Bibliography of the Writings of James Tenney Compiled by Stina Hanson, 2006
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In the Player Piano Conventional Piano
;- THE AMICA NEWS BULLETIN OF THE AUTOMATIC MUSICAL INSTRUMENT COLLECTORS' ASSOCIATION NOVEMBER 1978 VOLUME 15 NUMBER 9 INTERNATlONAL OFFICERS CHAPTER OFFICERS PRESIDENT Bob Rosencrans 36 Hampden Rd. NO. CALIFORNIA Upper Darby, PA 19082 Pres.: Howard Koff Vice Pres: Phil McCoy VICE PRESIDENT Sec. David Fryman Bill Eicher Treas.: Bob Wilcox 465 Winding Way Reporter: Stuart Hunter Dayton, OH 45429 SO. CALIFORNIA Pres.: Francis Cherney SECRETARY Vice Pres.: Mary Lilien Jim Weisenborne Sec.: Greg Behnke AMICA MEMBERSHIP RATES: 73 Nevada St. Treas.: Roy Shelso Rochester, MI 48063 Reporter: Bill Toeppe Continuing Members: $1 S Dues TEXAS New Members, add $S processing fee PUBLISHER Pres.: Haden Vandiver Tom Beckett Vice Pres.: Bill Flynt Lapsed Members, add $3 processing fee 681 7 CI iffbrook SeclTreas.: Charlie Johnson Dallas, TX 75240 Reporter: Dick Barnes MIDWEST MEMBERSHIP SECRETARY Pres.: Bennet Leedy (New memberships and Vice Pres .. Jim Prendergast mailing problems) Sec.: Jim Weisenborne THE AMICA NEWS BULLETIN Charlie W Johnson Treas.: Alvin Wulfekuhl PO. Box 38623 Reporter: Molly Yeckley Dallas, Texas 75238 PHILADELPHIA AREA TREASURER Pres.: Mike Naddeo Published by the Automatic Musical Instrument Collectors' Jack & Mary Riffle Vice Pres. John Berry Association, a non-profit club devoted to the restoration, distribu 5050 Eastside Calpella Rd. Sec. Dick Price tion and enjoyment of musical instruments using perforated paper Ukiah, CA 95482 Treas: Claire Lambert music rolls. Reporter: Allen Ford Contributions: All subjects of interest to readers of the bulletin BOARD REPRESENTATIVES SOWNY (So. Ontario, West NY) are encouraged and invited by the publisher. All articles must be N. Cal. Frank Loob Pres.: Chuck Hannen received by the 10th of the preceding month. -
City Research Online
City Research Online City, University of London Institutional Repository Citation: Pace, I. (2017). Michael Finnissy - The Piano Music (10 and 11) - Brochure from Conference 'Bright Futures, Dark Pasts'. This is the other version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/17523/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] BRIGHT FUTURES, DARK PASTS Michael Finnissy at 70 Conference at City, University of London January 19th-20th 2017 Bright Futures, Dark Pasts Michael Finnissy at 70 After over twenty-five years sustained engagement with the music of Michael Finnissy, it is my great pleasure finally to be able to convene a conference on his work. This event should help to stimulate active dialogue between composers, performers and musicologists with an interest in Finnissy’s work, all from distinct perspectives. It is almost twenty years since the publication of Uncommon Ground: The Music of Michael Finnissy (Aldershot: Ashgate, 1998). -
THE CLEVELAN ORCHESTRA California Masterwor S
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Kyle Gann, the Music of Conlon Nancarrow, the Music
Preface My first thanks must go to Stuart Smith, who got me started on this project and spent tremendous unrecompensed time reading and ofFering suggestions. 1 I profusely thank H. Wiley Hitchcock for his help, advice, and encouragement in this project as in so many other?. Trimpin became my comrade in Nancarrow scholarship, giving me pages and pages of helpful computerized charts over steins The music: general considerations German beer. Peter Garland, Sylvia Srmth, and Don Gillespie provided me with scores, James Tenney with the unpublished works and some helpful analytical advice. Charles Amirkhanian smoothed my way to a composer reputed to be difficult to approach. Eva Soltes, Helen Zimbler, WiUiam Duckworth, and Carlos Sandoval contributed valuable information. Doug Simmons provided expert editing advice. Penny Souster made the book possible. My wife Nancy Cook, Compared to the musical traditions of Africa, India, and Indonesia, European who became a “Nancarrow widow” the way some women become football wid classical music has always been rhythmically limited. As sOon as American com ows, accepted my idee fixe witfc humor and love. Yoko Seguira, Mrs Nancarrow, posers broke away firom Europe following World War I, they made an aggressive was a warm, funny, and helpful informant, and a gracious hostess. And Charles attempt to remedy this deficiency. They found themselves thwarted, however, Nancarrow, since departed, treated me to a defightful evening of reminiscence. first by the difficulty of notating extreme rhythmic complexity,-then by the greater Most of all I thank C)onlon Nancarrow for cooperating in every possible obstacle of getting performers to execute their rhythms acfcurately. -
