DOCSLIB.ORG

Ce-B-Jp1c1-Dl Prev.Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Ce-B-Jp1c1-Dl Prev.Pdf Contents Preface v Conversations with: 1. Celso Antunes (2014) – Beyond Frontiers 1 2. Richard Barrett (2014) - Asserting Imaginative Freedom 6 3. John Cage (1990) – Beautiful Music 22 4. Lawrence Casserley (2001) - Of Exploration And Discovery 29 5. Simon Emmerson (2008) – Somewhere Else 41 6. Luc Ferrari (1999) – Freeing Music 47 7. Michael Finnissy (2014) – Translucent Objects 66 8. Jim Franklin (2014) – Between Worlds 79 9. Dame Evelyn Glennie (2014) – One Same Music 91 10. Vinko Globokar (1999) – Communicating Music 109 11. Jonty Harrison (2001) – Expanded Listening 120 12. Jonathan Harvey (1997) - From The Region Of Near-Transcendence 131 13. Folkmar Hein (1999) - The Electronic Studio At The Technical University Of Berlin 164 14. Carol Morgan (1996) – The Piano Music Of Haubenstock-Ramati 176 15. Heloise Ph. Palmer (2015) - Muïesis: Re-Contextualising Performance Practice 188 16. Nuria Schönberg-Nono (1999) – Arnold Schönberg And The Luigi Nono Archives In Venice 197 17. Klaus Schöpp (2014) - The Modern Art Ensemble Of Berlin 208 18. Elliott Sharp (2014) – Utopian Pursuits 216 19. Daniel Teruggi (1997) – Composition At The INA-GRM In Paris 228 20. James Wood (2015) – Rhythm And Magic 246 Index 273 Preface Is there a universal thread that runs through the creative power of all artists? If music is essentially a mystery, is it because its creator is such? I have always been fascinated by the marvels of the human mind, spellbound by the inventive potential of many musicians and eager to know how they feel about life and relate to their own work. From the apparent isolation of the composer to the collective activities of performers and conductors, there is a common ground for artistic responsibility that seems to characterise the work of all creative minds. Can this responsibility be meaningfully discussed as an all-inclusive experience of humanity? The British philosopher Roy Bhaskar once pointed out that personalism (the branch of philosophy that considers the person as the ultimate key to the understanding of reality) is “characterized by the attribution of responsibilities to the isolated individual in an abstract, desocialized, deprocessualized, unmediated way.”1 Bhaskar’s assertion seems to be particularly relevant when transferred onto the realm of musical creativity. Indeed, isolation typifies the social condition in which composers come to terms with their “responsibilities”. I have already argued about abstraction as being a necessary vehicle for musical creativity,2 about the pulse of artistic inventiveness breathing out of the musician’s personal experience of the world, and referred to a musical work as an epitome of the composer’s awareness of existence.3 Musical knowledge is more than the performance information that is entailed in the analysis of a score. A heartfelt discussion with a musician can generate unparalleled knowledge of the musical work, prompt alternative discoveries about artistic creation and trigger a new awareness of the world through the shared experience of others. Furthermore, such discussion may shed light on two fundamental truths: that the enigmatic nature of music is inherent in the personal dimension of the musician; and that in spite of our idiosyncrasies, we 1 Bhaskar, Roy. Dialectic the Pulse of Freedom. Verso, London, 1993: 265. 2 Palmer, John. Perceptual Abstraction and Electroacoustic Composition. Seamus Journal, USA, Vol. XIII, No. 2, Fall 1998. 3 Palmer, John. Introduction to ‘Images of the mind’. Published in ‘Musik und Neue Technologie 3, Musik im virtuellen Raum’ (edited by Bernd Enders), Universitätsverlag Rasch, Osnabrück (2000). And: Palmer, John. Conceptual models of interaction: towards a perceptual analysis of interactive composition (1997-8). Seamus Journal, USA, Vol. XIV no. 1, Summer 1999. v are all linked by a common quest and therefore belong to a community of kindred spirits who share the same passion for the same art. On that note, I perceive the history of music as a mirror of a living reality that is not only related to social and political events as “mediating” conditions, but also connected at all times to artistic insight, emotional impulse and philosophical inquiry as “processing forces” that inspire creative minds to write, perform and even to promote music! It is this living reality of music that I was interested to discuss with other musicians. This book comprises 20 conversations conducted over a timespan of 25 years, from 1990 to 2015. I prefer to call them conversations rather than “interviews”, as I believe they reflect the spirit that characterises the dialogue: these are discussions between fellow musicians and musical friends. Initially they were prompted by a desire to gain a better understanding of the personal universe of some composers whose work had inspired me in the 1980s and 1990s. It goes without saying that the focus on composers was related to my own compositional interests and activities: from the unequalled