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Contemporary Romanian Music for Unaccompanied
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by KU ScholarWorks CONTEMPORARY ROMANIAN MUSIC FOR UNACCOMPANIED CLARINET BY 2009 Cosmin Teodor Hărşian Submitted to the graduate program in the Department of Music and Dance and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Musical Arts. ________________________ Chairperson Committee Members ________________________ ________________________ ________________________ ________________________ Date defended 04. 21. 2009 The Document Committee for Cosmin Teodor Hărşian certifies that this is the approved version of the following dissertation: CONTEMPORARY ROMANIAN MUSIC FOR UNACCOMPANIED CLARINET Committee: ________________________ Chairperson ________________________ Advisor Date approved 04. 21. 2009 ii ABSTRACT Hărșian, Cosmin Teodor, Contemporary Romanian Music for Unaccompanied Clarinet. Doctor of Musical Arts (Performance), May 2009. Romanian music during the second half of the twentieth century was influenced by the socio-politic environment. During the Communist era, composers struggled among the official ideology, synchronizing with Western compositional trends of the time, and following their own natural style. With the appearance of great instrumentalists like clarinetist Aurelian Octav Popa, composers began writing valuable works that increased the quality and the quantity of the repertoire for this instrument. Works written for clarinet during the second half of the twentieth century represent a wide variety of styles, mixing elements from Western traditions with local elements of concert and folk music. While the four works discussed in this document are demanding upon one’s interpretative abilities and technically challenging, they are also musically rewarding. iii I wish to thank Ioana Hărșian, Voicu Hărșian, Roxana Oberșterescu, Ilie Oberșterescu and Michele Abbott for their patience and support. -
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View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by OpenstarTs In copertina: il Trio di Trieste in un disegno di Dino Tamburini, 1990 (elaborazione grafica EUT). Impaginazione Francesco Bernasconi © Copyright 2014 EUT EUT Edizioni Università di Trieste via Weiss 21, 34128 Trieste http://eut.units.it https://www.facebook.com/EUTEdizioniUniversitaTrieste Proprietà letteraria riservata. I diritti di traduzione, memorizzazione elettronica, di riproduzione e di adattamento totale e parziale di questa pubblicazione, con qualsiasi mezzo (compresi i microfilm, le fotocopie e altro) sono riservati per tutti i paesi. ISBN 978-88-8303-547-0 '+5$0 Giuliana Stecchina Refoli di Trio EUT EDIZIONI UNIVERSITÀ DI TRIESTE a Bianca Marco Daniele e Renato Zanettovich Compatti nel collaborare Sommario 11 Interludio 15 Dintorni e Trio 17 Dietro ad una tenda 29 Suoni e parole 35 Nel loro mondo 43 Documenti 45 Dario De Rosa: lettere alla famiglia Negri 57 Renato Zanettovich: lettere alla madre e pagine di diario 58 Lettere alla madre 60 Pagine di diario 75 Commiato a Dario 77 L'ultimo viaggio: ricordando Dario De Rosa 85 Compositori 87 Premessa 89 Giorgio Cambissa 91 Giulio Viozzi 94 Mario Zafred 96 Giorgio Federico Ghedini 115 Interpreti 117 Arturo Benedetti Michelangeli 122 Arturo Toscanini 124 Uto Ughi 128 Salvatore Accardo 131 Amici 133 Antonio Baici 140 Giorgio Blasco 146 Claudio Gherbitz 153 Gianni Gori 158 Ileana Meriggioli 167 Aldo Michelini 173 Roberto Repini 181 Nicoletta Brunner Tamburini 189 Curiosità 191 Premessa 192 Il nonno conquista il Polo Nord 198 Gaia 204 Il Reuccio e il suo cruccio: da Silvio Negri ad Elisa Baciocchi 213 Finale 225 Per saperne di più 227 Indice dei nomi Interludio Il 25 febbraio del 1934 il Trio di Trieste si presentò per la prima volta in pubblico: quel giorno ebbe inizio un fitto rapporto artistico e amicale con la sua città. -
The Rai Studio Di Fonologia (1954–83)
