The Concept of New Complexity: Notation, Interpretation and Analysis
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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 -
A Perspective of New Simplicity in Contemporary Composition: Song of Songs As a Case Study Isabel Maria Pereira Barata Da Rocha
MESTRADO COMPOSIÇÃO E TEORIA MUSICAL A perspective of New Simplicity in contemporary composition: Song of Songs as a case study Isabel Maria Pereira Barata da Rocha 06/2017 A perspective of New Simplicity in contemporary composition: Song of Songs as a case study. Isabel Maria Pereira Barata da Rocha MESTRADO M COMPOSIÇÃO E TEORIA MUSICAL A perspective of New Simplicity in contemporary composition: Song of Songs as a case study Isabel Maria Pereira Barata da Rocha Dissertação apresentada à Escola Superior de Música e Artes do Espetáculo como requisito parcial para obtenção do grau de Mestre em Composição e Teoria Musical Professor Orientador Professor Doutor Eugénio Amorim Professora Coorientadora Professora Doutora Daniela Coimbra 06/2017 A perspective of New Simplicity in contemporary composition: Song of Songs as a case study. Isabel Maria Pereira Barata da Rocha Dedico este trabalho a todos os homens e todas as mulheres de boa vontade. A perspective of New Simplicity in contemporary composition: Song of Songs as a case study. Isabel Maria Pereira Barata da Rocha A perspective of New Simplicity in contemporary composition: Song of Songs as a case study. Isabel Maria Pereira Barata da Rocha Agradecimentos À minha filha Luz, que me dá a felicidade de ser sua mãe, pelo incentivo. Aos meus pais Ana e Luís, pelo apoio incondicional. A Ermelinda de Jesus, pela ajuda sempre disponível. À Fátima, à Joana e à Mariana, pela amizade profunda. Ao José Bernardo e aos avós Teresa e António José, pelo auxílio. Ao Pedro Fesch, pela compreensão e pela aposta na formação dos professores em quem confia. -
Real-Time Composition As a Strategy for the 21St Century Composer
Escola Superior de Música e das Artes do Espectáculo Real-Time Composition as a Strategy for the 21st Century Composer Óscar Rodrigues A dissertation submitted in fulfillment of the requirements for the degree of Master of Composition and Music Theory supervised by Prof. Dimitris Andrikopoulos September 27, 2016 Abstract Real-Time Composition, despite being a term commonly used in computer music and free improvisation circles, is also one whose definition is not clear. This dissertation aims to, in seeking and attempting its conceptualisation, permit a deeper look at the core of the activity of western classical music making. By discussing the concepts and current views on composition, improvisation, musical work, interpretation and performance, we will propose a working definition that will later serve as a model for music making; one that involves both the composer and performers, influenced by their context, as creators. This model borrows heavily from Walter Thompson’s Soundpainting technique. We will then analyse the outcome of three different concerts, of increasing complexity and level of control, that resulted from the previous discussion and end by concluding that Real-Time Composition is, in fact, fundamentally different from improvisation, and an extension of western classical music practice. Keywords: real-time composition, improvisation, soundpainting Abstract A Composição em Tempo Real, apesar de ser um termo regularmente utilizado nos cír- culos da música electrónica e da improvisação livre, não tem uma definição clara. Esta dissertação tem como objectivo, ao procurar a sua conceptualização, perceber de forma mais profunda o núcleo da actividade produtiva da música clássica ocidental. Ao discutir os con- ceitos e entendimentos correntes de composição, improvisação, obra musical, interpretação e performance, será proposta uma definição operacional que irá posteriormente servir como modelo para a criação musical; este modelo envolve tanto compositores como intérpretes, influenciados pelo seu contexto, enquanto criadores. -
Idyllwild Bible Church Want Cash Fast.” to Palm D Esert
