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New Masters at the Brooklyn Academy of Music
- NEW MASTERSAT THE BROOKLYNACADEMY OF MUSIC News Contact: Ellen Lampert/212.636.4123 FOR IMMEDIATE RELEASE December 13, 1982 Contacts: Ellen Lampert Susan Spier (212) 636-4123 Glenn Branca will present the world premiere of his SYMPHONY NO. 3 (Gloria) at the Brooklyn Academy of Music, January 13-16 as part of BAM's NEXT WAVE series. Performances in the Helen Owen Carey Playhouse will be Thursday through Saturday evenings (January 13-15) at 8:00pm and Sunday (January 16) at 2:00pm. SYMPHONY NO. 3 (Gloria) will continue Branca's use of home-made instruments, as exhibited in the electric stringed instruments he used in SYMPHONY No. 2 at St. Mark's Church last year. For SYMPHONY NO. 3, Branca has designed keyboard instruments which have been built by David Quinlan, a professional builder of harpsichords and folk instruments. The sixteen musicians for SYMPHONY No. 3 include Branca himself plus Jeffrey Glenn, Lee Ranaldo, Thurston Moore, Barbara Ess, David Quinlan, Craig Bromberg, and Stephen Wischerth on drums. Branca, tagged an "art-rocker" for his new music/rock experimentation, formed an experimental rock quintet with Jeffrey Lohn in 1977, called the Theoretical Girls. His next group was called The Static, a guitar-based trio, with which he moved from rock clubs to performances in alternative art spaces such as The Performing Garage. Known for the theatricality of his performances, Branca has toured throughout the U.S. and Eu rope with The Glenn Branca Group, a,,,J li.::!LO,dcd l'NO d;i.:.urns ·for 9;-j f<.eccrds, 'Lesson No. -
University of Oklahoma Graduate College
UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE JAVANESE WAYANG KULIT PERFORMED IN THE CLASSIC PALACE STYLE: AN ANALYSIS OF RAMA’S CROWN AS TOLD BY KI PURBO ASMORO A THESIS SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the Degree of MASTER OF MUSIC By GUAN YU, LAM Norman, Oklahoma 2016 JAVANESE WAYANG KULIT PERFORMED IN THE CLASSIC PALACE STYLE: AN ANALYSIS OF RAMA’S CROWN AS TOLD BY KI PURBO ASMORO A THESIS APPROVED FOR THE SCHOOL OF MUSIC BY ______________________________ Dr. Paula Conlon, Chair ______________________________ Dr. Eugene Enrico ______________________________ Dr. Marvin Lamb © Copyright by GUAN YU, LAM 2016 All Rights Reserved. Acknowledgements I would like to take this opportunity to thank the members of my committee: Dr. Paula Conlon, Dr. Eugene Enrico, and Dr. Marvin Lamb for their guidance and suggestions in the preparation of this thesis. I would especially like to thank Dr. Paula Conlon, who served as chair of the committee, for the many hours of reading, editing, and encouragement. I would also like to thank Wong Fei Yang, Thow Xin Wei, and Agustinus Handi for selflessly sharing their knowledge and helping to guide me as I prepared this thesis. Finally, I would like to thank my family and friends for their continued support throughout this process. iv Table of Contents Acknowledgements ......................................................................................................... iv List of Figures ............................................................................................................... -
Virtual Gamelan Graz
Grazer Beiträge zur Ethnomusikologie herausgegeben von Gerd Grupe Band 22 Die Grazer Beiträge zur Ethnomusikologie sind die Fortsetzung der Reihe Musikethnologische Sammelbände 1 – 21, begründet von Wolfgang Suppan, zuletzt herausgegeben von Gerd Grupe Institut für Musikethnologie Universität für Musik und darstellende Kunst Graz Graz Studies in Ethnomusicology Series Editor: Gerd Grupe Vol. 22 The Graz Studies in Ethnomusicology are the continuation of the series Musikethnologische Sammelbände vol. 1 – 21, founded by Wolfgang Suppan and edited by Gerd Grupe Institute of Ethnomusicology University of Music and Performing Arts Graz GERD GRUPE (Ed.) Virtual Gamelan Graz Rules – Grammars – Modeling Shaker Verlag Aachen 2008 Gedruckt mit Unterstützung der Universität für Musik und darstellende Kunst Graz Bibliografische Information der Deutschen Bibliothek Die