Anhang III: Komponisten Bei Tonus (1953–1959)
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Abstracts Papers Read
ABSTRACTS of- PAPERS READ at the THIRTY-FIFTH ANNUAL MEETING of the AMERICAN MUSICOLOGICAL SOCIETY SAINT LOUIS, MISSOURI DECEMBER 27-29, 1969 Contents Introductory Notes ix Opera The Role of the Neapolitan Intermezzo in the Evolution of the Symphonic Idiom Gordana Lazarevich Barnard College The Cabaletta Principle Philip Gossett · University of Chicago 2 Gluck's Treasure Chest-The Opera Telemacco Karl Geiringer · University of California, Santa Barbara 3 Liturgical Chant-East and West The Degrees of Stability in the Transmission of the Byzantine Melodies Milos Velimirovic · University of Wisconsin, Madison 5 An 8th-Century(?) Tale of the Dissemination of Musico Liturgical Practice: the Ratio decursus qui fuerunt ex auctores Lawrence A. Gushee · University of Wisconsin, Madison 6 A Byzantine Ars nova: The 14th-Century Reforms of John Koukouzeles in the Chanting of the Great Vespers Edward V. Williams . University of Kansas 7 iii Unpublished Antiphons and Antiphon Series Found in the Dodecaphony Gradual of St. Yrieix Some Notes on the Prehist Clyde W. Brockett, Jr. · University of Wisconsin, Milwaukee 9 Mark DeVoto · Unive Ist es genug? A Considerat Criticism and Stylistic Analysis-Aims, Similarities, and Differences PeterS. Odegard · Uni· Some Concrete Suggestions for More Comprehensive Style Analysis The Variation Structure in Jan LaRue · New York University 11 Philip Friedheim · Stat Binghamton An Analysis of the Beginning of the First Movement of Beethoven's Piano Sonata, Op. 8la Serialism in Latin America Leonard B. Meyer · University of Chicago 12 Juan A. Orrego-Salas · Renaissance Topics Problems in Classic Music A Severed Head: Notes on a Lost English Caput Mass Larger Formal Structures 1 Johann Christian Bach Thomas Walker · State University of New York, Buffalo 14 Marie Ann Heiberg Vos Piracy on the Italian Main-Gardane vs. -
Dante Anzolini
Music at MIT Oral History Project Dante Anzolini Interviewed by Forrest Larson March 28, 2005 Interview no. 1 Massachusetts Institute of Technology Lewis Music Library Transcribed by: Mediascribe, Clifton Park, NY. From the audio recording. Transcript Proof Reader: Lois Beattie, Jennifer Peterson Transcript Editor: Forrest Larson ©2011 Massachusetts Institute of Technology Lewis Music Library, Cambridge, MA ii Table of Contents 1. Family background (00:25—CD1 00:25) ......................................................................1 Berisso, Argentina—on languages and dialects—paternal grandfather’s passion for music— early aptitude for piano—music and soccer—on learning Italian and Chilean music 2. Early musical experiences and training (19:26—CD1 19:26) ............................................. 7 Argentina’s National Radio—self-guided study in contemporary music—decision to become a conductor—piano lessons in Berisso—Gilardo Gilardi Conservatory of Music in La Plata, Argentina—Martha Argerich—María Rosa Oubiña “Cucucha” Castro—Nikita Magaloff— Carmen Scalcione—Gerardo Gandini 3. Interest in contemporary music (38:42—CD2 00:00) .................................................14 Enrique Girardi—Pierre Boulez—Anton Webern—Charles Ives—Carl Ruggles’ Men and Mountains—Joseph Machlis—piano training at Gilardo Gilardi Conservatory of Music—private conductor training with Mariano Drago Sijanec—Hermann Scherchen—Carlos Kleiber— importance of gesture in conducting—São Paolo municipal library 4. Undergraduate education (1:05:34–CD2 26:55) -
Paz, Schoenberg, Y Abel: Una Indagación De Sus Recorridos Hacia La Atonalidad Basada En Atributos Estadísticos De La Música
