An Overview of Recent Decades
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The Rai Studio Di Fonologia (1954–83)
ELECTRONIC MUSIC HISTORY THROUGH THE EVERYDAY: THE RAI STUDIO DI FONOLOGIA (1954–83) Joanna Evelyn Helms A dissertation submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music. Chapel Hill 2020 Approved by: Andrea F. Bohlman Mark Evan Bonds Tim Carter Mark Katz Lee Weisert © 2020 Joanna Evelyn Helms ALL RIGHTS RESERVED ii ABSTRACT Joanna Evelyn Helms: Electronic Music History through the Everyday: The RAI Studio di Fonologia (1954–83) (Under the direction of Andrea F. Bohlman) My dissertation analyzes cultural production at the Studio di Fonologia (SdF), an electronic music studio operated by Italian state media network Radiotelevisione Italiana (RAI) in Milan from 1955 to 1983. At the SdF, composers produced music and sound effects for radio dramas, television documentaries, stage and film operas, and musical works for concert audiences. Much research on the SdF centers on the art-music outputs of a select group of internationally prestigious Italian composers (namely Luciano Berio, Bruno Maderna, and Luigi Nono), offering limited windows into the social life, technological everyday, and collaborative discourse that characterized the institution during its nearly three decades of continuous operation. This preference reflects a larger trend within postwar electronic music histories to emphasize the production of a core group of intellectuals—mostly art-music composers—at a few key sites such as Paris, Cologne, and New York. Through close archival reading, I reconstruct the social conditions of work in the SdF, as well as ways in which changes in its output over time reflected changes in institutional priorities at RAI. -
DISCOVERING LE MARCHE REGION Detailed Itinerary
DISCOVERING LE MARCHE REGION Departure: 16 June - 23 June 2021 (8 days/7 nights) The tour provides an excellent opportunity to experience the life in Italy’s best kept secret tourist destination: Le Marche Region, nestled between the Apennines and the Adriatic Sea. This tour leads you to fascinating hill towns vibrant with daily life surrounded by beautiful countryside. You will leisurely wander through cobbled streets and magnificent town piazze. The relaxed itinerary will allow time to enjoy the life on the Adriatic. The tour starts in Rome. There will be a relaxed walking tour of some of the main sites of Rome followed by an introductory dinner. Then it is off to the City of Pesaro in Le Marche Region, your home for the next 7 nights. From this base, guided day trips are organised to historical towns such as Urbino, Gradara and San Leo. One of the highlights will be a day in the Medieval town of Urbania for a unique cooking demonstration followed by a degustation lunch in an award winning osteria. You will have the possibility to experience the excellent hospitality of this beautiful Region which rivals its neighbours with its abundance of traditional local food and wine. You will enjoy leisurely lunches and special dinners in traditional restaurants and trattorie. This tour gives you the opportunity to enjoy the summer season when the entire Region is alive with music, markets and life. Detailed Itinerary Day 1 Rome (D) Your tour leaders will meet you at the hotel in the centre of Rome at 4.00pm. -
Discovery Marche.Pdf