Deutsche Bibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über http://dnb.ddb.de abrufbar. © Copyright Shaker Verlag 2008 Alle Rechte, auch das des auszugsweisen Nachdruckes, der auszugsweisen oder vollständigen Wiedergabe, der Speicherung in Datenverarbeitungsanlagen und der Übersetzung vorbehalten. Printed in Germany. ISBN 978-3-8322-7637-9 ISSN 1867-4682 Cover-Illustration: Rainer Schütz Shaker Verlag GmbH • Postfach 101818 • D-52018 Aachen Telefon: 02407 / 9596-0 • Telefax: 02407 / 9596-9 Internet: www.shaker.de • eMail: [email protected] v Contents Preface ..............................................................................................................vii -
Program Notes
Advance Program Notes Crash Ensemble Wednesday, March 25, 2015, 7:30 PM These Advance Program Notes are provided online for our patrons who like to read about performances ahead of time. Printed programs will be provided to patrons at the performances. Programs are subject to change. Crash Ensemble Donnacha Dennehy: Turn (arrangement for Crash Ensemble 2015) Dan Truman: Marbles (2015) world premiere Intermission Eric Lyon: Dualities (2015) world premiere Michael Gordon: Dry (2013) U.S. premiere Musicians Conductor Anna Cashell, violin Alan Pierson Lisa Dowdall, viola Kate Ellis, cello Production Malachy Robinson, double bass Susan Doyle, flute Adrian Hart, production manager and electronics Deirdre O’Leary, clarinet/bass clarinet Valerie Francis , front of house sound engineer Roddy O’Keeffe, trombone Alex Petcu, percussion Management Isabelle O’Connell, piano John Godfrey, electric guitar Kate Ellis, artistic director Donnacha Dennehy, artistic partner Neva Elliott, CEO Jonathan Pearson, tour/concerts manager Program Notes TURN (2013-14; arrangement for Crash Ensemble, 2015; U.S. premiere) DONNACHA DENNEHY This intricate, detailed piece is one of the most overtly melodic of my purely instrumental works in years. Gently lunging melodies combine to produce a bustling tapestry of sound. Turn literally turns over its phrases, varying upon each repetition. Once I decided to dedicate this piece to my mother, an inveterate knitter, it struck me: that’s exactly what a turn is in knitting, a reworking on top of an already established stitched pattern! On a larger level Turn pushes towards build-ups that end each time with a literal turn in direction. This in a major way constitutes the modus operandi of the piece. -
Gamelan Learning System
Gamelan Learning System By Noor Hafizi Uzairi Dissertation submitted in partial fulfilment of the requirements for the Bachelor Technology (Hons) (Information Communication Technology) JULY 2005 Universiti Teknologi PETRONAS Bandar Seri Iskandar 31750 Tronoh Perak Darul Ridzuan CERTIFICATION OF APPROVAL Gamelan Learning System By Noor Hafizi Bin Uzairi A project dissertation submitted to the Information Technology Programme Universiti Teknologi PETRONAS in partial fulfilment oftherequirement forthe BACHELOR OF TECHNOLOGY (Hons) (INFORMATION TECHNOLOGY) Approved by, (Ms Mazlina Mehat) UNIVERSITI TEKNOLOGI PETRONAS TRONOH, PERAK My 2005 7.00 h <1 ^i"«f**JKM<- "^A&suo 11 1^ \\**> — Vf fV^ CERTIFICATION OF ORIGINALITY This is to certify that I am responsible for the work submitted in this project, that the original work is my own except as specified in the references and acknowledgements, and that the original work contained herein have not been undertaken or done by unspecified sources or persons. %iy NOOR HAFIZI UZAIRI u ABSTRACT Technology keep changing make all thing easy to be settled. In music industry, technology is important to make a song. Music and technology are developing in parallel sequences. Combination of technology and music, the inventor had developed music software. Gamelan music is not only be played locally in formal ceremony. But, it is acceptable in many countries and going world wide. By developing music software like Gamelan Learning System, the development can be more organize and arrange to meet the need. Writing for notation music should be improved to protect the song. By using this system, the songcan be listened for many times. The time for composing also can be reduced and mainly focus more on selecting the accurate notation. -
