Influencias De La Práctica Coreográfica Y Gestual

Total Page:16

File Type:pdf, Size:1020Kb

Influencias De La Práctica Coreográfica Y Gestual UNIVERSIDAD DE MÁLAGA FACULTAD DE FILOSOFÍA Y LETRAS TESIS DOCTORAL INFLUENCIAS DE LA PRÁCTICA COREOGRÁFICA Y GESTUAL DE LA COMMEDIA DELL'ARTE EN LA INTERPRETACIÓN MUSICAL DE DER KLEINE HARLEKIN DE KARLHEINZ STOCKHAUSEN Y SUS EFECTOS EN LA MEMORIZACIÓN DE LA PARTITURA SANTIAGO MARTÍNEZ ABAD MÁLAGA, 2015 AUTOR: Santiago Martínez Abad EDITA: Publicaciones y Divulgación Científica. Universidad de Málaga Esta obra está sujeta a una licencia Creative Commons: Reconocimiento - No comercial - SinObraDerivada (cc-by-nc-nd): Http://creativecommons.org/licences/by-nc-nd/3.0/es Cualquier parte de esta obra se puede reproducir sin autorización pero con el reconocimiento y atribución de los autores. No se puede hacer uso comercial de la obra y no se puede alterar, transformar o hacer obras derivadas. Esta Tesis Doctoral está depositada en el Repositorio Institucional de la Universidad de Málaga (RIUMA): riuma.uma.es UNIVERSIDAD DE MÁLAGA Facultad de Filosofía y Letras Departamento de Historia del Arte TESIS DOCTORAL INFLUENCIAS DE LA PRÁCTICA COREOGRÁFICA Y GESTUAL DE LA COMMEDIA DELL'ARTE EN LA INTERPRETACIÓN MUSICAL DE DER KLEINE HARLEKIN DE KARLHEINZ STOCKHAUSEN Y SUS EFECTOS EN LA MEMORIZACIÓN DE LA PARTITURA Málaga, 2015 TESIS DOCTORAL INFLUENCIAS DE LA PRÁCTICA COREOGRÁFICA Y GESTUAL DE LA COMMEDIA DELL'ARTE EN LA INTERPRETACIÓN MUSICAL DE DER KLEINE HARLEKIN DE KARLHEINZ STOCKHAUSEN Y SUS EFECTOS EN LA MEMORIZACIÓN DE LA PARTITURA Doctorando: D. Santiago Martínez Abad Directora: Dra. Dª. Diana Pérez Custodio En el marco de: Departamento de Historia del Arte Facultad de Filosofía y Letras Universidad de Málaga “Es parte de la esencia del arte musical que ocurran más cosas en una obra de lo que puede ser asimilado conscientemente en el momento de la escucha.” Karlheinz Stockhausen “... la dialéctica verbal es impotente para definir enteramente la dialéctica musical.” Igor Stravinsky “Actuar bajo una máscara expresiva es alcanzar una dimensión esencial del juego teatral, comprometer el cuerpo entero, sentir una intensidad de emoción y de expresión que servirá, una vez más, de referencia para el actor.” Jacques Lecocq A mis padres y a Luisa AGRADECIMIENTOS A Luisa, por estar siempre que yo no puedo, por multiplicarse todo lo necesario, por saber escuchar y comprender siempre que lo necesito, por ser la alegría de mi existencia y por tantas otras cosas. A David y Nuria, por todo lo que no les he dado en este tiempo y por hacerme ver constantemente qué es lo prioritario y qué lo accesorio. Por ser fuente de felicidad y de esperanza en el futuro. A mis padres, por confiar siempre en mí, respetar mis deseos y apoyar sin dudarlo cada una de mis nuevas empresas. A ellos les debo años de esfuerzo persiguiendo mis sueños, aquí y allá, con más o menos fortuna. Gracias por quererme. Mi más sincero agradecimiento para mi directora de tesis, Dra. Dª Diana Pérez Custodio por sus consejos y su experiencia vertidos en mí, y por mostrarme el camino para encontrar siempre un mejor modo de hacer las cosas. A la Dra. Livia Cruz por su desinteresada ayuda iniciándome en el mundo de la Commedia. A Javier Oliva por todo lo que he podido aprender del maravilloso mundo de la interpretación teatral y su implicación en llevar a cabo un proyecto nuevo y diferente como el de Der kleine Harlekin. A Alvaro Sola por sus fantásticas fotos y apoyo. A Santi García Cuba por aliviar mi dolor por los tortuosos caminos de la informática. A Suzanne Stephens y Michelle Marelli por confiar en mí hace unos años animándome en el estudio de una obra como ésta y guiarme en el primer montaje que hice de la obra. A Suzanne por su colaboración facilitándome información acerca del origen de la composición. A todos mis maestros, los que me ofrecieron su experiencia y los caminos existentes, los que me hicieron ver que alguno no merecía ser seguido, a todos los que sin ser músicos y sin saberlo me han enseñado tanto de mi profesión y de la vida. XIII XIV CONSIDERACIONES PRELIMINARES En este apartado indicamos las pautas que hemos seguido en el presente trabajo en cuanto a convenciones para las citas, traducciones al español, así como un listado de abreviaturas entre otras cuestiones. En nota a pie de página