Metamodern Composition: in Search of an Authentic Harmonic Language
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Monash's Public Sector Management Institute Gets A$1.5M Boost
• Monash's Public Sector ~~ Management Institute gets a$1.5m boost ~ The Federal Government has granted the university 51.S million over the next two and a half years towards expanding tbe recently-eslablished Public. AMAGAZINE FORTHE UNIVERSITY Sector Management Institute witbin tbe Graduate School of Management. Registered by Australia Post - publication No. VBG0435 The grant, announced by the Minister the Minister for Transport and Com NUMBER 4-88 JUNE 8, 1988 for Employment, Education and Train munications. Senator Gareth Evans. ing, Mr John Dawkins, represents the Professor Chris Selby·Smith will be lion's share of $1.8 million set aside in responsible for health policy and the last budget as the National Public management, and the chairman of the Sector Management Study Fund. Economics department, Professor John Gun lobby's aim: "To According to its director, Professor Head, for tax and expenditure Allan Fels, the primary thrust of the new administration. He will co-operate in the institute will be research, but it wiD also area of tax. law with Professor Yuri involve itself in teaching non-degree Grbich. a former Monash academic, intimidate government courses, providing in-service training for now at the University of New South public sector managers and carrying out Wales Law School. contract research for Australian and The position of Professor of Public foreign governments and private sector Sector Management, concerned with in the frontier society" organisations. effectiveness and efficiency in the public In addition to the successful tender to service, has been advertised. It is ex Australian sbooten are travelling down a well"trodden American road, says noted the Commonwealth, the institute has pected that an appointment will be made lua coatrol lobbyist, Joba Crook, la b1s Master of Arts tbesls. -
A Clear Apparance
A Clear Apparence 1 People in the UK whose music I like at the moment - (a personal view) by Tim Parkinson I like this quote from Feldman which I found in Michael Nyman's Experimental Music: Cage and Beyond; Anybody who was around in the early fifties with the painters saw that these men had started to explore their own sensibilities, their own plastic language...with that complete independence from other art, that complete inner security to work with what was unknown to them. To me, this characterises the music I'm experiencing by various composers I know working in Britain at the moment. Independence of mind. Independence from schools or academies. And certainly an inner security to be individual, a confidence to pursue one's own interests, follow one's own nose. I donʼt like categories. Iʼm not happy to call this music anything. Any category breaks down under closer scrutiny. Post-Cage? Experimental? Post-experimental? Applies more to some than others. Ultimately I prefer to leave that to someone else. No name seems all-encompassing and satisfying. So Iʼm going to describe the work of six composers in Britain at the moment whose music I like. To me itʼs just that: music that I like. And why I like it is a question for self-analysis, rather than joining the stylistic or aesthetic dots. And only six because itʼs impossible to be comprehensive. How can I be? Thereʼs so much good music out there, and of course there are always things I donʼt know. So this is a personal view. -
City Research Online
