DOCSLIB.ORG

A New Music Marathon (Thalia Theater At

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A New Music Marathon (Thalia Theater At American Composers Alliance Presents Saturday, June 23, 6:00 – 10:00 p.m. A New Music Marathon Thalia Theater at Symphony Space 6:00 – 7:00 p.m. CHARLES IVES The Unanswered Question The Second Instrumental Unit Marc Dana Williams, conductor DARLEEN MITCHELL Dakota † Valerie Cisler, piano Anne Foradori, soprano BURTON BEERMAN Conversations * Shiau-uen Ding, piano GREGORY HALL Clayton Run-Around * Minghuan Xu, violin MICHAEL S. ROTHKOPF Songs of Light * Patricia Sonego, soprano JAN GILBERT Lady of the Broom * Nancy Ogle, soprano Barry Crawford, flute Eric Nowlin, viola Loren Dempster, cello 7:00 p.m. – 8:00 p.m. RICHARD BROOKS Rhapsody for Violin and Piano Minghuan Xu, violin Winston Choi, piano FREDERICK TILLIS A Latin American Suite * Second Instrumental Unit String Quartet: David Fulmer, violin Nathan Schmidt, violin Eric Nowlin, viola Victoria Bass, cello BETH WIEMANN A Change in the Weather * Marilyn Nonken, piano HAROLD SELETSKY Apathy † Patricia Sonego, soprano David Fulmer, violin Loren Dempster, cello Christopher Oldfather, piano 8:00 – 9:00 p.m. HUBERT HOWE Symphony No. 3, 1st movement * The Second Instrumental Unit Marc Dana Williams, conductor (co-director) Violin I David Fulmer (co-director) Violin II Nathan Schmidt Viola Eric Nowlin Cello Victoria Bass Bass Kristoffer Saebo Flute David Buck Oboe Arthur Sato Clarinet Carol McGonnell Bassoon Adrian Morejon French Horn Danielle Kuhlmann Trumpet Peter Evans Trombone Matt Wright Tuba Dan Peck Piano Molly Morkoski Percussion Alex Lipowski ROBERT CEELY Extensions † Shen Wen, piano ELIAS TANENBAUM Bring ‘Em On * Second Instrumental Unit String Quartet: David Fulmer, violin Nathan Schmidt, violin Eric Nowlin, viola Victoria Bass, cello JAMES BEALE Woodwind Quintet † Second Instrumental Unit David Buck, flute Arthur Sato, oboe Carol McGonnell, clarinet Adrian Morejon, bassoon Danielle Kuhlmann, french horn 9:00 – 10:00 p.m. MILTON BABBITT Little Goes a Long Way and An Encore † Christopher Oldfather, piano David Fulmer, violin JOEL GRESSEL ShortStops * computer JOHN MELBY Concerto No.2 for Piano and Computer* Winston Choi, piano * world premiere † New York premiere Program Notes 6:00 – 7:00 p.m. The Unanswered Question and Central Park in the Dark, both composed in 1906, were paired together by Ives as: I. “A Contemplation of a Serious Matter” or “The Unanswered Perennial Question”; II. “A Contemplation of Nothing Serious” or “Central Park in the Dark in ‘The Good Old Summer Time’.” Although the composer’s description would seem to link them by opposition, both works actually employ the same compositional process – Ives’ most celebrated innovation – in which different musical textures, moving at different rates of time, are juxtaposed. In The Unanswered Question there are three spatially separated disjunct elements; a slow-moving, virtually pulseless diatonic string background, over which a trumpet statement is sounded seven times, alternating with a series of contrapuntal, chromatic woodwind phrases that become progressively faster, louder, and more dissonant. Sometime between 1930 and 1935, Ives made a second, revised version, adding numerous details and altering the woodwind and trumpet phrases, and, in a note appended to the score, he provided a visionary program for the work: “The strings play ppp throughout with no change in tempo. They are to represent ‘The Silences of the Druids – who Know, See and Hear Nothing’. The trumpet intones ‘The Perennial Question of Existence,’ and states it in the same tone of voice each time. But the hunt for ‘The Invisible Answerers,’ as the time goes on and on, and after a ‘secret conference,’ seem to realize a futility, and begin to mock ‘The Question’ – the strife is over for the moment. After they disappear, ‘The Question’ is asked for the last time, and the ‘Silences’ are heard beyond as ‘Undisturbed Solitude’.” The text for Dakota, A Song