DOCSLIB.ORG

Luciano Berio, Max Richter, Paul Mccartney and More

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Luciano Berio, Max Richter, Paul Mccartney and More Musik in the Air Presents PROJECT: Remembering the Future Miki Aoki, piano Emre Engin, violin Zexun Shen (Jason), cello Featuring works by Luciano Berio, Max Richter, Paul McCartney and more. Saturday, October 31, 2020 at 2:00 pm ET A pre-concert talk will start 45 minutes before the concert Reception with a Q&A session will be hosted on zoom immediately following the concert 1 ♫ Program ♫ On the Nature of Daylight Max Richter (1966-0000) Zexun Shen (Jason), cello Miki Aoki, piano Selections from 6 Encores for Piano Luciano Berio (1925-2003) Wasserklavier Erdenklavier Luftklavier Feuerklavier Miki Aoki, piano Two Pieces for String Duo György Ligeti (1923-2006) Ballad and Dance Hommage à Hilding Rosenberg Emre Engin, violin Zexun Shen (Jason), cello A Leaf Paul McCartney (1942-0000) Andante semplice Poco piu mosso Allegro ritmico Andante Allegro ma non tanto Moderato Andante semplice II Miki Aoki, piano Mercy Max Richter (1966-0000) Emre Engin, violin Miki Aoki, piano Sequenza VIII for violin Luciano Berio (1925-2003) Emre Engin, violin 2 ♫ Concert in Brief ♫ This is the kind of program where the audience may wonder about the connection between a classical composer (Luciano Berio), One of the Beatles (Paul McCartney) and one of today’s most successful movie/TV series soundtrack composers (Max Richter). Luciano Berio, an avant-garde European composer (Italian) was born in 1925. It is hard to imagine that he had any connection to a group like the Beatles. It is surprising, but true that both sides had great admiration for each other. Paul McCartney was searching for new ideas for his music. On February 23, 1966 McCartney attended a lecture and taped a performance by Berio at the Italian Cultural Institute. In 1967, Berio arranged Beatles songs for soprano Cathy Berberian. Meeting with McCartney clearly had some impact on Berio and for the Beatles. Berio was a leading light in the classical world. It is little known that Paul McCartney in fact composed serious classical works. A Leaf, featured in this program is a classical piano work written by Paul McCartney. It may be hard to imagine that the composer who wrote the music for HBO’s My Brilliant Friend was classically trained: What's more, he was a student of Luciano Berio. It took Max Richter a long time to discover his characteristic musical language. When he went to study with Berio and showed him a rather complicated modernist work he was working on, Berio said to him, “Why don’t you stop being so complicated and get down to whatever story it is you want to tell?” Richter said this was the beginning of a new chapter for him as a composer. This program is a tribute to a composer who was worshiped by not only young classical composers but was admired by those active in other diverse musical genres. Berio’s music is real. It tells a story. We are excited to bring you Berio’s works in this concert in such interesting combination of works by Paul McCartney and Max Richter. The title of this concert is taken from a book by Luciano Berio himself. — Miki Aoki 3 ♫ Program Notes ♫ Max Richter (1966-2006) duration: 6 minutes On the Nature of Daylight (2004) This piece was part of Richter’s 2004 album The Blue Notebooks. It has been used in a number of films including ‘Shutter Island’ (2010), ‘Disconnect’ (2012), ‘The Face of an Angel’ (2014), and ‘The Innocents’ (2016). Richter originally composed this piece for violin and piano. We will perform this piece on cello and piano in this concert. (Miki Aoki) Luciano Berio (1925-2003) duration: 10 minutes 6 Encores for Piano Brin (1990) Leaf (1990) Wasserklavier (1965) Erdenklavier (1969) Luftklavier (1985) Feuerklavier (1989) 6 Encores was written between 1965-1990. For this concert, the first two (Brin and Leaf) will not be performed. Wasserklavier, Erdenklavier, Luftklavier and Feuerklavier portray the qualities of four elements: water, earth, air and fire. Klavier in German means piano, and Berio combines these words as this instrument creates these elements vividly. Wasserklavier - inspired by Brahms’ Intermezzo Op.117-2 Erdenklavier - unique effect of the combination of held notes of different volume evokes solidity of the earth. Luftklavier - the fast-repeating motif played softly depicts the air Feuerklavier-flickering fire can be heard through over a perpetuo texture. Luftklavier and Feuerkalvier are technically extremely demanding, Luftklavier is the longest piece out of the six. (Miki Aoki) 4 György Ligeti (1923-2006) duration: 5 minutes Two Pieces for String Duo Ballad and Dance (1950) Hommage à Hilding Rosenberg (1982) As one of Luciano Berio’s contemporaries, the Hungarian-Austrian composer György Ligeti shares musical influences with Luciano Berio and Pierre Boulez, especially in