Festival of New Music
Feb rua ry 29 ESTIVA , F L O 20 F 12 , t N h e E L A W B M U S I C M A R C H Je 1 w i - sh 2 C -3 om , 2 mu 0 ni 12 ty Cen ter o f San Francisco 1 MUSICAL ADVENTURE CHARLESTON,TOUR SC MAY 31 - JUNE 4, 2012 PHILIP GLASS JOHN CAGE SPOLETO GUO WENJING Experience the Spoleto USA Festival with Other Minds in a musical adventure tour from May 31-June 4 in Charleston, SC. Attend in prime seating American premiere performances of two operas, Feng Yi Ting by Guo OTHER MINDS Wenjing and Kepler by Philip Glass, and a concert Orchestra Uncaged, featur- ing Radiohead’s Jonny Greenwood and a US premiere of John Cage’s orches- tral trilogy, Twenty-Six, Twenty-Eight, and Twenty-Nine. The tour also includes: artist talks with Other Minds Artistic Director Charles Amirkhanian, Spoleto Festival USA conductor John Kennedy, & Festival Director Nigel Redden special appearance of Philip Glass discussing his work exclusive receptions at the festival day tours to Fort Sumter and an historic local plantation Tour partiticpants will stay in luxurious time to explore charming neighborhood homes & shopping boutiques accommodations at the Renaissance throughout Charleston Hotel in the heart of downtown Charleston, within walking distance to shops and JUNE 1 JUNE 3 restaurants. FENG YI TING ORCHESTRA UNCAGED American premiere John Kennedy, conductor CHARLESTON, SC Composed by Guo Wenjing Spoleto Festival USA Orchestra Directed by Atom Egoyan The Spoleto Festival USA Orchestra, led An empire at stake; two powerful men in by Resident Conductor John Kennedy, love with the same exquisite, inscrutable presents a special program of music of woman; and a plot that will change the our time. -
Computer Music Experiences, 1961-1964 James Tenney I. Introduction I Arrived at the Bell Telephone Laboratories in September
Computer Music Experiences, 1961-1964 James Tenney I. Introduction I arrived at the Bell Telephone Laboratories in September, 1961, with the following musical and intellectual baggage: 1. numerous instrumental compositions reflecting the influence of Webern and Varèse; 2. two tape-pieces, produced in the Electronic Music Laboratory at the University of Illinois — both employing familiar, “concrete” sounds, modified in various ways; 3. a long paper (“Meta+Hodos, A Phenomenology of 20th Century Music and an Approach to the Study of Form,” June, 1961), in which a descriptive terminology and certain structural principles were developed, borrowing heavily from Gestalt psychology. The central point of the paper involves the clang, or primary aural Gestalt, and basic laws of perceptual organization of clangs, clang-elements, and sequences (a higher order Gestalt unit consisting of several clangs); 4. a dissatisfaction with all purely synthetic electronic music that I had heard up to that time, particularly with respect to timbre; 2 5. ideas stemming from my studies of acoustics, electronics and — especially — information theory, begun in Lejaren Hiller’s classes at the University of Illinois; and finally 6. a growing interest in the work and ideas of John Cage. I leave in March, 1964, with: 1. six tape compositions of computer-generated sounds — of which all but the first were also composed by means of the computer, and several instrumental pieces whose composition involved the computer in one way or another; 2. a far better understanding of the physical basis of timbre, and a sense of having achieved a significant extension of the range of timbres possible by synthetic means; 3. -
Solo Percussion Is Published Ralph Shapey by Theodore Presser; All Other Soli for Solo Percussion
Tom Kolor, percussion Acknowledgments Recorded in Slee Hall, University Charles Wuorinen at Buffalo SUNY. Engineered, Marimba Variations edited, and mastered by Christopher Jacobs. Morton Feldman The King of Denmark Ralph Shapey’s Soli for Solo Percussion is published Ralph Shapey by Theodore Presser; all other Soli for Solo Percussion works are published by CF Peters. Christian Wolff Photo of Tom Kolor: Irene Haupt Percussionist Songs Special thanks to my family, Raymond DesRoches, Gordon Gottlieb, and to my colleagues AMERICAN MASTERPIECES FOR at University of Buffalo. SOLO PERCUSSION VOLUME II WWW.ALBANYRECORDS.COM TROY1578 ALBANY RECORDS U.S. 915 BROADWAY, ALBANY, NY 12207 TEL: 518.436.8814 FAX: 518.436.0643 