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The Boston Modern Orchestra Project's January 2008 Premiere of Ezra Sims's Concert Piece II, Featuring Clarinetists Michael
The Boston Modern Orchestra Project’s January 2008 premiere of Ezra Sims’s Concert Piece II, featuring clarinetists Michael Norsworthy and Amy Advocat, was one of the most thrilling concert experiences I can remember. I’ve been an admirer of Sims’s music for many years, and I am familiar with his distinctive microtonal style—certain characteristic intervals and harmonies, ostinati, and phrase contours. But despite my familiarity, I found myself laughing out loud with pleasure at this latest, and very grand, example of Sims’s continued resolve and daring. Years ago the Boston Globe music critic Richard Buell called Sims’s music “subversive,” and I believe in a sense he was right. With certain aspects of his music Sims sticks to tradition; for example, Concert Piece II is a double concerto with classic instrumentation, in ABA form, with clear motivic development, arching “antecedent” and “consequent” phrases, even tonality (albeit of an idiosyncratic kind). However, within conventional parameters such as these Sims produces sonorities that subvert our expectations on a visceral level. From the very opening of Concert Piece II, over undulating and pulsating microtonal figures in the strings and bassoons, the clarinets begin trading off strange, soaring lines with intervals such as 1/3 tones, 2/3 tones, and 1/6-tone-augmented minor thirds. The melodies are elegant, articulate, intensely expressive, and even seem to have familiar contours—yet they are also startlingly alien. This feeling is somehow underscored when the oboe enters with its own wild take on the theme, and then even further when later the violins, flutes, and oboe take up the thematic line in unison. -
The New Dictionary of Music and Musicians
The New GROVE Dictionary of Music and Musicians EDITED BY Stanley Sadie 12 Meares - M utis London, 1980 376 Moda Harold Powers Mode (from Lat. modus: 'measure', 'standard'; 'manner', 'way'). A term in Western music theory with three main applications, all connected with the above meanings of modus: the relationship between the note values longa and brevis in late medieval notation; interval, in early medieval theory; most significantly, a concept involving scale type and melody type. The term 'mode' has always been used to designate classes of melodies, and in this century to designate certain kinds of norm or model for composition or improvisation as well. Certain pheno mena in folksong and in non-Western music are related to this last meaning, and are discussed below in §§IV and V. The word is also used in acoustical parlance to denote a particular pattern of vibrations in which a system can oscillate in a stable way; see SOUND, §5. I. The term. II. Medieval modal theory. III. Modal theo ries and polyphonic music. IV. Modal scales and folk song melodies. V. Mode as a musicological concept. I. The term I. Mensural notation. 2. Interval. 3. Scale or melody type. I. MENSURAL NOTATION. In this context the term 'mode' has two applications. First, it refers in general to the proportional durational relationship between brevis and /onga: the modus is perfectus (sometimes major) when the relationship is 3: l, imperfectus (sometimes minor) when it is 2 : I. (The attributives major and minor are more properly used with modus to distinguish the rela tion of /onga to maxima from the relation of brevis to longa, respectively.) In the earliest stages of mensural notation, the so called Franconian notation, 'modus' designated one of five to seven fixed arrangements of longs and breves in particular rhythms, called by scholars rhythmic modes. -
THE MODES of ANCIENT GREECE by Elsie Hamilton
