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É M I L I E Livret D’Amin Maalouf
KAIJA SAARIAHO É M I L I E Livret d’Amin Maalouf Opéra en neuf scènes 2010 OPERA de LYON LIVRET 5 Fiche technique 7 L’argument 10 Le(s) personnage(s) 16 ÉMILIE CAHIER de LECTURES Voltaire 37 Épitaphe pour Émilie du Châtelet Kaija Saariaho 38 Émilie pour Karita Émilie du Châtelet 43 Les grandes machines du bonheur Serge Lamothe 48 Feu, lumière, couleurs, les intuitions d’Émilie 51 Les derniers mois de la dame des Lumières Émilie du Châtelet 59 Mon malheureux secret 60 Je suis bien indignée de vous aimer autant 61 Voltaire Correspondance CARNET de NOTES Kaija Saariaho 66 Repères biographiques 69 Discographie, Vidéographie, Internet Madame du Châtelet 72 Notice bibliographique Amin Maalouf 73 Repères biographiques 74 Notice bibliographique Illustration. Planches de l’Encyclopédie de Diderot et D’Alembert, Paris, 1751-1772 Gravures du Recueil de planches sur les sciences, les arts libéraux & les arts méchaniques, volumes V & XII LIVRET Le livret est écrit par l’écrivain et romancier Amin Maalouf. Il s’inspire de la vie et des travaux d’Émilie du Châtelet. Émilie est le quatrième livret composé par Amin Maalouf pour et avec Kaija Saariaho, après L’Amour de loin, Adriana Mater 5 et La Passion de Simone. PARTITION Kaija Saariaho commence l’écriture de la partition orches- trale en septembre 2008 et la termine le 19 mai 2009. L’œuvre a été composée à Paris et à Courtempierre (Loiret). Émilie est une commande de l’Opéra national de Lyon, du Barbican Centre de Londres et de la Fondation Gulbenkian. Elle est publiée par Chester Music Ltd. -
Saariaho–Petals– Context, Structure, Sonority Music Year Group: 12/13 and Melody
Topic: Kaija Saariaho–Petals– Context, structure, sonority Music Year Group: 12/13 and melody. 1. Context and structure 3. Sonority – How the instruments are used 4. Key vocabulary Ralph Finnish composer, who has studied in Artificial A harmonic produced on a stopped Spectralists A group of French Vaughan- Helsinki, Germany and Paris, where she 1 Harmon string on a stringed instrument. E.g. composers who use Williams now lives. Interests included computer- ic Section 5. 1 computer analysis of based sound spectrum analysis, Double Playing two notes at the same time sound as the basis for 1 electronic music, music combining live 2 Stoppin on a string instrument. E.g. Stave 18. composition. performance and electronics and the g Nympheas Composition in 1987 for use of computers in the actual string quartet and composition of music. Identifies as a Electro Making a sound louder by electronic nic means. 2 electronics, which spectralist composer. 3 amplific Saariaho uses as a basis Colouristic Slower moving passages where the ation for the opening. 2 emphasis is on changing sounds of long Harmoniser A device that detunes’ notes. Section 1, 3, 5 and 7. Fundam The musical pitch of a note that is 4 ental perceived as the lowest partial the input pitch by Energetic Section with short note lengths and present. 3 adding pitches a quarter 3 faster moving passages. Section 2, 4 and tone above and below Glissan Slide from one note to another. E.g. 6. 5 simultaneously. do Stave 18. Staves Rather than using bars, everything is Reverberation A sustaining effect that divided into staves. -
New Music Festival November 5-9, 2018
University of Louisville School of Music Presents the Annual New Music Festival November 5-9, 2018 FEATURED GUEST COMPOSER Amy Williams GUEST ARTISTS Sam Pluta Elysian Trombone Consort A/Tonal Ensemble New Music Festival November 5-9, 2018 Amy Williams featured composer Table of Contents Greetings From Dr. Christopher Doane, Dean of the School of Music 3 Biography Amy Williams, Featured Composer 5 Sunday, November 4 Morton Feldman: His Life & Works Program 6 Monday, November 5 Faculty Chamber Music Program 10 Tuesday, November 6 Electronic Music Program 18 Wednesday, November 7 University Symphony Orchestra Program 22 Personnel 25 Thursday, November 8 Collegiate Chorale & Cardinal Singers Program 26 Personnel 32 Friday, November 9 New Music Ensemble & Wind Ensemble Program 34 Personnel 40 Guest Artist Biographies 41 Composer Biographies 43 1 Media partnership provided by Louisville Public