personalities of John Cage and Luc Ferrari, and the existential quest of Jonathan Harvey and James Wood to the unique reality of composer-performers such as Vinko Globokar, Jim Franklin, Elliott Sharp, Michael Finnissy, Richard Barrett, and the magic of the electroacoustic universes of Lawrence Casserley, Jonty Harrison and Simon Emmerson. But a living reality of music is bound to include a more wide-ranging profile of musicians: performers, conductors, researchers and even curators whose visionary approach to performance practices and whose lifelong dedication to the promotion of new musical traditions needed to be included in the discussion. From Carol Morgan’s single-minded focus on the piano music by Roman Haubenstock-Ramati to the passionate work of conductor Celso Antunes; from Pierre Schaeffer’s legacy at the INA-GRM in Paris (Daniel Teruggi) to the long-standing mission of the Electronic Studio of the Technical University in Berlin (Folkmar Hein); from the zealous commitment of the Modern Art Ensemble of Berlin (Klaus Schöpp) to the mesmerising world of Dame Evelyn Glennie, the revealing muïetic performances of Heloise Ph. Palmer, and, not least, the dual legacy of Nuria Schönberg-Nono including the Luigi Nono Archives in Venice. The conversations can be grouped into two periods: the first period ranges from 1990 (John Cage) to 2001 (Jonty Harrison) and the second period, from 2008 (Simon Emmerson) to 2015 (James Wood). Most of vi the early conversations are face-to-face discussions that I recorded and transcribed on paper later on. When working on the written texts I have kept the spontaneous qualities that characterised these early conversations. With the growing advantage of email correspondence I conducted the second group of conversations in a written form; I guess the readers will easily identify the more framed quality of these late discussions. On a more editorial note, I am delighted to reveal that the conversation with John Cage has been published here for the first time. This is because in all these years the original record of the conversation had got lost in the somewhat congested Vision Archives and was found only recently. I am equally pleased to issue the unabridged original conversations with Jonathan Harvey (1997), the longest discussion in this book, and Luc Ferrari. Unabridged are also the other conversations that had been previously published and edited elsewhere. Sadly, by the time of this publication three of the protagonists of this book are no longer with us: John Cage died in 1992, Luc Ferrari in 2005 and Jonathan Harvey in 2012. Last but not least, I am very grateful to all the participants to this project for their generous collaboration without which this book would have not come to fruition. I am indebted to Dr Birte Twisselmann for her enthusiastic commitment to this project and the patient provision of editorial advice. I express my thanks to Dan Goren for his graphic work and valuable collaboration. I also wish to acknowledge the following music journals for their kind permission to republish some conversations included in this book: Avant (UK), Living Music (USA), Mitteilungen (Germany), SAN Journal of Electroacoustic Music (UK), Tempo (UK), 20th Century Music (USA), 21st Century Music (USA). vii viii 2. Asserting Imaginative Freedom (2014) A conversation with Richard Barrett JP. Your musical training is rather unusual. You actually graduated in genetics and microbiology from University College London in 1980 and began to study composition with Peter Wiegold after your graduation. You were 21. What was going on in your mind at that time? How would you explain such a drastic change of direction from science to an artistic discipline? And why music in particular? How important had music been in your life up to that point? RB. It had been centrally important since my early teens, but meeting Peter (just a couple of weeks after I graduated) turned out to be a catalytic event in this change of direction. Previously I had thought that I’d probably have some sort of scientific career, with my musical activities taking place in my spare time, but in retrospect that would have probably been a compromised and half-hearted sort of way to live. For me, the exploration and communication of the imaginative faculty is one of the most important and valuable things in life, both individually and in society. Of course there are many ways of realising this, including scientific research, but somehow I became more attuned to what you might call a musical way of discovering and understanding things. I do believe in any case that music could be expressing something fundamental about time and memory, to name only these, as well as being a terrain of ontological investigation and speculation, not just for musical creators and performers, but for listeners too; I say this because listening was my first musical activity, from which I was led to composing, partly as a result of frequently looking for something to listen to that accorded with my thoughts and desires, and finding that it didn’t exist.