electronic music. Their three names often appear on the same articles or concert programs, and they are significant leading figures of contemporary music in the second half of the twentieth century. The two selections in this concert program were written in different time periods. Baladă și joc (Ballad and Dance) is one of Ligeti’s early works. Similar to Bartok, Kodaly and other Hungarian composers, Ligeti includes folk songs in his compositions. In 1949, Ligeti researched specifically folk music in Romania. This early work is based on two Romanian folk songs. Although it was originally written for two violins, I arranged to play one part on the cello without changing the register so that the music remains in its original character and sound effects. Two years after Ligeti composed the Ballad and Dance, he went to Tanglewood where he met Berio and Boulez. Thereafter, Ligeti showed great interest in electronic music. In December 1956, two months after the Hungarian revolution, the 33-year-old Ligeti escaped Budapest to Vienna and then Cologne. He worked in the Cologne Electronic Music Studio for three years and then became a professor in University of Stockholm in Sweden where he met the outstanding Swedish composer Hilding Rosenberg. His enthusiasm and experimentation with electronic music eventually resulted in his iconic work Le Grand Macabre in 1977, the only opera that Ligeti wrote. After Le Grand Macabre, Ligeti began a new journey seeking a new style. During that period of time, Ligeti did not write any major work, only one organ piece and two pieces for harpsichord before composing Hommage à Hilding Rosenberg. This piece was originally written for violin and cello as a birthday greeting to the Swedish composer Rosenberg. (Zexun Shen) Paul McCartney (1942-2006) duration: 10 minutes A Leaf (1995) A Leaf is one few classical works Paul McCartney composed. It was first performed on March 25, 1995 in England for a live recording session at the Royal College of Music. Prince Charles was present at this event. This piece consists of 7 short movements/sections and in the last section, the opening movement returns. These movements are played without break. This piece was later transcribed for orchestra, but this is the original version. (Miki Aoki) 5 Max Richter (1966-2006) duration: 5 minutes Mercy (2010) Mercy was commissioned by Hilary Hahn as part of the Encores Project 2010. In the music is a pure quality, somewhat like an elegy. (Miki Aoki) Luciano Berio (1925-2003) duration: 14 minutes Sequenza VIII for violin (1977) Sequenza VIII was written in 1976 for violinist Carlo Chiarappa. Sequenza is the name for a set of fourteen pieces for solo instruments and voice by Luciano Berio. Sequenza is Italian for Sequence, a very common 18th and 19th century method of ornamenting a melody with the restatement of a motif or a melodic passage at a higher or lower pitch in the same voice. In its form, the Sequenza VIII is built around the same technique, which is closer to a Chaconne (variations over a repeated melodic or rhythmic pattern in the bass). The repeating musical pattern in Sequenza VIII is derived from the notes A and B. One might call it two dramatic opposites; the central tone A and the rival tone B. There is also a great deal of contrast between the chromatic, atonal clusters, leaping melodies, consisting of no measurable tonal center, and the chords and intervals that sound more tonal and singing. This tension can be translated into a drama around the past and the future. A real struggle is presented in this work. The one between the chaos, represented by the clusters and wind-like fast passage work, and the long-awaited systematic order of the world, depicted by the passages that require a pre-calculation by the performer on pages 8 and 9. As Berio himself puts it into his own words; “ While almost all the other Sequenzas develop to an extreme degree a very limited choice of instrumental possibilities, Sequenza VIII deals with a larger and more global view of the violin: and can be listened to as a development of instrumental gestures. Sequenza VIII is built around two notes (A and B), which - as in a chaconne - act as a compass in the work’s rather diversified and elaborate itinerary, where polyphony is no longer virtual but real, and where the soloist must make the listener constantly aware of the history behind each instrumental gesture. Sequenza VIII, therefore, becomes inevitably a tribute to that musical apex which is the Ciaccona from Johann Sebastian Bach’s Partita in D minor, where - historically - past, present and future violin techniques coexist.” (Emre Engin) 6 ♫ Biography ♫ Praised for “genuinely memorable performance” by BBC Music Magazine, pianist Miki Aoki is widely recognized for her diverse abilities as pianist and as a collaborative artist. A frequent guest artist of prestigious concert series and festivals around the world, Ms.