Media 502-852-6907 louisville.edu/music facebook.com/uoflmusic Additional 2018 New Music Festival Events: Monday, November 5, 2018 Music Building Room LL28 Computer Music Composition Seminar with Sam Pluta Wednesday, November 7, 2018 Music Building Room 125 Composition Seminar with Amy Williams Thursday, November 8, 2018 Bird Recital Hall Convocation Lecture with Amy Williams To access the New Music Festival program: For Apple users, please scan the accompanying QR code. For Android users, please visit www.qrstuff.com/scan and allow the website to access your device’s camera. The New Music Festival Organizing Committee Dr. John Ritz, chair Dr. Kent Hatteberg Professor Kimcherie Lloyd Dr. Frederick Speck Dr. Krzysztof Wołek 2 The School of Music at the University of Louisville is strongly identified with the performance of contemporary music and the creation of new music. -
Broken-Continuity in Saariaho's Terra Memoria
Trabzon University State Conservatory © 2017-2020 Volume 4 Issue 2 December 2020 Research Article Musicologist 2020. 4 (2): 227-247 DOI: 10.33906/musicologist.775821 KHENG K. KOAY National Sun Yat-sen University, Taiwan [email protected] orcid.org/ 0000-0001-7941-6559 Broken-Continuity in Saariaho’s Terra Memoria ABSTRACT Terra Memoria is a musical piece that explores timbre, dynamic and KEYWORDS texture, creating an unconventional formal design. Although discontinuity and interruption are experimented with to create a sense Kaija Saariaho of unexpected development in the music’s progress, there are various Terra Memoria means by which Saariaho unifies the composition. Throughout the piece, she explores different musical styles, new musical expressions, and 21st century music compositional techniques in her own unique way. The music shows threads of stylistic connection to conventional music of the past centuries, minimalist-like repetition, and electronic music. Vocal and operatic writing styles are also experimented with. The composition demonstrates Saariaho’s challenge to traditional notions of form, giving her her own music vocabulary. Received: July 30, 2020; Accepted: December 04, 2020 227 Kaija Saariaho (b. 1952) is a Finnish composer, whose compositions contain a very distinctive musical language and personal voice. Throughout the wide range of her output, she has had ways of organizing, building, and expressing her musical thoughts, carefully designing her music to achieve communication with her listeners. Saariaho’s music is approachable, yet rooted in a modernistic tradition. Her interesting ideas and fundamental desire for musical design and unique voice can be heard in Terra Memoria (2009) for string orchestra. -
The Glissando Headjoint
The Glissando Headjoint Author Shephard, Eliza Published 2020-04-02 Thesis Type Thesis (Masters) School Queensland Conservatorium DOI https://doi.org/10.25904/1912/513 Copyright Statement The author owns the copyright in this thesis, unless stated otherwise. Downloaded from http://hdl.handle.net/10072/393197 Griffith Research Online https://research-repository.griffith.edu.au The Glissando Headjoint Eliza Giselle Shephard Bachelor of Music (Honours), Licentiate of Music, Associate of Music s5084256 Queensland Conservatorium Griffith University Submitted in fulfilment of the requirements of the degree of Master of Music (Research) July 2019 © Eliza Shephard s5084256 Page 1 Statement of Originality I acknowledge that the research presented in this project is authentic and completed by myself, Eliza Giselle Shephard. This work has not previously been submitted for a degree or diploma in any university. To the best of my knowledge and belief, the thesis contains no material previously published or written by another person except where due reference is made in the thesis itself. Eliza Shephard, July 22, 2019. Statement of Assistance I would like to acknowledge Capstone Editing for their assistance in editing and proofing this document prior to submission. Ethics Approval This research has received Human Ethics Research Approval through the Ethics Committee of Griffith University and the study was conducted in accordance with the approved protocol – approval number: GU Ref No: 2018/361 It is acknowledged that the Glissando Headjoint® is a registered trademark of Robert Dick. For the purposes of concise language, the term GHJ will be understood to replicate the full term of Glissando Headjoint. © Eliza Shephard s5084256 Page ii Acknowledgements I would like to thank firstly my incredible family who have supported me through all my fluting years. -