Load more

Recommended publications
  • Expanding Horizons: the International Avant-Garde, 1962-75
    452 ROBYNN STILWELL Joplin, Janis. 'Me and Bobby McGee' (Columbia, 1971) i_ /Mercedes Benz' (Columbia, 1971) 17- Llttle Richard. 'Lucille' (Specialty, 1957) 'Tutti Frutti' (Specialty, 1955) Lynn, Loretta. 'The Pili' (MCA, 1975) Expanding horizons: the International 'You Ain't Woman Enough to Take My Man' (MCA, 1966) avant-garde, 1962-75 'Your Squaw Is On the Warpath' (Decca, 1969) The Marvelettes. 'Picase Mr. Postman' (Motown, 1961) RICHARD TOOP Matchbox Twenty. 'Damn' (Atlantic, 1996) Nelson, Ricky. 'Helio, Mary Lou' (Imperial, 1958) 'Traveling Man' (Imperial, 1959) Phair, Liz. 'Happy'(live, 1996) Darmstadt after Steinecke Pickett, Wilson. 'In the Midnight Hour' (Atlantic, 1965) Presley, Elvis. 'Hound Dog' (RCA, 1956) When Wolfgang Steinecke - the originator of the Darmstadt Ferienkurse - The Ravens. 'Rock All Night Long' (Mercury, 1948) died at the end of 1961, much of the increasingly fragüe spirit of collegial- Redding, Otis. 'Dock of the Bay' (Stax, 1968) ity within the Cologne/Darmstadt-centred avant-garde died with him. Boulez 'Mr. Pitiful' (Stax, 1964) and Stockhausen in particular were already fiercely competitive, and when in 'Respect'(Stax, 1965) 1960 Steinecke had assigned direction of the Darmstadt composition course Simón and Garfunkel. 'A Simple Desultory Philippic' (Columbia, 1967) to Boulez, Stockhausen had pointedly stayed away.1 Cage's work and sig- Sinatra, Frank. In the Wee SmallHoun (Capítol, 1954) Songsfor Swinging Lovers (Capítol, 1955) nificance was a constant source of acrimonious debate, and Nono's bitter Surfaris. 'Wipe Out' (Decca, 1963) opposition to himz was one reason for the Italian composer being marginal- The Temptations. 'Papa Was a Rolling Stone' (Motown, 1972) ized by the Cologne inner circle as a structuralist reactionary.
    [Show full text]
  • Multi-Percussion in the Undergraduate Percussion Curriculum Benjamin A
    University of Miami Scholarly Repository Open Access Dissertations Electronic Theses and Dissertations 2014-12 Multi-percussion in the Undergraduate Percussion Curriculum Benjamin A. Charles University of Miami, [email protected] Follow this and additional works at: http://scholarlyrepository.miami.edu/oa_dissertations Recommended Citation Charles, Benjamin A., "Multi-percussion in the Undergraduate Percussion Curriculum" (2014). Open Access Dissertations. Paper 1324. This Open access is brought to you for free and open access by the Electronic Theses and Dissertations at Scholarly Repository. It has been accepted for inclusion in Open Access Dissertations by an authorized administrator of Scholarly Repository. For more information, please contact [email protected]. ! ! UNIVERSITY OF MIAMI ! ! MULTI-PERCUSSION IN THE UNDERGRADUATE PERCUSSION CURRICULUM ! By Benjamin Andrew Charles ! A DOCTORAL ESSAY ! ! Submitted to the Faculty of the University of Miami in partial fulfillment of the requirements for the degree of Doctor of Musical Arts ! ! ! ! ! ! ! ! ! Coral Gables,! Florida ! December 2014 ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ©2014 Benjamin Andrew Charles ! All Rights Reserved UNIVERSITY! OF MIAMI ! ! A doctoral essay proposal submitted in partial fulfillment of the requirements for the degree of Doctor of Musical! Arts ! ! MULTI-PERCUSSION IN THE UNDERGRADUATE PERCUSSION CURRICULUM! ! Benjamin Andrew Charles ! ! !Approved: ! _________________________ __________________________
    [Show full text]