The Kitchen Welcome's Back Avant-Garde Composer And
For Immediate Release January 20, 2015 THE KITCHEN WELCOME’S BACK AVANT-GARDE COMPOSER AND GUITARIST GLENN BRANCA TO PRESENT THE PREMIERE OF THE THIRD ASCENSION, FEBRUARY 23-24 Latest Development of Branca’s Influential 1981 Work The Ascension, Featuring Reg Bloor, Arad Evans and Owen Weaver The Kitchen welcomes back American avant-garde composer and guitarist Glenn Branca after more than twenty years for the premiere of The Third Ascension, a new work for guitar, bass, and drums. Conducted by Branca, this piece is the latest development of Branca’s influential 1981 work The Ascension, in which he experiments with resonances generated by alternate tunings for multiple electric guitars. Joining Branca will be Reg Bloor, Brendon Randall-Myers, Luke Schwartz and Arad Evans on guitar, Greg McMullen on bass, and Owen Weaver on drums. These shows will be recorded live for a subsequent album release. Artist Richard Prince has created a special poster for the concert, along with a limited-edition print. As a founder of the bands Theoretical Girls and Static in the seventies, Branca’s signature blend of hard rock with a contemporary music sensibility has earned him the title of "godfather of alternative rock." The importance of his music, particularly of The Ascension, is felt through the lasting impact it has made on its followers. In a 10.0-rated review of the album’s 2003 reissue, Pitchfork writes, “from these bloodied guitar strings and twisted metal carnage you can discern not just the euphoric guitar bliss of everyone from Sonic Youth to My Bloody Valentine, but also the mighty crescendos of Sigur Rós, Mogwai, Black Dice, Godspeed You Black Emperor!, or whomever, here executed with a plasma-like energy and melodic/harmonic structure still light-years beyond the forenamed.” The album has been called "one of the greatest rock albums ever made" (All Music) and “simply essential 20th-century music" (Tiny Mix Tapes). -
A Digital Gamelan Brief
A Digital Gamelan Brief The brief National charity, Good Vibrations is calling for developers to submit proposals to design and build a digital gamelan. We want Phase 1 of this project to be delivered by the start of April 2021, and suspect that project delivery will run from the start of January through to the end of March. Contact Good Vibrations’ Executive Director, Katy Haigh by 9th December 2020 to express your interest in presenting a proposal to Good Vibrations for delivering this project. (katy@good- vibrations.org.uk /07535 145 797). We plan to ask shortlisted individuals and organisations to present their proposals to us in the week of the 14th December through a video call. About Good Vibrations Good Vibrations is a national charity, using communal music-making to support people with complex needs in challenging circumstances to develop transferable life and work skills and to forge fulfilling, constructive lives. We aim to inspire vulnerable people with complex needs to discover what they are capable of, to motivate them, and to give them the tools to build more positive futures. We focus on supporting: People convicted of offences in prisons and Young Offender Institutions WWW.GOOD-VIBRATIONS.ORG.UK | November 2020 People experiencing mental illness in secure mental health settings People with disabilities and additional needs in the community (in Glasgow and Nottingham) We do this through communal music-making projects that help people: Develop transferable life and work skills Improve their well-being Become more engaged in learning and constructive activity Develop confidence and motivation See themselves with positive self-identities We are best known for using the gamelan, an Indonesian tuned percussion orchestra, where each person plays on a different instrument, creating extraordinary layers and textures of sound together as a group. -
The Javanese Gamelan Kyai Madu Laras (Venerable Sweet Harmony)
