Revue#6 De Musiques Nouvelles
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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). -
Fonds Charles Koechlin
Fonds Charles KOECHLIN Médiathèque Musicale Mahler 11 bis, rue Vézelay – F-75008 Paris – (+33) (0)1.53.89.09.10 Médiathèque Musicale Mahler – Fonds Charles Koechlin Table des matières Documents personnels sur Charles Koechlin .................................................................................. 4 Biographie / Ephémérides ........................................................................................................... 4 Ecrits autobiographiques ............................................................................................................. 4 Ecrits et dossiers de voyages ...................................................................................................... 5 Œuvres de Charles Koechlin ......................................................................................................... 10 Boite 1 : Listes d’œuvres ........................................................................................................... 10 Boite 2 : Ecrits de Ch. Koechlin sur ses œuvres ........................................................................ 10 Ecrits de Charles Koechlin ............................................................................................................ 12 Conférences .............................................................................................................................. 12 Causeries radiophoniques ......................................................................................................... 14 Articles et textes ....................................................................................................................... -
Ferienkurse Für Internationale Neue Musik, 25.8.-29.9. 1946
Ferienkurse für internationale neue Musik, 25.8.-29.9. 1946 Seminare der Fachgruppen: Dirigieren Carl Mathieu Lange Komposition Wolfgang Fortner (Hauptkurs) Hermann Heiß (Zusatzkurs) Kammermusik Fritz Straub (Hauptkurs) Kurt Redel (Zusatzkurs) Klavier Georg Kuhlmann (auch Zusatzkurs Kammermusik) Gesang Elisabeth Delseit Henny Wolff (Zusatzkurs) Violine Günter Kehr Opernregie Bruno Heyn Walter Jockisch Musikkritik Fred Hamel Gemeinsame Veranstaltungen und Vorträge: Den zweiten Teil dieser Übersicht bilden die Veranstaltungen der „Internationalen zeitgenössischen Musiktage“ (22.9.-29.9.), die zum Abschluß der Ferienkurse von der Stadt Darmstadt in Verbindung mit dem Landestheater Darmstadt, der „Neuen Darmstädter Sezession“ und dem Süddeutschen Rundfunk, Radio Frankfurt, durchgeführt wurden. Datum Veranstaltungstitel und Programm Interpreten Ort u. Zeit So., 25.8. Erste Schloßhof-Serenade Kst., 11.00 Ansprache: Bürgermeister Julius Reiber Conrad Beck Serenade für Flöte, Klarinette und Streichorchester des Landes- Streichorchester (1935) theaters Darmstadt, Ltg.: Carl Wolfgang Fortner Konzert für Streichorchester Mathieu Lange (1933) Solisten: Kurt Redel (Fl.), Michael Mayer (Klar.) Kst., 16.00 Erstes Schloß-Konzert mit neuer Kammermusik Ansprachen: Kultusminister F. Schramm, Oberbürger- meister Ludwig Metzger Lehrkräfte der Ferienkurse: Paul Hindemith Sonate für Klavier vierhändig Heinz Schröter, Georg Kuhl- (1938) mann (Kl.) Datum Veranstaltungstitel und Programm Interpreten Ort u. Zeit Hermann Heiß Sonate für Flöte und Klavier Kurt Redel (Fl.), Hermann Heiß (1944-45) (Kl.) Heinz Schröter Altdeutsches Liederspiel , II. Teil, Elisabeth Delseit (Sopr.), Heinz op. 4 Nr. 4-6 (1936-37) Schröter (Kl.) Wolfgang Fortner Sonatina für Klavier (1934) Georg Kuhlmann (Kl.) Igor Strawinsky Duo concertant für Violine und Günter Kehr (Vl.), Heinz Schrö- Klavier (1931-32) ter (Kl.) Mo., 26.8. Komponisten-Selbstporträts I: Helmut Degen Kst., 16.00 Kst., 19.00 Einführung zum Klavierabend Georg Kuhlmann Di., 27.8. -
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. -
The French Flute Tradition