  • Central Opera Service Bulletin • Vol
    CENTRAL OPERA SERVICE COMMITTEE Founder MRS. AUGUST BELMONT Honorary National Chairman ROBERT L. B. TOBIN National Chairman ELIHU M. HYNDMAN National Co-Chairmen MRS. NORRIS DARRELL GEORGE HOWERTON Profntional Committee KURT HERBERT ADLER BORIS GOLDOVSKY San Francisco Opera Goldovsky Opera Theatre WILFRED C. BAIN DAVID LLOYD Indiana University Lake George Opera Festival GRANT BEGLARIAN LOTFI MANSOURI University of So. California Canadian Opera Company MORITZ BOMHARD GLADYS MATHEW Kentucky Opera Association Community Opera SARAH CALDWELL RUSSELL D. PATTERSON Opera Company of Boston Lyric Opera of Kansas City TITO CAPOBIANCO MRS. JOHN DEWITT PELTZ San Diego Opera Metropolitan Opera KENNETH CASWELL EDWARD PURRINGTON Memphis Opera Theatre Tulsa Opera ROBERT J. COLLINGE GLYNN ROSS Baltimore Opera Company Seattle Opera Association JOHN CROSBY JULIUS RUDEL Santa Fe Opera New York City Opera WALTER DUCLOUX MARK SCHUBART University of Texas Lincoln Center ROBERT GAY ROGER L. STEVENS Northwestern University John F. Kennedy Center DAVID GOCKLEY GIDEON WALDROP Houston Grand Opera The Juilliard School Central Opera Service Bulletin • Vol. 21, No. 4 • 1979/80 Editor, MARIA F. RICH Assistant Editor, JEANNE HANIFEE KEMP The COS Bulletin is published quarterly for its members by Central Opera Service. For membership information see back cover. Permission to quote is not necessary but kindly note source. Please send any news items suitable for mention in the COS Bulletin as well as performance information to The Editor, Central Opera Service Bulletin, Metropolitan Opera, Lincoln Center, New York, NY 10023. Copies this issue: $2.00 |$SN 0008-9508 NEW OPERAS AND PREMIERES Last season proved to be the most promising yet for new American NEW operas, their composers and librettists.
    [Show full text]
  • Vinko Globokar About Music Which Refuses to Be Merely Music
    Vinko Globokar About music which refuses to be merely music Leon Stefanija Ranking with the most eminent classics of the 20st century, Vinko Globokar does not require a detailed presentation; it would be therefore appropriate to make at the outset only a brief summary of his life. Vinko Globokar was born on 7th July 1934 in a Slovene emigrant family living in Anderny in France. From the age of thirteen to the age of twenty he lived in Ljubljana, where he finished secondary music school. He continued his studies at the Paris Conservatoire, where he studied trombone under Professor Andre Lafoss. He graduated in trombone and chamber music, and then studied composing and conducting with René Leibowitz. He played at premier performances of a number of compositions of such trombone composers as Luciano Berio (Berlin) and René Leibowitz. In addition, he lived as a composer and performer in Buffalo, and set up New Phonic art, a quartet for free improvisation He lectured at the Musikhochschule in Köln, whilst in Paris he was the head of the department for research into sound and the voice at the IRCAM institute. At present, Globokar, a cosmopolitan often returning to his homeland, lives in Berlin unless he is roaming some distant places in pursuit of new artistic challenges. Since Globokar´s rich experience cannot be reduced to a couple of pages, this article should mainly attempt at inviting you to listen to his music as well as reading his texts. It is my aim to reflect upon the common thread that runs through all of his activities: at the heart of his creation and reflection are his reactions towards the environment.