indicamos las referencias bibliográficas completas tanto de libros como de artículos la primera vez que aparecen, para sucesivas apariciones señalamos sólo con las abreviaturas Op. Cit. En lo que se refiere a textos en idiomas distintos al español, aparecen en el texto traducidos al español, y reproducimos a pie de página el texto original. Dado que en determinados puntos de esta tesis habrá que nombrar con cierta frecuencia las obras In freundschaft y Der kleine Harlekin se utilizarán las abreviaturas IF y DKH respectivamente para que resulte más práctico. A continuación hay una lista de las abreviaturas usadas: DKH: Der kleine Harlekin IF: In freundschaft Op. Cit.: Obra citada RCl: Ritmo de la melodía del clarinete RP: Ritmo de los pies Mel. Sup: Línea Melódica Superior Mel. Inf.: Línea Melódica Inferior Es conveniente aclarar con precisión desde el primer momento el uso que se va a hacer de determinados términos para que éstos no creen confusión. El término Arlequín se utilizará cuando nos estemos refiriendo al personaje que se encuentra en escena en un determinado concierto u obra teatral. El término Arlecchino aparecerá cuando nos refiramos al personaje tradicional del teatro italiano del Siglo XVI, y por fin, se usará Harlekin cuando hagamos consideraciones referentes a cualquiera de las dos obras de Karlheinz Stockhausen: Harlekin y Der kleine Harlekin. Hay apartados en la tesis en los que se incluye texto redactado justo al acabar sesiones de estudio, entrenamiento físico, o también, después de un concierto plasmando las reflexiones sobre el XV mismo. En ellos fue muy importante expresar las sensaciones y emociones, así como la experiencia vivida del momento, por ello hemos considerado el redactarlos en primera persona de singular en vez del plural de humildad del resto de la tesis para conservar la frescura de este material. Para evitar las complicaciones en las numeraciones de los capítulos y apartados de esta tesis se utilizarán los números romanos para los capítulos, y para los apartados y subapartados los números arábigos. XVI ÍNDICE DE CONTENIDOS CAPITULO I. INTRODUCCION.............................................................................3 1. LA SUPERACIÓN DE LA INTERPRETACIÓN MUSICAL DE OBRAS DE STOCKHAUSEN A TRAVÉS DEL MOVIMIENTO........................................................3 2. ACERCAMIENTO PERSONAL A LA MÚSICA DE KARLHEINZ STOCKHAUSEN ...........................................................................................................................................5 CAPITULO II. CUESTIONES METODOLOGICAS...........................................11 1. ORIENTACIÓN INVESTIGADORA..........................................................................11 2. TÉCNICAS, MÉTODOS Y ESTRATEGIA.................................................................15 3. PLANIFICACIÓN DEL TRABAJO............................................................................18 4. FUENTES BIBLIOGRAFICAS COMENTADAS......................................................22 CAPITULO III. LA FIGURA DE KARLHEINZ STOCKHAUSEN EN LA SEGUNDA MITAD DEL SIGLO XX......................................................................29 1. EVOLUCIÓN DE LAS ESTETICAS MUSICALES HASTA MEDIADOS DE LOS AÑOS 70..........................................................................................................................29 2. EVOLUCIÓN VITAL Y ARTÍSTICA DE KARLHEINZ STOCKHAUSEN..............32 3. EVOLUCION DEL PROCESO COMPOSITIVO HASTA LA FORMEL- KOMPOSITION..............................................................................................................34 CAPITULO IV. IN FREUNDSCHAFT...................................................................41 1. GENESIS DE LA OBRA.............................................................................................41 1.1. El movimiento en In freundschaft.........................................................................42 2. FÓRMULA DE IN FREUNDSCHAFT.......................................................................45 2.1. Número de células, notas, silencios y sus duraciones............................................46 XVII 2.2. Progresiones de la Fórmula...................................................................................47 2.3. Intervalos de la Fórmula........................................................................................47 2.4. Serie dodecafónica y tabla de series de la Fórmula...............................................48 2. 