Leonard Stein Papers PASC-M.0270

Total Page:16

File Type:pdf, Size:1020Kb

Leonard Stein Papers PASC-M.0270 http://oac.cdlib.org/findaid/ark:/13030/kt1s20351n No online items Finding Aid for the Leonard Stein Papers PASC-M.0270 Finding aid prepared by UCLA Library Special Collections staff; machine-readable finding aid created by Caroline Cubé. UCLA Library Special Collections Online finding aid last updated 2021 January 4. Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA 90095-1575 [email protected] URL: https://www.library.ucla.edu/special-collections Finding Aid for the Leonard Stein PASC-M.0270 1 Papers PASC-M.0270 Contributing Institution: UCLA Library Special Collections Title: Leonard Stein papers Creator: Stein, Leonard Identifier/Call Number: PASC-M.0270 Physical Description: 29 Linear Feet(58 boxes) Date (inclusive): 1930-2004 Abstract: The collection consists of printed scores (including scores with performance annotations, analysis, and/or composers' inscriptions), lecture notes, sound recordings, correspondence, and other papers relating to the life and work of the musicologist and pianist. Stored off-site. All requests to access special collections material must be made in advance using the request button located on this page. Language of Material: English . Conditions Governing Access Open for research. All requests to access special collections materials must be made in advance using the request button located on this page. Physical Characteristics and Technical Requirements CONTAINS AUDIO MATERIALS: This collection contains both processed and unprocessed audiovisual materials. Audio materials are not currently available for access, unless otherwise noted in a Physical Characteristics and Technical Requirements note at the series and file levels. All requests to access processed audio materials must be made in advance using the request button located on this page. Conditions Governing Use Property rights to the physical objects belong to UCLA Library Special Collections. All other rights, including copyright, are retained by the creators and their heirs. It is the responsibility of the researcher to determine who holds the copyright and pursue the copyright owner or his or her heir for permission to publish where The UC Regents do not hold the copyright. Preferred Citation [Identification of item], Leonard Stein papers (Collection PASC 270-M). UCLA Library Special Collections,Charles E. Young Research Library, UCLA. Provenance/Source of Acquisition Gift of Estate of Leonard Stein Trust, 2005. Processing Information Collections are processed to a variety of levels depending on the work necessary to make them usable, their perceived user interest and research value, availability of staff and resources, and competing priorities. Library Special Collections provides a standard level of preservation and access for all collections and, when time and resources permit, conducts more intensive processing. These materials have been arranged and described according to national and local standards and best practices. Processed by UCLA Library Special Collections staff. UCLA Catalog Record ID UCLA Catalog Record ID: 5165163 Biography Leonard Stein (1916-2004) was teaching and personal assistant to Arnold Schoenberg from 1939 until Schoenberg's death in 1951. He was also a pianist specializing in contemporary music and Director of the Arnold Schoenberg Institute from 1975 until 1991. Scope and Content Manuscripts, printed scores, including scores with performance annotations, analysis, and/or composers' inscriptions, lecture notes, sound recordings, correspondence, and other papers of the musicologist and pianist. Organization and Arrangement Arranged in the following series: 1. Printed scores 2. Recordings 3. Papers Finding Aid for the Leonard Stein PASC-M.0270 2 Papers PASC-M.0270 4. Correspondence 5. Books. Subjects and Indexing Terms Stein, Leonard, 