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An Investigation of Nine Acousmatic Compositions
A PORTFOLIO OF ACOUSMATIC COMPOSITIONS BY DAVID HINDMARCH A thesis submitted to the University of Birmingham for the degree of DOCTOR OF PHILOSOPHY Department of Music School of Languages, Cultures, Art History and Music College of Arts and Law University of Birmingham December 2009 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT This portfolio charts my development as a composer during a period of three years. The works it contains are all acousmatic; they investigate sonic material through articulation and gesture, and place emphasis on spatial movement through both stereophony and multi-channel environments. The portfolio is written as a personal journey, with minimal reference to academic thinking, exploring the development of my techniques when composing acousmatic music. At the root of my compositional work is the examination and analysis of recorded sounds; these are extrapolated from musical phrases and gestural movement, which form the basis of my musical language. The nine pieces of the portfolio thus explore, emphasise and develop the distinct properties of the recorded source sounds, deriving from them articulated phrasing and gesture which are developed to give sound objects the ability to move in a stereo or multi-channel space with expressive force and sonic clarity. -
Levy, Racing Foundation Agree on Support Package Cont
SATURDAY, 18 APRIL 2020 LEVY, RACING DUNLOP REMEMBERED IN REGALLY BRED COLT By Emma Berry FOUNDATION AGREE ON Naming a horse in someone's memory can be a risky strategy but, for Juddmonte, naming a Galileo (Ire) colt after their late SUPPORT PACKAGE American trainer Bobby Frankel was certainly no drawback. Since the outstanding Frankel (GB) retired to stud, a number of his offspring have also been named after trainers of note. Atty Persse (Ire) took the name of the trainer of The Tetrarch (Ire) and became Frankel's first Royal Ascot winner in 2017. He was wearing the Godolphin silks by that time but he raced initially for his breeder, Bjorn Nielsen, whose love of racing history, and particularly the Derby, doubtless led to him naming another Frankel colt Ginistrelli (Ire). Edoardo Ginistrelli ranks alongside Arthur Budgett as one of only a few people to have bred, owned and trained a Derby winner. Ginistrelli's story is all the more unusual for the fact that his Derby winner was a filly, Signorinetta (GB), who followed up her 100/1 victory in 1908 by winning the Oaks just two days later. Cont. p2 The relief fund will benefit a wide range of British racing's workforce | Emma Berry The Horserace Betting Levy Board (HBLB) and the Racing Foundation have announced an immediate ,22-million hardship funding package to support the British racing industry during the COVID-19 pandemic. The two organisations have combined with other racing bodies to identify the areas within the sport most in need of emergency support. -
Teacher's Notes Subbie and His Mate
Teacher’s Notes Subbie and his mate Author: Corinne Fenton Illustrator: Mark Wilson Publisher: Ford Street Publishing 2022 ‘Every morning Subbie would wait at the gate for Graham, and every morning they would talk. Subbie’s eyes watched Graham wherever he went and, whenever he could, he followed.’ About the Author Corinne Fenton writes picture books about animals whose lives have touched our hearts. Many of her picture books have been shortlisted or won awards and three have been chosen as themes for the Myer Christmas windows. Corinne has spent time as the Assistant Regional Advisor for the Society of Children’s Books Writers and Illustrators in Australia and as a judge for the Dorothea Mackellar poetry competition. In her picture books, Corinne introduces us to animals who have a special place in Australian history. This is one of them. Web: https://corinnefenton.com/ About the Illustrator Mark Wilson is a multiple award-winning author/illustrator with 23 books in print worldwide in 14 languages. Mark grew up with a love of comics, drawing, rock music, Australian history and endangered species - exploring most of these themes through his writing, illustrating, paintings and workshops. Mark has won seven Australian National Fine Art awards, five Whitley Awards for children’s literature, nine CBCA Awards, four Wilderness Society Awards and the 3rd C. J. Picture Book International Award. Mark was also presented with the 2011 Dromkeen Medal for Services to Children’s Literature. Mark hopes his books and workshops encourage students to study their own family and local history, as well as native species and conservation. -
Connecting Time and Timbre Computational Methods for Generative Rhythmic Loops Insymbolic and Signal Domainspdfauthor