the MARCHE region Discovering VADEMECUM FOR THE TOURIST OF THE THIRD MILLENNIUM Discovering THE MARCHE REGION MARCHE Italy’s Land of Infinite Discovery the MARCHE region “...For me the Marche is the East, the Orient, the sun that comes at dawn, the light in Urbino in Summer...” Discovering Mario Luzi (Poet, 1914-2005) Overlooking the Adriatic Sea in the centre of Italy, with slightly more than a million and a half inhabitants spread among its five provinces of Ancona, the regional seat, Pesaro and Urbino, Macerata, Fermo and Ascoli Piceno, with just one in four of its municipalities containing more than five thousand residents, the Marche, which has always been Italyʼs “Gateway to the East”, is the countryʼs only region with a plural name. Featuring the mountains of the Apennine chain, which gently slope towards the sea along parallel val- leys, the region is set apart by its rare beauty and noteworthy figures such as Giacomo Leopardi, Raphael, Giovan Battista Pergolesi, Gioachino Rossini, Gaspare Spontini, Father Matteo Ricci and Frederick II, all of whom were born here. This guidebook is meant to acquaint tourists of the third millennium with the most important features of our terri- tory, convincing them to come and visit Marche. Discovering the Marche means taking a path in search of beauty; discovering the Marche means getting to know a land of excellence, close at hand and just waiting to be enjoyed. Discovering the Marche means discovering a region where both culture and the environment are very much a part of the Made in Marche brand. 3 GEOGRAPHY On one side the Apen nines, THE CLIMATE od for beach tourism is July on the other the Adriatic The regionʼs climate is as and August. -
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. -
City, University of London Institutional Repository
City Research Online City, University of London Institutional Repository Citation: Pace, I. ORCID: 0000-0002-0047-9379 (2021). New Music: Performance Institutions and Practices. In: McPherson, G and Davidson, J (Eds.), The Oxford Handbook of Music Performance. Oxford, UK: Oxford University Press. This is the accepted 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/25924/ 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] New Music: Performance Institutions and Practices Ian Pace For publication in Gary McPherson and Jane Davidson (eds.), The Oxford Handbook of Music Performance (New York: Oxford University Press, 2021), chapter 17. Introduction At the beginning of the twentieth century concert programming had transitioned away from the mid-eighteenth century norm of varied repertoire by (mostly) living composers to become weighted more heavily towards a historical and canonical repertoire of (mostly) dead composers (Weber, 2008). -
Central Opera Service Bulletin
CENTRAL OPERA SERVICE BULLETIN WINTER, 1972 Sponsored by the Metropolitan Opera National Council Central Opera Service • Lincoln Center Plaza • Metropolitan Opera • New York, N.Y. 10023 • 799-3467 Sponsored by the Metropolitan Opera National Council Central Opera Service • Lincoln Canter Plaza • Metropolitan Opera • New York, NX 10023 • 799.3467 CENTRAL OPERA SERVICE COMMITTEE ROBERT L. B. TOBIN, National Chairman GEORGE HOWERTON, National Co-Chairman National Council Directors MRS. AUGUST BELMONT MRS. FRANK W. BOWMAN MRS. TIMOTHY FISKE E. H. CORRIGAN, JR. CARROLL G. HARPER MRS. NORRIS DARRELL ELIHU M. HYNDMAN Professional Committee JULIUS RUDEL, Chairman New York City Opera KURT HERBERT ADLER MRS. LOUDON MEI.LEN San Francisco Opera Opera Soc. of Wash., D.C. VICTOR ALESSANDRO ELEMER NAGY San Antonio Symphony Ham College of Music ROBERT G. ANDERSON MME. ROSE PALMAI-TENSER Tulsa Opera Mobile Opera Guild WILFRED C. BAIN RUSSELL D. PATTERSON Indiana University Kansas City Lyric Theater ROBERT BAUSTIAN MRS. JOHN DEWITT PELTZ Santa Fe Opera Metropolitan Opera MORITZ BOMHARD JAN POPPER Kentucky Opera University of California, L.A. STANLEY CHAPPLE GLYNN ROSS University of Washington Seattle Opera EUGENE CONLEY GEORGE SCHICK No. Texas State Univ. Manhattan School of Music WALTER DUCLOUX MARK SCHUBART University of Texas Lincoln Center PETER PAUL FUCHS MRS. L. S. STEMMONS Louisiana State University Dallas Civic Opera ROBERT GAY LEONARD TREASH Northwestern University Eastman School of Music BORIS GOLDOVSKY LUCAS UNDERWOOD Goldovsky Opera Theatre University of the Pacific WALTER HERBERT GIDEON WALDKOh Houston & San Diego Opera Juilliard School of Music RICHARD KARP MRS. J. P. WALLACE Pittsburgh Opera Shreveport Civic Opera GLADYS MATHEW LUDWIG ZIRNER Community Opera University of Illinois See COS INSIDE INFORMATION on page seventeen for new officers and members of the Professional Committee. -