1916-2004 -- Archives. Music -- Scores. Pianists -- United States -- Archives. Schoenberg, Arnold -- Archives Printed scores Series 1. Scores by Arnold Schoenberg, annotated Subseries 1. Scope and Contents note Includes scores of works by Arnold Schoenberg annotated by Stein, or with dedications from Arnold or Gertrud Schoenberg to him. box 1, folder 1 Verklarte Nacht, op. 4 General Physical Description note: 51 p., 2 copies. box 1, folder 2 Verklarte Nacht, op. 4 General Physical Description note: 51 p. box 1, folder 3 Verklarte Nacht, op. 4 General Physical Description note: 51 p. box 1, folder 4 Pelleas und Melisande, op. 5UE 14 408 General Physical Description note: 125 p. box 1, folder 5 String Quartet no 1, op. 7. General Physical Description note: 80 p. box 1, folder 6 String Quartet no. 1, op. 7. General Physical Description note: 80 p., Photocopy. box 1, folder 8 String Quartet no. 1, op. 7.Kalmus Miniature Score, K 00375. General Physical Description note: 80 p. box 1, folder 9 Die Gluckliche Hand, op. 18UE 13613 General Physical Description note: 61 p. box 2, folder 1 Kammersymphonie, op. 9Philharmonia no. 225 General Physical Description note: 144 p. box 2, folder 2 Kammersymphonie, op. 9UE 7147 General note Publisher no.: 144 p. box 2, folder 3-5 String Quartet no. 2, op. 10No. 229 General Physical Description note: 63 p., 3 copies. Finding Aid for the Leonard Stein PASC-M.0270 3 Papers PASC-M.0270 Printed scores Series 1. Scores by Arnold Schoenberg, annotated Subseries 1. box 2, folder 6 Five Pieces for Orchestra, op. 16Edition Eulenberg, no. 1328 General Physical Description note: 60 p. box 2, folder 7 Five Pieces for Orchestra, op. 16. New VersionEdition Peters, no. 6061. General Physical Description note: 60 p. box 2, folder 8 Pierrot Lunaire, op. 21.UE 5336 General Physical Description note: 78 p. box 2, folder 9-10 Pierrot Lunaire, op. 21.UE 5336 General Physical Description note: 78 p., 2 copies. box 2, folder 11 Pierrot Lunaire, op. 21.UE 5336 General Physical Description note: 78 p. box 3, folder 1 Moses und Aaron. Der Tanz um das goldene Kalb. 1951 General Physical Description note: 198 p. General note "All good wishes to Leonard Stein from ... Mrs. Arnold Schoenberg. Christmas 1957" box 3, folder 2 Moses und AaronStudien Partitur. Edition Schott 4590 1958 General Physical Description note: 540 p. General note "To Leonard Stein with no commments ... New Year 1959. Gertrud Schoenberg. box 3, folder 3 Moses und Aaron (Vocal Score)Edition Schott 4935 1957 General Physical Description note: 300 p. box 3, folder 4 Gurre-LiederUE 3696 1912-1940 Physical Description: 238 pages General Physical Description note: vocal score box 4, folder 1 Five Pieces for Orchestra, op. 16 (New Version)Edition Peters, no. 6061 General Physical Description note: 60 p. General note From Gertrud Schoenberg, April 8th, 1953. box 4, folder 2 Concerto for Violin and Orchestra, op. 36Schirmer's Edition of Study Scores..., no. 80 Physical Description: 107 pages box 4, folder 3 String Quartet no. 4, op. 37Schirmer's Edition of Study Scores..., no. 21 Physical Description: 107 pages General note "To Mr. Leonard Stein, assistant to Arnold Schoenberg in school and home! March 10, 1941" box 4, folder 4 Chamber Symphony no. 2, op. 38Schirmer's Edition of Study Scores..., no. 97 Physical Description: 47 pages box 4, folder 5 String Trio, op. 45 General note In pencil on cover"original version". Finding Aid for the Leonard Stein PASC-M.0270 4 Papers PASC-M.0270 Printed scores Series 1. Scores by Arnold Schoenberg, annotated Subseries 1. box 4, folder 6 Ode to Napoleon Buonaparte, op. 41 box 4, folder 7 Concerto for Piano and Orchestra, op. 42Schirmer's Edition of Study Scores..., no. 82 Physical Description: 66 pages box 4, folder 8 Suite, op. 29Nr. 8685 General note "My music for your English! Thanks, yours, Arnold Schoenberg, April 1940" box 4, folder 9 A Survivor from Warsaw, op. 