THE MODES OF ANCIENT GREECE by Elsie Hamilton * * * * P R E F A C E Owing to requests from various people I have consented with humility to write a simple booklet on the Modes of Ancient Greece. The reason for this is largely because the monumental work “The Greek Aulos” by Kathleen Schlesinger, Fellow of the Institute of Archaeology at the University of Liverpool, is now unfortunately out of print. Let me at once say that all the theoretical knowledge I possess has been imparted to me by her through our long and happy friendship over many years. All I can claim as my own contribution is the use I have made of these Modes as a basis for modern composition, of which details have been given in Appendix 3 of “The Greek Aulos”. Demonstrations of Chamber Music in the Modes were given in Steinway Hall in 1917 with the assistance of some of the Queen’s Hall players, also 3 performances in the Etlinger Hall of the musical drama “Sensa”, by Mabel Collins, in 1919. A mime “Agave” was performed in the studio of Madame Matton-Painpare in 1924, and another mime “The Scorpions of Ysit”, at the Court Theatre in 1929. In 1935 this new language of Music was introduced at Stuttgart, Germany, where a small Chamber Orchestra was trained to play in the Greek Modes. Singers have also found little difficulty in singing these intervals which are not those of our modern well-tempered system, of which fuller details will be given later on in this booklet. -
Download the Just Intonation Primer
THE JUST INTONATION PPRIRIMMEERR An introduction to the theory and practice of Just Intonation by David B. Doty Uncommon Practice — a CD of original music in Just Intonation by David B. Doty This CD contains seven compositions in Just Intonation in diverse styles — ranging from short “fractured pop tunes” to extended orchestral movements — realized by means of MIDI technology. My principal objectives in creating this music were twofold: to explore some of the novel possibilities offered by Just Intonation and to make emotionally and intellectually satisfying music. I believe I have achieved both of these goals to a significant degree. ——David B. Doty The selections on this CD process—about synthesis, decisions. This is definitely detected in certain struc- were composed between sampling, and MIDI, about not experimental music, in tures and styles of elabora- approximately 1984 and Just Intonation, and about the Cageian sense—I am tion. More prominent are 1995 and recorded in 1998. what compositional styles more interested in result styles of polyphony from the All of them use some form and techniques are suited (aesthetic response) than Western European Middle of Just Intonation. This to various just tunings. process. Ages and Renaissance, method of tuning is com- Taken collectively, there It is tonal music (with a garage rock from the 1960s, mendable for its inherent is no conventional name lowercase t), music in which Balkan instrumental dance beauty, its variety, and its for the music that resulted hierarchic relations of tones music, the ancient Japanese long history (it is as old from this process, other are important and in which court music gagaku, Greek as civilization). -
Walther Nernst, Albert Einstein, Otto Stern, Adriaan Fokker
Walther Nernst, Albert Einstein, Otto Stern, Adriaan Fokker, and the Rotational Specific Heat of Hydrogen Clayton Gearhart St. John’s University (Minnesota) Max-Planck-Institut für Wissenschaftsgeschichte Berlin July 2007 1 Rotational Specific Heat of Hydrogen: Widely investigated in the old quantum theory Nernst Lorentz Eucken Einstein Ehrenfest Bohr Planck Reiche Kemble Tolman Schrödinger Van Vleck Some of the more prominent physicists and physical chemists who worked on the specific heat of hydrogen through the mid-1920s. See “The Rotational Specific Heat of Molecular Hydrogen in the Old Quantum Theory” http://faculty.csbsju.edu/cgearhart/pubs/sel_pubs.htm (slide show) 2 Rigid Rotator (Rotating dumbbell) •The rigid rotator was among the earliest problems taken up in the old (pre-1925) quantum theory. • Applications: Molecular spectra, and rotational contri- bution to the specific heat of molecular hydrogen • The problem should have been simple Molecular • relatively uncomplicated theory spectra • only one adjustable parameter (moment of inertia) • Nevertheless, no satisfactory theoretical description of the specific heat of hydrogen emerged in the old quantum theory Our story begins with 3 Nernst’s Heat Theorem Walther Nernst 1864 – 1941 • physical chemist • studied with Boltzmann • 1889: lecturer, then professor at Göttingen • 1905: professor at Berlin Nernst formulated his heat theorem (Third Law) in 1906, shortly after appointment as professor in Berlin. 