ALBANY RECORDS U.K. BOX 137, KENDAL, CUMBRIA LA8 0XD TEL: 01539 824008 © 2015 ALBANY RECORDS MADE IN THE USA DDD WARNING: COPYRIGHT SUBSISTS IN ALL RECORDINGS ISSUED UNDER THIS LABEL. AMERICAN MASTERPIECES FOR AMERICAN MASTERPIECES FOR Ralph Shapey TROY1578 Soli for Solo Percussion SOLO PERCUSSION 3 A [6:14] VOLUME II [6:14] 4 A + B 5 A + B + C [6:19] Tom Kolor, percussion Christian Wolf SOLO PERCUSSION Percussionist Songs Charles Wuorinen 6 Song 1 [3:12] 1 Marimba Variations [11:11] 7 Song 2 [2:58] [2:21] 8 Song 3 Tom Kolor, percussion • Morton Feldman VOLUME II 9 Song 4 [2:15] 2 The King of Denmark [6:51] 10 Song 5 [5:33] [1:38] 11 Song 6 VOLUME II • 12 Song 7 [2:01] Tom Kolor, percussion Total Time = 56:48 SOLO PERCUSSION WWW.ALBANYRECORDS.COM TROY1578 ALBANY RECORDS U.S. TROY1578 915 BROADWAY, ALBANY, NY 12207 TEL: 518.436.8814 FAX: 518.436.0643 ALBANY RECORDS U.K. -
The Philip Glass Ensemble in Downtown New York, 1966-1976 David Allen Chapman Washington University in St
Washington University in St. Louis Washington University Open Scholarship All Theses and Dissertations (ETDs) Spring 4-27-2013 Collaboration, Presence, and Community: The Philip Glass Ensemble in Downtown New York, 1966-1976 David Allen Chapman Washington University in St. Louis Follow this and additional works at: https://openscholarship.wustl.edu/etd Part of the Music Commons Recommended Citation Chapman, David Allen, "Collaboration, Presence, and Community: The hiP lip Glass Ensemble in Downtown New York, 1966-1976" (2013). All Theses and Dissertations (ETDs). 1098. https://openscholarship.wustl.edu/etd/1098 This Dissertation is brought to you for free and open access by Washington University Open Scholarship. It has been accepted for inclusion in All Theses and Dissertations (ETDs) by an authorized administrator of Washington University Open Scholarship. For more information, please contact [email protected]. WASHINGTON UNIVERSITY IN ST. LOUIS Department of Music Dissertation Examination Committee: Peter Schmelz, Chair Patrick Burke Pannill Camp Mary-Jean Cowell Craig Monson Paul Steinbeck Collaboration, Presence, and Community: The Philip Glass Ensemble in Downtown New York, 1966–1976 by David Allen Chapman, Jr. A dissertation presented to the Graduate School of Arts and Sciences of Washington University in partial fulfillment of the requirements for the degree of Doctor of Philosophy May 2013 St. Louis, Missouri © Copyright 2013 by David Allen Chapman, Jr. All rights reserved. CONTENTS LIST OF FIGURES .................................................................................................................... -
UC San Diego UC San Diego Electronic Theses and Dissertations
UC San Diego UC San Diego Electronic Theses and Dissertations Title Experimental Music: Redefining Authenticity Permalink https://escholarship.org/uc/item/3xw7m355 Author Tavolacci, Christine Publication Date 2017 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA, SAN DIEGO Experimental Music: Redefining Authenticity A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Musical Arts in Contemporary Music Performance by Christine E. Tavolacci Committee in charge: Professor John Fonville, Chair Professor Anthony Burr Professor Lisa Porter Professor William Propp Professor Katharina Rosenberger 2017 Copyright Christine E. Tavolacci, 2017 All Rights Reserved The Dissertation of Christine E. Tavolacci is approved, and is acceptable in quality and form for publication on microfilm and electronically: Chair University of California, San Diego 2017 iii DEDICATION This dissertation is dedicated to my parents, Frank J. and Christine M. Tavolacci, whose love and support are with me always. iv TABLE OF CONTENTS Signature Page.……………………………………………………………………. iii Dedication………………………..…………………………………………………. iv Table of Contents………………………..…………………………………………. v List of Figures….……………………..…………………………………………….. vi AcknoWledgments….………………..…………………………...………….…….. vii Vita…………………………………………………..………………………….……. viii Abstract of Dissertation…………..………………..………………………............ ix Introduction: A Brief History and Definition of Experimental Music -
The Denman Maroney Quintet