46 General note "To: Leonard Stein, remembering his fine performances. Cordially, Arnold Schoenberg. October 1949" box 4, folder 10 Theme and Variations, op. 43aUniversity of Michigan Band Series, Part 1, no. 6 Physical Description: 63 pages General note "None of the faults therin are mine - all are yours. This is why you deserve this score. Thank you. Yours, Arnold Schoenberg, July 1949" box 5, folder 1 Four Pieces for Mixed Choir, op. 27No. 8549 General note 2 copies box 5, folder 2 Four Pieces for Mixed Choir, op. 27 General note Four photocopies of Unentrinnbar. Various editions. box 5, folder 3 Suite, op. 29.Nr. 8685 box 5, folder 4 Suite, op. 29. (Parts)Nr. 8685 box 5, folder 5 WiehnachtsmusikBEL-1020 General note Score and ms. parts. 2 Copies. box 5, folder 6 30 Kanons4340 General note 3 copies, parts and notes laid in. box 5, folder 7 30 Kanons (Parts)4340 Material Specific Details: Violin 1, Violin 2 (2 copies), Viola, Cello box 5, folder 8 30 Kanons General note File of notes, translations, ms. parts, etc. box 6, folder 1 Pierrot Lunaire, op. 21.UE 5334, 5336 General Physical Description note: 78 p. General note "To Mr. Leonard Stein with many thanks for helping me with my lectures. April 1946. Arnold Schoenberg" Finding Aid for the Leonard Stein PASC-M.0270 5 Papers PASC-M.0270 Printed scores Series 1. Scores by Arnold Schoenberg, annotated Subseries 1. box 6, folder 2 Quintet, op. 26Philharmonia no. 230 Physical Description: 75 pages box 6, folder 3 Suite, op. 29Philharmonia no. 603 Physical Description: 111 pages box 6, folder 4 String Quartet no. 3, op. 30Philharmonia no. 228 General note 2 copies box 6, folder 5 Begleitmusik zu einer Lichtspielszene, op. 34 Physical Description: 46 pages box 6, folder 6 Begleitmusik zu einer Lichtspielszene, op. 34 Physical Description: 46 pages General note Later printing, 2 copies. box 6, folder 7 Phantasy, op. 47.Edition Peters No. 6060 General note 2 copies. box 6, folder 8 Variations for Orchestra, op. 31UE 12196. Studienpartitur General note 2 copies box 6, folder 9 Von Heute auf Morgen, op. 32 (Vocal Score)Edition Schott 5077 Physical Description: 161 pages box 7, folder 1 Kammersymphonie, op.
Recommended publications
  • Kronos Quartet Prelude to a Black Hole Beyond Zero: 1914-1918 Aleksandra Vrebalov, Composer Bill Morrison, Filmmaker
    KRONOS QUARTET PRELUDE TO A BLACK HOLE BeyOND ZERO: 1914-1918 ALeksANDRA VREBALOV, COMPOSER BILL MORRISon, FILMMAKER Thu, Feb 12, 2015 • 7:30pm WWI Centenary ProJECT “KRONOs CONTINUEs With unDIMINISHED FEROCity to make unPRECEDENTED sTRING QUARtet hisTORY.” – Los Angeles Times 22 carolinaperformingarts.org // #CPA10 thu, feb 12 • 7:30pm KRONOS QUARTET David Harrington, violin Hank Dutt, viola John Sherba, violin Sunny Yang, cello PROGRAM Prelude to a Black Hole Eternal Memory to the Virtuous+ ....................................................................................Byzantine Chant arr. Aleksandra Vrebalov Three Pieces for String Quartet ...................................................................................... Igor Stravinsky Dance – Eccentric – Canticle (1882-1971) Last Kind Words+ .............................................................................................................Geeshie Wiley (ca. 1906-1939) arr. Jacob Garchik Evic Taksim+ ............................................................................................................. Tanburi Cemil Bey (1873-1916) arr. Stephen Prutsman Trois beaux oiseaux du Paradis+ ........................................................................................Maurice Ravel (1875-1937) arr. JJ Hollingsworth Smyrneiko Minore+ ............................................................................................................... Traditional arr. Jacob Garchik Six Bagatelles, Op. 9 .....................................................................................................