    [Show full text]
  • Classical Music
    2020– 21 2020– 2020–21 Music Classical Classical Music 1 2019– 20 2019– Classical Music 21 2020– 2020–21 Welcome to our 2020–21 Contents Classical Music season. Artists in the spotlight 3 We are committed to presenting a season unexpected sounds in unexpected places across Six incredible artists you’ll want to know better that connects audiences with the greatest the Culture Mile. We will also continue to take Deep dives 9 international artists and ensembles, as part steps to address the boundaries of historic Go beneath the surface of the music in these themed of a programme that crosses genres and imbalances in music, such as shining a spotlight days and festivals boundaries to break new ground. on 400 years of female composition in The Ghosts, gold-diggers, sorcerers and lovers 19 This year we will celebrate Thomas Adès’s Future is Female. Travel to mystical worlds and new frontiers in music’s 50th birthday with orchestras including the Together with our resident and associate ultimate dramatic form: opera London Symphony Orchestra, Britten Sinfonia, orchestras and ensembles – the London Los Angeles Philharmonic, The Cleveland Symphony Orchestra, BBC Symphony Awesome orchestras 27 Orchestra and Australian Chamber Orchestra Orchestra, Britten Sinfonia, Academy of Ancient Agile chamber ensembles and powerful symphonic juggernauts and conductors including Sir Simon Rattle, Music, Los Angeles Philharmonic and Australian Choral highlights 35 Gustavo Dudamel, Franz Welser-Möst and the Chamber Orchestra – we are looking forward Epic anthems and moving songs to stir the soul birthday boy himself. Joyce DiDonato will to another year of great music, great artists and return to the Barbican in the company of the great experiences.
    [Show full text]
  • Érma Ensemble
    ÉRMA ENSEMBLE MEMBERS LOTTE NURIA ADLER Lotte Nuria Adler (* 28th May 1998) discovered the mandolin for herself at the age of seven. From 2011 to 2015 she participated in the talent program of the Folkwang Music School Essen. Later, she has repeatedly taken master classes with Joseph Brent, Mike Marshall, Gertrud Weyhofen, Marga Wilden-Hüsgen, Markus Stockhausen and others. After graduating from high school in 2016, Lotte Nuria Adler took up her studies at Cologne Music College (Wuppertal branch) with Prof. Caterina Lichtenberg. At the same college she concurrently studies Elementary Music Pedagogy. Lotte Nuria Adler has frequently participated in both national and international competitions since 2008. As a child already, she had won numerous first prices and reached the maximum score at the federal competition of Jugend musiziert more than once. Participating in the most renowned international competitions for mandolin she has obtained a second prize at the 2nd International Solo Mandolin Competition Luxembourg in 2016 and the first price along with the audience award at the Yasuo-Kuwahara-Wettbewerb in 2018 where earlier she had already obtained the third price along with the audience award in 2015 at the age of 16. At the age of 13 Lotte Nuria Adler became concertmaster of the Plucked String Orchestra Düsseldorf. Regular guest performances with different orchestras from across the province have granted her entry to numerous concert houses such as Tonhalle, German Opera on the Rhine and Philharmonie Essen. In 2017, Lotte Nuria joined the «Studio Musikfabrik“, youth ensemble of the «Ensemble Musikfabrik». From an early age she has been attached to Contemporary Music.
    [Show full text]
  • Festival of Contemporary Dutch Music: Calarts New Century Players
    Music Wednesdays that has contributed to the programming content of concerts presented by CalArts at their new theatre REDCAT at the Disney Hall complex. He currently curates a series called Classics at CalArts, a chamber music series presented annually at the Valencia campus. Michael Pisaro was born in Buffalo in 1961. He is a composer and guitarist, a member of the Wandelweiser Composers Ensemble and founder and director of the Experimental Music Workshop. His work is frequently performed in the U.S. and in Europe, in music festivals and in many smaller venues. It has been selected twice by the ISCM jury for performance at World Music Days festivals (Copenhagen, 1996; Manchester, 1998) and has also been part of festivals in Hong Kong (ICMC, 1998), Vienna (Wien Modern, 1997), Aspen (1991) and Chicago (New Music Chicago, 1990, 1991). He has had extended composer residencies in Germany (Künstlerhof Schreyahn, Dortmund University), Switzerland (Forumclaque/Baden), Israel (Miskenot Sha'ananmim), Greece (EarTalk) and in the U.S. (Birch Creek Music Festival/ Wisconsin). Concert-length portraits of his music have been given in Munich, Jerusalem, Los Angeles, Vienna, Merano (Italy), Brussels, New York, Curitiba (Brazil), Amsterdam, London, Tokyo, Berlin, Chicago, Düsseldorf, Zürich, Cologne, Aarau (Switzerland), and elsewhere. He is a Foundation for Contemporary Arts, 2005 and 2006 Grant Recipient. Most of his music of the last several years is published by Timescaper Music (Germany). Several CDs of his work have been released by Edition Wandelweiser Records, Compost and Height, Sound323, Nine Winds and others, including most recently transparent city, volumes 1–4, an unrhymed chord and harmony series (11–16).