THE JAVANESE GAMELAN KYAI MADU LARAS (VENERABLE SWEET HARMONY) A gift to the Faculty of Music from The Minister of Forestry of The Republic of Indonesia H.E.SUDJARWO JEREMY MONTAGU THE BATE COLLECTION OF HISTORICAL INSTRUMENTS UNIVERSITY OF OXFORD FACULTY OF MUSIC St.Aldate’s, Oxford £ 1.00 Sixth Edition Jeremy Montagu Among the earliest evidence for the Javanese Gamelan are a few instruments found archæologically and carvings on the eighth century AD Temple of Boro- bodur, which include bonangs1, sarons and gongs. Some instruments, including the rebab and the tarompet (a shawm which is displayed in the Shawm Case), were introduced with Islam in about the 14th century, and by the 15th century gamelans existed much as they do today. An increase in the number of instru- ments has continued, and the inclusion of a full set of kenongs and kempuls is comparatively recent. There are many varieties of gamelan in Indonesia today, consisting of different types and combinations of instruments, some with instruments made of bamboo, some with instruments of bronze, others with those of iron, and some with large numbers of instruments, and some with only a few. The Gamelan Kyai Madu Laras is the classic type of Central Javanese gamelan and is a full double gamelan of high-quality bronze instruments. It came to us from Klaten, a small town halfway between the two great centres of Central Javanese gamelan, Surakarta (or Solo) and Yogyakarta (or Jogya), as a most generous gift from the Minister of Forestry of the Republic of Indonesia, His Excellency Sudjarwo. -
Sustainability of Malay Traditional Music Via a Graded Music Examination System : the Malay Gamelan
The 1st International and Interdisciplinary Conference on Arts Creation and Studies (IICAIC) SUSTAINABILITY OF MALAY TRADITIONAL MUSIC VIA A GRADED MUSIC EXAMINATION SYSTEM : THE MALAY GAMELAN Shahanum Mohamad Shah UniversitiTeknologi MARA, Malaysia [email protected] Zaharul Lailiddin Saidon Sultan Idris University of Education, Malaysia [email protected] Abstract As evidenced by current practices, the traditional musics of Malaysia appear to be sidelined in favour of music which is more accessible and readily available to the younger generation. The lack of exposure to traditional music also breeds unfamiliarity of this music and hence is not appreciated or understood by most Malaysians. As music is an integral part of human culture, it is important for this genre of music to be preserved for the future generation. As compared to the availability of examination systems for western music, there is no mechanism for assessing musical attainment for the local music traditions in Malaysia. A structured system for assessing and awarding certificates based on levels of achievement in the local music traditions is needed which will provide a platform for musicians involved in the local music traditions to benchmark their achievement and obtain the necessary qualifications which can assist them in furthering their studies or gain employment. This paper will discuss how establishing a graded music examination system can help in the sustainability efforts of Malay traditional music in general and the Malay gamelan in particular. Due to the nature of this study, both field work and desk work were used. Research methods used included observation of performances, being a participant-observer during practices, interview sessions and focus groups with various practitioners from Malaysia and Indonesia and audio/visual documentation. -
Winter Music a Composer’S Journal
CD 82 How the subarctic winter light inspired new music of elemental harmony and colour From Winter Music A Composer’s Journal by John Luther Adams For the past twenty-five years composer John Luther Adams has made his home in the boreal forest near Fairbanks, Alaska. From there he has created a unique musical world, grounded in the elemental landscapes and indigenous cultures of the North. Each winter— which, he says, “is the season when I burrow most deeply into my music”—he keeps a daily journal as he tries to understand where the music is leading him. The winter of 1998–99 was a time of change, as he com- posed a major new piece entitled The Immeasurable Space of Tones. The present article comprises journal selections from that period and is excerpted from Winter Music: Selected Writings 1974–2000—a book in progress that includes journals, essays, and other writ- pho tos by Gayle Young ings by John Luther Adams. 