Paz, Schoenberg, y Abel: una indagación de sus recorridos hacia la atonalidad basada en atributos estadísticos de la música J. Fernando Anta y Alejandro Martínez Revista Argentina de Musicología 15-16 (2014-2015), 231-250. ISSN 1660-1060 Revista de Musicología 15-16.indd 231 04/08/2016 10:16:48 p.m. 232 Revista Argentina de Musicología 2014-2015 Paz, Schoenberg, y Abel: una indagación de sus recorridos hacia la atonalidad basada en atributos estadísticos de la música Las vinculaciones existentes entre Juan Carlos Paz y Arnold Schoenberg son bien conocidas, y muy estrechas. Sin embargo, la trayectoria recorrida por Paz hacia el abandono de la tonalidad ha sido solo parcialmente documentada, y las relaciones existentes entre dicha trayectoria y aquella recorrida por Schoenberg, su referente, han sido aún menos exploradas. El objetivo del presente estudio fue clarificar es- tos dos puntos focalizando en el tipo de composición lineal de ambos compositores, particularmente en el monto de dispersión de las notas en el registro, y comparando cómo uno y otro avanzó hacia la atonalidad a través de dicho parámetro. Para ello, analizamos cómo en la melodía (vocal) de sus canciones se distribuyen y organizan los intervalos. Los resultados sugieren que, en el marco de sus canciones, los modos en que uno y otro compositor se aproximaron a la atonalidad fueron diferentes: Paz organizó la arquitectura melódica sobre niveles de dispersión menores que los utiliza- dos por Schoenberg, y atendiendo a “reglas de conducción de voces” propias de la música tonal en mayor medida que este último. Palabras clave: Juan Carlos Paz, Arnold Schoenberg, tonalidad, atonalidad, disper- sión de las alturas. -
19 by Gianmario Borio* Among the Early Sources Preserved in The
Beiträge Mauricio Kagel’s Analysis of Schoenberg’s Phantasy for Violin with Piano Accompaniment op. 47 by Gianmario Borio* Among the early sources preserved in the Mauricio Kagel Collection is a dossier dedicated to Schoenberg’s Phantasy op. 47, containing an annotated copy of the score, a series of notes on various aspects of its compositional technique, some annotated samples, and a rough draft of a text most likely intended for publication. This material can only be dated hypothetically on the basis of historical evidence. On August 7, 1953, the Phantasy was per- formed at a concert organized by the Agrupación Nueva Música, in which Kagel participated as a pianist; a fleeting reference to the first book by Allen Forte, seen at the bottom of the table of transpositions, allows us to define the dossier’s terminus post quem; lastly, the language used in the notes, considered along with their underlying topics, seems to rule out the possi- bility that they were written during his early years in Germany.1 Kagel’s analysis reveals much about the set of problems with which he was dealing during the composition of Sexteto de cuerdas and the first version of Anagra- ma.2 It also sheds light on the origin of some of the more durable premises of his thought and, on a more general level, represents a significant episode in the reception of the Phantasy itself. * This article originated as part of the project Composers Analysing Other Composers, on which I have been working for a number of years. The first results of the project were pub- lished in “L’analyse musicale comme processus d’appropriation historique: Webern à Darmstadt,” in Circuit: Musiques contemporaines, 15 (2005), no. -
The Computational Attitude in Music Theory
The Computational Attitude in Music Theory Eamonn Bell Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2019 © 2019 Eamonn Bell All rights reserved ABSTRACT The Computational Attitude in Music Theory Eamonn Bell Music studies’s turn to computation during the twentieth century has engendered particular habits of thought about music, habits that remain in operation long after the music scholar has stepped away from the computer. The computational attitude is a way of thinking about music that is learned at the computer but can be applied away from it. It may be manifest in actual computer use, or in invocations of computationalism, a theory of mind whose influence on twentieth-century music theory is palpable. It may also be manifest in more informal discussions about music, which make liberal use of computational metaphors. In Chapter 1, I describe this attitude, the stakes for considering the computer as one of its instruments, and the kinds of historical sources and methodologies we might draw on to chart its ascendance. The remainder of this dissertation considers distinct and varied cases from the mid-twentieth century in which computers or computationalist musical ideas were used to pursue new musical objects, to quantify and classify musical scores as data, and to instantiate a generally music-structuralist mode of analysis. I present an account of the decades-long effort to prepare an exhaustive and accurate catalog of the all-interval twelve-tone series (Chapter 2). This problem was first posed in the 1920s but was not solved until 1959, when the composer Hanns Jelinek collaborated with the computer engineer Heinz Zemanek to jointly develop and run a computer program. -