Deep Time of the Media ELECTRONIC CULTURE: HISTORY, THEORY, and PRACTICE
Deep Time of the Media ELECTRONIC CULTURE: HISTORY, THEORY, AND PRACTICE Ars Electronica: Facing the Future: A Survey of Two Decades edited by Timothy Druckrey net_condition: art and global media edited by Peter Weibel and Timothy Druckrey Dark Fiber: Tracking Critical Internet Culture by Geert Lovink Future Cinema: The Cinematic Imaginary after Film edited by Jeffrey Shaw and Peter Weibel Stelarc: The Monograph edited by Marquard Smith Deep Time of the Media: Toward an Archaeology of Hearing and Seeing by Technical Means by Siegfried Zielinski Deep Time of the Media Toward an Archaeology of Hearing and Seeing by Technical Means Siegfried Zielinski translated by Gloria Custance The MIT Press Cambridge, Massachusetts London, England © 2006 Massachusetts Institute of Technology Originally published as Archäologie der Medien: Zur Tiefenzeit des technischen Hörens und Sehens, © Rowohlt Taschenbuch Verlag, Reinbek bei Hamburg, 2002 The publication of this work was supported by a grant from the Goethe-Institut. All rights reserved. No part of this book may be reproduced in any form by any elec- tronic or mechanical means (including photocopying, recording, or information storage and retrieval) without permission in writing from the publisher. I have made every effort to provide proper credits and trace the copyright holders of images and texts included in this work, but if I have inadvertently overlooked any, I would be happy to make the necessary adjustments at the first opportunity.—The author MIT Press books may be purchased at special quantity discounts for business or sales promotional use. For information, please e-mail [email protected] or write to Special Sales Department, The MIT Press, 55 Hayward Street, Cambridge, MA 02142. -
A Conversation with Kaija Saariaho and Jean-Baptiste Barri
Edmund Campion Dual Reflections: A Center for New Music and Audio Technologies 1750 Arch Street, Berkeley, California Conversation with Kaija 94709, USA [email protected] Saariaho and Jean-Baptiste Barriere` on Music, Art, and Technology During the fall of 2015, composer Kaija Saariaho took by Camilla Hoitenga, and Ekstasis, for soprano and up residence as Bloch Professor in the Department electronics, based on two texts by Simone Weil of Music at the University of California, Berkeley and Louise Michel and sung by soprano Raphaele¨ (UCB). In addition to conducting master classes Kennedy. and private lessons with student composers, she On 1 December 2015 I interviewed Saariaho participated in appearances at UCB’s Center for and Barriere` (see Figure 1) at CNMAT in Berkeley. New Music and Audio Technologies (CNMAT) Saariaho had just completed her Bloch Residency and at the Doreen B. Townsend Center for the and Barriere` had just ended his David Wessel Music Humanities. Her music was performed by the and Science Fellow Residency. The interview has UCB Symphony Orchestra and the Eco Ensemble, been extensively edited by Danielle DeGruttola in both with David Milnes; the Berkeley Symphony, close consultation with the interviewees. conducted by Joana Carneiro; the San Francisco Contemporary Music Players; and the Left Coast Chamber Ensemble. Saariaho gave public Bloch Recent Saariaho Projects and Real-Time Lectures, featuring conversations with distinguished Processing collaborators. Cellist, long-time collaborator, and concurrent Regent’s Lecturer Anssi Karttunen Edmund Campion: What’s going on recently in your appeared as soloist in the Cal Performances Saariaho lives, musically speaking? portrait concert. -
Sept Papillons, De Kaija Saariaho: Análise Musical E Aspectos Da Performance
