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The Order of Numbers in the Second Viennese School of Music
The order of numbers in the Second Viennese School of Music Carlota Sim˜oes Department of Mathematics University of Coimbra Portugal Mathematics and Music seem nowadays independent areas of knowledge. Nevertheless, strong connections exist between them since ancient times. Twentieth-century music is no exception, since in many aspects it admits an obvious mathematical formalization. In this article some twelve-tone music rules, as created by Schoenberg, are presented and translated into math- ematics. The representation obtained is used as a tool in the analysis of some compositions by Schoenberg, Berg, Webern (the Second Viennese School) and also by Milton Babbitt (a contemporary composer born in 1916). The Second Viennese School of Music The 12-tone music was condemned by the Nazis (and forbidden in the occupied Europe) because its author was a Jew; by the Stalinists for having a bourgeois cosmopolitan formalism; by the public for being different from everything else. Roland de Cand´e[2] Arnold Schoenberg (1874-1951) was born in Vienna, in a Jewish family. He lived several years in Vienna and in Berlin. In 1933, forced to leave the Academy of Arts of Berlin, he moved to Paris and short after to the United States. He lived in Los Angeles from 1934 until the end of his life. In 1923 Schoenberg presented the twelve-tone music together with a new composition method, also adopted by Alban Berg (1885-1935) and Anton Webern (1883-1945), his students since 1904. The three composers were so closely associated that they became known as the Second Viennese School of Music. -
Study Guide: Graduate Placement Examination in Music History
GRADUATE PLACEMENT EXAMINATION IN MUSIC HISTORY STUDY GUIDE The Graduate Placement Examination in Music History is designed to ascertain whether incoming graduate students have a knowledge of music history commensurate with an undergraduate degree in music. It is typically offered prior to the first day of classes each semester. Students are asked to identify important historical figures, define important terms, compose a brief essay, and draw conclusions from a musical score. Some knowledge of musical traditions beyond the Western/European classical traditions, including topics such as “world music,” “folk music,” and “popular music,” is also expected. The ninety-minute examination comprises the following sections: 1. identification of composers and schools of composition (choose from a list provided during the exam); worth 25 points, allow approximately 20 minutes 2. identification of terms (choose from a list provided during the exam); worth 25 points, allow approximately 20 minutes 3. essay (choose a topic from a list provided during the exam); worth 30 points, allow approximately 30 minutes 4. score identification, including: historical period and approximate date of composition; genre, its important stylistic features, and how/where they can be seen in the piece; and the name of the likely composer; worth 20 points, allow approximately 20 minutes. This study guide provides lists, organized by historical era (with approximate dates), of major figures, genres, and terms from music history. They are not necessarily complete or comprehensive lists of items that will appear on the test. For further review, the faculty recommend consulting the textbook (and accompanying scores and recordings) used in the undergraduate core music history sequence in the Department of Music. -
NEXAS SAXOPHONE QUARTET Based in Sydney Australia, The
NEXAS SAXOPHONE QUARTET Based in Sydney Australia, the Nexas Quartet is focused on promoting the musical plurality of the saxophone, showcasing its versatility and ability to cross genres. This unique approach has enabled the ensemble to perform throughout Australia and internationally, displaying the diversity of the repertoire. The ensemble regularly performs a diverse repertoire that reflects their artistic direction ranging from transcriptions, standard and contemporary repertoire, to collaborations with theatre companies and premiering and commissioning new works. 2013 saw the group perform at the prestigious APRA Awards as well as at the heart of Australia in Uluru for Darwin Symphony’s Symphony at Uluru. 