Real POSTMASTER: Dated material, please deliver April 4-6, 2012 Estate See page 15. Idyllwild Printed on 40% minimum recycled newsprint. News bites TCoveringo the Sanw Jacinto and Santan Rosa Moun tainsC from Twinr Pinesı to Anzaer to Pinyon Jazz in the Pines Almost all the News — Part of the Time August headliners and program announced. VOL. 67 NO. 14 75¢ (Tax Included) IDYLLWILD, CA THURS., APRIL 5, 2012 See page 14. Sheriff’s raid Drug-related arrests in Supervisors hear Idyllwild. See page 2. sheriff talk crime Stranded hiker rescued RMRU rescue at night in and budget very dangerous conditions. See page 2. By J.P. Crumrine Attorney Paul Zellerbach Editor and County Fire Chief John Air tanker plan Hawkins. U.S. senators question ayoffs will be needed Parish was blunt and Forest Service strategy. to balance the Riv- grim. “While it appears that erside County bud- the economy is improving, See page 9. L get for fi scal year 2012-13, the revenue needed to sus- which starts July 1. Interim tain a full fi scal recovery of Exchange students County Executive Larry Par- our county’s budget is not Four students from ish presented preliminary expected for several years,” Marumori, Japan, budget information to the he said in his letter to the visit Idyllwild. board in two days of hear- supervisors. See page 10. ings last week. County departments During the sessions, have already been ordered Speaker the board of supervisors to prepare for the next fi s- Peter Askim talks fusion in heard from public safety cal year and to plan for department heads, including cuts, especially in nonpublic new classical music. -
Henryk Górecki's Spiritual Awakening and Its Socio
DARKNESS AND LIGHT: HENRYK GÓRECKI’S SPIRITUAL AWAKENING AND ITS SOCIO-POLITICAL CONTEXT By CHRISTOPHER W. CARY A THESIS PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF MUSIC UNIVERSITY OF FLORIDA 2005 Copyright 2005 by Christopher W. Cary ACKNOWLEDGMENTS I would like to express my gratitude to Dr. Christopher Caes, who provided me with a greater understanding of Polish people and their experiences. He made the topic of Poland’s social, political, and cultural history come alive. I would like to acknowledge Dr. Paul Richards and Dr. Arthur Jennings for their scholarly ideas, critical assessments, and kindness. I would like to thank my family for their enduring support. Most importantly, this paper would not have been possible without Dr. David Kushner, my mentor, friend, and committee chair. I thank him for his confidence, guidance, insights, and patience. He was an inspiration for me every step of the way. Finally, I would like to thank Dilek, my light in all moments of darkness. iii TABLE OF CONTENTS page ACKNOWLEDGMENTS ................................................................................................. iii ABSTRACT....................................................................................................................... vi CHAPTER 1 INTRODUCTION ........................................................................................................1 Purpose of the Study.....................................................................................................1 -
23 Novembre 2013 Casa Della Musica Casa De
XXIII Rassegna Internazionale di Musica Moderna e Contemporanea Parma, 22 settembre - 23 novembre 2013 Casa della Musica Casa del Suono Teatro Regio XXIII Rassegna Internazionale di Musica Moderna e Contemporanea 1991 2013 VENTITRÉ ANNI DI MUSICA CONTEMPORANEA IN ITALIA Traiettorie ha ricevuto il XXX Premio della critica musicale "Franco Abbiati" come migliore iniziativa del 2010 per i meriti acquisiti durante i primi vent'anni della sua attività. In copertina: Mauro Staccioli, Disegno per Traiettorie, 2013 collage su carta, 70x100 cm Foto Bruno Bani, Milano Courtesy A arte Studio Invernizzi Quello che viene capito troppo rapidamente non ha lunga durata. Fëdor Dostoevskij Istituzioni Assessorato alla Cultura Main partner Partner Media partner Sponsor tecnici XXIII Rassegna Internazionale di Musica Moderna e Contemporanea Direttore artistico Martino Traversa Promotore Fondazione Prometeo Istituzioni Comune di Parma - Assessorato alla Cultura Istituzione Casa della Musica Regione Emilia-Romagna Provincia di Parma Ministero dei beni e delle attività culturali e del turismo - Direzione Generale per lo Spettacolo dal Vivo Teatro Regio di Parma Main partner Fondazione Monte di Parma Banca Monte Parma Partner Chiesi Farmaceutici Symbolic Media partner Rai Radio3 Sponsor tecnici Astoria Residence Hotel Ristorante "Il Trovatore" di Parma Tipocrom Calendario dei concerti 22/09 Ridotto del Teatro Regio Hae-Sun Kang e giovani talenti francesi Webern, Harvey, Schönberg 28/09 Casa della Musica Garth Knox e Rohan de Saram Bach, Kurtág, Romitelli, Dallapiccola -
UC San Diego UC San Diego Electronic Theses and Dissertations