Part 1 Part 2 13 May 2016, 10Pm 14 May 2016, 9.30Pm Schloss Leuk Schloss Leuk
Forum Wallis Ars Electronica Selection 2016 1/6 Part 1 Part 2 13 May 2016, 10pm 14 May 2016, 9.30pm Schloss Leuk Schloss Leuk Nicholas Chase Nicholas Chase hai•ku 1.1 hai•ku 1.2 world premiere (version FW) European premiere Leonie Roessler James Andean Stop en Luister, Den Haag! (Stop and Listen, The déchirure Hague!) Swiss premiere Swiss premiere Robert Fleisher Orestis Karamanlis Loretto Alfresco Toys Swiss premiere Swiss premiere Jannik Giger Manfredi Clemente Fragmentum II Les dimensions du réel Dave Gedosh Swiss premiere Guitar Construction #2: Progressive Fracture Emilie Payeur European premiere Fumes Bihe Wen world premiere Regression Christoffer Schunk European premiere Until No Longer Effective Joseph Michaels European premiere Ein geschlossener Waffenstillstand Mirjana Nardelli Swiss premiere There is Nothing Left to Fear European premiere Laurence Bouckaert Mémoires de femmes, paysage, passage Yasuhiro Otani European premiere nOt well Nothing noT Almost world premiere John Nichols Nothing That Breathes Mikel Chamizo European premiere Nieve world premiere Marco Molteni Rubber, Lime & Glue (ePWsM 04) Jannik Giger Swiss premiere blind Michael Sterling Smith Peter Streiff Ictus Chronos-Kairos (1972) Swiss premiere Charles Halka Stephen Lilly 'Live Bass Improv ...in a shower of all my days... Swiss premiere Swiss premiere Alain Michon Eau de feu Nicholas Chase Swiss premiere hai•ku 2.3 world premiere (version FW) Phil Taylor Pathways world premiere Schloss Leuk, 13 May 2016, 10pm & 14 May 2016, 9.30pm www.ForumWallis.ch Forum Wallis Ars Electronica Selection 2016 2/6 Mikel Chamizo (ESP) Yasuhiro Otani (JP) Emilie Payeur (CAN) Nieve (world premiere) nOt well Nothing noT Almost (world premiere) Fumes (world premiere) Nieve (snow) is inspired by the falling of the Duration; 13:48. -
Tempo Reale Corfu Concert – 29/6/2013 – 21.00 Carlo Maria
Tempo Reale Corfu Concert – 29/6/2013 – 21.00 Carlo Maria Amadio Un tributo a Jaco Pastorius (2012) Salvatore Miele La natura frattale (2011) Lelio Camilleri Four Haiku (2011) Water | Rubber | Voices |Strings Mattia Bonafini Photos of Helsinki (2011) Francesco Giomi Scabro (2011) Stefano Diso Let me be misunderstood (2012) Lelio Camilleri Minimal poems (based on poems by Aram Saroyan) (2012) The program is based on pieces which extend the concept of soundscape: soundscape of cities and real world sounds but also of pre-existent music, material, words. The composers of these pieces belong to the center Tempo Reale, Florence and the Conservatory of Music G.B. Martini, Bologna. =========================== Carlo Maria Amadio - Un tributo a Jaco Pastorius (2011) 5’36 It is an electro-acoustic composition made on pre existent materials taken from Jaco Pastorius and Weather report music. I've tried to select and rework the most characteristic features of Pastorius poetry of playing. Carlo Maria Amadio is currently involved in different fields of electronic music as composer, live performer, student and obviously listener. He is currently attending the last year of the Electronic Music course at Conservatory “G.B. Martini ” of Bologna where he had the occasion of playing in two concerts mainly focused on improvisation and live electronic performance. In addition to the academic experiences he performed with HOLO – laptop ensamble and in May of 2013 he have released on Soluxion Record Netlabel his first EP, a work focused on techno music. Salvatore Miele - La Natura frattale (2011) 10’42” La Natura frattale is an acousmatic composition inspired by soundscapes concerning the self-similarity, which characterizes the fractal, as well as in the selection of material and gestural elements. -