Cycle for Soprano and Piano is from Kathleen Norris’ Dakota, subtitled “A Spiritual Geography.” Norris weaves spiritual ideas from various sources, including her own religious background, Catholic monasticism, feminine spirituality, and her personal experiences, using images and metaphor, to create meaning in ordinary events and places. The four songs in the cycle are “The Words of Psalms,” “But What Is There To See?” “A Person is Forced Inward,” and The Stillness Under Stars.” In “A Person is Forced Inward” Norris compares the “flow of the land, with its odd twists and buttes” to the “flow of Gregorian chant.” Musical imagery is frequently used throughout her books. In “The Stillness Under Stars” she reflects on her grandmother’s alone-ness, while reflecting the stillness or quietness of the landscape. The song ends with the line, “This is the side of the moon that no one sees.” Mitchell says of Dakota, “In using Norris’ text for music, I’ve chosen to use her prose rather than her poetry, for its rhythmic freedom as well as its intimate story-telling quality. The starting point for my music is a tone series, but I’ve drawn from it both harmonies and melodic gestures that border on tonal to create a subtle sense of tone painting.” Darleen Cowles Mitchell has written over 100 compositions for various instrumental and vocal combinations, from solo flute to full orchestra and chorus. Her compositions have been performed throughout the United States and in Europe. Her works are published by American Composers Editions in New York and Tap Music Sales in Iowa. Translucent Unreality No. 1 for flute and piano was recorded by American Woman Composers. Images, for violin and guitar, was recorded on Guitar Plus Records, 'Untaming the Fury: Vol. 2', by Duo 46 in 2001. Dr. Mitchell has been the recipient of many awards, including the Distinguished Artist Award from the Nebraska Arts Council and the National League of American Pen Women Composition Competition, for her work Visions, a concerto for tuba and concert band. She received a Ph.D. in Music Composition from the University of Chicago where her teachers included Ralph Shapey and Shulamit Ran. Dr. Mitchell founded and performed with the improvisational ensemble The Marcel Duchamp Memorial Players in the Chicago area for over 10 years. She is currently an Associate Professor at the University of Nebraska at Kearney where she coordinates the music theory and composition programs, directs the New Music Ensemble, and oversees the Music Instruction Computer Lab. Conversations is not framed within a linear structure so often expected of more traditional forms but better reflects a multifaceted arrangement similar to speech between two people; its pace, shifting of characters and energy quickly changing. One listens to this music not by standing back and observing the larger form, but one hears this music with an aural microscope. The nuance of the small gesture is so important. The source material for the computer is the sound of the live piano, processed with such complicated real-time interactive modifications of the live piano as cross synthesis and pitch shifts; sometimes recorded, delayed and modified at a different point in time within the piece. This creates the dialogue between the live piano and the processing of the piano. The Los Angeles Times describes Burton Beerman as “A prolific composer of imaginative compositions with a wealth of exotic sounds and lush textures,… a tireless champion of new works.” His works have been featured on CNN and CNN International, FutureWatch, The World Today, LIVE with Regis & Kelly!, The Eastern European Talk Show “ RTL-Klub Reggeli”, HEAR Radio; PBS broadcast Beerman’s Virtual Video Opera, showcasing the music, video and technology utilized in the opera. The opera was chosen as a Video Installation ArtWork exhibited in Switzerland, Italy and New York, Metropolitan Museum of Art, endorsed by UNESCO-CIRET and sponsored by the United Nations. The Village Voice writes- “ There is a remarkable clarity