UC San Diego UC San Diego Electronic Theses and Dissertations Title A percussionist's practice Permalink https://escholarship.org/uc/item/1kt9v0km Author Stuart, Greg Publication Date 2009 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA, SAN DIEGO A Percussionist’s Practice A dissertation submitted in partial satisfaction of the requirements for the Degree Doctor of Musical Arts in Contemporary Music Performance by Gregory William Stuart Committee in Charge: Professor Steven Schick, Chair Professor Rae Armantrout Professor David Borgo Professor Charlie Oates Professor Rand Steiger 2009 Copyright Gregory William Stuart, 2009 All rights reserved. The Dissertation of Gregory William Stuart is approved, and it is acceptable in quality and form for publication on microfilm and electronically: Chair University of California, San Diego 2009 iii DEDICATION For my parents Thomas and Patricia Stuart. Without your love and support this would not have been possible. iv EPIGRAPH We live in a constellation Of patches and of pitches, Not in a single world, In things said well in music, On the piano and in speech, As in the page of poetry— Thinkers without final thoughts In an always incipient cosmos. The way, when we climb a mountain, Vermont throws itself together. Wallace Stevens George Mantor had an iris garden, which he improved each year by throwing out the commoner varieties. One day his attention was called to another very fine iris garden. Jealously he made some inquiries. The garden, it turned out, belonged to the man who collected his garbage. John Cage v TABLE OF CONTENTS Signature Page ............................................................................................... -
18 Contemporary Opera and the Failure of Language
18 CONTEMPORARY OPERA AND THE FAILURE OF LANGUAGE Amy Bauer Opera after 1945 presents what Robert Fink has called ‘a strange series of paradoxes to the historian’.1 The second half of the twentieth century saw new opera houses and companies pro- liferating across Europe and America, while the core operatic repertory focused on nineteenth- century works. The collapse of touring companies confined opera to large metropolitan centres, while Cold War cultural politics often limited the appeal of new works. Those new works, whether written with political intent or not, remained wedded historically to ‘realism, illusion- ism, and representation’, as Carolyn Abbate would have it (as opposed to Brechtian alienation or detachment).2 Few operas embraced the challenge modernism presents for opera. Those few early modernist operas accepted into the canon, such as Alban Berg’s Wozzeck, while revolu- tionary in their musical language and subject matter, hew closely to the nature of opera in its nineteenth-century form as a primarily representational medium. As Edward Cone and Peter Kivy point out, they bracket off that medium of representation – the character singing speech, for instance, in an emblematic translation of her native tongue – to blur diegetic song, ‘operatic song’ and a host of other conventions.3 Well-regarded operas in the immediate post-war period, by composers such as Samuel Barber, Benjamin Britten, Francis Poulenc and Douglas Moore, added new subjects and themes while retreating from the formal and tonal challenges of Berg and Schoenberg. -
BRIAN FERNEYHOUGH COMPLETE PIANO MUSIC 1965-2018 Ian Pace, Piano with Ben Smith, Piano
BRIAN FERNEYHOUGH COMPLETE PIANO MUSIC 1965-2018 Ian Pace, piano with Ben Smith, piano (track 8) CD/set A 1 Invention (1965) 1:55 Epigrams (1966) 2 I 1:12 3 II 0:48 4 III 2:02 5 IV 1:49 6 V 1:08 7 VI 1:48 8 Sonata for Two Pianos (1966) 16:04 Three Pieces (1966-1967) 9 I 3:37 10 II 7:52 11 III 6:42 Lemma-Icon-Epigram (1981) 12 I. Lemma 5:51 13 II Icon 6:22 14 III Epigram 1:34 CD/set B Opus Contra Naturam (2000) 1 I 2:41 2 II 10:46 3 III 3:08 4 Quirl (2011-2013) 11:28 5 El Rey de Calabria (c. 2018) 2:39 Total duration 89:50 THE PIANISTS Ian Pace is a pianist of long-established reputation, specialising in the farthest reaches of musical modernism and transcendental virtuosity, as well as a writer and musicologist focusing on issues of performance, music and society, and the avant-garde. He studied at Chetham’s School of Music, The Queen’s College, Oxford, and, as a Fulbright Scholar, at the Juilliard School in New York with Hungarian pianist György Sándor, and later obtained his PhD at Cardiff University, on ‘The reconstruction of post-war West German new music during the early allied occupation and its roots in the Weimar Republic and Third Reich.’ Based in London since 1993, he has pursued an active international career, performing in 24 countries and at most major European venues and festivals. His vast repertoire, which extends to all periods, focuses particularly upon music of the 20th and 21st centuries. -
Minimalism and New Complexity in Solo Flute Repertoire by Twila Dawn Bakker Bachelor of Arts, Univer