ELECTRONIC MUSIC HISTORY THROUGH THE EVERYDAY: THE RAI STUDIO DI FONOLOGIA (1954–83) Joanna Evelyn Helms A dissertation submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music. Chapel Hill 2020 Approved by: Andrea F. Bohlman Mark Evan Bonds Tim Carter Mark Katz Lee Weisert © 2020 Joanna Evelyn Helms ALL RIGHTS RESERVED ii ABSTRACT Joanna Evelyn Helms: Electronic Music History through the Everyday: The RAI Studio di Fonologia (1954–83) (Under the direction of Andrea F. Bohlman) My dissertation analyzes cultural production at the Studio di Fonologia (SdF), an electronic music studio operated by Italian state media network Radiotelevisione Italiana (RAI) in Milan from 1955 to 1983. At the SdF, composers produced music and sound effects for radio dramas, television documentaries, stage and film operas, and musical works for concert audiences. Much research on the SdF centers on the art-music outputs of a select group of internationally prestigious Italian composers (namely Luciano Berio, Bruno Maderna, and Luigi Nono), offering limited windows into the social life, technological everyday, and collaborative discourse that characterized the institution during its nearly three decades of continuous operation. This preference reflects a larger trend within postwar electronic music histories to emphasize the production of a core group of intellectuals—mostly art-music composers—at a few key sites such as Paris, Cologne, and New York. Through close archival reading, I reconstruct the social conditions of work in the SdF, as well as ways in which changes in its output over time reflected changes in institutional priorities at RAI. -
Nino Rota, Compositore Artigiano Di Musiche Per Film Di Elvidio Surian
Nino Rota, compositore artigiano di musiche per film di Elvidio Surian L'affermazione di Igor Stravinsky (cfr. Memories and com mentaries, New York 1960), che nega interesse artistico alia musica per film poiche serve a nient'altro che ad «aiutare i musicisti a guadagnarsi il pane,, ha di sicuro influito negativa mente (assieme a tanti altri giudizi negativi profferiti su un piano limitatamente e esclusivamente 'estetico') alla compren sione storico-culturale di un elemento di non secondaria impor tanza nella vitae nelle attivita musicali del nostro secolo: quel lo cioe delle partiture destinate all'accompagnamento di deter minate pellicole cinematografiche. E cosa ben nota che numerosi sono stati i compositori, an che quelli cosiddetti 'seri', che in questo secolo hanno lavorato · con maggiore o minore frequenza per il cinema, una forma di spettacolo in cui la musica e stata da sempre scritta 'ad hoc', su ordinazione, assumendo la funzione di rafforzare la carica emotiva e psicologica nei punti salienti della rappresentazione scenico-visiva . .Tutti quei compositori che si sono occupati di scrivere musiche per film hanno dunque segnatamente lavorato nella consapevolezza di operare come prestatori di servizi of frendo prodotti artistici concepiti in partenza per riscuotere il consenso del committente nonche il favore del pubblico. In questo contesto non si puo dire che la creazione di musica per film possa offrire a! compositore ampio spazio a spericolate sue sperimentazioni d'avanguardia. Gli si chiede invece l'utilizza zione di moduli e di modelli linguistico-musicali dominanti, ~, Presentato dall'lstituto di Scienze dello spellaco/o e sociologia del/a comu nicazione. -
UTM Clarinet Handbook Spring 2018
UTM Clarinet Handbook Spring 2018 For MUAP 161/162/164/362/363/364: Clarinet Lessons MUAP 395/495: Clarinet Recitals Dr. Liz Aleksander Associate Professor of Clarinet [email protected] Cell: 419.346.8624 Office: 731.881.7413 University of Tennessee at Martin Department of Music Table of Contents Table of Contents Welcome ....................................................................................................................................................... 4 General Information ................................................................................................................................. 6 Faculty Contact Information ......................................................................................................................... 6 Communication Policy.................................................................................................................................... 6 Required Equipment & Maintenance ......................................................................................................... 6 Required & Suggested Texts ......................................................................................................................... 7 Borrowed Items ................................................................................................................................................. 8 Ensemble Auditions ......................................................................................................................................... 8 Auxiliary -
Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600
Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600 By Leon Chisholm A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Kate van Orden, Co-Chair Professor James Q. Davies, Co-Chair Professor Mary Ann Smart Professor Massimo Mazzotti Summer 2015 Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600 Copyright 2015 by Leon Chisholm Abstract Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600 by Leon Chisholm Doctor of Philosophy in Music University of California, Berkeley Professor Kate van Orden, Co-Chair Professor James Q. Davies, Co-Chair Keyboard instruments are ubiquitous in the history of European music. Despite the centrality of keyboards to everyday music making, their influence over the ways in which musicians have conceptualized music and, consequently, the music that they have created has received little attention. This dissertation explores how keyboard playing fits into revolutionary developments in music around 1600 – a period which roughly coincided with the emergence of the keyboard as the multipurpose instrument that has served musicians ever since. During the sixteenth century, keyboard playing became an increasingly common mode of experiencing polyphonic music, challenging the longstanding status of ensemble singing as the paradigmatic vehicle for the art of counterpoint – and ultimately replacing it in the eighteenth century. The competing paradigms differed radically: whereas ensemble singing comprised a group of musicians using their bodies as instruments, keyboard playing involved a lone musician operating a machine with her hands. -
Viva Presenza a Siena Dei Compositori Italiani
**p*r*f*M.r '«unii mnl.n, t^ai «Wii'ia '-«-.•*.-_. *#*.~«--4.»« W . » • •---*fr <<r< » » fc #- »•• *Jk «-H ir».** ••• * v»—..*^ !>• »-—,"• • «» i'»«*-• « 4 >lv .1. .<%*4.«Vi -.4 ìli il ! l'Unita / mereoledì 31 agosto 1977 PAG. 7 / spettacol i - a rie \ » < ^ ur Grande successo alla > Basilica di Massenzio I fatti e i problemi della musica » \ Rai $ •. * .n i * >i In progetto oggi vedremo Viva presenza a Siena *' i s i de, H popolo è lontano, ma i ad Arezzo Incontro con problemi non tanto. Sulla Rete due, dopo la i Taviani nuova puntata del telefilm Al posto del consueto Mer della serie Colombo, alle 22 coledì sport stasera, c'è un va in onda un programma dei compositori italiani un Centro film: e cosi, questa settima anch'esso direttamente lega na, poco manca che ci of to al mondo del cinema. Ful frano un film a sera. Non vio Acciallnl e Lucia Coluc- Eseguite opere di Petrassi, Zafred, Encinar e Berio - Manifesta ce ne lamenteremo troppo, celli, della Cooperativa Cine di studi dal momento che le alterna ma Democratico, parlano del zioni commemorative di Bucchi e Frazzi - Accanto ad interpreti tive, assai spesso, non sono fratelli Taviani, della loro ' già affermati si sono fatti apprezzare i giovani allievi dei corsi entusiasmanti. opera, della loro tematica, del Il film di questa sera, Il loro mezzi espressivi, del lo corali ritorno di Harry Collings (ti ro « messaggi ». tolo originale: The Hired - ' Nel servizio c'è un'ampia Del nostro inviato e l'altro hanno avuto in buo dosi, corrano il rischio di per selezione del film di questi na sorte lo 6tato di grazia di dere tanto fervore. -
Central Opera Service Bulletin
CENTRAL OPERA SERVICE BULLETIN WINTER, 1972 Sponsored by the Metropolitan Opera National Council Central Opera Service • Lincoln Center Plaza • Metropolitan Opera • New York, N.Y. 10023 • 799-3467 Sponsored by the Metropolitan Opera National Council Central Opera Service • Lincoln Canter Plaza • Metropolitan Opera • New York, NX 10023 • 799.3467 CENTRAL OPERA SERVICE COMMITTEE ROBERT L. B. TOBIN, National Chairman GEORGE HOWERTON, National Co-Chairman National Council Directors MRS. AUGUST BELMONT MRS. FRANK W. BOWMAN MRS. TIMOTHY FISKE E. H. CORRIGAN, JR. CARROLL G. HARPER MRS. NORRIS DARRELL ELIHU M. HYNDMAN Professional Committee JULIUS RUDEL, Chairman New York City Opera KURT HERBERT ADLER MRS. LOUDON MEI.LEN San Francisco Opera Opera Soc. of Wash., D.C. VICTOR ALESSANDRO ELEMER NAGY San Antonio Symphony Ham College of Music ROBERT G. ANDERSON MME. ROSE PALMAI-TENSER Tulsa Opera Mobile Opera Guild