in the way Burton Beerman carries out the logic of his materials and he has an excellent ear for sound color.” Recordings of Beerman’s music can be found on the Advance, Access, Orion, and Capstone labels, distributed by Albany Records. A new CD release of BEERMAN UNPLUGGED…almost, is now available from Albany Records on the Capstone label. Beerman was awarded the 2005 Barlow Endowment Commission for Music Composition.Beerman is the founder of the internationally renowned New Music & Art Festival at Bowling Green State University, and director of the MidAmerican Center for Contemporary Music. “Clayton Run-Around (2004-2006) came about as a result of my first trip to Cape Breton Island, Nova Scotia. I have written for solo violin on several occasions, and my interest has usually focused on the Norwegian "Hardanger" style of playing. Not knowing much about Cape Breton fiddling, however, I stumbled into my first Céilidh (fiddle party), and was a goner. That night I started the "Clayton Run- Around", and did a considerable amount of work on it during our week-long vacation there. On our way home we stopped at the Celtic Music Centre, where a fiddler added some of the island's distinctive ornaments to the work-in-progress. The resultant piece, finished in 2006, still retains the feeling of the Hardanger style, but the ornaments are Celtic. It is, in essence, a "classical" piece of Island music.” ”The title was my reaction to seeing eight kittens running around outside the farm we stayed at while on Cape Breton--Clayton Farm. The music attempts to echo their efforts: building up to a crescendo, and then madly dispersing.” Gregory Hall (b. 1959) holds a B.A. degree in Music from the University of California, Santa Barbara, and a Diploma degree from the Curtis Institute of Music, Philadelphia PA, where he studied with Ned Rorem. Mr. Hall's Quartet for saxophones will be released on an upcoming (2008) Capstone Records release of new quartets for saxophone, also featuring Richard Brooks' Four-Play.
Load more

Recommended publications
  • Bibliographie Stockhausen 1952-2013 Engl
    Stockhausen-Bibliography 1952-2013 [June 2013] The following bibliography alphabetically lists the authors who have written secondary literature about Karlheinz Stockhausen’s oeuvre: monographs, articles in books, periodicals and dictionaries, comprehensive works in which Stockhausen’s oeuvre is examined in detail. Reviews, contributions to concert programmes and publications in daily and weekly newspapers are only mentioned if they are considered to have reference value. Stockhausen’s own texts are not included, and conversations and interviews are only partly listed. Several works by the same author are listed consecutively in chronological order. When the name of the author was not available, the titel was listed alphabetically. This list includes the bibliographies that were published in Texte zur Musik, Vol. 6 (compiled by Chr. von Blumröder and H. Henck) and Vol. 10 (Chr. von Blumröder, R. Sengstock, D. Schwerdtfeger), and was supplemented and up-dated until 2013 (M. Luckas, I. Misch). Abkürzungen und Siglen / Abbreviations and Sigla AfMw. Archiv für Musikwissenschaft / Archive for Musicology Aufl. Auflage / printing Ausg. Ausgabe / edition Bd., Bde Band, Bände / volume, volumes Beitr. Beitrag / contribution BzAfMw. Beihefte zum Archiv für Musikwissenschaft / Supplementary booklets for the Archive for Musicology ders., dies. derselbe, dieselbe / the same DMT Dansk musiktidsskrift dt. deutsch / German eng. englisch / English erw. erweitert / supplemented Ffm. Frankfurt am Main / Frankfurt FP Feedback Papers frz. französisch / French H. Heft / booklet, issue Hbg Hamburg hg. herausgegeben / edited HmT Handwörterbuch der musikalischen Terminologie, hg. v. H. H. Eggebrecht, Wiesbaden 1972–1983, Stuttgart 1984–2006 / Hand Dictionary of Musical Terminology Ins. Institut / Institute jap. japanisch / Japanese Ldn London 1 ML Music and Letters MR The Music Review MT The Musical Times MuB Musik und Bildung Mw.