    [Show full text]
  • 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.
    [Show full text]
  • A Survivor from Warsaw' Op. 46
    „We should never forget this.“ Holocausterinnerungen am Beispiel von Arnold Schönbergs ‚A Survivor from Warsaw’ op. 46 im zeitgeschichtlichen Kontext. Karolin Schmitt A thesis submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of a Master of Arts in the Department of Music. Chapel Hill 2011 Approved by Prof. Severine Neff, Chair Prof. Annegret Fauser Prof. Konrad H. Jarausch © 2011 Karolin Schmitt ALL RIGHTS RESERVED ii ABSTRACT KAROLIN SCHMITT: „We should never forget this.“ Holocausterinnerungen am Beispiel von Arnold Schönbergs ‚A Survivor from Warsaw’ op. 46 im zeitgeschichtlichen Kontext. Die vorliegende Masterarbeit interpretiert das Werk ‚A Survivor from Warsaw‘ von Arnold Schönberg auf der Grundlage der von dem Historiker Konrad H. Jarausch beschriebenen Holocaust-Erinnerungskategorien „Survival Stories“, „Figures of Remembrance“ und „Public Memory Culture“. Eine Analyse des Librettos zeigt, dass dieses Werk einzelne „Survival Stories“ künstlerisch zu einer „Figure of Remembrance“ transformiert und beleuchtet die musikalische und kulturelle Aussage dieser trilingualen Textvertonung im Hinblick auf den Ausdruck von kultureller Identität. In meiner Betrachtung des Beitrages dieses Werkes zu einer „Public Memory Culture“ steht vor allem die Kulturpolitik der Siegermächte in beiden Teilen Deutschlands im Mittelpunkt, welche Aufführungen dieses Werkes im Rahmen von Umerziehungsmaßnahmen initiierten und somit ihre eigenen ideologischen Konzepte im öffentlichen Bewusstsein zu stärken versuchten. Dabei werden bislang unberücksichtigte Quellen herangezogen. Eine Betrachtung der Rezeption von ‚A Survivor from Warsaw’ im 20. und 21. Jahrhundert zeigt außerdem die Position dieses Werkes innerhalb eines kontinuierlichen Erinnerungsprozesses, welcher bestrebt ist, reflektiertes Handeln zu fördern. iii This thesis interprets Arnold Schoenberg’s A Survivor from Warsaw, op.
    [Show full text]
  • A Heretic in the Schoenberg Circle: Roberto Gerhard's First Engagement with Twelve-Tone Procedures in Andantino
    Twentieth-Century Music 16/3, 557–588 © Cambridge University Press 2019. This is an Open Access article, distributed under the terms of the Creative Commons Attribution licence (http://creativecommons.org/licenses/by/4.0/), which permits unrestricted re-use, distribution, and reproduction in any medium, provided the original work is properly cited. doi: 10.1017/S1478572219000306 A Heretic in the Schoenberg Circle: Roberto Gerhard’s First Engagement with Twelve-Tone Procedures in Andantino DIEGO ALONSO TOMÁS Abstract Shortly before finishing his studies with Arnold Schoenberg, Roberto Gerhard composed Andantino,a short piece in which he used for the first time a compositional technique for the systematic circu- lation of all pitch classes in both the melodic and the harmonic dimensions of the music. He mod- elled this technique on the tri-tetrachordal procedure in Schoenberg’s Prelude from the Suite for Piano, Op. 25 but, unlike his teacher, Gerhard treated the tetrachords as internally unordered pitch-class collections. This decision was possibly encouraged by his exposure from the mid- 1920s onwards to Josef Matthias Hauer’s writings on ‘trope theory’. Although rarely discussed by scholars, Andantino occupies a special place in Gerhard’s creative output for being his first attempt at ‘twelve-tone composition’ and foreshadowing the permutation techniques that would become a distinctive feature of his later serial compositions. This article analyses Andantino within the context of the early history of twelve-tone music and theory. How well I do remember our Berlin days, what a couple we made, you and I; you (at that time) the anti-Schoenberguian [sic], or the very reluctant Schoenberguian, and I, the non-conformist, or the Schoenberguian malgré moi.