2014 marked a banner year for the ensemble as they embarked on their inaugural annual concert series. Sell out concerts have been the hallmark of the series including collaborations with some of Australia’s finest musicians. Guest artists have included: Gerard Willems AM (pianist), Daniel Rojas (pianist), Nicky Crayson (jazz vocalist), David Theak (jazz saxophonist and bandleader), Frank Celata (SSO clarinettist) and Peter Coleman-Wright (opera singer). Other activities in 2015 are a collaboration with composer and sound artist Drew Crawford on the Melbourne Theatre Company’s production of “Jumpy” as well as performing Elena Kats-Chernin’s “From Anna Magdalena’s Notebook” at the World Saxophone Congress in Strasbourg, France. Being open-minded to new and innovative music, Nexas have had many Australian works commissioned and dedicated to them by composers such as Lachlan Skipworth, Amanda Cole, Anthony Moles, David Slater and Marcus Whale. Michael Duke - Soprano Saxophone Born in Melbourne Australia, Michael Duke completed his Bachelor of Music degree with honors at Melbourne University's Victorian College of the Arts under the instruction of saxophonist Graeme Shilton. -
JOHANN SEBASTIAN BACH Suites BWV 1007-1012 Raaf Hekkema
2 CD JOHANN SEBASTIAN BACH Suites BWV 1007-1012 Arranged for saxophone Raaf Hekkema 1 JOHANN SEBASTIAN BACH Suites BWV 1007-1012 Arranged for saxophone Raaf Hekkema CD 1 JOHANN SEBASTIAN BACH (1685-1750) Suite 1 (BWV 1007) [1] Prélude 2:24 Suite 3 (BWV 1009) [2] Allemande 4:17 [13] Prélude 2:58 [3] Courante 2:29 [14] Allemande 3:35 [4] Sarabande 2:26 [15] Courante 3:21 [5] Menuet I & II 2:58 [16] Sarabande 4:10 [6] Gigue 1:45 [17] Bourrée I & II 2:57 [18] Gigue 3:04 Suite 2 (BWV 1008) [7] Prélude 4:03 [8] Allemande 3:43 total time 56:03 [9] Courante 2:07 [10] Sarabande 4:23 [11] Menuet I & II 2:30 [12] Gigue 2:41 4 5 CD 2 JOHANN SEBASTIAN BACH (1685-1750) Suite 4 (BWV 1010) [1] Prélude 3:40 Suite 6 (BWV 1012) [2] Allemande 3:34 [13] Prélude 3:57 [3] Courante 3:28 [14] Allemande 7:24 [4] Sarabande 4:32 [15] Courante 3:40 [5] Bourrée I & II 4:42 [16] Sarabande 4:07 [6] Gigue 2:42 [17] Gavotte I & II 3:43 [18] Gigue 3:47 Suite 5 (BW V 1011) [7] Prélude 5:18 [8] Allemande 4:30 total time 71:08 [9] Courante 2:03 [10] Sarabande 3:45 [11] Gavotte I & II 4:01 [12] Gigue 2:06 6 7 I dedicate this CD to my wife, Simone Noortman. Not only has she been my life partner for the past twenty-plus years, she is also – although not a musician herself – my most important musical sounding board. -
Minimalism: Towards a Definition Adrian Smith
Minimalism: towards a definition Adrian Smith It is somewhat ironic that the Minimalist movement, which has been hailed by many as a welcome return to simplicity, has arguably provoked more terminological confusion than any other musical movement in the twentieth century. What is Minimalism when applied to music? Is it an adequate term to describe this movement or does it have misleading connotations? Does it show parallels with its counterpart in the visual arts? In what context did it arise? These are all frequently asked questions which this chapter will attempt to answer. Many of the attempts to define Minimalism thus far have only focused on obvious surface features without probing deeper into its musical core. The result of all this is that after thirty years of Minimalist scholarship we have a widespread acceptance of a term which is still not fully understood. In order to address this situation comprehensively, this chapter will be divided into two distinct but nonetheless intrinsically linked sections. The first section will focus on the inadequacy of ‘Minimalism' as a descriptive term when applied to music. Ultimately, however, it must be conceded that it is too late for a name change and we must accept what is now a common currency in musicological terms. Since this is the case and we are dealing with an accepted term, an understanding of the generic essence of the music itself and an awareness of the term’s limitations is necessary. This is the argument which will comprise the second half of this chapter. I will examine the nucleus of this music and put forward a definition which will adequately describe the music of La Monte Young, Terry Riley, Steve Reich and Philip Glass, the four composers most associated with the movement. -