WILFRED C. BAIN RUSSELL D. PATTERSON Indiana University Kansas City Lyric Theater ROBERT BAUSTIAN MRS. JOHN DEWITT PELTZ Santa Fe Opera Metropolitan Opera MORITZ BOMHARD JAN POPPER Kentucky Opera University of California, L.A. STANLEY CHAPPLE GLYNN ROSS University of Washington Seattle Opera EUGENE CONLEY GEORGE SCHICK No. Texas State Univ. Manhattan School of Music WALTER DUCLOUX MARK SCHUBART University of Texas Lincoln Center PETER PAUL FUCHS MRS. L. S. STEMMONS Louisiana State University Dallas Civic Opera ROBERT GAY LEONARD TREASH Northwestern University Eastman School of Music BORIS GOLDOVSKY LUCAS UNDERWOOD Goldovsky Opera Theatre University of the Pacific WALTER HERBERT GIDEON WALDKOh Houston & San Diego Opera Juilliard School of Music RICHARD KARP MRS. J. P. WALLACE Pittsburgh Opera Shreveport Civic Opera GLADYS MATHEW LUDWIG ZIRNER Community Opera University of Illinois See COS INSIDE INFORMATION on page seventeen for new officers and members of the Professional Committee. -
Thesis Submission
Rebuilding a Culture: Studies in Italian Music after Fascism, 1943-1953 Peter Roderick PhD Music Department of Music, University of York March 2010 Abstract The devastation enacted on the Italian nation by Mussolini’s ventennio and the Second World War had cultural as well as political effects. Combined with the fading careers of the leading generazione dell’ottanta composers (Alfredo Casella, Gian Francesco Malipiero and Ildebrando Pizzetti), it led to a historical moment of perceived crisis and artistic vulnerability within Italian contemporary music. Yet by 1953, dodecaphony had swept the artistic establishment, musical theatre was beginning a renaissance, Italian composers featured prominently at the Darmstadt Ferienkurse , Milan was a pioneering frontier for electronic composition, and contemporary music journals and concerts had become major cultural loci. What happened to effect these monumental stylistic and historical transitions? In addressing this question, this thesis provides a series of studies on music and the politics of musical culture in this ten-year period. It charts Italy’s musical journey from the cultural destruction of the post-war period to its role in the early fifties within the meteoric international rise of the avant-garde artist as institutionally and governmentally-endorsed superman. Integrating stylistic and aesthetic analysis within a historicist framework, its chapters deal with topics such as the collective memory of fascism, internationalism, anti- fascist reaction, the appropriation of serialist aesthetics, the nature of Italian modernism in the ‘aftermath’, the Italian realist/formalist debates, the contradictory politics of musical ‘commitment’, and the growth of a ‘new-music’ culture. In demonstrating how the conflict of the Second World War and its diverse aftermath precipitated a pluralistic and increasingly avant-garde musical society in Italy, this study offers new insights into the transition between pre- and post-war modernist aesthetics and brings musicological focus onto an important but little-studied era. -
אוסף מרמורשטיין the Marmorstein Collection
אוסף מרמורשטיין The Marmorstein Collection Brad Sabin Hill THE JOHN RYLANDS LIBRARY UNIVERSITY OF MANCHESTER Manchester 2017 1 The Marmorstein Collection CONTENTS Acknowledgements Note on Bibliographic Citations I. Preface: Hebraica and Judaica in the Rylands -Hebrew and Samaritan Manuscripts: Crawford, Gaster -Printed Books: Spencer Incunabula; Abramsky Haskalah Collection; Teltscher Collection; Miscellaneous Collections; Marmorstein Collection II. Dr Arthur Marmorstein and His Library -Life and Writings of a Scholar and Bibliographer -A Rabbinic Literary Family: Antecedents and Relations -Marmorstein’s Library III. Hebraica -Literary Periods and Subjects -History of Hebrew Printing -Hebrew Printed Books in the Marmorstein Collection --16th century --17th century --18th century --19th century --20th century -Art of the Hebrew Book -Jewish Languages (Aramaic, Judeo-Arabic, Yiddish, Others) IV. Non-Hebraica -Greek and Latin -German -Anglo-Judaica -Hungarian -French and Italian -Other Languages 2 V. Genres and Subjects Hebraica and Judaica -Bible, Commentaries, Homiletics -Mishnah, Talmud, Midrash, Rabbinic Literature -Responsa -Law Codes and Custumals -Philosophy and Ethics -Kabbalah and Mysticism -Liturgy and Liturgical Poetry -Sephardic, Oriental, Non-Ashkenazic Literature -Sects, Branches, Movements -Sex, Marital Laws, Women -History and Geography -Belles-Lettres -Sciences, Mathematics, Medicine -Philology and Lexicography -Christian Hebraism -Jewish-Christian and Jewish-Muslim Relations -Jewish and non-Jewish Intercultural Influences -