4 Nernst’s Heat Theorem and Quantum Theory • Initially, had nothing to do with quantum theory. • Understand the equilibrium point of chemical reactions. • Nernst’s theorem had implications for specific heats at low temperatures. • 1906–1910: Nernst and his students undertook extensive measurements of specific heats of solids at low (down to liquid hydrogen) temperatures. -
I. the Term Стр. 1 Из 93 Mode 01.10.2013 Mk:@Msitstore:D
Mode Стр. 1 из 93 Mode (from Lat. modus: ‘measure’, ‘standard’; ‘manner’, ‘way’). A term in Western music theory with three main applications, all connected with the above meanings of modus: the relationship between the note values longa and brevis in late medieval notation; interval, in early medieval theory; and, most significantly, a concept involving scale type and melody type. The term ‘mode’ has always been used to designate classes of melodies, and since the 20th century to designate certain kinds of norm or model for composition or improvisation as well. Certain phenomena in folksong and in non-Western music are related to this last meaning, and are discussed below in §§IV and V. The word is also used in acoustical parlance to denote a particular pattern of vibrations in which a system can oscillate in a stable way; see Sound, §5(ii). For a discussion of mode in relation to ancient Greek theory see Greece, §I, 6 I. The term II. Medieval modal theory III. Modal theories and polyphonic music IV. Modal scales and traditional music V. Middle East and Asia HAROLD S. POWERS/FRANS WIERING (I–III), JAMES PORTER (IV, 1), HAROLD S. POWERS/JAMES COWDERY (IV, 2), HAROLD S. POWERS/RICHARD WIDDESS (V, 1), RUTH DAVIS (V, 2), HAROLD S. POWERS/RICHARD WIDDESS (V, 3), HAROLD S. POWERS/MARC PERLMAN (V, 4(i)), HAROLD S. POWERS/MARC PERLMAN (V, 4(ii) (a)–(d)), MARC PERLMAN (V, 4(ii) (e)–(i)), ALLAN MARETT, STEPHEN JONES (V, 5(i)), ALLEN MARETT (V, 5(ii), (iii)), HAROLD S. POWERS/ALLAN MARETT (V, 5(iv)) Mode I. -
HSK 6 Vocabulary List
HSK 6 Vocabulary List No Chinese Pinyin English HSK 1 呵 ā to scold in a loud voice; to yawn HSK6 to suffer from; to endure; to tide over (a 2 挨 āi HSK6 difficult period); to delay to love sth too much to part with it (idiom); 3 爱不释手 àibùshìshǒu HSK6 to fondle admiringly 4 爱戴 àidài to love and respect; love and respect HSK6 5 暧昧 àimèi vague; ambiguous; equivocal; dubious HSK6 hey; ow; ouch; interjection of pain or 6 哎哟 āiyō HSK6 surprise 7 癌症 áizhèng cancer HSK6 8 昂贵 ángguì expensive; costly HSK6 law case; legal case; judicial case; 9 案件 ànjiàn HSK6 CL:宗[zong1],樁|桩[zhuang1],起[qi3] 10 安居乐业 ānjūlèyè live in peace and work happily (idiom) HSK6 11 案例 ànlì case (law); CL:個|个[ge4] HSK6 12 按摩 ànmó massage HSK6 13 安宁 ānníng peaceful; tranquil; calm; composed HSK6 14 暗示 ànshì to hint; to suggest; suggestion; a hint HSK6 15 安详 ānxiáng serene HSK6 find a place for; help settle down; arrange 16 安置 ānzhì HSK6 for; to get into bed; placement (of cooking) to boil for a long time; to 17 熬 áo HSK6 endure; to suffer 18 奥秘 àomì profound; deep; a mystery HSK6 bumpy; uneven; slotted and tabbed joint; 19 凹凸 āotú HSK6 crenelation to hold on to; to cling to; to dig up; to rake; 20 扒 bā to push aside; to climb; to pull out; to strip HSK6 off 21 疤 bā scar HSK6 to be eager for; to long for; to look forward 22 巴不得 bābudé HSK6 to the Way of the Hegemon, abbr. -
Andrián Pertout
