Shaker Loops, Alleged Dances
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THE CLEVELAN ORCHESTRA California Masterwor S
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UCLA UCLA Electronic Theses and Dissertations
UCLA UCLA Electronic Theses and Dissertations Title Hypermeter and Phrase Structure in Selected Works by Stravinsky, Crumb, and Adams Permalink https://escholarship.org/uc/item/8044m9c0 Author Young, Samuel M Publication Date 2018 Supplemental Material https://escholarship.org/uc/item/8044m9c0#supplemental Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Hypermeter and Phrase Structure in Selected Works by Stravinsky, Crumb, and Adams A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music by Samuel Martin Young 2018 © Copyright by Samuel Martin Young 2018 ABSTRACT OF THE DISSERTATION Hypermeter and Phrase Structure in Selected Works by Stravinsky, Crumb, and Adams by Samuel Martin Young Doctor of Philosophy in Music University of California, Los Angeles, 2018 Professor Ian Krouse, Co-Chair Professor David Samuel Lefkowitz, Co-Chair This dissertation studies the occurrence of hypermeter—the extension of metric organization beyond the measure level—in twentieth-century music. Meter is the hierarchical framework against which the listener relates melodic complexes on the musical surface, and this metric foundation is key to the listener’s understanding of the musical fabric as a whole. While many theorists have discussed the relationship between musical surface and metric structure in Classical- and Romantic-era music, the rhythmic and structural underpinning of twentieth- century repertoires has received far less attention. In the tonal music of the Common Practice period, meter was relatively stable, but metric structure became increasingly complex in the twentieth century, with repertoires that avoid regularity across musical parameters. -
Production Database Updated As of 25Nov2020
American Composers Orchestra Works Performed Workshopped from 1977-2020 firstname middlename lastname Date eventype venue work title suffix premiere commission year written Michael Abene 4/25/04 Concert LGCH Improv ACO 2004 Muhal Richard Abrams 1/6/00 Concert JOESP Piano Improv Earshot-JCOI 19 Muhal Richard Abrams 1/6/00 Concert JOESP Duet for Violin & Piano Earshot-JCOI 19 Muhal Richard Abrams 1/6/00 Concert JOESP Duet for Double Bass & Piano Earshot-JCOI 19 Muhal Richard Abrams 1/9/00 Concert CH Tomorrow's Song, as Yesterday Sings Today World 2000 Ricardo Lorenz Abreu 12/4/94 Concert CH Concierto para orquesta U.S. 1900 John Adams 4/25/83 Concert TULLY Shaker Loops World 1978 John Adams 1/11/87 Concert CH Chairman Dances, The New York ACO-Goelet 1985 John Adams 1/28/90 Concert CH Short Ride in a Fast Machine Albany Symphony 1986 John Adams 12/5/93 Concert CH El Dorado New York Fromm 1991 John Adams 5/17/94 Concert CH Tromba Lontana strings; 3 perc; hp; 2hn; 2tbn; saxophone1900 quartet John Adams 10/8/03 Concert CH Christian Zeal and Activity ACO 1973 John Adams 4/27/07 Concert CH The Wound-Dresser 1988 John Adams 4/27/07 Concert CH My Father Knew Charles Ives ACO 2003 John Adams 4/27/07 Concert CH Violin Concerto 1993 John Luther Adams 10/15/10 Concert ZANKL The Light Within World 2010 Victor Adan 10/16/11 Concert MILLR Tractus World 0 Judah Adashi 10/23/15 Concert ZANKL Sestina World 2015 Julia Adolphe 6/3/14 Reading FISHE Dark Sand, Sifting Light 2014 Kati Agocs 2/20/09 Concert ZANKL Pearls World 2008 Kati Agocs 2/22/09 Concert IHOUS -
Harmonic Vocabulary in the Music of John Adams: a Hierarchical Approach Author(S): Timothy A