The French Flute Tradition by Liesl Stoltz Dissertation presented as partial fulfilment of the requirements for the degree Master of Music (Performance) Faculty of Humanities University of Cape Town Supervisor: Prof. James May February 2003 The copyright of this thesis vests in the author. No quotation from it or information derived from it is to be published without full acknowledgement of the source. The thesis is to be used for private study or non- commercial research purposes only. Published by the University of Cape Town (UCT) in terms of the non-exclusive license granted to UCT by the author. University of Cape Town DECLARATION I, the undersigned, declare that this dissertation is my own, unaided work. It is being submitted in part fulfilment of the requirements for the degree of Master of Music (Performance). It has not been previously submitted in its entirety or in part for any degree or examination at any other university. ~. : ~~o!f\ ......... ......~~ '.. ~Q~3 ..... Liesl StoI'tZ ii ABSTRACT The French flute tradition is remarkable and is admired by flautists, teachers and students of the flute all over the world. The dissertation researched the development of this tradition from the pre-Baroque period through to the modern era and tried to determine the underlying factors that stimulated its development specifically in France. The first key was added to the flute in France and with this the Hotteteres created the blueprint for the modern flute of today. During the Classical period the conservative French retarded the development of the instrument and the repertoire for the flute by initially rejecting additional keys. -
Michael Pattmann Percussão Patrícia Martins Piano Jaime Reis Sound Projection
REENCONTROS 21 21 Mai 2018 19:00 Sala 2 Michael Pattmann percussão Patrícia Martins piano Jaime Reis sound projection Vibra-Elufa, para vibrafone solo Karlheinz Stockhausen Klavierstück V, para piano solo (1954; c.6min) Concebida em 2003, Vibra-Elufa é uma versão para vibrafone solo da peça Elufa para clarinete alto e flauta (1991), parte integrante da Vibra -Elufa, para vibrafone solo (2003; c.10min) última cena da ópera Freitag aus Licht. Baseado no Livro de Géne- sis, Freitag (Sexta-feira) trata o mito da criação do Homem, onde Natürliche Dauern n.º 6, para piano (2005/2006; c.6min) Eva, esposa de Adão, é tentada por Lucifer a ter um caso ilícito com Caino. As consequências desta união ilegítima são terríveis, e a Kontakte, para piano, percussão e electrónica (1960; c.35min) dramaturgia desenvolve-se a partir da acção de casais “impossí- veis” interpretada por bailarinos/mimos e actores/músicos. As personagens Elu (clarinete alto) e Lufa (flauta) acompanham Eva ao longo de todo o enredo. Nesta versão, a utilização de vários Klavierstück V, para piano solo tipos de baquetas é recomendada de forma a reproduzir o diálogo entre estas duas personagens. O drama transposto para vibrafone Ao longo da sua produção musical, Stockhausen escreveu um ciclo é conseguido através da subtileza das articulações, das diferen- de 19 Klavierstücke para piano/sintetizador solo, das quais as 7 últi- tes vozes e dos tempi. mas peças são associadas e/ou incorporadas em LICHT – ciclo de Vibra-Elufa foi estreada por Michael Pattmann na Sülztalthalle, óperas dedicadas aos 7 dias da semana. -
Still SELF-UPDATING
GE THE ORIGINS OF SYNTHETIC TIMBRE SERIALISM AND THE PARISIAN CONFLUENCE, 1949–52 by John-Philipp Gather October 2003 A dissertation submitted to the Faculty of the Graduate School of State University of New York at Buffalo in partial fulfillment of the requirements for the degree of Doctor of Philosophy Department of Music COPYRIGHT NOTE The first fifty copies were published by the author. Berlin: John-Philipp Gather, 2003. Printed by Blasko Copy, Hilden, Germany. On-demand copies are available from UMI Dissertation Services, U.S.A. Copyright by John-Philipp Gather 2003 ii ACKNOWLEDGEMENTS Many persons have contributed to the present work. I would like to name first and foremost my major advisor Christopher Howard Gibbs for his unfailing support and trust throughout the five-year writing period, guiding and accompanying me on my pathways from the initial project to the present study. At the State University of New York at Buffalo, my gratitude goes to Michael Burke, Carole June Bradley, Jim Coover, John Clough, David Randall Fuller, Martha Hyde, Cort Lippe, and Jeffrey Stadelman. Among former graduate music student colleagues, I would like to express my deep appreciation for the help from Laurie Ousley, Barry Moon, Erik Oña, Michael Rozendal, and Matthew Sheehy. A special thanks to Eliav Brand for the many discussion and the new ideas we shared. At the Philips Exeter Academy in New Hampshire, I am grateful to Jacquelyn Thomas, Peter Schulz, and Rohan Smith, who helped this project through a critical juncture. I also extend my warm thanks to Karlheinz Stockhausen, who composed the music at the center of my musicological research. -
Front Matter