Andrián Pertout Three Microtonal Compositions: The Utilization of Tuning Systems in Modern Composition Volume 1 Submitted in partial fulfilment of the requirements of the degree of Doctor of Philosophy Produced on acid-free paper Faculty of Music The University of Melbourne March, 2007 Abstract Three Microtonal Compositions: The Utilization of Tuning Systems in Modern Composition encompasses the work undertaken by Lou Harrison (widely regarded as one of America’s most influential and original composers) with regards to just intonation, and tuning and scale systems from around the globe – also taking into account the influential work of Alain Daniélou (Introduction to the Study of Musical Scales), Harry Partch (Genesis of a Music), and Ben Johnston (Scalar Order as a Compositional Resource). The essence of the project being to reveal the compositional applications of a selection of Persian, Indonesian, and Japanese musical scales utilized in three very distinct systems: theory versus performance practice and the ‘Scale of Fifths’, or cyclic division of the octave; the equally-tempered division of the octave; and the ‘Scale of Proportions’, or harmonic division of the octave championed by Harrison, among others – outlining their theoretical and aesthetic rationale, as well as their historical foundations. The project begins with the creation of three new microtonal works tailored to address some of the compositional issues of each system, and ending with an articulated exposition; obtained via the investigation of written sources, disclosure -
The Unexpected Number Theory and Algebra of Musical Tuning Systems Or, Several Ways to Compute the Numbers 5,7,12,19,22,31,41,53, and 72
The Unexpected Number Theory and Algebra of Musical Tuning Systems or, Several Ways to Compute the Numbers 5,7,12,19,22,31,41,53, and 72 Matthew Hawthorn \Music is the pleasure the human soul experiences from counting without being aware that it is counting." -Gottfried Wilhelm von Leibniz (1646-1716) \All musicians are subconsciously mathematicians." -Thelonius Monk (1917-1982) 1 Physics In order to have music, we must have sound. In order to have sound, we must have something vibrating. Wherever there is something virbrating, there is the wave equation, be it in 1, 2, or more dimensions. The solutions to the wave equation for any given object (string, reed, metal bar, drumhead, vocal cords, etc.) with given boundary conditions can be expressed as a superposition of discrete partials, modes of vibration of which there are generally infinitely many, each with a characteristic frequency. The partials and their frequencies can be found as eigenvectors, resp. eigenvalues of the Laplace operator acting on the space of displacement functions on the object. Taken together, these frequen- cies comprise the spectrum of the object, and their relative intensities determine what in musical terms we call timbre. Something very nice occurs when our object is roughly one-dimensional (e.g. a string): the partial frequencies become harmonic. This is where, aptly, the better part of harmony traditionally takes place. For a spectrum to be harmonic means that it is comprised of a fundamental frequency, say f, and all whole number multiples of that frequency: f; 2f; 3f; 4f; : : : It is here also that number theory slips in the back door. -
0912 BOX Program Notes
THE BOX–music by living composers NotaRiotous Microtonal Voices Saturday, September 12, 2009 About the composers and the music Ben Johnston Johnston began as a traditional composer of art music before working with Harry Partch, helping the senior musician to build instruments and use them in the performance and recording of new compositions. After working with Partch, Johnston studied with Darius Milhaud at Mills College. It was, in fact, Partch himself who arranged for Johnston to study with Milhaud. Johnston, beginning in 1959, was also a student of John Cage, who encouraged him to follow his desires and use traditional instruments rather than electronics or newly built ones. Unskilled in carpentry and finding electronics then unreliable, Johnston struggled with how to integrate microtonality and conventional instruments for ten years, and struggled with how to integrate microtones into his compositional language through a slow process of many stages. However, since 1960 Johnston has used, almost exclusively, a system of microtonal notation based on the rational intervals of just intonation. Other works include the orchestral work Quintet for Groups (commissioned by the St. Louis Symphony Orchestra), Sonnets of Desolation (commissioned by the Swingle Singers), the opera Carmilla, the Sonata for Microtonal Piano (1964) and the Suite for Microtonal Piano (1977). Johnston has also completed ten string quartets to date. He has received many honors, including a Guggenheim Fellowship in 1959, a grant from the National Council on the Arts and Humanities in 1966, and two commissions from the Smithsonian Institution. Johnson taught composition and theory at the University of Illinois at Urbana-Champaign from 1951 to 1986 before retiring to North Carolina. -