5. Génesis de la Fórmula con las tres líneas melódicas............................................51 3. ESTRUCTURA FORMAL DE IN FREUNDSCHAFT...............................................53 3.1. Evolución del intercambio entre las células de las líneas melódicas superior e inferior.........................................................................................................................57 3.2 Agrupamientos de las células y trinos en cada ciclo...............................................62 3.3. Irregularidades introducidas en los ciclos.............................................................63 4. ELEMENTOS CONSTITUTIVOS ESTILISTICOS DE LA OBRA...........................66 5. FUNCIONES QUE DESEMPEÑAN LOS ELEMENTOS Y VALORES ESTETICOS DE LA OBRA..................................................................................................................72
Recommended publications
  • Stockhausen's Cosmic Pulses
    Robin Maconie: Stockhausen’s Cosmic Pulses 2009–14 (copyright) 1 Stockhausen’s Cosmic Pulses ROBIN MACONIE Some people chase tornados; others go after black holes. From the late 1950s Stockhausen was fascinated by the idea of sounds in rotation and how to realise them in a technical sense, by means of an array of loudspeakers. Completed in 2007, Cosmic Pulses is Stockhausen’s final electronic composition.1 For a number of reasons I believe the composer knew it would be his last. The work was completed in a rush. In many ways, notably in terms of the sound material, which is very basic, it remains a sketch. The music can be described as a massive rotating sound mass, composed in 24 separately spinning frequency layers. The work thickens gradually to 24 layers, then reduces symmetrically upward in an ascending spiral that ends quite abruptly. An audience may experience the sensation of falling headlong into a black hole, or, if one is an optimist, of being carried aloft on the whirlwind like Dorothy in The Wizard of Oz. A tornado is an effect of a natural imbalance between temperature layers in the atmosphere, tipped into motion by the earth’s rotation, which moves progressively faster toward the equator. The rotating air mass that results spirals upwards and generates a powerful electrical charge. A black hole by comparison is an effect of gravitation creating an imbalance in spacetime. The rotational process that results spirals downward or inward and leads to the extinction of reality as we know it, or again, if one is an optimist, creates a wormhole leading either into another universe, or into our own universe at Robin Maconie: Stockhausen’s Cosmic Pulses 2009–14 (copyright) 2 another point in time.
    [Show full text]
  • 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
    [Show full text]
  • Fall 2009 Feature: Celebrate the Reader|
    F A L L 2 0 0 9 Feature: Ontario Public Library Week October 17-25 Me & My Library Dave Carley www.londonpubliclibrary.ca |feature: OPLW Ontario Public I am a reader. Library Week I am always on the hunt for my next October 13-24 read: a new book, an undiscovered Celebrate your reading book, an old writer new to me, the book Chose from your Library’s wide that will suit my particular mood... selection of books, magazines, movies In my work as a librarian, I meet people or music - be the lucky person to check every day that are also looking for ‘a out a chosen item and you could win a ballot to enter for a draw good book’ and part of my job is to help prize. Hint: both staff and customer them find it. I start by asking questions: recommendations may be eligible for a what do you like to read, who are your chance to win. For all ages. favourite authors, why did you like that particular book? Do you like a cozy October 17-25 British mystery, medical suspense, Celebrity check out literary award winners? I am always Local “celebrities” take on the role of meeting people who don’t know they honourary employees at most locations can ask library staff for help finding one day this week. Drop in for a chat at books to read, although they regularly the check out! ask a lot of other questions! The next October 17 time you are stuck, ask a staff member 2-4 pm - all locations for help.