Gino Marinuzzi Jr: Electronics and Early Multimedia Mentality in Italy1 Maurizio Corbella, Università Degli Studi Di Milano
95 Gino Marinuzzi Jr: Electronics and Early Multimedia Mentality in Italy1 Maurizio Corbella, Università degli Studi di Milano In this essay I propose to consider the complex convergences between electronic music and media practices in Rome in the 1950s and 1960s, by reconstructing the experience of an almost forgotten figure, composer Gino Marinuzzi Jr (1920-96). One of the reasons that led me to deal with Marinuzzi is the fact that his engagement with technology as a structuring device of compositional processes is paramount, and brings to the fore crucial issues of ‘applied’ music’s problematic reputation in the Italian cultural debate. In reviewing Marinuzzi’s biography over the period 1949-75 – which covers the overall time-span of his activity as a composer –, my goal is to exemplify the key phases of this transitional period in Italian music history, in which technology, through the growth of media and their increasing importance in cultural representations, came to constitute a new value of musical activity and at the same time renewed old aesthetic questions concerning the autonomy of music. 1. The invisible musician Two authoritative assessments, written at a distance of 17 years, historically frame Marinuzzi’s work and reputation among Italian musicologists and critics. During the 1 This essay was developed as a part of my postdoctoral fellowship at the Dipartimento di Beni culturali e ambientali, Università di Milano, which is co-financed by the «Dote ricerca»: FSE, Regione Lombardia. The following abbreviations for archives and collections are used throughout this essay: GMC (Gino Marinuzzi’s private home collection, Rome); FMN (Fondo Marinuzzi at Nomus, Milan); ASFM (Archive of the Studio di Fonologia della Rai, Museo degli Strumenti Musicali, Castello Sforzesco, Milan); FFC (Fondo Filippo Crivelli, Biblioteca del Dipartimento di Beni culturali e ambientali, University of Milan). -
2016-Program-Book-Corrected.Pdf
A flagship project of the New York Philharmonic, the NY PHIL BIENNIAL is a wide-ranging exploration of today’s music that brings together an international roster of composers, performers, and curatorial voices for concerts presented both on the Lincoln Center campus and with partners in venues throughout the city. The second NY PHIL BIENNIAL, taking place May 23–June 11, 2016, features diverse programs — ranging from solo works and a chamber opera to large scale symphonies — by more than 100 composers, more than half of whom are American; presents some of the country’s top music schools and youth choruses; and expands to more New York City neighborhoods. A range of events and activities has been created to engender an ongoing dialogue among artists, composers, and audience members. Partners in the 2016 NY PHIL BIENNIAL include National Sawdust; 92nd Street Y; Aspen Music Festival and School; Interlochen Center for the Arts; League of Composers/ISCM; Lincoln Center for the Performing Arts; LUCERNE FESTIVAL; MetLiveArts; New York City Electroacoustic Music Festival; Whitney Museum of American Art; WQXR’s Q2 Music; and Yale School of Music. Major support for the NY PHIL BIENNIAL is provided by The Andrew W. Mellon Foundation, The Fan Fox and Leslie R. Samuels Foundation, and The Francis Goelet Fund. Additional funding is provided by the Howard Gilman Foundation and Honey M. Kurtz. NEW YORK CITY ELECTROACOUSTIC MUSIC FESTIVAL __ JUNE 5-7, 2016 JUNE 13-19, 2016 __ www.nycemf.org CONTENTS ACKNOWLEDGEMENTS 4 DIRECTOR’S WELCOME 5 LOCATIONS 5 FESTIVAL SCHEDULE 7 COMMITTEE & STAFF 10 PROGRAMS AND NOTES 11 INSTALLATIONS 88 PRESENTATIONS 90 COMPOSERS 92 PERFORMERS 141 ACKNOWLEDGEMENTS THE NEW YORK PHILHARMONIC ORCHESTRA THE AMPHION FOUNDATION DIRECTOR’S LOCATIONS WELCOME NATIONAL SAWDUST 80 North Sixth Street Brooklyn, NY 11249 Welcome to NYCEMF 2016! Corner of Sixth Street and Wythe Avenue. -