32 MUSICWORKS 82 WINTER 2002 Winter Solstice, 1998 January 20, 1999 For much of the year, the world in which I live is a vast, For me, composing is not about finding the notes. It’s white canvas. In the deep stillness of the solstice, I’m pro- about losing them. Although I’m still involved in writing foundly moved by the exquisite colours of the subarctic scores, the most difficult thing is not to know what to write winter light on snow. Reading art critic John Gage’s essay down; it’s to know what not to write down. -
GAMELAN NOTATIONS for TRADITIONAL PIECES. Slendro
P a g e | 1 SECTION 1 – GAMELAN NOTATIONS FOR TRADITIONAL PIECES. Slendro – number system Javanese: y 1 2 3 5 6 ! Western: Bb Db Eb F Ab Bb Db And transposed: A C D E G A C Pelog – number system Javanese: 1 2 3 4 5 6 7 Western: Db Eb F G# A Bb C [or G nat??] NB: Western pitches are approximate PIECES – written out in full traditional gamelan notation A) Lancaran KOTEK laras slendro pathet manyura Lancaran refers to the form, and primarily to where the gong, kenong, kempul and ketuk strokes are placed within each phrase/gong cycle etc. Laras slendro – means in the slendro tuning system. It can also be translated verbatim across to pelog. Pathet manyura – mean in the manyura mode which tends to emphasis 6s, 3s and 2s. This is a piece from Central Java. The buko (Javanese spelling: bukå) is the opening melody. Often played on the bonang barung (i.e. the larger of the two bonangs), you could play it on anything suitable (e.g. saron, slentem, clarinet! etc.) Here’s a Western gamelan playing it (in the pelog tuning system): https://youtu.be/Ti9fajX4PF8 P a g e | 2 KOTEK BUKA: . 3 . 6 . 3 . 6 . 3 . g2 [ =. 3 3 3 =. ‹n 3 =. G2 =. 3 3 3 3 =. 2G =. 5 =. 3¤n =. 2¤p =. 1n 3 2 1 =. 6G =. 5 =. 3¤n =. 2¤p =. 1n 3 2 1 =. 6Gg ] NOTATION: = = ketuk n = kenong (and implies you play the same note as in the tune) p = kempul (and implies you play the same note as in the tune) BUT – for example: n = play kenong 6 – even if the note in the tune is different! ¤p = play kempul 2 - even if the note in the tune is different! Gg = BIG GONG AND KENONG G = GONG SUWUKAN (slightly smaller than BIG GONG) AND KENONG (You have a few GONG SUWUKAN – they are the second largest gongs –labelled as “Swk 2” (or similar depending on pitch etc.) inside. -
THREE LESSONS: LEARNING to PLAY LACARAN RICIK RICIK] July 27, 2011
[THREE LESSONS: LEARNING TO PLAY LACARAN RICIK RICIK] July 27, 2011 Lesson by: Vera H. Flaig, B.Mus. B.Ed. Ph.D. Description: This lesson introduces students to the Javanese Lancaran musical form and texture. This is a loud style form which is relatively easy to learn. Ricik Ricik is a piece that only has two musical phrases, and each of these repeats. This piece can be played in either the slendro or pelog tuning systems. For the purposes of this lesson, the tuning system chosen was slendro, and the mode manyura. Curricular Outcomes: Students will learn to read and interpret standard Javanese gamelan notation (a score in western notation is included for the teacher‟s reference only). In the process, students will learn about the interaction between texture and rhythmic density in Javanese Gamelan music. Prerequisite/Co-Requisite: “Glass Gamelan Lesson” included in this website. Materials and Preparation: Orff Instruments: soprano glockenspiels; soprano, alto, and bass metalophones; alto xylophones; large frame drum; „D‟ bass bar. Prepare all of the METAL instruments by removing the following bars: low C; all E‟s; „B‟; high D, F, G, and A. The five notes you have remaining should be: D, F, G, A, and high C. Place these notes together without any gaps. This makes it possible to play the bars the way they are played on a Javanese saron. For the alto xylophone simply remove all B‟s and E‟s and low C. The notation below should be written up on the white/black board for the entire class to see: Lancaran Ricik Ricik, (laras slendro, pathet manyura) ^ Buka: 6 .