Load more

Recommended publications
  • 1. Sci-Fi and Fantasy
    How Film & TV Music Communicate – Vol. III – text copyright © 2015 Brian Morrell Chapter 1 SCIENCE FICTION & FANTASY This chapter deals in detail with the sci-fi / fantasy genre and analyses the music for a number of films where music plays an integral role in articulating the story and the underlying context and narrative. Films and music analysed include A Perfect Sense (Max Richter) Contagion (Cliff Martinez) K-Pax (Edward Shearmur) Limitless (Paul Leonard-Morgan) The Mothman Prophecies (Tomandandy) Shore) The 13 th Floor (Harald Klosser) Pleasantville (Randy Newman) Signs (James Newton Howard) The Adjustment Bureau (Thomas Newman) The Core (Christopher Young) The Village (James Newton Howard) Volcano (Alan Silvestri) The Event (Scott Starrett) Super 8 (Michael Giacchano) A PERFECT SENSE Max Richter A Perfect Sense is a story about two people who fall in love just as an epidemic begins to gradually rob the world’s population of their senses, one by one. The epidemic sweeps the globe, gradually rendering the public unable to function. First, people start crying for no reason. After drying up their tears, they notice they have lost their ability to smell; this is followed eventually by a loss of taste, hearing and finally, sight. The epidemic itself is not given a major part in the movie. The film focuses instead on the two lovers and the rest of the people dealing with the situation. This in part explains the functionality of the music, which is meant to underpin the emotional context of the movie, rather than the science fiction. The main protagonists are a scientist (Susan) and a chef (Michael).
    [Show full text]
  • Jeroen Van Veen MAX RICHTER B.1966 from 1994 Until 2004 I Frequently Played Concerts with the Dutch Based DJ Paul Solo Piano Music Adriaanse
    RICHTER SOLO PIANO MUSIC PLAYED BY Jeroen van Veen MAX RICHTER b.1966 From 1994 until 2004 I frequently played concerts with the Dutch based DJ Paul Solo Piano Music Adriaanse. From time to time we listened to the music of Max Richter; the music he produced was somehow what we did, only we used classical music and remixed that with clicks and cut’s. The name Max Richter came across a few times more; 1. Andras 4’51 11. Leo’s Journal 1’53 when I was working at my Minimal Piano Collection I discovered many pieces for 2. The Blue Notebooks 1’21 12. The Tartu Piano 2’27 four pianos and more dedicated to the Piano Circus; guess what: the Ensemble was 3. Circles from the rue Simon- 13. The Twins (Prague) 2’42 co-founded by Max! A few of these pieces I recorded on my Album Minimal Piano Crubellier 1’10 14. Vladimir’s Blues 2’03 Collection II (BC8551). 4. Departure 1’41 15. Written On The Sky I 2’37 On this Album you can hear all his published solo piano music by Chester Music. 5. The Family 2’48 16. Horizon Variations II 3’20 I added one piece Reflection from ‘Waltz with Bashir’. The music is an arrangement/ 6. Fragment 1’56 17. Waltz With Bashir Reflection variation on Schubert’s Piano Sonata in A major, D.959 2nd Movement (Andantino). 7. From the rue Villin 1’30 (End Title) 1’42 I also found another edition of Horizon Variations and I concluded the album with 8.