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by City Research Online City Research Online City, University of London Institutional Repository Citation: Pace, I. ORCID: 0000-0002-0047-9379 (2019). The Historiography of Minimal Music and the Challenge of Andriessen to Narratives of American Exceptionalism (1). In: Dodd, R. (Ed.), Writing to Louis Andriessen: Commentaries on life in music. (pp. 83-101). Eindhoven, the Netherlands: Lecturis. ISBN 9789462263079 This is the published version of the paper. This version of the publication may differ from the final published version. Permanent repository link: http://openaccess.city.ac.uk/22291/ Link to published version: Copyright and reuse: 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. City Research Online: http://openaccess.city.ac.uk/ [email protected] The Historiography of Minimal Music and the Challenge of Andriessen to Narratives of American Exceptionalism (1) Ian Pace Introduction Assumptions of over-arching unity amongst composers and compositions solely on the basis of common nationality/region are extremely problematic in the modern era, with great facility of travel and communications. Arguments can be made on the bases of shared cultural experiences, including language and education, but these need to be tested rather than simply assumed. Yet there is an extensive tradition in particular of histories of music from the United States which assume such music constitutes a body of work separable from other concurrent music, or at least will benefit from such isolation, because of its supposed unique properties. -
British and Commonwealth Concertos from the Nineteenth Century to the Present
BRITISH AND COMMONWEALTH CONCERTOS FROM THE NINETEENTH CENTURY TO THE PRESENT A Discography of CDs & LPs Prepared by Michael Herman Composers I-P JOHN IRELAND (1879-1962) Born in Bowdon, Cheshire. He studied at the Royal College of Music with Stanford and simultaneously worked as a professional organist. He continued his career as an organist after graduation and also held a teaching position at the Royal College. Being also an excellent pianist he composed a lot of solo works for this instrument but in addition to the Piano Concerto he is best known for his for his orchestral pieces, especially the London Overture, and several choral works. Piano Concerto in E flat major (1930) Mark Bebbington (piano)/David Curti/Orchestra of the Swan ( + Bax: Piano Concertino) SOMM 093 (2009) Colin Horsley (piano)/Basil Cameron/Royal Philharmonic Orchestra EMI BRITISH COMPOSERS 352279-2 (2 CDs) (2006) (original LP release: HMV CLP1182) (1958) Eileen Joyce (piano)/Sir Adrian Boult/London Philharmonic Orchestra (rec. 1949) ( + The Forgotten Rite and These Things Shall Be) LONDON PHILHARMONIC ORCHESTRA LPO 0041 (2009) Eileen Joyce (piano)/Leslie Heward/Hallé Orchestra (rec. 1942) ( + Moeran: Symphony in G minor) DUTTON LABORATORIES CDBP 9807 (2011) (original LP release: HMV TREASURY EM290462-3 {2 LPs}) (1985) Piers Lane (piano)/David Lloyd-Jones/Ulster Orchestra ( + Legend and Delius: Piano Concerto) HYPERION CDA67296 (2006) John Lenehan (piano)/John Wilson/Royal Liverpool Philharmonic Orchestra ( + Legend, First Rhapsody, Pastoral, Indian Summer, A Sea Idyll and Three Dances) NAXOS 8572598 (2011) MusicWeb International Updated: August 2020 British & Commonwealth Concertos I-P Eric Parkin (piano)/Sir Adrian Boult/London Philharmonic Orchestra ( + These Things Shall Be, Legend, Satyricon Overture and 2 Symphonic Studies) LYRITA SRCD.241 (2007) (original LP release: LYRITA SRCS.36 (1968) Eric Parkin (piano)/Bryden Thomson/London Philharmonic Orchestra ( + Legend and Mai-Dun) CHANDOS CHAN 8461 (1986) Kathryn Stott (piano)/Sir Andrew Davis/BBC Symphony Orchestra (rec. -
Contact: a Journal for Contemporary Music (1971-1988)
Contact: A Journal for Contemporary Music (1971-1988) http://contactjournal.gold.ac.uk Citation Potter, Keith. 1977. ‘New Music Diary’. Contact, 16. pp.29-33. ISSN 0308-5066. ! NEW MUSIC DIARY work) with being Musical Director at the Birmingham Arts Laboratory. This, the sole survivor of the 60s Lab scene, has, KEITH POTIER incidentally, recently started music publishing in a small way with Emmerson's Variations. Three months (November 1976 to the beginning of February 1977) to cover in this issue, as opposed to only just over one month in Monday November 16 Contact 15, so my comments will be somewhat briefer, even though the density of events attended was quite a lot lower for this The first of two concerts entitled 'Boulez at The Round House' put period. on by the BBC. In spite of recent, and not so recent, flops in So many of the 'established' ('establishment'?) new music audience attendance at this BBC new music series, there was quite concerts attract so many