Camec Centro Arte Moderna E Contemporanea La Spezia Small
CAMeC centro arte moderna e contemporanea La Spezia Small Size, small masterpieces from the CAMeC collections & Vitamins, energy tablets from the Carlo Palli Archive La Spezia. There are numerous small works among the over 2000 works in the CAMeC collections. The idea of this exhibition and its proposed layout is in fact to highlight these great small works which come from the various groups of donations. Especially in the collections acquired by bequest (Cozzani and Battolini), a marked trait of the collecting passion emerges: the desire to possess great numbers and great names of art, to enjoy them in the intimacy of one’s own home, to put them next to one another and make them interact, shuffling them around a lot and keeping a watchful eye on them. Smallness is particularly interesting territory for artists, who condense or develop an idea or an intention within a restricted space, conceiving it as a starting point or as a destination of the creative process. It is a binding element, a favoured testing ground for many artists, approached in the most various ways as they search for efficacy of composition and balance of material. Distributed along the exhibition itinerary are 196 works by 119 artists; the criterion of chronological order has been associated with linguistic and aesthetic affinity, also considering materials and colour-schemes, in a sort of tribute to the collector’s modus operandi. It is a particularly rich journey, which expresses both the complexity of contemporary research and the omnivorous curiosity of the collector. Starting with a step backwards, a first-edition engraving by Giovanni Battista Piranesi, we move through the oldest group of works in the collection, encountering the 19th-century ferment of the Caffé Michelangelo in Florence with an anthology of precious caricatures, and crossing the threshold into the 20th century with some very small oils by Boldini, Cassioli and Signorini and the La Spezia artists Del Santo and Brandolisio. -
ITALIAN, PORTUGUESE, SPANISH and LATIN AMERICAN SYMPHONIES from the 19Th Century to the Present
ITALIAN, PORTUGUESE, SPANISH AND LATIN AMERICAN SYMPHONIES From the 19th Century to the Present A Discography of CDs and LPs Prepared by Michael Herman FRANCO ALFANO (1876-1960, ITALY) Born in Posillipo, Naples. After studying the piano privately with Alessandro Longo, and harmony and composition with Camillo de Nardis and Paolo Serrao at the Conservatorio di San Pietro a Majella, Naples, he attended the Leipzig Conservatory where he completed his composition studies with Salomon Jadassohn. He worked all over Europe as a touring pianist before returning to Italy where he eventually settled in San Remo. He held several academic positions: first as a teacher of composition and then director at the Liceo Musicale, Bologna, then as director of the Liceo Musicale (later Conservatory) of Turin and professor of operatic studies at the Conservatorio di San Cecilia, Rome. As a composer, he speacialized in opera but also produced ballets, orchestral, chamber, instrumental and vocal works. He is best known for having completed Puccini’s "Turandot." Symphony No. 1 in E major "Classica" (1908-10) Israel Yinon/Brandenburg State Orchestra, Frankfurt ( + Symphony No. 2) CPO 777080 (2005) Symphony No. 2 in C major (1931-2) Israel Yinon/Brandenburg State Orchestra, Frankfurt ( + Symphony No. 1) CPO 777080 (2005) ANTONIÓ VICTORINO D'ALMEIDA (b.1940, PORTUGAL) Born in Lisbon.. He was a student of Campos Coelho and graduated from the Superior Piano Course of the National Conservatory of Lisbon. He then studied composition with Karl Schiske at the Vienna Academy of Music. He had a successful international career as a concert pianist and has composed prolifically in various genres including: instrumental piano solos, chamber music, symphonic pieces and choral-symphonic music, songs, opera, cinematic and theater scores.