Yale University Department of Music Harmonic Vocabulary in the Music of John Adams: A Hierarchical Approach Author(s): Timothy A. Johnson Source: Journal of Music Theory, Vol. 37, No. 1 (Spring, 1993), pp. 117-156 Published by: Duke University Press on behalf of the Yale University Department of Music Stable URL: http://www.jstor.org/stable/843946 Accessed: 06-07-2017 19:50 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://about.jstor.org/terms Yale University Department of Music, Duke University Press are collaborating with JSTOR to digitize, preserve and extend access to Journal of Music Theory This content downloaded from 198.199.32.254 on Thu, 06 Jul 2017 19:50:30 UTC All use subject to http://about.jstor.org/terms HARMONIC VOCABULARY IN THE MUSIC OF JOHN ADAMS: A HIERARCHICAL APPROACH Timothy A. Johnson Overview Following the minimalist tradition, much of John Adams's' music consists of long passages employing a single set of pitch classes (pcs) usually encompassed by one diatonic set.2 In many of these passages the pcs form a single diatonic triad or seventh chord with no additional pcs. In other passages textural and registral formations imply a single triad or seventh chord, but additional pcs obscure this chord to some degree. -
Aspects of Closure in the Music of John Adams by Catherine Pellegrino
Aspects of Closure in the Music of John Adams Author(s): Catherine Pellegrino Source: Perspectives of New Music, Vol. 40, No. 1 (Winter, 2002), pp. 147-175 Published by: Perspectives of New Music Stable URL: http://www.jstor.org/stable/833551 Accessed: 06-07-2017 19:51 UTC REFERENCES Linked references are available on JSTOR for this article: http://www.jstor.org/stable/833551?seq=1&cid=pdf-reference#references_tab_contents You may need to log in to JSTOR to access the linked references. JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://about.jstor.org/terms Perspectives of New Music is collaborating with JSTOR to digitize, preserve and extend access to Perspectives of New Music This content downloaded from 198.199.32.254 on Thu, 06 Jul 2017 19:51:20 UTC All use subject to http://about.jstor.org/terms ASPECTS OF CLOSURE IN THE MUSIC OF JOHN ADAMS CATHERINE PELLEGRINO NE OF THE MOST IMMEDIATE impressions I get of the works of John Adams from the early- to mid-1980s is the sense of closure-or the lack thereof-that comes at the end of a work. The last bars of Grand Pianola Music (1981-2), for instance, sound crashingly final, even though the very end itself is abrupt and unprepared. -
AS Level Performance Studies Topic Exploration Pack (John Adams)
Performance Studies A LEVEL Performance Studies: John Adams Topic Exploration Pack September 2015 www.ocr.org.uk Topic Exploration Pack We will inform centres about any changes to the specification. We will also publish changes on our website. The latest version of our specification will always be the one on our website (www.ocr.org.uk) and this may differ from printed versions. Copyright © 2015 OCR. All rights reserved. Copyright OCR retains the copyright on all its publications, including the specifications. However, registered centres for OCR are permitted to copy material from this specification booklet for their own internal use. Oxford Cambridge and RSA Examinations is a Company Limited by Guarantee. Registered in England. Registered company number 3484466. Registered office: 1 Hills Road Cambridge CB1 2EU OCR is an exempt charity. 2 www.ocr.org.uk AS Level Performance Studies Contents John Adams Teacher Resource Pack ............................................................................................. 4 Background ..................................................................................................................................... 5 Adams’ Works ................................................................................................................................. 5 Fingerprints of Adams’ Style ........................................................................................................... 7 Influences ...................................................................................................................................... -