Cambridge University Press 978-1-107-03329-0 - New Music at Darmstadt: Nono, Stockhausen, Cage, and Boulez Martin Iddon Frontmatter More information New Music at Darmstadt New Music at Darmstadt explores the rise and fall of the so-called ‘Darmstadt School’, through a wealth of primary sources and analytical commentary. Martin Iddon’s book examines the creation of the Darmstadt New Music Courses and the slow development and subsequent collapse of the idea of the Darmstadt School, showing how participants in the West German new music scene, including Herbert Eimert and a range of journalistic commentators, created an image of a coherent entity, despite the very diverse range of compositional practices on display at the courses. The book also explores the collapse of the seeming collegiality of the Darmstadt composers, which crystallised around the arrival there in 1958 of the most famous, and notorious, of all post-war composers, John Cage, an event that, Carl Dahlhaus opined, ‘swept across the European avant-garde like a natural disaster’. MARTIN IDDON is Associate Professor of Music at the University of Leeds. He previously lectured at University College Cork and Lancaster University, and studied composition and musicology at the universities of Durham and Cambridge. His musicological research largely focusses on post-war music in Germany and the United States of America, and has been published in numerous leading journals, including Musical Quarterly, twentieth-century music,andContemporary Music Review.His music has been performed in Europe, North America, and Australasia, and has been featured on BBC Radio 3, Radio New Zealand, and the Österreichischer Rundfunk. -
Karlheinz Stockhausen – Mantra – Vendredi 29 Janvier 2016 Et Aussi Ce Week-End
Karlheinz Stockhausen – Mantra – Vendredi 29 janvier 2016 Et aussi ce week-end : SAMEDI 30 JANVIER – 18h Table ronde Stockhausen, un compositeur « astronique » Avec Philippe Albèra, Laurent Feneyrou, Imke Misch et Ivanka Stoïanova DIMANCHE 31 JANVIER DE 14H30 À 17H30 Concert-promenade au Musée Planète Stockhausen Trio C Barré, Ensemble Linea et Jean-Jacques Palix À la rencontre d’un des compositeurs majeurs du xxe siècle, en prenant pour thème les signes du zodiaque ou ses sons électroniques novateurs. VENDREDI 29 JANVIER 2016 - 20H30 SALLE DES CONCERTS Mantra Karlheinz Stockhausen Klavierstücke I à XI Pierre-Laurent Aimard, piano Marco Stroppa, projection du son ENTRACTE Karlheinz Stockhausen Mantra Pierre-Laurent Aimard, piano Tamara Stefanovich, piano Marco Stroppa, électronique FIN DU CONCERT VERS 23H45. 3 Karlheinz Stockhausen (1928-2007) Titanesque est l’œuvre de Karlheinz Stockhausen : plus de trois cent soixante-dix numéros d’opus (dont un cycle de sept opéras), qui jalonnent près de soixante ans de création ; dix-sept volumes d’écrits, où se déploient une pensée théorique de premier plan et une description de la plus grande minutie de ses partitions ; d’innombrables concerts, notamment du 14 mars au 14 septembre 1970, lors de l’Exposition universelle à Osaka, quand une vingtaine de solistes interprétèrent quotidiennement sa musique pendant plus de cinq heures, touchant près d’un million de visiteurs ; une intense activité pédagogique aux Cours de Cologne pour la nouvelle musique (1963-1968), à l’Université de Pennsylvanie (1965), à l’Université de Californie (1966-1967), et à la Musikhochschule de Cologne (1971-1977), et régulière- ment en Europe, en Amérique du Nord et en Asie, jusqu’à la création en 1998 des Cours Stockhausen, à Kürten… L’œuvre de Karlheinz Stockhausen se situe entièrement sous le signe de l’Un et prend pour image la spirale, englobant dans ses rets, en un même vortex, tous les éléments de l’écriture musicale et de son interprétation. -
Not Just a Pretty Voice: Cathy Berberian As Collaborator, Composer and Creator Kate Meehan Washington University in St
Washington University in St. Louis Washington University Open Scholarship All Theses and Dissertations (ETDs) 1-1-2011 Not Just a Pretty Voice: Cathy Berberian as Collaborator, Composer and Creator Kate Meehan Washington University in St. Louis Follow this and additional works at: https://openscholarship.wustl.edu/etd Recommended Citation Meehan, Kate, "Not Just a Pretty Voice: Cathy Berberian as Collaborator, Composer and Creator" (2011). All Theses and Dissertations (ETDs). 