Connecting Time and Timbre: Computational Methods for Generative Rhythmic Loops in Symbolic and Signal Domains Cárthach Ó Nuanáin TESI DOCTORAL UPF / 2017 Thesis Director: Dr. Sergi Jordà Music Technology Group Dept. of Information and Communication Technologies Universitat Pompeu Fabra, Barcelona, Spain Dissertation submitted to the Department of Information and Communication Tech- nologies of Universitat Pompeu Fabra in partial fulfillment of the requirements for the degree of DOCTOR PER LA UNIVERSITAT POMPEU FABRA Copyright c 2017 by Cárthach Ó Nuanáin Licensed under Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 Music Technology Group (http://mtg.upf.edu), Department of Information and Communication Tech- nologies (http://www.upf.edu/dtic), Universitat Pompeu Fabra (http://www.upf.edu), Barcelona, Spain. III Do mo mháthair, Marian. V This thesis was conducted carried out at the Music Technology Group (MTG) of Universitat Pompeu Fabra in Barcelona, Spain, from Oct. 2013 to Nov. 2017. It was supervised by Dr. Sergi Jordà and Mr. Perfecto Herrera. Work in several parts of this thesis was carried out in collaboration with the GiantSteps team at the Music Technology Group in UPF as well as other members of the project consortium. Our work has been gratefully supported by the Department of Information and Com- munication Technologies (DTIC) PhD fellowship (2013-17), Universitat Pompeu Fabra, and the European Research Council under the European Union’s Seventh Framework Program, as part of the GiantSteps project ((FP7-ICT-2013-10 Grant agreement no. 610591). Acknowledgments First and foremost I wish to thank my advisors and mentors Sergi Jordà and Perfecto Herrera. Thanks to Sergi for meeting me in Belfast many moons ago and bringing me to Barcelona. -
Teaching Music Videos
Who am I? • Matt Sheriff • Head of Media and Film Studies at Shenfield High School for 11 years • AS OCR Media Team leader (in the past) • A2 OCR Media Examiner (in the past) Initial worries about the new specification (Teaching Music Videos) • Music Video Set Texts (loss of freedom to choose/flexibility to update case studies) • Loss of coursework percentage + switch to individual coursework • Choosing the right set texts • Student and Teacher knowledge of chosen music videos • Compulsory theorists (Eduqas) • Loss of student creativity and enjoyment Starting Point Using what I know as a means to teach NEA The Basics • The artist is the main subject “star” of the music video. • Videos are used to promote artists- their music and fan base. This increases sales and their individual profile. • Can usually clearly show the development of the artist. • Artists are given most screen time. Focus is on the use of close-ups and long takes on the artist. • Artists typically have a way that they are represented • A performance element of the video needs to be present, as well as a storyline, in order for the audience to watch over and over again. • Artists typically act as both performer and narrator (main subject of music video) to make the sequence feel more authentic. Using the old guard • A music promo video means a short, moving image track shot for the express purpose of accompanying a pre-existing music and usually in order to encourage sales of the music in another format • Music video is used for promotion, • Part of the construction of -
Gala Music Festival Concert
AT&T isproud tosponsor ASAA. FREE SHIPPING | 1.866.MOBILITY – ATT.COM – VISIT A STORE Screen images simulated. ©2011 AT&T Intellectual Property. Service provided by AT&T Mobility. All rights reserved. AT&T and the AT&T logo are trademarks of AT&T Intellectual Property. All other marks contained herein are the property of their respective owners. ATM_WOI_M1_2880_ASAA_O.indd Saved at 9-20-2011 2:13 PM Printed At None Client AT&T Media Type Magazine DEPARTMENT: Art Director Copywriter Acct. Manager Studio Artist Proofreader Traffic Production Live None Trim 7.5” x 10” Bleed None APPROVAL: Job Title Alaska ASAA Program Ad Pubs Alaska ASAA Program Addl. Notes: None Ad Code None Welcome to the Festival Welcome to the 2012 ASAA/First National It is no small task when trying to gather the par- Bank Alaska All-State High School Music Festival. ticipants and to coordinate this weekend’s rehears- als and concert. Many, many thanks go to those Our Mission Statement: “The existence of this who have been involved in the process of getting Music Festival enables outstanding high school these students from that first recording session to musicians to participate as members of a select the stage of West Anchorage High School Au- statewide band, choral or orchestra music ditorium in Anchorage, Alaska. Each of ensemble and promotes the highest stan- these students have been encouraged dards of musicianship. It is the goal by a host of parents, music directors, of this activity to foster and inspire private music teachers, adjudicators, technical achievement, aesthetic un- peers, siblings, school administra- derstanding, and critical listening tions and school boards who all real- skills that allow for the culmination of ize the power and influence that qual- a final creative musical performance ity music can have in a young person’s of the highest artistic level.” life. -
Audition Repertoire, Please Contact the Music Department at 812.941.2655 Or by E-Mail at AUDITION REQUIREMENTS for VARIOUS DEGREE CONCENTRATIONS