    [Show full text]
  • In the Vor Tex of Ti Me
    17th Slowind Festival 2015 Žuraj with Slowind! IN THE VOR TEX OF TI Slovenian PhilharmonicME Cankarjev dom 19–25 October 2015 Artistic Director: Vito Žuraj • Pierre Boulez • Helmut Lachenmann • Vito Žuraj • Heitor Villa-Lobos • Gérard Grisey • Nicola Vicentino • Ivan Wyschnegradsky • Márton Illés • Michael Pelzel • György Ligeti • Alwyn Tomas Westbrooke • Nina Šenk • Bruno Mantovani • Georg Katzer • Uroš Rojko • Lothar Voigtländer • Vinko Globokar • Heinz Holliger • Mihael Paš • Salvatore Sciarrino • Bojana Šaljić Podešva • Beat Furrer • Anton Webern • Franz Schubert • Matej Bonin • Wolfgang Rihm • Larisa Vrhunc • Brice Pauset • Valued Listeners, It is no coincidence that we in Slowind decided almost three years ago to entrust the artistic direction of our festival to the penetrating, successful and (still) young composer Vito Žuraj. And it is precisely in the last three years that Vito has achieved even greater success, recently being capped off with the prestigious Prešeren Fund Prize in 2014, as well as a series of performances of his compositions at a diverse range of international music venues. Vito’s close collaboration with composers and performers of various stylistic orientations was an additional impetus for us to prepare the Slowind Festival under the leadership of a Slovenian artistic director for the first time! This autumn, we will put ourselves at the mercy of the vortex of time and again celebrate to some extent. On this occasion, we will mark the th th 90 birthday of Pierre Boulez as well as the 80 birthday of Helmut Lachenmann and Georg Katzer. In addition to works by these distinguished th composers, the 17 Slowind Festival will also present a range of prominent composers of our time, including Bruno Mantovani, Brice Pauset, Michael Pelzel, Heinz Holliger, Beat Furrer and Márton Illés, as well as Slovenian composers Larisa Vrhunc, Nina Šenk, Bojana Šaljić Podešva, Uroš Rojko, and Matej Bonin, and, of course, the festival’s artistic director Vito Žuraj.
    [Show full text]
  • Vendredi 10 Février Ensemble Intercontemporain Ensemble In
    Roch-Olivier Maistre, Président du Conseil d’administration Laurent Bayle, Directeur général Vendredi 10 février Ensemble intercontemporain Dans le cadre du cycle Des pieds et des mains Du 10 au 12 février Vendredi 10 février 10 Vendredi | Vous avez la possibilité de consulter les notes de programme en ligne, 2 jours avant chaque concert, à l’adresse suivante : www.citedelamusique.fr Ensemble intercontemporain Ensemble intercontemporain Cycle Des pieds et des mains L’Ensemble intercontemporain présente deux concerts dans le cadre du cycle Des pieds et des mains à la Cité de la musique. Inori (un mot japonais qui signie « invocation, adoration ») est une expérience totale. La mimique quasi dansée des deux « solistes » emprunte le code de ses gestes de prière à diverses religions du monde. À chaque mouvement des mains correspond une note : Inori est en 1974 l’une des premières pièces de Stockhausen à se fonder sur une « formule », sorte d’hyper-mélodie qui non seulement est entendue comme telle mais se retrouve pour ainsi dire étirée à l’échelle de l’œuvre dans son entier, dont elle dicte et caractérise les diérentes parties. Enn, chacune des sections d’Inori se concentre sur un aspect du discours musical – dans l’ordre : rythme, dynamique, mélodie, harmonie et polyphonie –, si bien que la partition, selon le compositeur, « se développe comme une histoire de la musique » reparcourue en accéléré, depuis l’origine jusqu’à nos jours. Dans le saisissant Pas de cinq de Mauricio Kagel, composé en 1965, les cinq exécutants, munis d’une canne, parcourent et sillonnent une surface délimitée en forme de pentagone couvert de diérents matériaux.