Contact: Glenn Siegel, Ken Irwin, (413) 545-2876 www.fineartscenter.com/magictriangle THE 2013 MAGIC TRIANGLE JAZZ SERIES PRESENTS: THE DENMAN MARONEY QUINTET The Magic Triangle Jazz Series, produced by WMUA-91.1FM and the Fine Arts Center at the University of Massachusetts, Amherst, concludes its 24th season on Thursday, April 25, at Bezanson Recital Hall, at 8:00pm with a performance by the Denman Maroney Quintet. Maroney will be joined by Ned Rothenberg, reeds, Dave Ballou, trumpet, Reuben Radding, bass and Michael Sarin, drums. "There are few minds as agile and inquiring as that of pianist, composer and educator Denman Maroney,” writes Mark Medwin. “Over nearly 40 years, he has managed to rethink the piano’s vocabulary, creating a readily identifiable language on the instrument. He calls his contribution ‘hyperpiano’, a method of playing inside the piano that is characterized by a dizzying and diverse pallet of sonorities that make the instrument into an orchestra. He has also developed an equally unique compositional language. Yet, there is a directness, at times almost a simplicity, in his music." The music of Denman Maroney is inspired by natural sounds and the music of John Cage, Ornette Coleman, Henry Cowell, Duke Ellington, Charles Ives, Scott Joplin, Olivier Messiaen, Thelonious Monk, Conlon Nancarrow and Karlheinz Stockhausen, among others. Maroney uses a set of extended performance techniques that involves playing the keys with one hand and the strings with the other using bows and slides of metal, plastic, rubber and wood. He also uses a system of temporal harmony based on the undertone series (the reciprocal of the overtone series) to compose and improvise in multiple tempos at once. -
Ruth Crawford Seeger Beau Bothwell
American Music Review Th e H. Wiley Hitchcock Institute for Studies in American Music Conservatory of Music, Brooklyn College of the City University of New York Volume XL, Number 1 Fall 2010 Desire in Three Works by Ruth Crawford Seeger Beau Bothwell Among the most basic passions evoked by music, central to the way we conceive of the art, is desire. Relying on a tradition of tonal- ity, we are accustomed to the idea that desire plays a central role in the way music works, whether we attribute that desire anthropomor- phically to the notes themselves (e.g., “the leading tone wants to resolve”) or more ac- curately to ourselves as listeners (e.g., “I want the leading tone to resolve”). Susan McClary traces the birth of tonality itself to the need to manipulate desire, stating that “Tonality emerged as a way of arousing and channel- ing desire in early opera, although instru- mentalists quickly adopted its procedures for their own repertories.”1 In her post-tonal music, Ruth Crawford Seeger abandoned what she considered outmoded idioms of composition, but maintained the emotional resonance of music’s ability to evoke desire. Carl Sandburg and Ruth Crawford Seeger, ca. 1929 Three of her works—Diaphonic Suite no. 4 (1930), “Chinaman, Laundryman” from Two Ricercare (1932), and “White Moon” from Five Songs to Poems by Carl Sandburg (1929)—clearly demonstrate how her music engages intellectual, nostalgic, political, and erotic desire. Although we do not have a convenient, uniform vocabulary for analyzing expectation and desire in post-tonal music, its for- mal elements can still imply directionality. -
Battles Around New Music in New York in the Seventies
Presenting the New: Battles around New Music in New York in the Seventies A Dissertation SUBMITTED TO THE FACULTY OF UNIVERSITY OF MINNESOTA BY Joshua David Jurkovskis Plocher IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY David Grayson, Adviser December 2012 © Joshua David Jurkovskis Plocher 2012 i Acknowledgements One of the best things about reaching the end of this process is the opportunity to publicly thank the people who have helped to make it happen. More than any other individual, thanks must go to my wife, who has had to put up with more of my rambling than anybody, and has graciously given me half of every weekend for the last several years to keep working. Thank you, too, to my adviser, David Grayson, whose steady support in a shifting institutional environment has been invaluable. To the rest of my committee: Sumanth Gopinath, Kelley Harness, and Richard Leppert, for their advice and willingness to jump back in on this project after every life-inflicted gap. Thanks also to my mother and to my kids, for different reasons. Thanks to the staff at the New York Public Library (the one on 5th Ave. with the lions) for helping me track down the SoHo Weekly News microfilm when it had apparently vanished, and to the professional staff at the New York Public Library for Performing Arts at Lincoln Center, and to the Fales Special Collections staff at Bobst Library at New York University. Special thanks to the much smaller archival operation at the Kitchen, where I was assisted at various times by John Migliore and Samara Davis.