    [Show full text]
  • Britten Connections a Guide for Performers and Programmers
    Britten Connections A guide for performers and programmers by Paul Kildea Britten –Pears Foundation Telephone 01728 451 700 The Red House, Golf Lane, [email protected] Aldeburgh, Suffolk, IP15 5PZ www.brittenpears.org Britten Connections A guide for performers and programmers by Paul Kildea Contents The twentieth century’s Programming tips for 03 consummate musician 07 13 selected Britten works Britten connected 20 26 Timeline CD sampler tracks The Britten-Pears Foundation is grateful to Orchestra, Naxos, Nimbus Records, NMC the following for permission to use the Recordings, Onyx Classics. EMI recordings recordings featured on the CD sampler: BBC, are licensed courtesy of EMI Classics, Decca Classics, EMI Classics, Hyperion Records, www.emiclassics.com For full track details, 28 Lammas Records, London Philharmonic and all label websites, see pages 26-27. Index of featured works Front cover : Britten in 1938. Photo: Howard Coster © National Portrait Gallery, London. Above: Britten in his composition studio at The Red House, c1958. Photo: Kurt Hutton . 29 Further information Opposite left : Conducting a rehearsal, early 1950s. Opposite right : Demonstrating how to make 'slung mugs' sound like raindrops for Noye's Fludde , 1958. Photo: Kurt Hutton. Britten Connections A guide for performers and programmers 03 The twentieth century's consummate musician In his tweed jackets and woollen ties, and When asked as a boy what he planned to be He had, of course, a great guide and mentor. with his plummy accent, country houses and when he grew up, Britten confidently The English composer Frank Bridge began royal connections, Benjamin Britten looked replied: ‘A composer.’ ‘But what else ?’ was the teaching composition to the teenage Britten every inch the English gentleman.
    [Show full text]
  • Hifi/Stereo Review July 1959
    • 99 BEST BUYS IN STEREO DISCS DAS RHEINGOLD - FINALLY I REVIEW July 1959 35¢ 1 2 . 3 ALL-IN-ONE STEREO RECEIVERS A N II' v:)ll.n EASY OUTDOOR HI-FI lAY 'ON W1HQI H 6 1 ~Z SltnOH l. ) b OC: 1 9~99 1 1 :1 HIS I THE AR THE HARMAN-KARDON STERE [ Available in three finishes: copper, brass and chrome satin the new STEREO FESTIVAL, model TA230 Once again Harman-Kardon has made the creative leap which distinguishes engineering leadership. The new Stereo Festival represents the successful crystallization of all stereo know-how in a single superb instrument. Picture a complete stereophonic electronic center: dual preamplifiers with input facility and control for every stereo function including the awaited FM multiplex service. Separate sensitive AM and FM tuners for simulcast reception. A great new thirty watt power amplifier (60 watts peak) . This is the new Stereo Festival. The many fine new Stereo Festival features include: new H-K Friction-Clutch tone controls to adjust bass and treble separately for each channel. Once used to correct system imbalance, they may be operated as conventionally ganged controls. Silicon power supply provides excellent regulation for improved transient response and stable tuner performance. D.C. heated preamplifier filaments insure freedom from hum. Speaker phasing switch corrects for improperly recorded program material. Four new 7408 output tubes deliver distortion-free power from two highly conservative power amplifier circuits. Additional Features: Separate electronic tuning bars for AM and FM; new swivel high Q ferrite loopstick for increased AM sensitivity; Automatic Frequency Control, Contour Selector, Rumble Filter, Scratch Filter, Mode Switch, Record-Tape Equalization Switch, two high gain magnetic inputs for each channel and dramatic new copper escutcheon.
    [Show full text]
  • 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).