FOR IMMEDIATE RELEASE / September 12, 2017 Contact: Maggie Perkes [email protected], 510.841.2800
FOR IMMEDIATE RELEASE / September 12, 2017 Contact: Maggie Perkes [email protected], 510.841.2800 http://www.berkeleysymphony.org/about/press/ Berkeley Symphony opens its 2017-18 season on October 5-6 with Music Director Joana Carneiro conducting Beethoven’s Symphony No. 1, Jazz Suite No. 1 by Shostakovich, the world premiere of William Gardiner’s cello concerto featuring Berkeley native Tessa Seymour, and John Adams’ Fearful Symmetries. (l to r: Joana Carneiro, by Rodrigo Souza; William Gardiner, by Jiyeon Kim; Tessa Seymour, per artist; John Adams, by Vern Evans) Berkeley Symphony opens its 2017-18 season at Zellerbach Hall in Berkeley on Thursday, October 5 at 7p, followed by a repeat performance on Friday, October 6 at 8p in Hume Hall at the San Francisco Conservatory of Music. These performances mark the return to the podium of Music Director Joana Carneiro following a maternity leave of absence. Maestra Carneiro leads the Orchestra in Beethoven’s Symphony No. 1, the world premiere of a cello concerto by William Gardiner, Jazz Suite No. 1 by Dmitri Shostakovich, and John Adams’ Fearful Symmetries. Cellist Tessa Seymour, a Berkeley native, makes her debut with the Orchestra as the soloist in Gardiner’s cello concerto, which was commissioned by the Pacific Harmony Foundation. Berkeley Symphony presents Adams’ 1988 Fearful Symmetries in celebration of the composer’s 70th birthday year. Tessa Seymour made her televised Carnegie Hall debut in 2006 and has since been performing in Europe, Asia and the U.S., both as soloist and a chamber musician. Committed to a repertoire that cuts across genres and brings to life contemporary and established works alike, she has collaborated with and premiered the works of Matthias Pintscher, Krzysztof Penderecki, John Adams, David Ludwig, and Richard Danielpour. -
Grand Pianola Music R
Thursday, August 2, 2018, at 7:30 pm m a Grand Pianola Music r g International Contemporary o Ensemble r Christian Reif, Conductor M|M P M|M Courtney Bryan, Piano e Cory Smythe, Piano h Jacob Greenberg, Piano Peter Evans, Trumpet T Joshua Rubin, Clarinet Ryan Muncy, Saxophone Quince Ensemble M|M Amanda DeBoer Bartlett, Soprano Liz Pearse, Soprano Kayleigh Butcher, Mezzo-Soprano COURTNEY BRYAN Songs of Laughing, Smiling, and Crying (2012) BRYAN GEORGE LEWIS Voyager (1987/2018) EVANS, RUBIN, MUNCY, SMYTHE, YAMAHA DISKLAVIER PIANO PERFORMED BY “VOYAGER” (Lewis interactive music system) Intermission M|M Mostly Mozart Festival debut (Program continued) Please make certain all your electronic devices are switched off. This performance is made possible in part by the Josie Robertson Fund for Lincoln Center. Gerald W. Lynch Theater at John Jay College Mostly Mozart Festival American Express is the lead sponsor of the Mostly Mozart Festival Endowment support is provided by Blavatnik Family Foundation Fund for Dance The Mostly Mozart Festival is also made possible by The Andrew W. Mellon Foundation, The Ford Foundation, and Rita E. and Gustave M. Hauser. Additional support is provided by The Shubert Foundation, LuEsther T. Mertz Charitable Trust, The Howard Gilman Foundation, The Fan Fox and Leslie R. Samuels Foundation, Inc., The Katzenberger Foundation, Inc., Mitsui & Co. (U.S.A.), Inc, Mitsubishi Corporation (Americas), Sumitomo Corporation of Americas, J.C.C. Fund, Japanese Chamber of Commerce and Industry of New York, Nippon Steel & Sumitomo Metal U.S.A., Inc, Great Performers Circle, Chairman’s Council, Friends of Mostly Mozart , and Friends of Lincoln Center Nespresso is the Official Coffee of Lincoln Center NewYork-Presbyterian is the Official Hospital of Lincoln Center “Summer at Lincoln Center” is supported by Bubly Artist Catering provided by Zabar’s and Zabars.com UPCOMING MOSTLY MOZART FESTIVAL EVENTS: Friday, August 3 at 10:00 pm in the Stanley H. -