    [Show full text]
  • Tracing the Development of Extended Vocal Techniques in Twentieth-Century America
    CRUMP, MELANIE AUSTIN. D.M.A. When Words Are Not Enough: Tracing the Development of Extended Vocal Techniques in Twentieth-Century America. (2008) Directed by Mr. David Holley, 93 pp. Although multiple books and articles expound upon the musical culture and progress of American classical, popular and folk music in the United States, there are no publications that investigate the development of extended vocal techniques (EVTs) throughout twentieth-century American music. Scholarly interest in the contemporary music scene of the United States abounds, but few sources provide information on the exploitation of the human voice for its unique sonic capabilities. This document seeks to establish links and connections between musical trends, major artistic movements, and the global politics that shaped Western art music, with those composers utilizing EVTs in the United States, for the purpose of generating a clearer musicological picture of EVTs as a practice of twentieth-century vocal music. As demonstrated in the connecting of musicological dots found in primary and secondary historical documents, composer and performer studies, and musical scores, the study explores the history of extended vocal techniques and the culture in which they flourished. WHEN WORDS ARE NOT ENOUGH: TRACING THE DEVELOPMENT OF EXTENDED VOCAL TECHNIQUES IN TWENTIETH-CENTURY AMERICA by Melanie Austin Crump A Dissertation Submitted to the Faculty of The Graduate School at The University of North Carolina at Greensboro in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts Greensboro 2008 Approved by ___________________________________ Committee Chair To Dr. Robert Wells, Mr. Randall Outland and my husband, Scott Watson Crump ii APPROVAL PAGE This dissertation has been approved by the following committee of the Faculty of The School of Music at The University of North Carolina at Greensboro.
    [Show full text]
  • Groundwork Buddhist Studies Reader
    ...thus we have heard... (may be reproduced free forever) Buddhist Studies Reader Published by: Groundwork Education www.layinggroundwork.org Compiled & Edited by Jeff Wagner Second Edition, May 2018 This work is comprised of articles and excerpts from numerous sources. Groundwork and the editors do not own the material, claim copyright or rights to this material, unless written by one of the editors. This work is distributed as a compilation of educational materials for the sole use as non-commercial educational material for educators. This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License. You are free to edit and share this work in non-commercial ways. Any published derivative works must credit the original creator and maintain this same Creative Commons license. Please notify us of any derivative works or edits. "53 Wearing the broad-brimmed hat of the west, symbolic of the forces that guard the Buddhist Studies Reader wilderness, which is the Natural State of the Dharma and the true path of man on Earth: Published by Groundwork Education, compiled & edited by Jeff Wagner all true paths lead through mountains-- The Practice of Mindfulness by Thích Nhất Hạnh ..................................................1 With a halo of smoke and flame behind, the forest fires of the kali-yuga, fires caused by Like a Leaf, We Have Many Stems by Thích Nhất Hạnh ........................................4 the stupidity of those who think things can be gained and lost whereas in truth all is Mindfulness
    [Show full text]
  • Vocality and Listening in Three Operas by Luciano Berio
    Clare Brady Royal Holloway, University of London The Open Voice: Vocality and Listening in three operas by Luciano Berio Submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy in Music February 2017 The Open Voice | 1 Declaration of Authorship I, Patricia Mary Clare Brady, hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: February 1st 2017 The Open Voice | 2 Abstract The human voice has undergone a seismic reappraisal in recent years, within musicology, and across disciplinary boundaries in the humanities, arts and sciences; ‘voice studies’ offers a vast and proliferating array of seemingly divergent accounts of the voice and its capacities, qualities and functions, in short, of what the voice is. In this thesis, I propose a model of the ‘open voice’, after the aesthetic theories of Umberto Eco’s seminal book ‘The Open Work’ of 1962, as a conceptual framework in which to make an account of the voice’s inherent multivalency and resistance to a singular reductive definition, and to propose the voice as a site of encounter and meaning construction between vocalist and receiver. Taking the concept of the ‘open voice’ as a starting point, I examine how the human voice is staged in three vocal works by composer Luciano Berio, and how the voice is diffracted through the musical structures of these works to display a multitude of different, and at times paradoxical forms and functions. In Passaggio (1963) I trace how the open voice invokes the hegemonic voice of a civic or political mass in counterpoint with the particularity and frailty of a sounding individual human body.