The Compositions of György Ligeti in the 1950S and 1960S
118 Notes, September 2019 (along with their adaption in the twen- He fathers-forth whose beauty is pást tieth century), and ethnomusicologists change: exploring how the gamelan was em- Praíse hím. braced in North America, along with (Hopkins, “Pied Beauty,” stanza 2) other related cultural hybrids, can prof- John MacInnis itably reference this book. Dordt College This is a comprehensive life-and- works biography that belongs in acade- Metamorphosis in Music: The mic libraries. It is not hagiography. The Compositions of György Ligeti in the reader learns of Harrison’s destructive 1950s and 1960s. By Benjamin R. Levy. temper, his unhappy and unstable years Oxford: Oxford University Press, 2017. in New York, and how he sometimes [x, 292 p. ISBN 9780199381999 (hard- emotionally manipulated those who cover), $74; ISBN 9780199392019 loved him. Alves and Campbell recount (Oxford Scholarly Online), ISBN that Harrison’s outstanding regret was 9780199392002 (updf), ISBN how he treated people, and they share 9780190857394 (e-book), prices vary.] both the ups and downs of his life. Illustrations, music examples, bibliog- A reader of this book will note raphy, index. Harrison’s boldness in investing him- self completely in the art that inter- Long a devotee of György Ligeti’s ested him, without preoccupation with compositional theories, aesthetics, and a career trajectory or getting ahead. His practices, Benjamin Levy has published willingness to engage fully with ideas a book that tells the story of the com- off the beaten path made him a catalyst poser’s development up to about 1970. in the development of twentieth- What makes Levy’s efforts stand out is century American music. -
Música En La España Contemporánea (Interuniversitario) (Mención De Calidad)
PROGRAMA DE DOCTORADO: Música en la España Contemporánea (Interuniversitario) (Mención de calidad) Cruce de modernidades. La música para piano en España entre 1958 y 1982 Miriam Mancheño Delgado ÍNDICE GENERAL Índice General Agradecimientos 11 Resumen 17 Abstract 21 Introducción 1. JUSTIFICACIÓN Y OBJETIVOS 27 2. ESTADO DE LA CUESTIÓN 30 3. METODOLOGÍA 37 4. FUENTES 42 Capítulo I: España 1958-1982 1. ESPAÑA 1958-1982: CIRCUNSTANCIAS HISTÓRICAS Y CONTEXTO MUSICAL 49 1.1. Circunstancias históricas 49 1.2. Contexto musical 52 2. EN TORNO A LAS GENERACIONES MUSICALES 69 3. LA PRODUCCIÓN PARA PIANO 78 3.1. Cruce de modernidades 80 4. INTÉRPRETES 85 Capítulo II: Avanzar mirando al pasado: formalismo y neotonalidad 1. CONTINUIDADES 97 2. EL APEGO A LAS FORMAS TRADICIONALES 102 2.1. La sonata como referente de la tradición musical 102 2.2. El retorno al renacimiento y al barroco 111 2.3. Ciclos de piezas breves 121 ÍNDICE GENERAL 3. FOLKLORISMO 128 3.1. Utilización de citas 129 3.2. Inspiración de modelos populares 139 Capítulo III: Dodecafonismo y expresividad 1. RECEPCIÓN E INCIDENCIA DE LA II ESCUELA DE VIENA EN LA SEGUNDA MITAD DEL SIGLO XX 149 2. EL DISEÑO DE LAS SERIES EN LA MÚSICA ESPAÑOLA PARA PIANO 161 2.1. Construcción de las series 161 2.1.1. Agrupaciones simétricas 162 2.1.2. Agrupaciones parcialmente simétricas 164 2.1.3. Agrupaciones asimétricas 164 2.2. Exposición de la serie 165 2.3. La presencia de estructuras tonales 167 3. DODECAFONISMO Y SERIALISMO COMO LENGUAJE PROPIO 169 3.1. Rodolfo Halffter 170 3.1.1. -
AMS/SMT Milwaukee 2014 Abstracts Thursday Afternoon