Modern Art Music Terms
Modern Art Music Terms Aria: A lyrical type of singing with a steady beat, accompanied by orchestra; a songful monologue or duet in an opera or other dramatic vocal work. Atonality: In modern music, the absence (intentional avoidance) of a tonal center. Avant Garde: (French for "at the forefront") Modern music that is on the cutting edge of innovation.. Counterpoint: Combining two or more independent melodies to make an intricate polyphonic texture. Form: The musical design or shape of a movement or complete work. Expressionism: A style in modern painting and music that projects the inner fear or turmoil of the artist, using abrasive colors/sounds and distortions (begun in music by Schoenberg, Webern and Berg). Impressionism: A term borrowed from 19th-century French art (Claude Monet) to loosely describe early 20th- century French music that focuses on blurred atmosphere and suggestion. Debussy "Nuages" from Trois Nocturnes (1899) Indeterminacy: (also called "Chance Music") A generic term applied to any situation where the performer is given freedom from a composer's notational prescription (when some aspect of the piece is left to chance or the choices of the performer). Metric Modulation: A technique used by Elliott Carter and others to precisely change tempo by using a note value in the original tempo as a metrical time-pivot into the new tempo. Carter String Quartet No. 5 (1995) Minimalism: An avant garde compositional approach that reiterates and slowly transforms small musical motives to create expansive and mesmerizing works. Glass Glassworks (1982); other minimalist composers are Steve Reich and John Adams. Neo-Classicism: Modern music that uses Classic gestures or forms (such as Theme and Variation Form, Rondo Form, Sonata Form, etc.) but still has modern harmonies and instrumentation. -
Music and the Figurative Arts in the Twentieth Century
INTERNATIONAL CONFERENCE MUSIC AND FIGURATIVE ARTS IN THE TWENTIETH CENTURY 14-16 November 2014 Lucca, Complesso Monumentale di San Micheletto PROGRAMME ORGANIZED BY UNDER THE AUSPICES OF CENTRO STUDI OPERA OMNIA LUIGI BOCCHERINI www.luigiboccherini.org MUSIC AND FIGURATIVE ARTS IN THE TWENTIETH CENTURY International Conference 14-16 November 2014 Lucca, Complesso monumentale di San Micheletto Organized by Centro Studi Opera Omnia Luigi Boccherini, Lucca Under the auspices of Province of Lucca ef SCIENTIFIC COmmITEE Germán Gan Quesada (Universitat Autònoma de Barcelona) Roberto Illiano (Centro Studi Opera Omnia Luigi Boccherini) Massimiliano Locanto (Università degli Studi di Salerno) Fulvia Morabito (Centro Studi Opera Omnia Luigi Boccherini) Luca Lévi Sala (Université de Poitiers) Massimiliano Sala (Centro Studi Opera Omnia Luigi Boccherini) ef KEYNOTE SPEAKERS Björn R. Tammen (Österreichische Akademie der Wissenschaften | Institut für kunst- und musikhistorische Forschungen) INVITED SPEAKERS Germán Gan Quesada (Universitat Autònoma de Barcelona) Luca Lévi Sala (Université de Poitiers) Gianfranco Vinay (Université de Paris 8) FRIDAY 14 NOVEMBER 8.30-9.30: Welcome and Registration Room 1: 9.30-9.45: Opening • MASSIMILIANO SALA (President Centro Studi Opera Omnia Luigi Boccherini) Room 1 Italian Music and Figurative Arts until the 40s 10.00-10.45 • Luca Lévi Sala (Université de Poitiers): «Liberaci dalla cultura»: Autarchia fascista tra musica e immagini. Purificazione culturale e antisemitismo ne «Il Tevere» (1933-1938) 11.15-12.45 (Chair: Luca Lévi Sala, Université de Poitiers) • Colin J. P. Homiski (Senate House Library, University of London): Aeromusica, Azione, and Automata: New Images of Futurist Sound • Valentina Massetti (Università Ca’ Foscari, Venezia): «Balli Plastici»: Casella e il Teatro futurista di Depero • Olga Jesurum (Università degli studi di Roma ‘La Sapienza’): Il “rinnovamenteo musicale italiano” fra le due guerre. -
FINAL EXAM)—April 26Th, 9:00 A.M