UNIVERSIDADE DO ESTADO DE SANTA CATARINA – UDESC CENTRO DE ARTES – CEART PROGRAMA DE PÓS-GRADUAÇÃO EM MÚSICA - PPGMUS CAMILA DURÃES ZERBINATTI SEPT PAPILLONS, DE KAIJA SAARIAHO: ANÁLISE MUSICAL E ASPECTOS DA PERFORMANCE FLORIANÓPOLIS, SC 2015 UNIVERSIDADE DO ESTADO DE SANTA CATARINA – UDESC CENTRO DE ARTES – CEART PROGRAMA DE PÓS-GRADUAÇÃO EM MÚSICA – PPGMUS CAMILA DURÃES ZERBINATTI SEPT PAPILLONS, DE KAIJA SAARIAHO: ANÁLISE MUSICAL E ASPECTOS DA PERFORMANCE Dissertação submetida ao Programa de Pós-Graduação em Música da Universidade do Estado de Santa Catarina, como requisito parcial para a obtenção do título de mestre em Música. Subárea: Musicologia-Etnomusicologia. Orientador: Dr. Guilherme Antônio Sauerbronn de Barros FLORIANÓPOLIS, SC 2015 Z5 Zerbinatti, Camila Durães 8s Sept Papillons, de Kaija Saariaho: análise musical e aspectos da performance / Camila Durães Zerbinatti. - 2015. 282 p. il.; 21 cm Orientador: Guilherme Antônio Sauerbronn de Barros Bibliografia: p. 260-267 Dissertação (Mestrado) - Universidade do Estado de Santa Catarina, Centro de Artes, Programa de Pós- Graduação em Música, Florianópolis,2015. 1. Música – Análise, Apreciação. 2.Violoncelo. 3. Criatividade. 4. Performance. 5. Kaija Saariaho. I. Barros, Guilherme Antônio Sauerbronn. II. Universidade do Estado de Santa Catarina. Programa de Pós-Graduação em Música. III. Título. CDD:780.15 – 20.ed. Ficha catalográfica elaborada pela Biblioteca Central da UDESC CAMILA DURÃES ZERBINATTI SEPT PAPILLONS, DE KAIJA SAARIAHO: ANÁLISE MUSICAL E ASPECTOS DA PERFORMANCE Dissertação submetida ao Programa de Pós-Graduação em Música da Universidade do Estado de Santa Catarina, como requisito parcial para a obtenção do título de mestre em Música. Subárea: Musicologia-Etnomusicologia. Banca Examinadora: Orientador: ____________________________________ Dr. Guilherme Antônio Sauerbronn de Barros UDESC Membros: ____________________________________ Dra. -
Madama Butterfly
Madama Butterfly PRODUCTION INFORMATION Music: Giacomo Puccini Text (Italian): Giuseppe Giacosa and Luigi Illica World Premiere: Milan, La Scala February 17, 1904 Final Dress Rehearsal Date: Monday, January 13, 2014 Note: the following times are approximate Act I: 10:30am – 11:30am Intermission (Lunch): 11:30am – 12:00pm Act II, Part 1: 12:00pm – 1:00pm Intermission: 1:00pm – 1:25pm Act II, Part 2: 1:25pm – 2:00pm Cast: Cio-Cio-San Amanda Echalaz Suzuki Elizabeth DeShong Pinkerton Bryan Hymel Sharpless Scott Hendricks Production Team: Conductor Philippe Auguin Production Anthony Minghella Director and Choreographer Carolyn Choa Set Designer Michael Levine Costume Designer Han Feng Lighting Designer Peter Mumford Puppetry Blind Summit Theatre 2 Table of Contents Production Information 2 An Introduction to Pathways for Understanding Study Materials 4 Meet the Characters 5 The Story of Madama Butterfly Synopsis 6 Guiding Questions 8 The History of Puccini’s Madama Butterfly 9 Guided Listening Dovunque al mondo lo Yankee… 13 Cio-Cio-San 15 Vogliatemi bene 17 Un bel dì 19 Yamadori, ancor le pene 20 Addio, fiorito asil 22 Con onor muore 24 Madama Butterfly Resources About the Composer 26 Exoticism and Opera 29 Online Resources 32 Additional Resources The Emergence of Opera 34 Metropolitan Opera House Facts 38 Reflections after the Opera 40 A Guide to Voice Parts and Families of the Orchestra 41 Glossary 42 References Works Consulted 46 3 An Introduction to Pathways for Understanding Study Materials The goal of Pathways for Understanding materials is to provide multiple “pathways” for learning about a specific opera as well as the operatic art form, and to allow teachers to create lessons that work best for their particular teaching style, subject area, and class of students. -
Julian Anderson's Symphony
JULIAN ANDERSON’S SYMPHONY: OTHER WORLDS REFLECTED A Dissertation Presented to the Faculty of the Graduate School of Cornell University In Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts by Michael John Sherman Small January 2017 © 2017 Michael John Sherman Small JULIAN ANDERSON’S SYMPHONY: OTHER WORLDS REFLECTED Michael John Sherman Small D.M.A. Cornell University 2017 ABSTRACT In recent years, Julian Anderson’s music has been gaining ever-increasing international attention, especially since his residency with the City of Birmingham Symphony Orchestra from 2001 to 2005. Some of Anderson’s most important works were written during this period, including Symphony (2003). Through an examination of