    [Show full text]
  • Stockhausen Concerts and Classes for Clarinettists and Others. Clarinettists Have Reason to Be Very Happy with the Development
    Stockhausen concerts and classes for clarinettists and others. Clarinettists have reason to be very happy with the development of their repertoire in de 20th century, as it had a previously unseen growth. One of the main figures of post war new music has been Karlheinz Stockhausen (1928-2007). This often controversial composer has enriched clarinet literature with an unprecedented number of works for clarinet, bassethorn and bass clarinet, especially after 1974. These sometimes demanding pieces, often with theatrical elements, require a specific approach and way of playing, easily underestimated. Stockhausen was well aware of this and started coaching a new generation of players in the 1980’s, in order to pass this tradition of interpretation on to others. In spite of Stockhausen’s compositions having the reputation of being difficult and intellectual (if not quasi-religious), to play, watch and listen to them is generally great fun, and very satisfying to work on - if done well. Because the music calls on many apects of performing (e.g. fysical and mental attitude on stage, memory, presentation, awareness of the structure of the music, disciplin) the leaning process has a beneficial influence on performing traditional music too. This series of concerts and courses offers the possibility to watch, listen, study and rehearse a number of Stockhausen’s works with Michel Marang, a clarinettist who worked with the composer since 1986 and performed his music hundreds of times worldwide. The course can have the character of an introductory lecture and concert, but eventually may result in seminars over a longer stretch of time, as much as needed to bring specific works on concert level.
    [Show full text]
  • Ulrich Buch Engl. Ulrich Buch Englisch
    Stockhausen-Stiftung für Musik First edition 2012 Published by Stockhausen-Stiftung für Musik 51515 Kürten, Germany (Fax +49-[0] 2268-1813) www.stockhausen-verlag.com All rights reserved. Copying prohibited by law. O c Copyright Stockhausen-Stiftung für Musik 2012 Translation: Jayne Obst Layout: Kathinka Pasveer ISBN: 978-3-9815317-0-1 STOCKHAUSEN A THEOLOGICAL INTERPRETATION BY THOMAS ULRICH Stockhausen-Stiftung für Musik 2012 TABLE OF CONTENTS Preliminary Remark .................................................................................................. VII Preface: Music and Religion ................................................................................. VII I. Metaphysical Theology of Order ................................................................. 3 1. Historical Situation ....................................................................................... 3 2. What is Music? ............................................................................................. 5 3. The Order of Tones and its Theological Roots ............................................ 7 4. The Artistic Application of Stockhausen’s Metaphysical Theology in Early Serialism .................................................. 14 5. Effects of Metaphysical Theology on the Young Stockhausen ................... 22 a. A Non-Historical Concept of Time ........................................................... 22 b. Domination Thinking ................................................................................ 23 c. Progressive Thinking
    [Show full text]
  • Professor De Música / Clarinete Boa Sorte !
    SECRETARIA DE ADMINISTRAÇÃO DO ESTADO SECRETARIA DE EDUCAÇÃO CONCURSO PÚBLICO Não deixe de preencher as informações a seguir. Prédio Sala Nome Nº de Identidade Órgão Expedidor UF Nº de Inscrição PROFESSOR DE MÚSICA / CLARINETE ATENÇÃO Abra este Caderno, quando o Fiscal de Sala autorizar o início da Prova. Observe se o Caderno está completo. Ele deverá conter 60 (sessenta) questões objetivas de múltipla escolha com 05 (cinco) alternativas cada, sendo 10 (dez) questões de Língua Portuguesa, 10 (dez) questões de Conhecimentos Pedagógicos e 40 (quarenta) questões de Conhecimentos Específicos. Se o Caderno estiver incompleto ou com algum defeito gráfico que lhe cause dúvidas, informe, imediatamente, ao Fiscal. Uma vez dada a ordem de início da Prova, preencha, nos espaços apropriados, o seu Nome completo, o Número do seu Documento de Identidade, a Unidade da Federação e o Número de Inscrição. Para registrar as alternativas escolhidas nas questões objetivas de múltipla escolha, você receberá um Cartão-Resposta de Leitura Ótica. Verifique se o Número de Inscrição impresso no Cartão coincide com o seu Número de Inscrição. As bolhas constantes do Cartão-Resposta devem ser preenchidas, totalmente, com caneta esferográfica azul ou preta. Preenchido o Cartão-Resposta, entregue-o ao Fiscal, juntamente com este Caderno e deixe a sala em silêncio. BOA SORTE ! LÍNGUA PORTUGUESA Texto I para as questões de 01 a 05. Vida Moderna Olhar para o céu noturno é quase um privilégio em nossa atribulada e iluminada vida moderna. (...)Companhias de turismo deveriam criar “excursões noturnas”, em que grupos de pessoas são transportados até pontos estratégicos para serem instruídos por um astrônomo sobre as maravilhas do céu noturno.