ART OF LISTENING, MUAR 211 STUDY GUIDE FOR EXAM #3 (FINAL EXAM)—April 26th, 9:00 a.m. Composer Work title___ Naxos # / track Claude Debussy Nocturnes, no. 1, Nuages 8.553275, tr. 5 Igor Stravinsky The Rite of Spring, part I, i-iii 8.557501, tr. 1-3 Arnold Schoenberg Pierrot lunaire, no. 18, “Der Mondfleck” BCD9032, tr. 18 Bela Bartok Music for Strings, Percussion and Celesta, 8.550261, tr. 7 2nd movement, Allegro *Pierre Boulez Le marteau sans maître, 4th movement CAP21581, tr. 4 Edgard Varèse Poème électronique (excerpt) not on Naxos György Ligeti Lux Aeterna COLCD125, tr. 18 *John Cage Sonatas and Interludes for Prepared Piano, 8.559042, tr. 6 No. 6 (Sonata no. 5) *Tan Dun Pipa Concerto, iv. Allegro vivace ONYX4027, tr. 4 Steve Reich Music for 18 Musicians INNOVA678, tr. 1-2 *Arvo Pärt Cantate Domino canticum novum 8.557299, track 1 Josquin Desprez Kyrie from Pange lingua Mass [Exam #1] Johann Sebastian Bach Brandenburg Concerto No. 5, 1st movement [Exam #1] Ludwig van Beethoven Symphony No. 5 in C Minor, 1st movement [Exam #2] Frédéric Chopin Nocturne in F# Major, op. 15 no. 2 [Exam #2] *denotes a piece that is not included on the CDs that accompany the Listen textbook. TERMS LIST Arnold Schoenberg (1874-1951) impressionism (style term) Anton Webern (1883-1945) characteristics in painting Alban Berg (1885-1935) musical characteristics Wozzeck and Lulu (Berg’s operas) symbolist poetry Sprechstimme Claude Debussy (1862-1918) atonal music / atonality (harmony term) tone poem / symphonic poem 12-tone music / dodecaphonic / serialism pentatonic -
1 CURRICULUM VITAE for MARGARET NOTLEY Business
1 CURRICULUM VITAE FOR MARGARET NOTLEY Business Contact Information: Personal Contact Information: College of Music 1904 Hollyhill Lane University of North Texas Denton, TX 76205 (940) 565–3751 (940) 390–1980 [email protected] [email protected] EDUCATION Yale University: M.Phil., PhD in music (1985–1992) Mannes College of Music: piano major (Fall 1972–Winter 1973) Barnard College of Columbia University: A.B. magna cum laude; English major (1967–71) Full-time piano studies with Edith Oppens (1972–76) and Sophia Rosoff (1976–80) EMPLOYMENT Professor of Music at University of North Texas (Fall 2011–) Associate Professor of Musicology at University of North Texas (Fall 2006–Spring 2011) Assistant Professor of Musicology at University of North Texas (Fall 2000–Spring 2006) Full-time Lecturer in Musicology at University of North Texas (1999–2000) Part-time Lecturer at University of Connecticut, Storrs (Fall 1997) Full-time Lecturer at Yale University (1992–93) Part-time Instructor at Yale University (Spring 1990) Part-time research assistant (1971–83) for The Poetical Works of Oliver Wendell Holmes, revised and with a new introduction by Eleanor M. Tilton (Boston: Houghton Mifflin Company, 1975); and volumes 7–9 of The Letters of Ralph Waldo Emerson, edited by Eleanor M. Tilton (New York, Columbia University Press, 1990, 1991, 1994). GRANTS AND FELLOWSHIPS External October 2015: Franklin Research Grant, American Philosophical Society ($6,000) Mid-May through June 2011: Franklin Research Grant, American Philosophical Society ($6,000) 2 Mid-May through mid-July 2001: Fulbright Scholar Grant, Austrian-American Educational Commission and J. William Fulbright Foreign Scholarship Board (70,000 Schillings) January-December 1996: Fellowship for College Teachers and Independent Scholars, National Endowment for the Humanities ($22,750) 1996–97: I was offered a fellowship by the American Council of Learned Societies but had to decline it because I accepted the NEH Fellowship instead. -
'Modern Baroque'
‘Modern Baroque’ ‘Approaches and Attitudes to Baroque Music Performance on the Saxophone’ Jonathan Byrnes 4080160 Masters of Music Projecto Cientifico IV ESMAE 2010 1 Contents Page ‘Introduction’ (Prelude) 4 ‘Education’ (Allemande) 7 ‘Performance’ (Courante) 12 ‘Morality – Responsibility and Reasons.’ (Sarabande) 18 ‘Transcription or adaptation’ – note for note transcription (Minuet I) 36 ‘Transcription or adaptation’ – adaptation (Minuet II) 58 Conclusion (Gigue) 70 ‘Bibliography’ 73 ‘Discography’ 77 ‘Internet Resourses’ 78 2 Thank you. This Masters Thesis would not have been possible without the help and assistance from the people below. I would like to thank them sincerely for all their guidence and support. Sofia Lourenço, Henk Van Twillert, Fernando Ramos, Gilberto Bernardes, Madelena Soveral, Dr. Cecília, Filipe Fonseca, Luís Lima, Nicholas Russoniello, Cláudio Dioguardi, Cármen Nieves, Alexander Brito, Donny McKenzie, Andy Harper, Thom Chapman, Alana Blackburn, Paul Leenhouts, Harry White, And of course my