1 AUDITION GUIDE AND SUGGESTED REPERTOIRE 1 2 TABLE OF CONTENTS AUDITION REQUIREMENTS AND GUIDE . 3 SUGGESTED REPERTOIRE Piano/Keyboard . 5 STRINGS Violin . 6 Viola . 7 Cello . 8 String Bass . 10 WOODWINDS Flute . 12 Oboe . 13 Bassoon . 14 Clarinet . 15 Alto Saxophone . 16 Tenor Saxophone . 17 BRASS Trumpet/Cornet . 18 Horn . 19 Trombone . 20 Euphonium/Baritone . 21 Tuba/Sousaphone . 21 PERCUSSION Drum Set . 23 Xylophone-Marimba-Vibraphone . 23 Snare Drum . 24 Timpani . 26 Multiple Percussion . 26 Multi-Tenor . 27 VOICE Female Voice . 28 Male Voice . 30 Guitar . 33 2 3 The repertoire lists which follow should be used as a guide when choosing audition selections. There are no required selections. However, the following lists illustrate Students wishing to pursue the Instrumental or Vocal Performancethe genres, styles, degrees and difficulty are strongly levels encouraged of music that to adhereis typically closely expected to the of repertoire a student suggestionspursuing a music in this degree. list. Students pursuing the Sound Engineering, Music Business and Music Composition degrees may select repertoire that is slightly less demanding, but should select compositions that are similar to the selections on this list. If you have [email protected] questions about. this list or whether or not a specific piece is acceptable audition repertoire, please contact the Music Department at 812.941.2655 or by e-mail at AUDITION REQUIREMENTS FOR VARIOUS DEGREE CONCENTRATIONS All students applying for admission to the Music Department must complete a performance audition regardless of the student’s intended degree concentration. However, the performance standards and appropriaterequirements audition do vary repertoire.depending on which concentration the student intends to pursue. -
AN ANALYTICAL METHODOLOGY for ACOUSMATIC MUSIC David Hirst Teaching, Learning and Research Support Dept, University of Melbourne Email: [email protected]
AN ANALYTICAL METHODOLOGY FOR ACOUSMATIC MUSIC David Hirst Teaching, Learning and Research Support Dept, University of Melbourne email: [email protected] ABSTRACT This paper presents a procedure for the analysis of acousmatic music which was derived from the synthesis 2. DEFINING THE ANALYTICAL of top-down (knowledge driven) and bottom-up (data- METHODOLOGY driven) cognitive psychological views. The procedure is also a synthesis of research on primitive auditory scene The following procedure for the analysis of acousmatic analysis, combined with the research on acoustic, music was derived from the synthesis of top-down semantic, and syntactic factors in the perception of (knowledge driven) and bottom-up (data-driven) views everyday environmental sounds. The procedure can be since it has been found impossible to divorce one summarized as consisting of a number of steps: approach from the other. Segregation of sonic objects; Horizontal integration The procedure can be summarized as consisting of a and/or segregation; Vertical integration and/or number of steps: segregation; Assimilation and meaning. Segregation of sonic objects 1. Identify the sonic objects (or events). 1. INTRODUCTION 2. Establish the factors responsible for identification (acoustic, semantic, syntactic, Not only do we recognize sounds, but we ascribe and ecological) and their relative weightings (if meanings to sounds and meanings to the relationships possible). between sounds and other cognate phenomena. Music is Horizontal integration and/or segregation a meaningful and an emotional experience. Acousmatic 3. Identify streams (sequences or chains) which music uses recordings of everyday sounds, recordings of consist of sonic objects linked together and instruments and synthesized sounds. -
Saints Church 132 N Euclid Ave Pasadena CA 91101 626.796.1172
NOTE: This liturgy is intended for personal worship purposes only and not for distribution. Any reproduction of this material for monetary purposes is illegal. SUNDAY, AUGUST 9, 2020 The Tenth Sunday after Pentecost Worship at 11:15 a.m. All Saints Church 132 N Euclid Ave Pasadena CA 91101 626.796.1172 www.allsaints-pas.org 2 Welcome! “Whoever you are and wherever you find yourself on the journey of faith there is a place for you here.” Learn more about All Saints : allsaints-pas.org/welcome-to-asc/get-connected Prayer requests can be submitted by calling 626.583.2707 to leave a message for the Pastoral Care office or by email to [email protected] or by texting 910-839-8272 (910-TEXT-ASC) Each week we put our faith into action: Sign two petitions to Congress in remembrance of the 75th anniversaries of the atomic bombings of Hiroshima and Nagasaki. The first petition supports legislation that prohibits funds for explosive nuclear weapons testing. According to recent reports, the Trump Administration considered conducting nuclear explosion tests with top security officials. Following through on this would upend a decades long moratorium on explosive nuclear testing that would potentially trigger a global nuclear arms race. https://qrs.ly/lmbr1ap The second petition originates from the Hibakusha, survivors of the Hiroshima and Nagasaki bombings. It is part of a worldwide petition that calls on our U.S. Federal lawmakers to pledge for global nuclear disarmament and to work towards the elimination of all nuclear weapons as we fight for a livable future for all communities around the Earth. -
Social Spatialisation EXPLORING LINKS WITHIN CONTEMPORARY SONIC ART by Ben Ramsay