    [Show full text]
  • Kronos Quartet
    K RONOS QUARTET SUNRISE o f the PLANETARY DREAM COLLECTOR Music o f TERRY RILEY TERRY RILEY (b. 1935) KRONOS QUARTET David Harrington, VIOLIN 1. Sunrise of the Planetary Dream Collector 12:31 John Sherba, VIOLIN Hank Dutt, VIOLA 2. One Earth, One People, One Love 9:00 CELLO (1–2) from Sun Rings Sunny Yang, Joan Jeanrenaud, CELLO (3–4, 6–16) 3. Cry of a Lady 5:09 with Le Mystère des Voix Bulgares Jennifer Culp, CELLO (5) Dora Hristova, conductor 4. G Song 9:39 5. Lacrymosa – Remembering Kevin 8:28 Cadenza on the Night Plain 6. Introduction 2:19 7. Cadenza: Violin I 2:34 8. Where Was Wisdom When We Went West? 3:05 9. Cadenza: Viola 2:24 10. March of the Old Timers Reefer Division 2:19 11. Cadenza: Violin II 2:02 12. Tuning to Rolling Thunder 4:53 13. The Night Cry of Black Buffalo Woman 2:53 1 4. Cadenza: Cello 1:08 15. Gathering of the Spiral Clan 5:24 16. Captain Jack Has the Last Word 1:42 from left: Joan Jeanrenaud, John Sherba, Terry Riley, Hank Dutt, and David Harrington (1983, photo by James M. Brown) Sunrise of the Planetary possibilities of life. It helped the Dream Collector (1980) imagination open up to the possibilities It had been raining steadily that day surrounding us, to new possibilities in 1980 when the Kronos Quartet drove up curiosity he stopped by to hear the quartet Sunrise of the Planetary Dream Collector for interpretation.” —John Sherba to the Sierra Foothills to receive Sunrise practice.
    [Show full text]
  • An Examination of Minimalist Tendencies in Two Early Works by Terry Riley Ann Glazer Niren Indiana University Southeast First I
    An Examination of Minimalist Tendencies in Two Early Works by Terry Riley Ann Glazer Niren Indiana University Southeast First International Conference on Music and Minimalism University of Wales, Bangor Friday, August 31, 2007 Minimalism is perhaps one of the most misunderstood musical movements of the latter half of the twentieth century. Even among musicians, there is considerable disagreement as to the meaning of the term “minimalism” and which pieces should be categorized under this broad heading.1 Furthermore, minimalism is often referenced using negative terminology such as “trance music” or “stuck-needle music.” Yet, its impact cannot be overstated, influencing both composers of art and rock music. Within the original group of minimalists, consisting of La Monte Young, Terry Riley, Steve Reich, and Philip Glass2, the latter two have received considerable attention and many of their works are widely known, even to non-musicians. However, Terry Riley is one of the most innovative members of this auspicious group, and yet, he has not always received the appropriate recognition that he deserves. Most musicians familiar with twentieth century music realize that he is the composer of In C, a work widely considered to be the piece that actually launched the minimalist movement. But is it really his first minimalist work? Two pieces that Riley wrote early in his career as a graduate student at Berkeley warrant closer attention. Riley composed his String Quartet in 1960 and the String Trio the following year. These two works are virtually unknown today, but they exhibit some interesting minimalist tendencies and indeed foreshadow some of Riley’s later developments.