21St Century Consort Composer Performance List
21st Century Consort Composer List 1975 - 2019 Archive of performance recordings Hans Abrahamsen Winternacht (1976-78) 1986-12-06 (15:27) flute, clarinet, trumpet, French horn, piano, violin, cello, conductor John Adams Hallelujah Junction 2016-02-06 (17:25) piano, piano Road Movies 2012-05-05 (15:59) violin, piano Shaker Loops (1978) 2000-04-15 (26:34) violin, violin, violin, viola, cello, cello, contrabass, conductor Bruce Adolphe Machaut is My Beginning (1989) 1996-03-16 (5:01) violin, cello, flute, clarinet, piano Miguel Del Agui Clocks 2011-11-05 (20:46) violin, piano, viola, violin, cello Stephen Albert Treestone (1984) 1991-11-02 (38:15) soprano, tenor, violin, violin, viola, cello, bass, trumpet, clarinet, French horn, flute, percussion, piano, conductor Distant Hills Coming Nigh (1989-90) 1991-05-11 (31:28) tenor, soprano, violin, cello, bassoon, clarinet, viola, piano, French horn, double bass, flute, conductor Tribute (1988) 2002-01-26 (9:55) violin, piano Into Eclipse [New Version for Cello Solo Prepared by Jonathan Leshnoff] (2002) 2002-01-26 (31:53) violin, violin, viola, cello, cello, contrabass, flute, clarinet, trumpet, percussion, percussion, piano, conductor To Wake the Dead (1978) 1993-02-13 (27:24) soprano, violin, conductor Treestone (1978) 1984-03-17 (30:22) soprano, tenor, flute, clarinet, trumpet, horn, harp, violin, violin, viola, cello, bass, piano, percussion, conductor To Wake the Dead (1978) (Six Sentimental Songs and an Interlude After Finnegans Wake) 2013-02-23 (28:24) violin, clarinet, piano, flute, conductor, -
Juilliard Orchestra John Adams , Conductor
Monday Evening, December 10, 2018, at 7:30 The Juilliard School presents Juilliard Orchestra John Adams , Conductor KAIJA SAARIAHO (b. 1952) Ciel d’hiver (2013) JOHN ADAMS (b. 1947) Doctor Atomic Symphony (2007) The Laboratory Panic Trinity Intermission JOHANNES BRAHMS (1833 –97) Symphony No. 4 in E minor, Op. 98 (1884–85) Allegro non troppo Andante moderato Allegro giocoso Allegro energico e passionate Performance time: approximately 1 hour and 35 minutes, including an intermission The taking of photographs and the use of recording equipment are not permitted in this auditorium. Information regarding gifts to the school may be obtained from the Juilliard School Development Office, 60 Lincoln Center Plaza, New York, NY 10023-6588; (212) 799-5000, ext. 278 (juilliard.edu/giving). Alice Tully Hall Please make certain that all electronic devices are turned off during the performance. Notes on the Program create timbres that subtly mix with those produced by acoustic instruments. by Thomas May This spectralist background, however, is Ciel d’hiver (2013) only one dimension of the unique aesthetic KAIJA SAARIAHO that Saariaho has developed. “Rich timbral Born October 14, 1952, in Helsinki, Finland nuances, focused musical material evolv - Currently resides in Paris ing into unique musical forms as well as works that call for careful listening remain “There was always one wise old guy with her musical fingerprints,” writes musicolo - a bald head, the male authority whose aes - gist Pirkko Moisala. Saariaho’s meticulous thetics or politics ruled … I felt squeezed attention to textures and resonances, to to be something I’m not,” Kaija Saariaho the weight of sound itself, taps into a rich once remarked, referring to the culture of potential that involves a great deal more her native Finland—with the imposing, than “color,” pushing beyond conventional patriarchal figure of (the very bald) Jean musical parameters . -