AMS/SMT American Musicological Society Society for Music Theory Program & Abstracts & Abstracts Program 2014 Milwaukee Milwaukee 6-9 November 2014 Abstracts g Abstracts of Papers Read at the American Musicological Society Eightieth Annual Meeting and the Society for Music Theory Thirty-seventh Annual Meeting 6–9 November 14 Hilton Hotel and Wisconsin Center Milwaukee, Wisconsin g AMS/SMT 2014 Annual Meeting Edited by Judy Lochhead and Richard Will Chairs, 14 SMT and AMS Program Committee Local Arrangements Committee Mitchell Brauner, Chair, Judith Kuhn, Rebecca Littman, Timothy Miller, Timothy Noonan, Gillian Rodger Performance Committee Catherine Gordon-Seifert, Chair, Mitchell Brauner, ex officio, David Dolata, Steve Swayne Program Committees AMS: Richard Will, Chair, Suzanne Cusick, Daniel Goldmark, Heather Hadlock, Beth E. Levy, Ryan Minor, Alejandro Planchart SMT: Judy Lochhead, Chair, Poundie Burstein, ex officio, Michael Klein, Sherry Lee, Alexander Rehding, Adam Ricci, Leigh VanHandel The AMS would like to thank the following people and organizations for their generous support: Calvary Presbyterian Church, Milwaukee Joan Parsley Charles Sullivan and Early Music Now Milwaukee Symphony Orchestra University of Wisconsin-Milwaukee Program and Abstracts of Papers Read (ISSN 9-1) is published annually for the An- nual Meeting of the American Musicological Society and the Society for Music Theory, where one copy is distributed to attendees free of charge. Additional copies may be purchased from the American Musicological Society for $1. per copy plus $. U.S. shipping and handling (add $. shipping for each additional copy). For international orders, please contact the American Musicological Society for shipping prices: AMS, 61 College Station, Brunswick ME 411-41 (e-mail [email protected]). -
Supplement to the Music of Mauricio Kagel
Heile, Bjorn (2014) Supplement to the Music of Mauricio Kagel. Copyright © 2014 The Author Available under License Creative Commons Attribution Non-commercial No Derivatives. http://eprints.gla.ac.uk/96021/ Deposited on: 14 August 2014 Enlighten – Research publications by members of the University of Glasgow http://eprints.gla.ac.uk Supplement To The Music of Mauricio Kagel (Aldershot: Ashgate, 2006) Björn Heile University of Glasgow Edition 1.0 Glasgow, August 2014 Table of Contents Illustrations ............................................................................................................................................ iii About this Publication ............................................................................................................................ iv Acknowledgements ................................................................................................................................. v Errata ...................................................................................................................................................... vi Early Work and Career ............................................................................................................................ 1 Dodecaphony ........................................................................................................................................ 34 The Late Work ...................................................................................................................................... -
The Modernist Kaleidoscope: Schoenberg's Reception History in England, America, Germany and Austria 1908-1924 by Sarah Elain
The Modernist Kaleidoscope: Schoenberg’s Reception History in England, America, Germany and Austria 1908-1924 by Sarah Elaine Neill Department of Music Duke University Date:_______________________ Approved: ___________________________ R. Larry Todd, Supervisor ___________________________ Severine Neff ___________________________ Philip Rupprecht ___________________________ John Supko ___________________________ Jacqueline Waeber Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music in the Graduate School of Duke University 2014 ABSTRACT The Modernist Kaleidoscope: Schoenberg’s Reception History in England, America, Germany and Austria 1908-1924 by Sarah Elaine Neill Department of Music Duke University Date:_______________________ Approved: ___________________________ R. Larry Todd, Supervisor ___________________________ Severine Neff ___________________________ Philip Rupprecht ___________________________ John Supko ___________________________ Jacqueline Waeber An abstract of a dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music in the Graduate School of Duke University 2014 Copyright by Sarah Elaine Neill 2014 Abstract Much of our understanding of Schoenberg and his music today is colored by early responses to his so-called free-atonal work from the first part of the twentieth century, especially in his birthplace, Vienna. This early, crucial reception history has been incredibly significant and subversive; the details of the personal and political motivations behind deeply negative or manically positive responses to Schoenberg’s music have not been preserved with the same fidelity as the scandalous reactions themselves. We know that Schoenberg was feared, despised, lauded, and imitated early in his career, but much of the explanation as to why has been forgotten or overlooked. -