    [Show full text]
  • Ear and There Monday, February 8, 2010
    Earplay San Francisco Season Concerts 2010 Season Herbst Theatre, 7:30 PM Pre-concert talk 6:45 p.m. Earplay 25: Ear and there Monday, February 8, 2010 Bruce Christian Bennett , Sam Nichols, Kaija Saariaho Carlos Sanchez-Gutiérrez, Seymour Shifrin Earplay 25: Ear and There Earplay 25: Outside In Monday, March 22, 2010 February 8, 2010 Lori Dobbins, Michael Finnissy, Chris Trebue Moore Arnold Schoenberg, Judith Weir Earplay 25: Ports and Portals Monday, May 24, 2010 as part of the San Francisco International Arts Festival Jorge Liderman Hyo-shin NaWayne Peterson Tolga Yayalar earplay commission/world premiere Earplay commission West-Coast Premiere 2009 Winner, Earplay Donald Aird Memorial Composition Competition elcome to Earplay’s 25th San Francisco season. Our mission is to nurture new chamber music — W composition, performance, and audience —all vital components. Each concert features the renowned members of the Earplay ensemble performing as soloists and ensemble artists, along with special guests. Over twenty-five years, Earplay has made an enormous contribution to the bay area music community with new works commissioned each season. The Earplay ensemble has performed hundreds of works by more than two hundred Earplay 2010 composers including presenting more than one hundred world Donald Aird premieres. This season the ensemble continues exploring by performing works by composers new to Earplay. Memorial The 2010 season highlights the tremendous amount Composers Competition of innovation that happens here in the Bay Area. The season is a nexus of composers and performers adventuring into new Downloadable application at: musical realms. Most of the composers this season have strong www.earplay.org/competitions ties to the Bay Area — as home, a place of study or a place they create.
    [Show full text]
  • Eric Chasalow/Over the Edge New World Records 80440 in Art, One
    Eric Chasalow/Over the Edge New World Records 80440 In art, one and one at times make three. In art for the ear, and particularly with acoustic in combination with electronically-created sounds, the listener tends to hear rather more than a lockstep summation of parts. And it's perhaps this phantom dimension that most intrigues the listener. Again perhaps, as in a difficult love affair, a resonance arises from the antipodal aspects of seeming incompatibility and obviously compelling attraction. One is therefore given to approach music so conceived as forever newly plowed ground. Odd, then, in terms of expectation, that the first electro-acoustic compositions incorporating magnetic tape appeared (as I write) just over forty years ago: New Grove cites Bruno Maderna's aptly titled Musica su due dimensione I, for flute and tape, and Edgard Varese's Deserts of 1950-54, for orchestra and tape, as among the earliest examples. Earlier still, in 1939, before the advent of magnetic tape, John Cage composed his Imaginary Landscape No. 1, for piano, Chinese cymbal, and two variable-speed turntables. Significant music marks the way as milestones, with regard particularly to this CD. Karlheinz Stockhausen's 1959-60 version of Kontakte, for tape, piano, and percussion; Milton Babbitt's 1963-64 Philomel, for soprano, recorded soprano, and synthesized tape; Babbitt's 1974 Reflections, for piano and synthesized tape; Roger Reynolds's Transfigured Wind IV from 1985, for flute, computer, and tape; and Mario Davidovsky's ten Synchronisms, for a variety of solo instruments, ensemble combinations, and tape. Eric Chasalow's choice to study with Davidovsky is significant.
    [Show full text]
  • Teaching Post-Tonal Music to Twenty-First- Century Students Author(S): Miguel A
    Department of Music Theory, Jacobs School of Music, Indiana University A Pedagogical and Psychological Challenge: Teaching Post-Tonal Music to Twenty-First- Century Students Author(s): Miguel A. Roig-Francolí Source: Indiana Theory Review, Vol. 33, No. 1-2 (Summer 2017), pp. 36-68 Published by: Indiana University Press on behalf of the Department of Music Theory, Jacobs School of Music, Indiana University Stable URL: https://www.jstor.org/stable/10.2979/inditheorevi.33.1-2.02 Accessed: 03-09-2018 01:27 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 https://about.jstor.org/terms Indiana University Press, Department of Music Theory, Jacobs School of Music, Indiana University are collaborating with JSTOR to digitize, preserve and extend access to Indiana Theory Review This content downloaded from 129.74.250.206 on Mon, 03 Sep 2018 01:27:00 UTC All use subject to https://about.jstor.org/terms A Pedagogical and Psychological Challenge: Teaching Post-Tonal Music to Twenty-First-Century Students Miguel A. Roig-Francolí University of Cincinnati ost-tonal music has a pr problem among young musicians, and many not-so-young ones. Anyone who has recently taught a course on the theory and analysis of post-tonal music to a general Pmusic student population mostly made up of performers, be it at the undergraduate or master’s level, will probably immediately understand what the title of this article refers to.