Seattle Chamber Music Festival Repertoire, 1982
SEATTLE CHAMBER MUSIC SOCIETY REPERTOIRE LIST, 1982–2020 “THIRTY-NINE YEARS OF BEAUTIFUL MUSIC” James Ehnes, Artistic Director Toby Saks (1942-2013), Founder Adams, John Anonymous (arr. Delaware Staigers) China Gates for Piano (2013) Carnival of Venice for Trumpet and Piano (2003W) Hallelujah Junction for Two Pianos (2012, 2017W) Road Movies for Violin and Piano (2013) Arensky, Anton Piano Quintet in D major, Op. 51 (1997, 2003, 2011W) Aho, Kalevi Piano Trio in D minor, Op. 32 (1984, 1990, 1992, 1994, 2001, 2007, 2010O, ER-OS (2018) 2016W) Piano Trio in F minor, Op. 73 (2001W, 2009) Albéniz, Isaac Quartet for Violin, Viola and Two Celli in A minor, Op. 35 (1989, 1995, 2008, Iberia (3 selections from) (2003) 2011) Iberia “Evocation” (2015) Six Piéces for Piano, Op. 53 (2013) Alexandrov, Kristian Arlen, Harold Prayer for Trumpet and Piano (2013) Wizard of Oz Fantasy (arr. William Hirtz) (2002) Applebaum Arnold, Malcolm "Landscape of Dreams" (1990) Sonatina for Oboe and Piano, Op. 28 (2004) Andres, Bernard Babajanian, Arno Narthex for Flute and Harp (2000W) Piano Trio in F sharp minor (2015) Anderson, David Bach, Johann Sebastian Capriccio No. 2 for Solo Double Bass (2006) “Aus liebe will mein Heiland sterben” from St. Matthew Passion BWV 244 Four Short Pieces for Double Bass (2006) (for flute, arr. Bennett) (2019) Brandenburg Concerto No 3 in G major, BWV 1048 (2011) Anderson, Jordan Brandenburg Concertos (Complete) BWV 1046-1051 (2013W) Drafts for Double Bass and Piano (2006) Capriccio “On the Departure of a Beloved Brother” in B flat -
Final John Adams
JOHN ADAMS Creative Chair of the Los Angeles Philharmonic Composer, conductor, and creative thinker - John Adams occupies a unique position in the world of American music. His works, both operatic and symphonic, stand out among contemporary classical compositions for their depth of expression, brilliance of sound, and the profoundly humanist nature of their themes. Over the past 25 years, Adams’ music has played a decisive role in turning the tide of contemporary musical aesthetics away from academic modernism and toward a more expansive, expressive language, entirely characteristic of his New World surroundings. Born and raised in New England, Adams learned the clarinet from his father and played in marching bands and community orchestras during his formative years. He began composing at age ten and heard his first orchestral pieces performed while still a teenager. The intellectual and artistic traditions of New England, including his studies at Harvard University and attendance at Boston Symphony Orchestra concerts, helped shape him as an artist and thinker. After earning two degrees from Harvard, he moved to Northern California in 1971 and has since lived in the San Francisco Bay area. Adams taught at the San Francisco Conservatory of Music for ten years before becoming composer-in-residence of the San Francisco Symphony (1982-85) and creator of the orchestra’s highly successful and controversial “New and Unusual Music” series. Several of Adams’ landmark orchestral works were written for and premiered by the San Francisco Symphony, including Harmonium (1980-81), Grand Pianola Music (1982), Harmonielehre (1984-85), and El Dorado (1991). In 1985, Adams began a collaboration with poet Alice Goodman and stage director Peter Sellars that resulted in two groundbreaking operas: Nixon in China (1987) and The Death of Klinghoffer (1991).