of the same type of audience(or rather, so a good crowd for this one, at any rate (the other, on November 29,1 many of the so few) that one comes to accept this state of affairs as didn't attend, nor did I catch its broadcast later: it included the perfectly natural. Surely it shouldn't be? No wonder that many of British premiere of the young Italian Giuseppe Sinopoli's Drei the more experimental musicians have for some years now been Stiicke BUS Souvenirs ale Memoire and Elliott Carter's A Mirror on seeking venues other than, for example, the South Bank and even which to Dwell, as well as Schoenberg's Serenade, Op.24). -
Forbidden Colours
476 3220 GERARD BROPHY forbidden colours TASMANIAN SYMPHONY ORCHESTRA Almost every Australian composer born literature, made Sculthorpe (vernacular) and between the end of the First World War and the Meale (international) obvious first generation end of the baby-boomer generation owes even leaders. The upheavals of 1968, and the social their most modest reputation to a half-truth: that revolution that followed in their wake, helped it was only in the early 1960s that our post- convince their students that their Australian colonial music culture caught up with the world identity should derive from looking both inward and produced its first distinctive national school and outward. But to Brophy in the next Gerard Brophy b. 1953 of composers. In press columns, and in his generation, the first to grow up in a multicultural 1967 book Australia’s Music: Themes of a New globalising environment, such a self-conscious 1 The Republic of Dreams 8’32 Society, Roger Covell gave culturally literate pursuit of Australianness came to seem not only Genevieve Lang harp, Philip South darabukka Australians their first reliable list of composers creatively irrelevant, but a failure of imagination. worth following, most of them contemporary. For Brophy, what would once have been Mantras [14’36] And what Donald Peart dubbed ‘The Australian described as a ‘cosmopolitan’ outlook comes 2 Mantra I 3’42 Avant-garde’ owed as much to frustrations of naturally to a contemporary Australian artist. 3 Mantra II 3’10 journalists, academics and conductors with the 4 Mantra III 7’44 deadening local cult of ‘musical cobwebs’ as it Born into an ‘ordinary Anglo-Irish family’ in did to the talents of the new movement’s Sydney’s eastern suburbs, Brophy grew up in 5 Maracatú 11’11 anointed leaders, Peter Sculthorpe, Richard country Coonamble. -
Concert Program
CONCERT PROGRAM PRESENTED BY 1 – 12 aPRIL 2014 | MELBOURNe rECITAl cENTRE MSO PARTNERS PRINCIPAL PARTNER GOVERNMENT partners MAESTRO PARTNER ASSOCIATE PARTNERS SUPPORTING PARTNERS 2 CONTENTS CONCERT GUIDES PROGRAM Joanna MacGregor - Musical Toys (1 April) 5 INFORMATION Plexus - Pantheon (2 April) 12 Forest Collective - The Garden of Ice (4 April) 13 MSO Programs can be read online or downloaded up to a Six Degrees Ensemble - Garden of Earthly Desire (5 April) 14 week before each concert, from mso.com.au Stefan Cassomenos and Judith Dodsworth - Sappho's Butterflies (9 April) 15 If you do not need this printed program after the concert, (5 April) 16 The MSO and Olli Mustonen - Tapiola we encourage you to return it to The MSO and Olli Mustonen - Frescoes of Dionysius (9 April) 28 a member of staff. Please share one program between two people ( ) Syzygy - Logic 10 April 33 where possible. The MSO and Olli Mustonen - Concert Champêtre (12 April) 34 This program has been printed Aura Go - Dichotomie (12 April) 39 on FSC accredited paper. For news and updates on the Melbourne Symphony Orchestra MSO Partners 2 (MSO) follow us on Facebook MSO Supporters 25 or Twitter. Commissioning the Future 27 Sign up for MSO's monthly e-news, at mso.com.au, to receive Meet Your Musician 40 special offers from the MSO and partner organisations. The Orchestra 41 Sign up for Melbourne Recital Melbourne Recital Centre Supporters 42 Centre's eNews for special offers, priority booking and giveaways at melbournerecital.com.au COVER image: Soundscape: Sibelius Tapiola Find your work-life groove From laid back to more upbeat, you’ll find a range of inspirations in our Business Class. -