Un'altra Dodecafonia – Sul Compositore Josef Matthias Hauer
Albert Mayr Un’altra dodecafonia – Sul compositore Josef Matthias Hauer © 2014 AlefBet, Firenze ISBN 978-88-902631-5-6 Introduzione Tra le ‘grammatiche’ musicali sviluppate nella prima metà del secolo scorso la dodecafonia (la tecnica compositiva con 12 suoni messi in relazione solo tra loro stessi), con le successive filiazioni: serialismo, puntillismo, ecc., occupa un posto di primo piano. E quando si parla di dodecafonia ci si riferisce (quasi) sempre ad Arnold Schönberg e i suoi allievi Alban Berg e Anton Webern oppure a compositori come Luigi Dallapiccola che hanno sviluppato un loro approccio autonomo a quella tecnica. Già meno si conoscono gli esponenti della “seconda generazione” della scuola dodecafonica viennese, come Hans Erich Apostel o Hanns Jelinek. E solo pochi addetti ai lavori (e pochissimi fuori dall’area di lingua tedesca) si sono occupati dell’austriaco Josef Matthias Hauer (1883 – 1959) inventore, indipendentemente da Schönberg, di una diversa tecnica compositiva dodecafonica. Probabilmente vari fattori hanno contribuito a lasciare nell’ombra Hauer; il verdetto categorico di Stuckenschmidt (1966, p.15 ) sulla marcata inferiorità compositiva di Hauer rispetto al gruppo schönberghiano coglie la verità solo in parte, in effetti Hauer mirava a fare cose sostanzialmente diverse, come vedremo. Infatti, specialmente dagli anni venti del secolo scorso in poi non si considerava tanto un compositore quanto un trasmettitore di una musica cosmica creata da Dio. Il carattere non facile di Hauer ha giocato la sua parte nel rendere conflittuali i rapporti con colleghi e amici (1). E poi il suo pensiero e la sua opera, così distanti da tutte le estetiche in voga durante la sua vita, non ebbero degli apostoli di peso come li ebbe il gruppo schönberghiano – pensiamo solo all’Adorno della Filosofia della musica moderna (2). -
La Música Electroacústica De Susana Baron- Supervielle: Esa Vacilación Entre El Sonido Y El Sentido
La música electroacústica de Susana Baron- Supervielle: esa vacilación entre el sonido y el sentido DEZILLIO, Romina / IAE-FFyL-UBA, Instituto Nacional de Musicología “Carlos Vega”– [email protected] Eje: Artes Musicales - Tipo de trabajo: ponencia » Palabras claves: música electroacústica – mujeres compositoras – voz – poesía › Resumen Este trabajo propone una nueva contribución al estudio de la obra musical de Susana Baron- Supervielle (1910-2004), como parte de mi desempeño en el equipo UBACyT Música 'culta' y literatura en Argentina. Algunos repertorios vocales del siglo XX, radicado en el IAE entre 2016 y 2019. Se realiza un acercamiento a su producción musical con medios electroacústicos con la intención de proporcionar nuevas reflexiones acerca de la relación entre música y poesía que articula la mayor parte de su obra. Como compositora argentina, educada en la cultura francesa y residente en la ciudad de San Pablo, Baron-Supervielle se manifestó siempre seguidora de las vanguardias renovadoras de los lenguajes musicales. En sus prácticas se descubre la capitalización y reelaboración de las propuestas de su triple horizonte cultural articulado entre San Pablo, Buenos Aires y París, a partir del vínculo con sus principales referentes, Hans-Joachim Koellreutter, Juan Carlos Paz y Pierre Schaeffer, respectivamente. El corpus a presentar se constituye de nueve obras compuestas entre 1974 y 1980, de las cuales se analizan tres. Se observa que las obras prolongan los nexos con la literatura poética a partir de evocaciones en los títulos o el registro de la puesta en voz de poemas y su posterior manipulación electrónica. Al mismo tiempo, como resultado de la captura de sonidos de diversas fuentes y su transformación en objetos sonoros, estas obras permiten ampliar el análisis del repertorio de lecturas al de escuchas.