Two Responses to Modernism: Minimalism and New Complexity in Solo Flute Repertoire by Twila Dawn Bakker Bachelor of Arts, University of Alberta, 2008 A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of MASTER OF ARTS in the School of Music Twila Dawn Bakker, 2011 University of Victoria All rights reserved. This thesis may not be reproduced in whole or in part, by photocopy or other means, without the permission of the author. ii Supervisory Committee Two Responses to Modernism: Minimalism and New Complexity in Solo Flute Repertoire by Twila Dawn Bakker Bachelor of Arts, University of Alberta, 2008 Supervisory Committee Dr. Jonathan Goldman, School of Music Supervisor Dr. Michelle Fillion, School of Music Departmental Member iii Abstract Supervisory Committee Dr. Jonathan Goldman, School of Music Supervisor Dr. Michelle Fillion, School of Music Departmental Member Wind repertoire, especially for flute, has received little focused attention in the musicological world especially when compared with other instruments. This gap in scholarship is further exacerbated when the scope of time is narrowed to the last quarter of the twentieth century. Although Minimalism and New Complexity are – at least superficially – highly divergent styles of composition, they both exhibit aspects of a response to modernism. An examination of emblematic examples from the repertoire for solo flute (or recorder), specifically focusing on: Louis Andriessen’s Ende (1981); James Dillon’s Sgothan (1984), Brian Ferneyhough’s Carceri d’Invenzione IIb (1984), Superscripto (1981), and Unity Capsule (1975); Philip Glass’s Arabesque in Memoriam (1988); Henryk Górecki’s Valentine Piece (1996); and Steve Reich’s Vermont Counterpoint (1982), allows for the similarities in both genre’s response to modernism to be highlighted. -
Battles Around New Music in New York in the Seventies
Presenting the New: Battles around New Music in New York in the Seventies A Dissertation SUBMITTED TO THE FACULTY OF UNIVERSITY OF MINNESOTA BY Joshua David Jurkovskis Plocher IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY David Grayson, Adviser December 2012 © Joshua David Jurkovskis Plocher 2012 i Acknowledgements One of the best things about reaching the end of this process is the opportunity to publicly thank the people who have helped to make it happen. More than any other individual, thanks must go to my wife, who has had to put up with more of my rambling than anybody, and has graciously given me half of every weekend for the last several years to keep working. Thank you, too, to my adviser, David Grayson, whose steady support in a shifting institutional environment has been invaluable. To the rest of my committee: Sumanth Gopinath, Kelley Harness, and Richard Leppert, for their advice and willingness to jump back in on this project after every life-inflicted gap. Thanks also to my mother and to my kids, for different reasons. Thanks to the staff at the New York Public Library (the one on 5th Ave. with the lions) for helping me track down the SoHo Weekly News microfilm when it had apparently vanished, and to the professional staff at the New York Public Library for Performing Arts at Lincoln Center, and to the Fales Special Collections staff at Bobst Library at New York University. Special thanks to the much smaller archival operation at the Kitchen, where I was assisted at various times by John Migliore and Samara Davis. -
Extended Methods of Notation in Josh Levine's Les Yeux Ouverts and Daniel Tacke's Einsamkeit
Extended methods of notation in Josh Levine's Les yeux ouverts and Daniel Tacke's Einsamkeit Item Type Other Authors Dowgray, Sean Download date 27/09/2021 04:44:33 Link to Item http://hdl.handle.net/11122/8828 Extended Methods of Notation in Josh Levine’sLes yeux ouverts and Daniel Tacke’seinsamkeit by Sean Dowgray Submitted in Partial Fulfillment of the Requirements for the Degree Masters of Music University of Alaska Fairbanks College of Liberal Arts Department of Music Spring 2015 Extended Methods of Notation in Josh Levine’sLes yeux ouverts and Daniel Tacke’seinsamkeit Overview From its genesis, solo percussion literature has propelled the traditional Western notational system beyond its limits. Percussion was an outlet for composers and performers to express radically new musical structures, interpretations, techniques, and sounds. Solo percussion in the mid 20th century was a fresh platform, one that needed fresh blue prints for notation Additionally, the wide range of extended techniques employed in percussion solos commonly required new notational symbols and, in many cases, an entirely new notational system altogether. For example, three of the earliest works written for solo percussion by John Cage (1912-1992), Karlheinz Stockhausen (1928-2007), and Morton Feldman (1926-1987) are unconventionally notated. Furthermore, there are few similarities between the notational systems used. Morton Feldman’sThe King of Denmark (1964) uses a grid in which numbers, letters, Roman numerals, and note-heads indicate different sound qualities and sonic activations. John Cage’s 2 7 ’ 10.554” (1956) assigns one minute to each page and indicates seconds above fragments of sounds, notated by simple dots which are defined by their sound quality (i.e.