    [Show full text]
  • Download Booklet
    A c k n o w l e d g m e n t s Zeitmasze Recorded September 29th and 30th, 2011, Dreamflower Studios, Bronxville, NY Engineer & Mastering: Jeremy Tressler Producer: Mark Lieb Assistant producer: Rose Bellini Published by Universal Edition Wind Quintet, Op. 26 Recorded June 1st, 2nd & 3rd, 2010, Dreamflower Studios, Bronxville, NY Engineer & Mastering: Jeremy Tressler Producer: Mark Lieb p h o e n i x e n s e m b l e Assistant producer: Rose Bellini Published by Belmont Music Publishers Session Photos: Piero Ribelli Cover image: Philip Blackbum www.albanyrecords.com TROY1371 albany records u.s. 915 broadway, albany, ny 12207 tel: 518.436.8814 fax: 518.436.0643 karlheinz StockhauSen zeitmaSze albany records u.k. box 137, kendal, cumbria la8 0xd tel: 01539 824008 arnold Schoenberg Wind Quintet, op. 26 © 2012 albany records made in the usa ddd waRning: cOpyrighT subsisTs in all Recordings issued undeR This label. T h e M u s i c Robin Maconie, in his book, Other Planets, the Music of Karlheinz Stockhausen, writes about the piece: “ John Cage tells Karlheinz Stockhausen: Zeitmasze (1957) an amusing story of passing by a mechanized shop window display set up to demonstrate the smooth writing and con- Karlheinz Stockhausen (1928 – 2007) was born in Mödrath, Germany, near Cologne. At the age of seven he received his tinuous flow of a fountain pen. The demonstration had gone horribly wrong, bending the nib and scattering ink in every first music lessons studying piano, and as music piqued his interest, by 1947 was studying piano and music pedagogy direction.
    [Show full text]
  • Suzanne Stephens Wurde in Waterloo/Iowa Geboren Und Wuchs in Den Vereinigten Staaten, Deutschland Und Fran- Kreich Auf
    Stephens, Suzanne men Stephens und Pasveer die Stockhausen-Stiftung und verwalten damit bis heute das Anwesen mit Archiv und Forschungseinrichtung und den Stockhausen-Ver- lag. Darüber hinaus organisieren sie verschiedene Veran- staltungen in der Lehre, unter anderem die zweijährli- chen Stockhausen-Kurse und Konzerte. Orte und Länder Suzanne Stephens wurde in Waterloo/Iowa geboren und wuchs in den Vereinigten Staaten, Deutschland und Fran- kreich auf. Sie studierte in Fairfax/Virginia, Washing- ton/D.C., Paris, Illinois und in Hannover Klarinette und schloss ihr Studium mit einem Master of Music und an- schließendem Konzertexamen ab. 1972 wurde ihr der Kranicher Musikpreis in Darmstadt und die Silbermedail- le des „International Clarinet Competition“ in Genf verlie- hen. Sie arbeitete ab 1973 für zwei Jahre als erste Klari- nettistin im Rundfunkorchester Stuttgart, bis dieses auf- gelöst wurde und lernte in dieser Zeit Karlheinz Stock- hausen über einen Gastauftritt in Oeldorf bei Kürten ken- nen. Bis heute ist Kürten der Sitz der Stockhausen Stif- tung und ihr Lebensmittelpunkt. Biografie Suzanne Stephens, undatierte Fotografie Vorbemerkung Suzanne Stephens Zahlreiche Angaben der folgenden Darstellung sind ei- nem Interview entnommen, das die Autorin am 29. Mai * 28. Juli 1946 in Waterloo/Iowa, USA 2015 in Kürten mit Suzanne Stephens führen konnte (Ste- phens 2015). Klarinettistin, Bassethornistin, Konzertmusikerin, Lehrerin, Orchestermitglied, Studiomusikerin, Nachlassverwalterin, Stiftungsleiterin Herkunft und Ausbildung „Wir hatten uns kaum kennengelernt und ich saß da und Suzanne Stephens wurde am 28. Juli 1946 in Water- er hat sich plötzlich zu mir rübergelehnt und fragte: ‚Kön- loo/Iowa in den USA geboren. Im Alter von neun Jahren nen Sie sich vorstellen, Tanzen und Spielen gleichzeitig?’ begann sie Klarinette zu lernen, da ihre Schule das Ange- Und ich sagte: ‚Warum nicht?’, weil ich mich nie im Le- bot für Unterricht an Blasinstrumenten bereitstellte.