    [Show full text]
  • The Highest Note in the Century Since His Birth, Duke Ellington Has Been the Most Important Composer of Any Music, Anywhere Blumenthal, Bob
    Document 1 of 1 The highest note In the century since his birth, Duke Ellington has been the most important composer of any music, anywhere Blumenthal, Bob. Boston Globe [Boston, Mass] 25 Apr 1999: 1. Abstract The late Duke Ellington, whose 100th birthday will be celebrated on Thursday, disliked the word "jazz." As he famously remarked, the only subsets of music he recognized were good and bad. Rather than stress categorical distinctions, Ellington preferred to celebrate artists and works that were, in another of his oft-quoted phrases, "beyond category." The magnitude of Ellington's legacy should be clear to all who can hear, and even to those who can only count. Just look at the numbers. From 1914, when he wrote "Soda Fountain Rag" as an aspiring pianist in his native Washington, D.C., until shortly before his death, on May 24, 1974, Ellington was responsible for nearly 2,000 documented compositions. From 1923, when he first gained employment in New York for his Washingtonians at Barron Wilkins's Harlem nightclub, he kept an orchestra together through boom andbust. The notion of writing for specific individuals as part of an ensemble reached its highest form of expression with Ellington. Rather than simply creating music for a three-piece trombone section, he crafted lines that fit the plungered growl of Joe "Tricky Sam" Nanton, the fluency of Lawrence Brown, and the warmth of Jual Tizol's valved instrument; and he applied this practice to every chair in the band. This led Ellington to collect musicians whose "tonal personality" (another favor-ite image) inspired him, ratherthan those who might simply blendinto an undifferentiated orchestral mass.
    [Show full text]
  • Holmes Electronic and Experimental Music
    C H A P T E R 3 Early Electronic Music in the United States I was at a concert of electronic music in Cologne and I noticed that, even though it was the most recent electronic music, the audience was all falling asleep. No matter how interesting the music was, the audience couldn’t stay awake. That was because the music was coming out of loudspeakers. —John Cage Louis and Bebe Barron John Cage and The Project of Music for Magnetic Tape Innovation: John Cage and the Advocacy of Chance Composition Cage in Milan Listen: Early Electronic Music in the United States The Columbia–Princeton Electronic Music Center The Cooperative Studio for Electronic Music Roots of Computer Music Summary Milestones: Early Electronic Music of the United States Plate 3.1 John Cage and David Tudor, 1962. (John Cage Trust) 80 EARLY HISTORY – PREDECESSORS AND PIONEERS Electronic music activity in the United States during the early 1950s was neither organ- ized nor institutional. Experimentation with tape composition took place through the efforts of individual composers working on a makeshift basis without state support. Such fragmented efforts lacked the cohesion, doctrine, and financial support of their Euro- pean counterparts but in many ways the musical results were more diverse, ranging from works that were radically experimental to special effects for popular motion pictures and works that combined the use of taped sounds with live instrumentalists performing on stage. The first electronic music composers in North America did not adhere to any rigid schools of thought regarding the aesthetics of the medium and viewed with mixed skepticism and amusement the aesthetic wars taking place between the French and the Germans.