    [Show full text]
  • Concerts from the Library of Congress 2012-2013
    Concerts from the Library of Congress 2012-2013 LIBRARY LATE ACME & yMusic Friday, November 30, 2012 9:30 in the evening sprenger theater Atlas performing arts center The McKim Fund in the Library of Congress was created in 1970 through a bequest of Mrs. W. Duncan McKim, concert violinist, who won international prominence under her maiden name, Leonora Jackson; the fund supports the commissioning and performance of chamber music for violin and piano. Please request ASL and ADA accommodations five days in advance of the concert at 202-707-6362 or [email protected]. Latecomers will be seated at a time determined by the artists for each concert. Children must be at least seven years old for admittance to the concerts. Other events are open to all ages. Please take note: UNAUTHORIZED USE OF PHOTOGRAPHIC AND SOUND RECORDING EQUIPMENT IS STRICTLY PROHIBITED. PATRONS ARE REQUESTED TO TURN OFF THEIR CELLULAR PHONES, ALARM WATCHES, OR OTHER NOISE-MAKING DEVICES THAT WOULD DISRUPT THE PERFORMANCE. Reserved tickets not claimed by five minutes before the beginning of the event will be distributed to stand-by patrons. Please recycle your programs at the conclusion of the concert. THE LIBRARY OF CONGRESS Atlas Performing Arts Center FRIDAY, NOVEMBER 30, 2012, at 9:30 p.m. THE mckim Fund In the Library of Congress American Contemporary Music Ensemble Rob Moose and Caleb Burhans, violin Nadia Sirota, viola Clarice Jensen, cello Timothy Andres, piano CAROLINE ADELAIDE SHAW Limestone and Felt, for viola and cello DON BYRON Spin, for violin and piano (McKim Fund Commission) JOHN CAGE (1912-1992) String Quartet in Four Parts (1950) Quietly Flowing Along Slowly Rocking Nearly Stationary Quodlibet MICK BARR ACMED, for violin, viola and cello Intermission *Meet the Artists* yMusic Alex Sopp, flutes Hideaki Aomori, clarinets C.J.
    [Show full text]
  • Teaching Post-Tonal Music to Twenty-First- Century Students Author(S): Miguel A
    Department of Music Theory, Jacobs School of Music, Indiana University A Pedagogical and Psychological Challenge: Teaching Post-Tonal Music to Twenty-First- Century Students Author(s): Miguel A. Roig-Francolí Source: Indiana Theory Review, Vol. 33, No. 1-2 (Summer 2017), pp. 36-68 Published by: Indiana University Press on behalf of the Department of Music Theory, Jacobs School of Music, Indiana University Stable URL: https://www.jstor.org/stable/10.2979/inditheorevi.33.1-2.02 Accessed: 03-09-2018 01:27 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at https://about.jstor.org/terms Indiana University Press, Department of Music Theory, Jacobs School of Music, Indiana University are collaborating with JSTOR to digitize, preserve and extend access to Indiana Theory Review This content downloaded from 129.74.250.206 on Mon, 03 Sep 2018 01:27:00 UTC All use subject to https://about.jstor.org/terms A Pedagogical and Psychological Challenge: Teaching Post-Tonal Music to Twenty-First-Century Students Miguel A. Roig-Francolí University of Cincinnati ost-tonal music has a pr problem among young musicians, and many not-so-young ones. Anyone who has recently taught a course on the theory and analysis of post-tonal music to a general Pmusic student population mostly made up of performers, be it at the undergraduate or master’s level, will probably immediately understand what the title of this article refers to.