    [Show full text]
  • Queensland Conservatorium Griffith University The
    QUEENSLAND CONSERVATORIUM GRIFFITH UNIVERSITY THE MOZART BASSET CLARINET CONCERTO K.622: CURRENT PHILOSOPHIES ON FORMING AN INTERPRETATION Justin Beere, Bmus. A dissertation submitted in partial fulfilment Of the requirement for the degree of Bachelor of Music with Honours October 2009 CERTIFICATION I hereby certify that this work has not previously been submitted in whole or part by me of any other person for qualification or award in any university. I further certify that to the best of my knowledge and belief, this dissertation contains no material previously published or written by another person except where due reference is made in the dissertation itself. Signed ………………………………. Date ………………………………… ii ACKNOWLEDGMENTS I would like to acknowledge my ever-patient supervisor Dr Scott Harrison for his guidance and assistance through this project. The study would not have been successful without the very generous case study subjects and my sincere thanks go to Paul Dean and Craig Hill who were so willing to take part and taught me so much in the process. I am indebted to the Librarians of the Queensland Conservatorium and Dr Stephen Emmerson for ideas on content and resources. Gregg Howard and Dr Brydie- Leigh Bartleet were critical in the early phases in assisting with process and formatting issues on projects of this scale. Finally, I would like to thank dear friends Gwenneth Lippiatt, Joy Conolly, Stewart Kelly and David Ouch for their tireless assistance in proofreading, formatting and many early morning discussions on philosophy and content. iii ABSTRACT Mozart’s writings for the clarinet and historically related instruments provide some of the richest and most studied and performed repertoire in the clarinettists’ canon.
    [Show full text]
  • Karlheinz Stockhausen List of Works
    Karlheinz Stockhausen List of Works All works which were composed until 1969 (work numbers ¿ to 29) are published by Universal Edition in Vienna, with the exception of ETUDE, Electronic STUDIES I and II, GESANG DER JÜNGLINGE, KONTAKTE, MOMENTE, and HYMNEN, which are published since 1993 by the Stockhausen-Verlag, and the renewed compositions 3x REFRAIN 2000, MIXTURE 2003, STOP and START. Starting with work number 30, all compositions are published by the Stockhausen-Verlag, Kettenberg 15, 51515 Kürten, Germany, and may be ordered directly. 1 = numeration of the individually performable works. r1 = orchestra works with at least 19 players (or fewer when the instrumentation is unconventional), and works for orchestra with choir. o1 = chamber music works. Among these are several which have more than 18 players, but are usually not performed by orchestras, but rather by chamber ensembles such as the London Sinfonietta, the Ensemble Intercontemporain, the Asko Ensemble, or Ensemble Modern. J35 = Works, which may also be performed as “chamber music” (for example INORI with 2 dancer- mimes and tape [instead of orchestra] or works for choir in which the choir may be played back on tape. 1. ex 47 = 1st derivative of Work No. 47. [9’21”] = duration of 9 minutes and 21 seconds (durations with minutes and seconds: CD durations of the Complete Edition). U. E. = Universal Edition. St. = Stockhausen-Verlag. For most of the works, an electro-acoustic installation is indicated. Detailed information about the required equipment may be found in the scores. In very small halls (for less than 100 people), it is possible to omit amplification for some solo works and works for small ensembles.