PUCCINI International Opera Composition Course Summer
Summer Seminar 2020 July 6 th to 18 th - Lucca, Italy Come and study how to write opera in Lucca, the city of Giacomo Puccini Cluster – Compositori interpreti del presente in collaboration with: Fondazione Giacomo Puccini Fondazione Cassa di Risparmio di Lucca Fondazione Banca del Monte di Lucca Teatro del Giglio di Lucca EMA Vinci Produzioni discografiche (audio-video), editoriali ed artistiche. Present PUCCINI International Opera Composition Course Summer Seminar 2020 July 6 th to 18 th - Lucca, Italy Come and study how to write opera in Lucca, the city of Giacomo Puccini PROJECT The PUCCINI International Opera Composition Course is addressed to composers (both with or without an academic degree) willing to investigate thoroughly all compositional techniques in use in opera writing today, focusing both on the Italian tradition and on the genre’s contemporary international developments. The course’s aim is to hand down the great opera tradition, having as a target the creation of new operas, bridging the past and the future in a new and enthralling vision. COURSE GOALS Participants will get to a deeper understanding of the various aspects of composing for opera theatre. - At the end of the course, each participant must submit a complete pre-project for a new chamber opera, writing a section or a full score for voice and piano (at least 25 minutes) - The best projects will be selected to be performed as mise-en-scene at the ‘PUCCINI Chamber Opera Festival 2021’ in collaboration with Teatro del Giglio of Lucca - All scores produced will be published and recorded video/audio by EMA Vinci APPLICANTS SELECTION Applicants must submit the following materials for selection: - CV - Project scheme of a chamber opera for max 1 voice and piano - Full score and audio file of an orchestral or chamber composition* - Full score or voice/piano score and audio file of a vocal composition* *midi files can be accepted All materials must be e-mailed to [email protected] Submission deadline April, 30th 2020 Eligible composers will be contacted by May, 15th 2020. -
Sardinian Composers of Contemporary Music
Interdisciplinary Studies in Musicology 12,2012 © PTPN & Wydawnictwo Naukowe UAM, Poznań 2012 CONSUELO GIGLIO Music Conservatory, Trapani Sardinian composers of contemporary music ABSTRACT: The meeting point between the school headed by Franco Oppo and the rich traditional music of the island gave birth in Sardinia to an intense flowering in the field of New Music, with a strong feeling of belonging and a constant call for a positive concept of identity. Thus, since the time of Oppo (1935) and his contemporary Vittorio Montis, we come across many composers that differ between each other but are almost always recognizably “Sardinian”. Oppo has been one of the most interesting figures on the international scene during the last few decades. After his studies in Rome, Venice and Poland in the early 1960s, he remained, by his own choice, in his home territory, sharing his “Sardinian-ness” in a free and dialectic manner with the avant-garde. After formulating his own particular aleatory approach, Oppo reached a turning point halfway through the 1970s: in Musica per chitarra e quartetto d’archi, Praxodia and, finally, in Anninnia I, the meeting point between avant-garde research and the special phonic quality of tra ditional music became more and more close-knit and organic, at the same time also acting on the founding language structure whilst still remaining under the control of incisive and informed dis ciplines (during the same period, moreover, he put forward new methodologies of analysis which were also necessary for his teaching). In this sense the most important works are chamber pieces like Anninnia I and II (1978, 1982), Attitidu (1983) and Sagra (1985), the theatrical work Eleonora d’Arborea (1986), some piano “transcriptions” - the Three berceuses (1982), Gallurese and Baroniese (1989; 1993) - Trio III (1994), Sonata B for percussion and piano (2005) and the two Concerts for piano and orchestra (1995-97; 2002).