    [Show full text]
  • Fylkingen's Text-Sound Festivals 1968–1974
    Fylkingen’s Text-Sound Festivals 1968–1974 Teddy Hultberg Abstract In the 1960s the concept and the genre of “text-sound composition” were born in Sweden. Being an offspring of sound poetry in various forms and of the new electro- acoustic music of the post-war years, it took shape as an intermedia art form par excel- lence. This essay traces the emergence of text-sound in a Swedish context and especially its appearance at the internationally renowned text-sound festivals held at Fylkingen in Stockholm during the years 1968–1974. By the time the term was invented in the 1960, text-sound composition, as an aesthetic practice, was already an international phenomenon. The Swedish version of this intermedia genre was given an international plat- form through the famous text-sound festivals that were organised by Fylkingen in Stockholm between 1968 and 1974. Founded as a chamber music society in 1933, Fylkingen had at this time developed into an organisa- tion that promoted all the new events in music, dance and theatre. And in this context sound poetry and text-sound composition appeared to be typi- cal art forms of the time – art forms that would explore the interstices between word and sound, poetry and music, and which would further the investigation of the electro-acoustic landscape staked out in avant-garde music from the post-war period by composers such as Pierre Schaeffer, Karlheinz Stockhausen and Luciano Berio. In short, the history of text-sound composition can be seen as the history of how technology during the early 1960s changed the poetic expression when it opened the literary field to a new kind of sound poetry.
    [Show full text]
  • John Cage's Entanglement with the Ideas Of
    JOHN CAGE’S ENTANGLEMENT WITH THE IDEAS OF COOMARASWAMY Edward James Crooks PhD University of York Music July 2011 John Cage’s Entanglement with the Ideas of Coomaraswamy by Edward Crooks Abstract The American composer John Cage was famous for the expansiveness of his thought. In particular, his borrowings from ‘Oriental philosophy’ have directed the critical and popular reception of his works. But what is the reality of such claims? In the twenty years since his death, Cage scholars have started to discover the significant gap between Cage’s presentation of theories he claimed he borrowed from India, China, and Japan, and the presentation of the same theories in the sources he referenced. The present study delves into the circumstances and contexts of Cage’s Asian influences, specifically as related to Cage’s borrowings from the British-Ceylonese art historian and metaphysician Ananda K. Coomaraswamy. In addition, Cage’s friendship with the Jungian mythologist Joseph Campbell is detailed, as are Cage’s borrowings from the theories of Jung. Particular attention is paid to the conservative ideology integral to the theories of all three thinkers. After a new analysis of the life and work of Coomaraswamy, the investigation focuses on the metaphysics of Coomaraswamy’s philosophy of art. The phrase ‘art is the imitation of nature in her manner of operation’ opens the doors to a wide- ranging exploration of the mimesis of intelligible and sensible forms. Comparing Coomaraswamy’s ‘Traditional’ idealism to Cage’s radical epistemological realism demonstrates the extent of the lack of congruity between the two thinkers. In a second chapter on Coomaraswamy, the extent of the differences between Cage and Coomaraswamy are revealed through investigating their differing approaches to rasa , the Renaissance, tradition, ‘art and life’, and museums.
    [Show full text]
  • Shedding & Gathering
    Shedding & Gathering 23 minutes For an audio version in English and Spanish dial: 646-880-9127 To stream, visit www.thebushwickstarr.org/ silverliningradio Fall is the time of shedding old leaves and gathering what we need. Today, we’re going let go of, and how to gather what gives us strength. We’ll share 2 exercises from our audio program that invite this theme. 1. We’re going to warm up by shedding our “leaves.” The things you’re tired of carrying, or that you’re ready to let go of—we’re going to call those “leaves.” Each time we shed a “leaf,” we’ll shake a part of our body like we are helping the wind blow that leaf away. wrists. You can shed leaves from your belly or the top of your head or your nose. Or from anywhere you are holding tension. Let’s name some “leaves” and shed them one by one. Caitlin: So for me, one leaf I want to shed is DESPAIR. And I will shake my arms and wrists like branches in the wind and, while I’m shaking, call out: “DESPAIRRRRRR” Caitlin and Rachel call out “DESPAAIIIRRRR” while shaking their upper bodies. Your turn. You can shed as many leaves as you need to. 2. There are lots of important signs we are seeing in New York City windows these days, ranging from Black Lives Matter posters to thank you notes for essential workers. And there are so many MORE messages we could use—so many things that we still need to be reminded of.