the work’s technical construction as well as its connections to seminal works of literature and music, this dissertation gives an account of Symphony as a locus for Anderson’s artistic concerns writ large. BIOGRAPHICAL SKETCH Michael Small was born in Birkenhead, England in 1988. He began his compositional training at the Royal Northern College of Music in Manchester in 2007, graduating with full honors, and then beginning his DMA at Cornell in August 2011. In 2014, Michael received the Alan Horne prize from the Royal Philharmonic Society as part of their annual Young Composer commissions. His piece for solo violin called White Space written for UK violinist Fenella Humphreys was premiered at the Presteigne Festival in August 2015 and has received performances in Bristol, Oxford, Liverpool, and London, and at the National Galleries of Art in Edinburgh, before a painting by the artist who inspired the work. -
NORTHWESTERN UNIVERSITY Timbral Intention
NORTHWESTERN UNIVERSITY Timbral Intention: Examining the Contemporary Performance Practice and Techniques of Kaija Saariaho’s Vocal Music A DISSERTATION SUBMITTED TO THE BIENEN SCHOOL OF MUSIC IN PARTIAL FULFULLMENT OF THE REQUIREMENTS for the degree DOCTOR OF MUSICAL ARTS Field of Voice Performance and Literature By Alison Wahl EVANSTON, ILLINOIS March 2017 2 ABSTRACT Kaija Saariaho’s vocal music is a rewarding challenge for a singer. Her works contain extended techniques and innovative performance practices, which allow her to create interesting and moving timbral effects. Her musical language has its foundation in her cultural identity, formed as a girl in the forests of Finland. The sound of the woods, birdsong, whispering, and wind are an integral part of Saariaho’s musical voice. Her creative use of text setting results in a highly emotional and unusual expression of poetry, although unconventional setting of words may necessitate some extra effort on the part of the performer. The extended techniques in her music are likewise emotionally driven, and include methods of fine variation in breathiness, pitch, and vibrato to create a wider palette of vocal sounds. Her use of electronics also allows her to write meaningful music with a unique musical atmosphere. In Saariaho’s collaboration with singers, she has proven to be extremely approachable and supportive, both when coaching performers of her work and developing new pieces with colleagues. Saariaho’s vocal music is more straightforward and less complex than her work for solo instruments in terms of rhythm and pitch collections; however, her innovative text setting and embracing of the wide spectrum of sound of the human voice results in a very colorful and deep musical language. -
Edexcel Aos6: Saariaho's Petals
KSKS55 Edexcel AoS6: Saariaho’s Petals David Guinane is by David Guinane Head of Music at Beaumont School in St Albans. He has written two books on music education, as well as a range INTRODUCTION of resources for exam boards, Of all the ‘New Directions’ works in the Edexcel A level Anthology, Saariaho’s Petals is the only one written by a Music Teacher living composer (at the time of writing). It is without doubt one of the most fascinating pieces in the Anthology, magazine and other publishers. but also one of the most challenging to study. This resource will look at the key elements of the piece itself, and will delve into the wider context of Saariaho’s compositional style. ‘Challenging’ music For many, including me, Petals is a beautiful and important work. For others, it can be a challenging listen. When approaching contemporary works, however, it’s important to embrace the challenge of pieces such as this. One of the stumbling blocks for younger listeners when hearing music like this is that the piece just isn’t about the musical elements students have been trained to focus on over so many years. As a result, it can be jarring for new listeners. For more on why the Immersion in the style is the best way to fully appreciate contemporary composition. You may have to change ‘challenge’ of new the way you listen, and this takes time. To help your students, before listening, direct them to focus on particular music is difficult for so many, try the aspects of what they hear.