSEY OPERA American Masters “Pleasures secret and subtle, wild joys and wilder sins…” SATURDAY OCTOBER 8, 2016 8:00 BMOP and Odyssey Opera bring to life Lowell Liebermann’s operatic version of Oscar Wilde’s classic horror novel in a semi-staged production. Glass Works saturday, february 18 — 8pm CELEBRATING THE ARTISTRY OF PHILIP GLASS BMOP salutes the influential minimalist pioneer with a performance of his Symphony No. 2 and other works, plus the winner of the annual BMOP-NEC Composition Competition. Boston Accent friday, march 31 — 8pm sunday, april 2 — 3pm [amherst college] Four distinctive composers, Bostonians and ex-Bostonians, represent the richness of our city’s musical life. Featuring David Sanford’s Black Noise; John Harbison’s Double Concerto for violin, cello, and orchestra; Eric Sawyer’s Fantasy Concerto: Concord Conversations, and Ronald Perera’s The Saints. As the Spirit Moves saturday, april 22 — 8pm [sanders theatre] FEATURING THE HARVARD CHORUSES, ANDREW CLARK, DIRECTOR Two profound works from either side of the ocean share common themes of struggle and transcendence: Trevor Weston’s Griot Legacies and Michael Tippett’s A Child of Our Time. BOSTON MODERN ORCHESTRA PROJECT | 781.324.0396 | BMOP.org American Masters SATURDAY OCTOBER 8, 2016 8:00 JORDAN HALL AT NEW ENGLAND CONSERVATORY Pre-concert talk by Robert Kirzinger at 7:00 MICHAEL COLGRASS The Schubert Birds (1989) GAIL KUBIK Symphony Concertante (1952) I. -
The Pulitzer Prize for Music It’S Time to Alter and Affirm
The Pulitzer Prize for Music It’s Time to Alter and Affirm A statement by the Pulitzer Prize Board, June 1, 2004 The variety, vitality and creativity of high-quality American music today make the Pulitzer Prize for Music more important than ever. After more than a year of studying the Prize, now in its 61st year, the Pulitzer Prize Board declares its strong desire to consider and honor the full range of distinguished American musical compositions – from the contemporary classical symphony to jazz, opera, choral, musical theater, movie scores and other forms of musical excellence. The Board also notes that many composers move among those various forms and that the Music Prize competition should reflect that artistic richness. Accordingly, without seeking to favor any particular form of music, the Board announces the following changes in the Music Prize, effective with the 2005 competition: First, the definition of the Prize will be revised to encourage greater diversity in entries while assuring even-handed evaluation of compositions. Currently, the definition reads: “For distinguished musical composition of significant dimension by an American that has had its first performance in the United States during the year.” The new definition reads: “For a distinguished musical composition by an American that has had its first performance or recording in the United States during the year.” The revised definition adopts a broad view of serious music. Thus, the definition drops the words “significant dimension” in relation to a composition because the words might have limited entries by applicants or limited the evaluations by jurors. The definition also accepts the public release of a recording as the equivalent of a public performance, which will widen the prize’s reach. -
The Schillinger System of Musical Composition and Contemporary Computer Music
Sheridan College SOURCE: Sheridan Scholarly Output, Research, and Creative Excellence Publications and Scholarship Faculty of Animation, Arts & Design (FAAD) 1988 The chiS llinger System of Musical Composition and Contemporary Computer Music Bruno Degazio Sheridan College, [email protected] Follow this and additional works at: https://source.sheridancollege.ca/faad_publications Part of the Composition Commons, and the Software Engineering Commons SOURCE Citation Degazio, Bruno, "The chiS llinger System of Musical Composition and Contemporary Computer Music" (1988). Publications and Scholarship. 12. https://source.sheridancollege.ca/faad_publications/12 This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. This Article is brought to you for free and open access by the Faculty of Animation, Arts & Design (FAAD) at SOURCE: Sheridan Scholarly Output, Research, and Creative Excellence. It has been accepted for inclusion in Publications and Scholarship by an authorized administrator of SOURCE: Sheridan Scholarly Output, Research, and Creative Excellence. For more information, please contact [email protected]. The Schillinger System of Musical Composition and Contemporary Co1nputerMusic by Bruno Degazio, MMus Department of Photo/Electric Arts Ontario College of Art Toronto, Ontario © Bruno Degazio, 1988 • Bruno Degazio est compositeur a la pige a Toronto pour le cinema et la television. Ses ceuvres ont etc jouees au Canada, aux Etats-Unis et en Autriche. 11 poursuit des recherches sur la geometrie fractale. 11 enseigne au Ontario College of Arts. • Bruno Degazio was born in 1958. He has received a BMus and MM us from the University of Toronto (1981) and has received awards from the Canada Council (1987), the Ontario Arts Council (1987), and an award for the film score to "Resurrected Fields" at the Baltimore Film Festival (1986). -
Scott Davie (How Kendrick Lamar's Pulitzer Prize Win...)
URL: https://theconversation.com/how-kendrick-lamars-pulitzer-win-blurs-lines-between- classical-music-and-pop-95213 How Kendrick Lamar’s Pulitzer win blurs lines between classical music and pop April 24, 2018 6.09am AEST Author 1. Scott Davie Piano tutor and Lecturer, Sydney Conservatorium Music, University of Sydney Disclosure statement Scott Davie does not work for, consult, own shares in or receive funding from any company or organisation that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment. Partners The awarding of the 2018 Pulitzer Music Prize to Kendrick Lamar for his album DAMN. has attracted considerable controversy. The American rapper edged out the young Michael Gilbertson, who wrote a string quartet in a traditional format, and Ted Hearne, who created a modernist setting of a contemporary text for voices, electric guitars and percussion. Some have read the decision as a sign of low art (music designed for popular consumption, often with an eye on financial reward) vanquishing high art (esoteric music of transcendent purpose.) Yet to argue this is to prejudice Lamar on the basis of the style of his music. Like Lamar’s previous albums, the music of DAMN. is effortlessly creative, with constant attention to shadings of mood and beat. There are many contributors, in the fields of production, vocals and sampling, and the timing throughout is both artful and innovative. As a personally-lived document of life for black Americans today, DAMN. is unique. Yet to some critics, the decision elevates a form of music that has no place among the esteemed offerings of past recipients (which historically has included some of America’s pre-eminent composers in the European art- music tradition).