NEA-Annual-Report-1992.Pdf
N A N A L E ENT S NATIONAL ENDOWMENT FOR~THE ARTS 1992, ANNUAL REPORT NATIONAL ENDOWMENT FOR!y’THE ARTS The Federal agency that supports the Dear Mr. President: visual, literary and pe~orming arts to I have the honor to submit to you the Annual Report benefit all A mericans of the National Endowment for the Arts for the fiscal year ended September 30, 1992. Respectfully, Arts in Education Challenge &Advancement Dance Aria M. Steele Design Arts Acting Senior Deputy Chairman Expansion Arts Folk Arts International Literature The President Local Arts Agencies The White House Media Arts Washington, D.C. Museum Music April 1993 Opera-Musical Theater Presenting & Commissioning State & Regional Theater Visual Arts The Nancy Hanks Center 1100 Pennsylvania Ave. NW Washington. DC 20506 202/682-5400 6 The Arts Endowment in Brief The National Council on the Arts PROGRAMS 14 Dance 32 Design Arts 44 Expansion Arts 68 Folk Arts 82 Literature 96 Media Arts II2. Museum I46 Music I94 Opera-Musical Theater ZlO Presenting & Commissioning Theater zSZ Visual Arts ~en~ PUBLIC PARTNERSHIP z96 Arts in Education 308 Local Arts Agencies State & Regional 3z4 Underserved Communities Set-Aside POLICY, PLANNING, RESEARCH & BUDGET 338 International 346 Arts Administration Fallows 348 Research 35o Special Constituencies OVERVIEW PANELS AND FINANCIAL SUMMARIES 354 1992 Overview Panels 360 Financial Summary 36I Histos~f Authorizations and 366~redi~ At the "Parabolic Bench" outside a South Bronx school, a child discovers aspects of sound -- for instance, that it can be stopped with the wave of a hand. Sonic architects Bill & Mary Buchen designed this "Sound Playground" with help from the Design Arts Program in the form of one of the 4,141 grants that the Arts Endowment awarded in FY 1992. -
Partch 43 Tone Scale © Copyright Juhan Puhm 2016 Puhm Juhan Copyright © Scale Tone 43 Partch N Our Door with Our Common Scales
! "#$!%&'()#! *+!",-$!.)&/$! ! ! ! 01#&-!%1#2 !!! "#$!%&'()#!*+!",-$!.)&/$"#$!%&'()#!*+!",-$!.)&/$!!!! One can only imagine the years Harry Partch spent formulating his 43 tone scale and then the lifetime spent realizing it. A pinnacle of Just Intonation, a fair bit of time can be spent unraveling the intricacies of the 43 tone scale and coming to terms with the choices Partch made. What are some of the features of this scale? For starters the scale is a pure Just Intonation scale, no tempering of any intervals whatsoever. All pitches are given exact ratios and so all intervals are exact as well. For the most part all the music we listen to is constructed of up to 5 limit ratios. Partch expanded our common tonality to include 7 and 11 limit ratios. It can be argued that 2, 3 and 5 limit ratios are the language of harmony and any higher limit ratios are not harmonic in the least bit, regardless of what people would like to pretend. Possibly some 7 limit ratios can be said to push the bounds of what can be considered harmonic. Since our current 12 note scale and instruments do not even remotely support or approximate any 7 or 11 limit ratios, 7 and 11 limit ratios are completely outside the realm of our listening and composing experience. The equal tempered tritone and minor seventh intervals do not approximate 7 limit ratios. It would be incorrect to think of the minor seventh approximating the 7 limit ratio of 7/4, which is almost one-third of a semitone lower (969 cents). Our tempered minor seventh (1000 cents) is firmly in the realm of two perfect fourths (4/3 * 4/3 = 16/9, (996 cents)) or further removed, a minor third above the dominant (3/2 * 6/5 = 9/5 (1018 cents)).