family. Without these people, I am sure I would not have achieved this work. 3 1. Introduction (Prelude) Baroque music has been part of the saxophone repertoire in one form or another since the instruments creation, as it so happened to coincide with the Baroque revival. ‘It was Mendelssohn's promotion of the St Matthew Passion in 1829 which marked the first public "revival" of Bach and his music’ 1, either through studies or repertoire the music of the baroque period has had an important role in the development of the majority of all saxophonists today. However the question remains. What function does this music have for a modern instrumentalist and how should this music be used or performed by a saxophonist? Many accolades have been given of saxophone performances of Baroque music. -
Twelve-Tone Serialism: Exploring the Works of Anton Webern James P
University of San Diego Digital USD Undergraduate Honors Theses Theses and Dissertations Spring 5-19-2015 Twelve-tone Serialism: Exploring the Works of Anton Webern James P. Kinney University of San Diego Follow this and additional works at: https://digital.sandiego.edu/honors_theses Part of the Music Theory Commons Digital USD Citation Kinney, James P., "Twelve-tone Serialism: Exploring the Works of Anton Webern" (2015). Undergraduate Honors Theses. 1. https://digital.sandiego.edu/honors_theses/1 This Undergraduate Honors Thesis is brought to you for free and open access by the Theses and Dissertations at Digital USD. It has been accepted for inclusion in Undergraduate Honors Theses by an authorized administrator of Digital USD. For more information, please contact [email protected]. Twelve-tone Serialism: Exploring the Works of Anton Webern ______________________ A Thesis Presented to The Faculty and the Honors Program Of the University of San Diego ______________________ By James Patrick Kinney Music 2015 Introduction Whenever I tell people I am double majoring in mathematics and music, I usually get one of two responses: either “I’ve heard those two are very similar” or “Really? Wow, those are total opposites!” The truth is that mathematics and music have much more in common than most people, including me, understand. There have been at least two books written as extensions of lecture notes for university classes about this connection between math and music. One was written by David Wright at Washington University in St. Louis, and he introduces the book by saying “It has been observed that mathematics is the most abstract of the sciences, music the most abstract of the arts” and references both Pythagoras and J.S. -
The Locked Door
The Locked Door Viennese Modernism and Its Place in a Disinterested Modern World Benjamin Gabbay Copyright © Benjamin Gabbay 2016 2 If a casual listener of Western classical music were asked to define Austrian music, what might their answer be? From my observations, the most common attributions to the category include the music of Haydn, Beethoven, and Mozart, perhaps the soulful folksongs featured in The Sound of Music, and certainly the waltzes of Johann Strauss Sr. and his sons. Indeed, it would seem that, from Austria’s establishment of “The Blue Danube” waltz as its unofficial national anthem, to the globally televised annual Vienna New Year’s Concert (whose programs are largely dedicated to Austro-German waltz and polka music of the 19th century), this generalization is true. Yet, a significant peculiarity in Viennese music history becomes apparent when considering a Toronto performance by Viennese string quartet “ensemble LUX,” a group of virtuoso performers “primarily dedicated to the performance and promotion of contemporary chamber music” (EnsembleLUX.at). The 2016 Toronto concert at the University of Toronto’s Walter Hall, the third stop of their North American debut that already covered New York and Montreal, was put on “in celebration of 100 years of Austrian modern music,” and “made possible through a generous gift from the Austrian Embassy” (Performance.rcmusic.ca). The concert program was dedicated to the “Austrian modern music” in question—music that stems from the tradition commonly referred to as the Second Viennese School, a distinctly Austrian school of thought first set into motion by composer Arnold Schoenberg at the turn of the 20th century.