    [Show full text]
  • Kreuzspiel, Louange À L'éternité De Jésus, and Mashups Three
    Kreuzspiel, Louange à l’Éternité de Jésus, and Mashups Three Analytical Essays on Music from the Twentieth and Twenty-First Centuries Thomas Johnson A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts University of Washington 2013 Committee: Jonathan Bernard, Chair Áine Heneghan Program Authorized to Offer Degree: Music ©Copyright 2013 Thomas Johnson Johnson, Kreuzspiel, Louange, and Mashups TABLE OF CONTENTS Page Chapter 1: Stockhausen’s Kreuzspiel and its Connection to his Oeuvre ….….….….….…........1 Chapter 2: Harmonic Development and The Theme of Eternity In Messiaen’s Louange à l’Éternité de Jésus …………………………………….....37 Chapter 3: Meaning and Structure in Mashups ………………………………………………….60 Appendix I: Mashups and Constituent Songs from the Text with Links ……………………....103 Appendix II: List of Ways Charles Ives Used Existing Musical Material ….….….….……...104 Appendix III: DJ Overdub’s “Five Step” with Constituent Samples ……………………….....105 Bibliography …………………………………........……...…………….…………………….106 i Johnson, Kreuzspiel, Louange, and Mashups LIST OF EXAMPLES EXAMPLE 1.1. Phase 1 pitched instruments ……………………………………………....………5 EXAMPLE 1.2. Phase 1 tom-toms …………………………………………………………………5 EXAMPLE 1.3. Registral rotation with linked pitches in measures 14-91 ………………………...6 EXAMPLE 1.4. Tumbas part from measures 7-9, with duration values above …………………....7 EXAMPLE 1.5. Phase 1 tumba series, measures 7-85 ……………………………………………..7 EXAMPLE 1.6. The serial treatment of the tom-toms in Phase 1 …………………………........…9 EXAMPLE 1.7. Phase two pitched mode ………………………………………………....……...11 EXAMPLE 1.8. Phase two percussion mode ………………………………………………....…..11 EXAMPLE 1.9. Pitched instruments section II …………………………………………………...13 EXAMPLE 1.10. Segmental grouping in pitched instruments in section II ………………….......14 EXAMPLE 1.11.
    [Show full text]
  • 54 by Paul Griffiths As Is Well Known, Hugo Vernier
    Formulae and Spectra The Quiet Pioneering of Jonathan Harvey, 1967-73 by Paul Griffiths As is well known, Hugo Vernier, in his poetry collection Le Voyage d’hiver (1864), anticipated celebrated works by Stéphane Mallarmé, Arthur Rim- baud, Paul Verlaine, and many more.1 Readers may therefore need to be assured that, in making similar claims for Jonathan Harvey, this essay is dealing with a composer who had a real existence. Happily, the Jonathan Harvey Collection held by the Paul Sacher Stiftung contains abundant evidence of that existence, including, besides scores and sketches, a hardback notebook (henceforth HN) the composer seems to have kept by him throughout his adult life, in order to catalogue his works, at one end of the book, and, at the other, inverted, to jot down notes on his reading and creative ideas. Dates appear infrequently among those notes, though of course the succession is some indication of chronology. We can thus be sure it was before July 5, 1967, that Harvey proposed venturing into a domain that would be of lasting importance to him, that of electronic music. This first potential step involved the foundation instru- ment of Stockhausen’s Momente – one of two Stockhausen works he had witnessed at Darmstadt the previous summer in the films by Luc Ferrari, the other being Mikrophonie I. His project now was his Cantata II, and the note in question asks “Electronic organ?” The answer was to be in the negative, but the impression left by those Stockhausen experiences remained, as revealed in the note of the later date just mentioned, which has to be quoted in full: 5.7.67 Noh Play setting.
    [Show full text]