    [Show full text]
  • The Development of Duke Ellington's Compositional Style: a Comparative Analysis of Three Selected Works
    University of Kentucky UKnowledge University of Kentucky Master's Theses Graduate School 2001 THE DEVELOPMENT OF DUKE ELLINGTON'S COMPOSITIONAL STYLE: A COMPARATIVE ANALYSIS OF THREE SELECTED WORKS Eric S. Strother University of Kentucky, [email protected] Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Strother, Eric S., "THE DEVELOPMENT OF DUKE ELLINGTON'S COMPOSITIONAL STYLE: A COMPARATIVE ANALYSIS OF THREE SELECTED WORKS" (2001). University of Kentucky Master's Theses. 381. https://uknowledge.uky.edu/gradschool_theses/381 This Thesis is brought to you for free and open access by the Graduate School at UKnowledge. It has been accepted for inclusion in University of Kentucky Master's Theses by an authorized administrator of UKnowledge. For more information, please contact [email protected]. ABSTRACT OF THESIS THE DEVELOPMENT OF DUKE ELLINGTON’S COMPOSITIONAL STYLE: A COMPARATIVE ANALYSIS OF THREE SELECTED WORKS Edward Kennedy “Duke” Ellington’s compositions are significant to the study of jazz and American music in general. This study examines his compositional style through a comparative analysis of three works from each of his main stylistic periods. The analyses focus on form, instrumentation, texture and harmony, melody, tonality, and rhythm. Each piece is examined on its own and their significant features are compared. Eric S. Strother May 1, 2001 THE DEVELOPMENT OF DUKE ELLINGTON’S COMPOSITIONAL STYLE: A COMPARATIVE ANALYSIS OF THREE SELECTED WORKS By Eric Scott Strother Richard Domek Director of Thesis Kate Covington Director of Graduate Studies May 1, 2001 RULES FOR THE USE OF THESES Unpublished theses submitted for the Master’s degree and deposited in the University of Kentucky Library are as a rule open for inspection, but are to be used only with due regard to the rights of the authors.
    [Show full text]
  • 2011 – Cincinnati, OH
    Society for American Music Thirty-Seventh Annual Conference International Association for the Study of Popular Music, U.S. Branch Time Keeps On Slipping: Popular Music Histories Hosted by the College-Conservatory of Music University of Cincinnati Hilton Cincinnati Netherland Plaza 9–13 March 2011 Cincinnati, Ohio Mission of the Society for American Music he mission of the Society for American Music Tis to stimulate the appreciation, performance, creation, and study of American musics of all eras and in all their diversity, including the full range of activities and institutions associated with these musics throughout the world. ounded and first named in honor of Oscar Sonneck (1873–1928), early Chief of the Library of Congress Music Division and the F pioneer scholar of American music, the Society for American Music is a constituent member of the American Council of Learned Societies. It is designated as a tax-exempt organization, 501(c)(3), by the Internal Revenue Service. Conferences held each year in the early spring give members the opportunity to share information and ideas, to hear performances, and to enjoy the company of others with similar interests. The Society publishes three periodicals. The Journal of the Society for American Music, a quarterly journal, is published for the Society by Cambridge University Press. Contents are chosen through review by a distinguished editorial advisory board representing the many subjects and professions within the field of American music.The Society for American Music Bulletin is published three times yearly and provides a timely and informal means by which members communicate with each other. The annual Directory provides a list of members, their postal and email addresses, and telephone and fax numbers.
    [Show full text]
  • PDF Download Stockhausen on Music Ebook, Epub
    STOCKHAUSEN ON MUSIC PDF, EPUB, EBOOK Karlheinz Stockhausen,Robin Maconie | 220 pages | 01 Sep 2000 | Marion Boyars Publishers Ltd | 9780714529189 | English | London, United Kingdom Stockhausen on Music PDF Book English translation of "Symbolik als kompositorische Methode in den Werken von Karlheinz Stockhausen". Die Zeit 9 December. After completing Licht , Stockhausen embarked on a new cycle of compositions based on the hours of the day, Klang "Sound". There's more gnarly theory to get stuck into with Karlheinz than with almost anyone else in music history, thanks to his own writings and the mini-industry of Stockhausen arcana and analysis out there. Custodis, Michael. Ars Electronica. Cross, Jonathan. Iddon, Martin. Selected Correspondence , vol. The sounds they play are mixed together with the sounds of the helicopters and played through speakers to the audience in the hall. Grant, M[orag] J[osephine], and Imke Misch eds. Hartwell, Robin. Mixtur was a live work for orchestra, sine wave generators, and ring modulators, with the latter resurfacing again in in Mikrophonie II, also scored for chorus and Hammond organ. English translation by Donato Totaro under the same title here. Otto Luening. Winter : — The lectures which are the heart of this book clarified some of Stockhausen's ideas and methods for me, although some points remain obscure. Michele Marelli. Very good insights into Stockhausen's process and thinking. What does it mean, my music? No trivia or quizzes yet. Westport, Conn. Kaletha, Holger. Electronic Folk International. Rathert, Wolfgang. Kraftwerk: I Was a Robot. The Musical Quarterly 61, no. Le Souffle du temps: Quodlibet pour Karlheinz Stockhausen.