    [Show full text]
  • Examination of the Evolution of Multi-Percussion
    Edith Cowan University Research Online Theses: Doctorates and Masters Theses 10-10-2020 Examination of the evolution of multi-percussion Thomas Alexander Robertson Edith Cowan University Follow this and additional works at: https://ro.ecu.edu.au/theses Part of the Music Commons Recommended Citation Robertson, T. A. (2020). Examination of the evolution of multi-percussion. https://ro.ecu.edu.au/theses/ 2366 This Thesis is posted at Research Online. https://ro.ecu.edu.au/theses/2366 Edith Cowan University Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorize you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. You are reminded of the following: Copyright owners are entitled to take legal action against persons who infringe their copyright. A reproduction of material that is protected by copyright may be a copyright infringement. Where the reproduction of such material is done without attribution of authorship, with false attribution of authorship or the authorship is treated in a derogatory manner, this may be a breach of the author’s moral rights contained in Part IX of the Copyright Act 1968 (Cth). Courts have the power to impose a wide range of civil and criminal sanctions for infringement of copyright, infringement of moral rights and other offences under the Copyright Act 1968 (Cth). Higher penalties may apply, and higher damages may be awarded, for offences and infringements involving the conversion of material into digital or electronic form.
    [Show full text]
  • Transformations of Programming Policies
    The Warsaw Autumn International Festival of Contemporary Transformations of Programming Music Policies Małgorzata gąsiorowska Email: [email protected]???? Email: The Warsaw Autumn International Festival of Contemporary Music Transformations of Programming Policies Musicology today • Vol. 14 • 2017 DOI: 10.1515/muso-2017-0001 ABSTRACT situation that people have turned away from contemporary art because it is disturbing, perhaps necessarily so. Rather than The present paper surveys the history of the Warsaw Autumn festival confrontation, we sought only beauty, to help us to overcome the 1 focusing on changes in the Festival programming. I discuss the banality of everyday life. circumstances of organising a cyclic contemporary music festival of international status in Poland. I point out the relations between The situation of growing conflict between the bourgeois programming policies and the current political situation, which in the establishment (as the main addressee of broadly conceived early years of the Festival forced organisers to maintain balance between th Western and Soviet music as well as the music from the so-called art in the early 20 century) and the artists (whose “people’s democracies” (i.e. the Soviet bloc). Initial strong emphasis on uncompromising attitudes led them to question and the presentation of 20th-century classics was gradually replaced by an disrupt the canonical rules accepted by the audience and attempt to reflect different tendencies and new phenomena, also those by most critics) – led to certain critical situations which combining music with other arts. Despite changes and adjustments in marked the beginning of a new era in European culture. the programming policy, the central aim of the Festival’s founders – that of presenting contemporary music in all its diversity, without overdue In the history of music, one such symbolic date is 1913, emphasis on any particular trend – has consistently been pursued.
    [Show full text]
  • Two Analyses and an Annotated List of Works for Solo Trombone with Electroacoustic Accompaniment for Use in the Collegiate Studi
    TWO ANALYSES AND AN ANNOTATED LIST OF WORKS FOR SOLO TROMBONE WITH ELECTROACOUSTIC ACCOMPANIMENT FOR USE IN THE COLLEGIATE STUDIO by THOMAS BURNS COX (Under the Direction of David Zerkel) ABSTRACT The purpose of this document is to help trombonists familiarize themselves with the genre of solo trombone music with pre-recorded electroacoustic accompaniment. A survey was taken of trombone instructors in the United States and Canada, asking participants to identify pieces they would recommend for use in a collegiate studio. Two lesser-known pieces not identified in the survey, Changes: Open Style (1965) by Larry Austin and I Was Like Wow (2004) by Jacob Ter Veldhuis, were chosen to be featured and analyzed in detail in Chapters 2 and 3— the Austin, composed in 1965, represents the older style of electroacoustic music, while the Ter Veldhuis, composed in 2006, is representative of the style in use today. These pieces are included with those that were identified in the survey in Chapter 4, an annotated list of works for trombone and electroacoustic music. In this list, information is provided in order to assist a trombonist who may want to choose a work to study, such as the range, mutes, and extended techniques required to play each work, as well as some information about musical style. INDEX WORDS: Trombone, Trombone literature, Electroacoustic music, Computer music, Avant-garde, Music analysis, Larry Austin, Jacob Ter Veldhuis, Guide TWO ANALYSES AND AN ANNOTATED LIST OF WORKS FOR SOLO TROMBONE WITH ELECTROACOUSTIC ACCOMPANIMENT FOR USE
    [Show full text]