Sydney Opera House Annual Report 2012-2013
_2012/13 Sydney Opera House Annual Report Celebrating 40 years in 2013 2012/13 Contents 3 Letter to Minister 3 Our History 3 Who We Are 4 Our Mission 5 Elements of Our Strategy 5 Our Values 6 Highlights 7 Awards 8 Chairman’ s Message 10 CEO ’s Message 12 Element 1: Our Stakeholders 14 Element 2: The Building 16 Element 3: Performing Arts 16 Presenting Companies 20 The Opera House Presents 24 Element 4: Visitor Experience 26 Element 5: Our Business Agility 27 Organisation Chart 28 Corporate Governance 30 Trust Members 34 People and Culture 38 Financial Overview 41 Financial Statements 74 Government Reporting 97 Donor Acknowledgement 101 Contact Information 102 Index Cover Image 103 Corporate Partners Sydney Opera House opened in 1973 and celebrates its 40th Anniversary in the 2013 year. 3 Our History Who We Are _1957 _2004 Sydney Opera House is a global icon, the most internationally recognised symbol of Australia and one of the great buildings Jørn Utzon wins Sydney Utzon Room opened – of the world. Opera House design first venue at Sydney competition. Opera House designed We are committed to continuing the legacy of Utzon’s creative by Jørn Utzon. genius by creating, producing and presenting the most acclaimed, imaginative and engaging performing arts experiences from Australia _1959 Recording Studio and around the world: onsite, offsite and online. Work begins on opened. Stage 1 – building the We are one of the world’s busiest performing arts centres, with seven primary performance venues in use nearly every day of the foundations. _2005 year. In 2012/13, 1,895 live performances were enjoyed by more than National Heritage 1.37 million people. -
A Study of Central Characters in Seven Operas from Australia 1988-1998 Anne Power University of Wollongong
University of Wollongong Research Online University of Wollongong Thesis Collection University of Wollongong Thesis Collections 1999 Voiced identity: a study of central characters in seven operas from Australia 1988-1998 Anne Power University of Wollongong Recommended Citation Power, Anne, Voiced identity: a study of central characters in seven operas from Australia 1988-1998, Doctor of Philosophy thesis, Faculty of Creative Arts, University of Wollongong, 1999. http://ro.uow.edu.au/theses/1761 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] VOICED IDENTITY: A STUDY OF CENTRAL CHARACTERS IN SEVEN OPERAS FROM AUSTRALIA 1988-1998 ANNE POWER A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy July 1999 Faculty of Creative Arts University of Wollongong II ABSTRACT Composers of Australian operas, in the decade from 1988 to 1998, have responded to social and political events through the medium of central characters. In each of the seven operas in the study, a character becomes the signifier of reflections on events and conditions that affect Australian society. The works selected are Andrew Schultz's Black River, Gillian Whitehead's The Bride of Fortune, Moya Henderson's Lindy - The Trial Scene, Richard Mills' Summer of the Seventeenth Doll, Alan John's The Eighth Wonder, Martin Wesley-Smith's Quito and Colin Bright's The Sinking of the Rainbow Warrior. These operas are studied in three groups to investigate issues that concern voices of women in the contemporary operatic genre, issues of cultural identity and issues of political protest. -
An Assessment of the Contribution to Australian String Pedagogy and Performance of Jan Sedivka
\ AN ASSESSMENT OF THE CONTRIBUTION TO AUSTRALIAN STRING PEDAGOGY AND PERFORMANCE OF JAN SEDIVKA BY MARlNA LOUISE PHILLIPS B.Mus (Hons) (The University of Western Australia) M.Mus (The University of Western Australia) SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY (VIOLIN PERFORMANCE) UNIVERSITY OF TASMANIA HOBART, DECEMBER 2001 f~ I LL\fS y ',.\ t'h .1)_ I 2w l vof.1 This exegesis contains no material which has been accepted for a degree or diploma by the University or any other institution, nor is it material published or written by another person except where due acknowledgment has been made in the text. 2g 11 0 ' Date Jk,,~ touiu, P~· 11,f~ Marina Louise Phillips This exegesis may be made available for loan and limited copying in accordance with the Copyright Act 1968. 