239. https://openscholarship.wustl.edu/etd/239 This Dissertation is brought to you for free and open access by Washington University Open Scholarship. It has been accepted for inclusion in All Theses and Dissertations (ETDs) by an authorized administrator of Washington University Open Scholarship. For more information, please contact [email protected]. WASHINGTON UNIVERSITY IN ST. LOUIS Department of Music Dissertation Examination Committee: Peter Schmelz, Chair Bruce Durazzi Craig Monson Anca Parvulescu Dolores Pesce Julia Walker NOT JUST A PRETTY VOICE: CATHY BERBERIAN AS COLLABORATOR, COMPOSER AND CREATOR by Kate Meehan A dissertation presented to the Graduate School of Arts and Sciences of Washington University in partial fulfillment of the requirements for the degree of Doctor of Philosophy May 2011 Saint Louis, Missouri copyright by Kate Meehan 2011 Abstract During her relatively brief career, Cathy Berberian (1925-83) became arguably the best- known singer of avant-garde vocal music in Europe and the United States. After 1950, when she married Italian composer Luciano Berio, Berberian premiered almost thirty new works by seventeen different composers and received the dedications of several more. Composers connected to her include: John Cage, Igor Stravinsky, Darius Milhaud, Sylvano Bussotti, Henri Pousseur, Bruno Maderna, Bernard Rands, Roman Haubenstock- Ramati, and of course, Berio. -
Helffer Inv 28-7-10
Fonds Claude HELFFER (Mise à jour : 28/07/2010) Médiathèque Musicale Mahler 11 bis, rue Vézelay – F-75008 Paris – (+33) (0)1.53.89.09.10 Médiathèque Musicale Mahler – Fonds Claude Helffer 2 FONDS CLAUDE HELFFER Documents personnels sur Claude Helffer - Documents personnels p. 4 - Prix, décorations… p. 4 - Ecrits de Claude Helffer p. 5 - Sur les compositeurs p. 5 - Sur les interprètes et personnalités musicales p. 7 - Sur des thèmes musicologiques p. 7 - Emissions de radio p. 9 - Enseignement p. 11 - Conférences et concerts lectures p. 12 - Articles sur Claude Helffer p. 14 - Correspondance p. 15 - Lettres de Claude Helffer (brouillons) p. 15 - Lettres à Claude Helffer p. 15 - Programmes de concerts de Claude Helffer p. 22 - Iconographie, photos, affiches p. 31 - Enregistrements p. 32 - Disques p. 32 - Bandes magnétiques p. 32 - Cassettes audio p. 33 - Partitions p. 35 - Répertoire - Piano et réductions pour piano 2 ou 4 mains p. 35 - Technique p. 64 - Musique de chambre p. 65 - Orchestre p. 72 - Contemporain p. 73 - Partitions très grand format p. 73 - Partitions grand format p. 75 - Piano et réductions pour 2 pianos ou 4 mains p. 83 - Musique de chambre p. 101 - Ecrits d'autres auteurs sur des sujets divers p. 106 - Documentation et écrits d'autres auteurs sur des compositeurs du XXe siècle p. 108 - Documentation et écrits d'autres auteurs sur des compositeurs avant le XXe siècle p. 113 - Documentation et écrits d'autres auteurs sur des interprètes p. 114 Mise à jour le 28 juillet 2010 Médiathèque Musicale Mahler – Fonds Claude Helffer 3 - Documentation et écrits d'autres auteurs sur des personnalités diverses p. -
Writings Through John Cage's Music, Poetry, And
Writings through John Cage’s Music, Poetry, and Art Writings through John Cage’s Music, Poetry, and Art Edited by David W. Bernstein and Christopher Hatch THE UNIVERSITY OF CHICAGO PRESS CHICAGO AND LONDON DAVID W. BERNSTEIN is associate professor of music and head of the Music Department at Mills College. CHRISTOPHER HATCH has retired from the Department of Music at Columbia University. The University of Chicago Press, Chicago 60637 The University of Chicago Press, Ltd., London © 2001 by The University of Chicago All rights reserved. Published 2001 Printed in the United States of America 10090807060504030201 54321 ISBN (cloth): 0-226-04407-6 ISBN (paper): 0-226-04408-4 Library of Congress Cataloging-in-Publication Data Writings through John Cage’s music, poetry, and art / edited by David W. Bernstein and Christopher Hatch. p. cm. Proceedings from the conference entitled “Here Comes Everybody: The Music, Poetry, and Art of John Cage” which took place at Mills College in Oakland, Calif. from Novem- ber 15 to 19, 1995. Includes index. ISBN 0-226-04407-6 — ISBN 0-226-04408-4 (pbk.) 1. Cage, John—Criticism and interpretation—Congresses. I. Bernstein, David W., 1951–. II. Hatch, Christopher. ML410.C24 W74 2001 780Ј.92—dc21 00-011440 ᭺ϱ The paper used in this publication meets the minimum requirements of the American Na- tional Standard for Information Sciences—Permanence of Paper for Printed Library Materials, ANSI Z39.48-1992. To Gordon Mumma CONTENTS Acknowledgments ix Introduction David W. Bernstein 1 One “In Order to Thicken the Plot”: Toward a Critical Reception of Cage’s Music David W.