Social spatialisation EXPLORING LINKS WITHIN CONTEMPORARY SONIC ART by Ben Ramsay This article aims to briefly explore some the compositional links that exist between Intelligent Dance Music (IDM) and acousmatic music. Whilst the central theme of this article will focus on compositional links it will suggest some ways in which we might use these links to enhance pedagogic practice and widen access to acousmatic music. In particular, the article is concerned with documenting artists within Intelligent Dance Music (IDM), and how their practices relate to acousmatic music composition. The article will include a hand full of examples of music which highlight this musical exchange and will offer some ways to use current academic thinking to explain how IDM and acousmatics are related, at least from a theoretical point of view. There is a growing body of compositional work and theoretical research that draws from both acousmatics and various forms of electronic dance music. Much of this work blurs the boundaries of electronic music composition, often with vastly different aesthetic and cultural outcomes. Elements of acousmatic composition can be found scattered throughout Intelligent Dance Music (IDM) and on the other side of the divide there are a number of composers who are entering the world of acousmatics from a dance music background. This dynamic exchange of ideas and compositional processes is resulting in an interesting blend of music which is able to sit quite comfortably inside an academic framework as well as inside a more commercial one. Whilst there are a number of genres of dance music that could be described in terms of the theories that would normally relate to acousmatic music composition practices, the focus of this article lies particularly with Intelligent Dance Music. -
Exploring Compositional Relationships Between Acousmatic Music and Electronica
Exploring compositional relationships between acousmatic music and electronica Ben Ramsay Submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy De Montfort University Leicester 2 Table of Contents Abstract ................................................................................................................................. 4 Acknowledgements ............................................................................................................... 5 DVD contents ........................................................................................................................ 6 CHAPTER 1 ......................................................................................................................... 8 1.0 Introduction ................................................................................................................ 8 1.0.1 Research imperatives .......................................................................................... 11 1.0.2 High art vs. popular art ........................................................................................ 14 1.0.3 The emergence of electronica ............................................................................. 16 1.1 Literature Review ......................................................................................................... 18 1.1.1 Materials .............................................................................................................. 18 1.1.2 Spaces ................................................................................................................. -
Intermedial Autobiography Since Roland Barthes A
UNIVERSITY OF CALIFORNIA Los Angeles Between Erasure and Exposure: Intermedial Autobiography Since Roland Barthes A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in French and Francophone Studies by Lauren Elizabeth Van Arsdall 2015 © Copyright by Lauren Elizabeth Van Arsdall 2015 ABSTRACT OF THE DISSERTATION Between Erasure and Exposure: Intermedial Autobiography Since Roland Barthes by Lauren Elizabeth Van Arsdall Doctor of Philosophy in French and Francophone Studies University of California, Los Angeles, 2015 Professor Malina Stefanovska, Chair In my dissertation, I investigate the trend toward intermedial representations of the self in contemporary French personal writing of an autobiographical type. The theoretical framework of my dissertation is based on notions of referentiality presented in La chambre claire, and in essays contemporaneous to Roland Barthes’s by Jean-Luc Nancy, Jacques Derrida, Pierre Bourdieu, and Jean Baudrillard. As I demonstrate, they are in dialogue with it, all the while exploring the boundaries of self-representation in relation to illness and death. At the outset, an analysis of the discourses of photography in France from the 1980s to the early 2000s informs my discussion of representations of an expected death in works by Alix Cléo Roubaud, Jacques Roubaud, Annie Ernaux, and Hervé Guibert. I argue that the legacy of a Barthesian conceptualization of the photograph obliges writers to rethink their stance towards representing the self. Through gestures of erasure and exposure, they create an intermedial aesthetic coupling writing, photography, and film to explore anew certain taboos concerning self and death. Intermediality opens up the notions of referentiality presented in Roland Barthes’s La chambre ii claire: note sure la photographie— the making of traces through writing, memories, and recording the body.