    [Show full text]
  • Holmes Electronic and Experimental Music
    C H A P T E R 2 Early Electronic Music in Europe I noticed without surprise by recording the noise of things that one could perceive beyond sounds, the daily metaphors that they suggest to us. —Pierre Schaeffer Before the Tape Recorder Musique Concrète in France L’Objet Sonore—The Sound Object Origins of Musique Concrète Listen: Early Electronic Music in Europe Elektronische Musik in Germany Stockhausen’s Early Work Other Early European Studios Innovation: Electronic Music Equipment of the Studio di Fonologia Musicale (Milan, c.1960) Summary Milestones: Early Electronic Music of Europe Plate 2.1 Pierre Schaeffer operating the Pupitre d’espace (1951), the four rings of which could be used during a live performance to control the spatial distribution of electronically produced sounds using two front channels: one channel in the rear, and one overhead. (1951 © Ina/Maurice Lecardent, Ina GRM Archives) 42 EARLY HISTORY – PREDECESSORS AND PIONEERS A convergence of new technologies and a general cultural backlash against Old World arts and values made conditions favorable for the rise of electronic music in the years following World War II. Musical ideas that met with punishing repression and indiffer- ence prior to the war became less odious to a new generation of listeners who embraced futuristic advances of the atomic age. Prior to World War II, electronic music was anchored down by a reliance on live performance. Only a few composers—Varèse and Cage among them—anticipated the importance of the recording medium to the growth of electronic music. This chapter traces a technological transition from the turntable to the magnetic tape recorder as well as the transformation of electronic music from a medium of live performance to that of recorded media.
    [Show full text]
  • Kompositioner Af Duke Ellington - Et Supplement
    Kompositioner af Duke Ellington - et supplement Af Erik Wiedemann I I en artikel i Musik & Forskning 11 1985-861 har jeg opridset en række problemer i forbindelse med et forskningsprojekt om Duke Ellingtons kom­ positioner. Heraf fremgår bl.a. at den eneste offentliggjorte større værkfor• 2 tegnelse er den der findes i Ellingtons selvbiografi, Music Is My Mistress , suppleret af et appendix i Mercer Ellingtons (og Stanley Dance's) bog om faderen, Duke Ellington In Person. An Intimate Memoir. 3 I artiklen blev det nævnt at de to værkfortegnelser er baserede på en udskrift fra den amerikan­ ske ophavsretsorganisation ASCAP (Ameriean Society of Composers, Authors & Publishers), en pendant til det danske Koda. Denne udskrift, som ikke er offentligt tilgængelig, er det siden, ved Mercer Ellingtons hjælp, lykkedes mig at få fra ASCAP. I et følgebrev fra ASCAP siges det at udskriften er »a list of works which is main tai ned on an informal basis by ASCAP as a courtesy to our writer member (or the estate). This list does not purport to be complete or updated inasmuch as our files are main­ tained alphabetically by title of composition rather than by writer or publish­ er.«4 Man kan altså formode at en række yderligere Ellington-kompositioner er registreret hos ASCAP. Desværre har jeg ikke hidtil kunnet få tilladelse til at undersøge disse registre. ASCAP er grundlagt i 1914 og var frem til 1939, da en konkurrerende organisation, BMI (Broadcast Mu~ic, Ine.), blev oprettet, den eneste bety­ dende organisation af sin art i USA.5 Af ASCAP-udskriften fremgår bl.a.
    [Show full text]
  • 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.
    [Show full text]