    [Show full text]
  • Latin American Nimes: Electronic Musical Instruments and Experimental Sound Devices in the Twentieth Century
    Latin American NIMEs: Electronic Musical Instruments and Experimental Sound Devices in the Twentieth Century Martín Matus Lerner Desarrollos Tecnológicos Aplicados a las Artes EUdA, Universidad Nacional de Quilmes Buenos Aires, Argentina [email protected] ABSTRACT 2. EARLY EXPERIENCES During the twentieth century several Latin American nations 2.1 The singing arc in Argentina (such as Argentina, Brazil, Chile, Cuba and Mexico) have In 1900 William du Bois Duddell publishes an article in which originated relevant antecedents in the NIME field. Their describes his experiments with “the singing arc”, one of the first innovative authors have interrelated musical composition, electroacoustic musical instruments. Based on the carbon arc lutherie, electronics and computing. This paper provides a lamp (in common use until the appearance of the electric light panoramic view of their original electronic instruments and bulb), the singing or speaking arc produces a high volume buzz experimental sound practices, as well as a perspective of them which can be modulated by means of a variable resistor or a regarding other inventions around the World. microphone [35]. Its functioning principle is present in later technologies such as plasma loudspeakers and microphones. Author Keywords In 1909 German physicist Emil Bose assumes direction of the Latin America, music and technology history, synthesizer, drawn High School of Physics at the Universidad de La Plata. Within sound, luthería electrónica. two years Bose turns this institution into a first-rate Department of Physics (pioneer in South America). On March 29th 1911 CCS Concepts Bose presents the speaking arc at a science event motivated by the purchase of equipment and scientific instruments from the • Applied computing → Sound and music German company Max Kohl.
    [Show full text]
  • Scambi Fushi Tarazu: a Musical Representation of a Drosophila Gene Expression Pattern
    Preprints (www.preprints.org) | NOT PEER-REVIEWED | Posted: 4 January 2020 doi:10.20944/preprints202001.0026.v1 Scambi fushi tarazu: A Musical Representation of a Drosophila Gene Expression Pattern Derek Gatherer Division of Biomedical & Life Sciences Lancaster University Lancaster LA1 4YW, UK [email protected] Abstract: The term Bio-Art has entered common usage to describe the interaction between the arts and the biological sciences. Although Bio-Art implies that Bio-Music would be one of its obvious sub- disciplines, the latter term has been much less frequently used. Nevertheless, there has been no shortage of projects that have brought together music and the biological sciences. Most of these projects have allowed the biological data to dictate to a large extent the sound produced, for instance the translation of genome or protein sequences into musical phrases, and therefore may be regarded as process compositions. Here I describe a Bio-Music process composition that derives its biological input from a visual representation of the expression pattern of the gene fushi tarazu in the Drosophila embryo. An equivalent pattern is constructed from the Scambi portfolio of short electronic music fragments created by Henri Pousseur in the 1950s. This general form of the resulting electronic composition follows that of the fushi tarazu pattern, while satisfying the rules of the Scambi compositional framework devised by Pousseur. The range and flexibility of Scambi make it ideally suited to other Bio-Music projects wherever there is a requirement, or desire, to build larger sonic structures from small units. Keywords: Scambi; fushi tarazu; Drosophila; BioArt; BioMusic; Music; process composition 1 © 2020 by the author(s).
    [Show full text]
  • Webern's "Middle Period": Body of the Mother Or Law of the Father?
    Webern's "Middle Period": Body of the Mother or Law of the Father? Julian Johnson I Introduction: Webern Reception Webern occupies an almost unique position in the canon of Western composers. In few cases is there such disproportion between the degree of interest in talking about the music and that in actually performing it or listening to it. After his death in 1945 he had the misfortune to become a banner, a slogan­ essentially the name that marked a certain polemical position in contemporary musical debate. Fifty years later the image in which he was cast during the decade after his death remains largely unchanged. His music continues to be primarily associ­ ated with the idea of the most rigorous intellectual order. His use of serialism is held up as the apogee of the cerebral, quasi­ mathematical organization of musical sound in which the prin­ ciples of logic, symmetry, and formal economy displace any of the residues of late-romantic "expression" that may still be traced in his early works. Webern the serialist thus becomes the embodiment of Paternal Law applied to music: the hetero­ geneous element of art is excised in the name of coherence, as the musical material seeks to realize a "purity" whose political implications in the context of Web ern's social milieu have not been missed. Webernian serialism, and the musical culture which it unwittingly fathered post-1945, might well be cited as the embodiment of a patriarchal order in musical form. In Kristevan terminology, it is the almost total repression of the 61 62 Johnson Webern's "Middle Period" semiotic, an attempt to establish a syntactical Symbolic Order which has eliminated every trace of heterogeneous, material content.
    [Show full text]