    [Show full text]
  • The Burgess Bird Book for Children Thornton W
    The Burgess Bird Book for Children Thornton W. Burgess TO THE CHILDREN AND THE BIRDS OF AMERICA THAT THE BONDS OF LOVE AND FRIENDSHIP BETWEEN THEM MAY BE STRENGTHENED THIS BOOK IS DEDICATED I JENNY WREN ARRIVES. Introducing the House Wren. II THE OLD ORCHARD BULLY. The English or House Sparrow. III JENNY HAS A GOOD WORD FOR SOME SPARROWS. The Song, White-throated and Fox Sparrows. IV CHIPPY, SWEETVOICE AND DOTTY. The Chipping, Vesper and Tree Sparrows. V PETER LEARNS SOMETHING HE HADN'T GUESSED. The Bluebird and the Robin. VI AN OLD FRIEND IN A NEW HOME. The Phoebe and the Least Flycatcher. VII THE WATCHMAN OF THE OLD ORCHARD. The Kingbird and the Great Crested Flycatcher. VIII OLD CLOTHES AND OLD HOUSES. The Wood Peewee and Some Nesting Places. IX LONGBILL AND TEETER. The Woodcock and the Spotted Sandpiper. X REDWING AND YELLOW WING. The Red-winged Blackbird and the Golden-winged Flicker. XI DRUMMERS AND CARPENTERS. The Downy, Hairy and Red-headed Woodpeckers. XII SOME UNLIKE RELATIVES. The Cowbird and the Baltimore Oriole. XIII MORE OF THE BLACKBIRD FAMILY. The Orchard Oriole and the Bobolink. XIV BOB WHITE AND CAROL THE MEADOW LARK. The So-called Quail and the Meadow Lark. XV A SWALLOW AND ONE WHO ISN'T. The Tree Swallow and the Chimney Swift. XVI A ROBBER IN THE OLD ORCHARD. The Purple Martin and the Barn Swallow. XVII MORE ROBBERS. The Crow and the Blue Jay. XVIII SOME HOMES IN THE GREEN FOREST. The Crow, the Oven Bird and the Red-tailed Hawk.
    [Show full text]
  • University of California Santa Cruz
    UNIVERSITY OF CALIFORNIA SANTA CRUZ EXTENDED FROM WHAT?: TRACING THE CONSTRUCTION, FLEXIBLE MEANING, AND CULTURAL DISCOURSES OF “EXTENDED VOCAL TECHNIQUES” A dissertation submitted in partial satisfaction of the requirements for the degree of DOCTOR OF PHILOSOPHY in MUSIC by Charissa Noble March 2019 The Dissertation of Charissa Noble is approved: Professor Leta Miller, chair Professor Amy C. Beal Professor Larry Polansky Lori Kletzer Vice Provost and Dean of Graduate Studies Copyright © by Charissa Noble 2019 TABLE OF CONTENTS List of Figures v Abstract vi Acknowledgements and Dedications viii Introduction to Extended Vocal Techniques: Concepts and Practices 1 Chapter One: Reading the Trace-History of “Extended Vocal Techniques” Introduction 13 The State of EVT 16 Before EVT: A Brief Note 18 History of a Construct: In Search of EVT 20 Ted Szántó (1977): EVT in the Experimental Tradition 21 István Anhalt’s Alternative Voices (1984): Collecting and Codifying EVT 28evt in Vocal Taxonomies: EVT Diversification 32 EVT in Journalism: From the Musical Fringe to the Mainstream 42 EVT and the Classical Music Framework 51 Chapter Two: Vocal Virtuosity and Score-Based EVT Composition: Cathy Berberian, Bethany Beardslee, and EVT in the Conservatory-Oriented Prestige Economy Introduction: EVT and the “Voice-as-Instrument” Concept 53 Formalism, Voice-as-Instrument, and Prestige: Understanding EVT in Avant- Garde Music 58 Cathy Berberian and Luciano Berio 62 Bethany Beardslee and Milton Babbitt 81 Conclusion: The Plight of EVT Singers in the Avant-Garde
    [Show full text]