18 / 11 o / Date PL11°j1/ Marina Louise Phillips ABSTRACT The doctoral exegesis presented here has assessed the contribution to Australian string performance and pedagogy of Jan Sedivka, Professor of Violin for almost forty years at the Tasmanian Conservatorium of Music. The exegesis examines and documents the pedagogical philosophy, content, and process of Jan Sedivka. A biographical overview _of his musical life and a brief outline of signiflGant developments in the evolution of the Australian string culture precede a literature review. The methodology employed in this research included questionnaires, an extensive series of interviews and many hours of observation. The interviews were conducted with Sedivka and his former students from each five-year period of his teaching in Australia, in addition to prominent associates and colleagues. -
Contact: a Journal for Contemporary Music (1971-1988) Citation
Contact: A Journal for Contemporary Music (1971-1988) http://contactjournal.gold.ac.uk Citation West, Peter and Evans, Peter. 1971. ‘Interview with Christopher Hobbs’. Contact, 3. pp. 17-23. ISSN 0308-5066. ! - 17 - INTER.V.Thv\1 vi1TH CHR.ISTOPHER. HOBBS Christopher Hobts -a composer, member of P.T.O., ex-member of AMM., editor of the Experimental Music Catalogue· - was interTiewed recently by Peter Wes.t and Peter EVans. · ·· Could we sta,rt off by asking you something about your musical education? I studied bassoon and piano at Trinity College of Music and composition and percussion at the Royal Academy. Before that I had been l§o grammar school in Northwood. · And you studied the usual kind of music there? Yes. Did you become less certain of: the capabilities of conventional music while you were still at school? It wasn't a matter of becoming less certain of it because we were lucky in having amusic master enlightened enough to play us records of Cage and Boulez as well as Beethoven anQ. .Holst - and it became immediately apparent that i preferred the of Cage and Boulez.· So you could say that I took natlirally to the newer type of music; though I had to study older music to pass the exam- inations, of course. Do you think these examinations have any relevance? None I didn 1 t actudlly need to,pass any to go to the Oollege and I didn't take any >ihile r was at · the qollege •••• That means you're totally unqualified? Yes. Then do you think that s.tudies in traditional harmony and counterpoint are totally useless? I've never found a use for them. -
Info About April 2017 Repertoire
General Information About Australian Music Australian choral works with orchestra Given modern Australia’s British roots, it is no surprise that the Choral Society, or its heirs and assigns, survives as a major musical organisation in most capital cities. And as well as merely serving up a diet of Messiahs and Belshazzar’s Feasts, many have commissioned new works. Resident composers since Isaac Nathan, who arrived in 1841, have composed choral works of various kinds; Eugene Goossens’s The Apocalypse of 1954 out-Waltoned Walton but failed to set the world on fire. Subsequent choral-orchestral works have in the main tended to be in the oratorio tradition, often specifically for public ceremonial events, such as Barry Conyngham’s Antipodes for Victoria’s sesquicentennial celebrations in 1985, or Peter Sculthorpe’s Child of Australia for the national Bicentenary in 1988. Others, like Moya Henderson in her recent work based on the Anna Akhmatova ReQuiem, use the choral-orchestral forces to explore important humanitarian and political issues. We purchased our music from this the Australian Music Centre based in Sydney, Australia. http://www.australianmusiccentre.com.au/about The Australian Music Centre (AMC) is the national service organisation dedicated to the promotion and support of both the artform of music and the creators and performers of contemporary classical, improvised jazz, experimental music and sound art in Australia. The AMC’s aims are to increase the profile and sustainability of the sector and to facilitate the performance,