Notes on the Sonic Body. Fleshing the Voice
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The Pomegranate Cycle
The Pomegranate Cycle: Reconfiguring opera through performance, technology & composition By Eve Elizabeth Klein Bachelor of Arts Honours (Music), Macquarie University, Sydney A PhD Submission for the Department of Music and Sound Faculty of Creative Industries Queensland University of Technology Brisbane, Australia 2011 ______________ Keywords Music. Opera. Women. Feminism. Composition. Technology. Sound Recording. Music Technology. Voice. Opera Singing. Vocal Pedagogy. The Pomegranate Cycle. Postmodernism. Classical Music. Musical Works. Virtual Orchestras. Persephone. Demeter. The Rape of Persephone. Nineteenth Century Music. Musical Canons. Repertory Opera. Opera & Violence. Opera & Rape. Opera & Death. Operatic Narratives. Postclassical Music. Electronica Opera. Popular Music & Opera. Experimental Opera. Feminist Musicology. Women & Composition. Contemporary Opera. Multimedia Opera. DIY. DIY & Music. DIY & Opera. Author’s Note Part of Chapter 7 has been previously published in: Klein, E., 2010. "Self-made CD: Texture and Narrative in Small-Run DIY CD Production". In Ø. Vågnes & A. Grønstad, eds. Coverscaping: Discovering Album Aesthetics. Museum Tusculanum Press. 2 Abstract The Pomegranate Cycle is a practice-led enquiry consisting of a creative work and an exegesis. This project investigates the potential of self-directed, technologically mediated composition as a means of reconfiguring gender stereotypes within the operatic tradition. This practice confronts two primary stereotypes: the positioning of female performing bodies within narratives of violence and the absence of women from authorial roles that construct and regulate the operatic tradition. The Pomegranate Cycle redresses these stereotypes by presenting a new narrative trajectory of healing for its central character, and by placing the singer inside the role of composer and producer. During the twentieth and early twenty-first century, operatic and classical music institutions have resisted incorporating works of living composers into their repertory. -
Lesbian and Gay Music
Revista Eletrônica de Musicologia Volume VII – Dezembro de 2002 Lesbian and Gay Music by Philip Brett and Elizabeth Wood the unexpurgated full-length original of the New Grove II article, edited by Carlos Palombini A record, in both historical documentation and biographical reclamation, of the struggles and sensi- bilities of homosexual people of the West that came out in their music, and of the [undoubted but unacknowledged] contribution of homosexual men and women to the music profession. In broader terms, a special perspective from which Western music of all kinds can be heard and critiqued. I. INTRODUCTION TO THE ORIGINAL VERSION 1 II. (HOMO)SEXUALIT Y AND MUSICALIT Y 2 III. MUSIC AND THE LESBIAN AND GAY MOVEMENT 7 IV. MUSICAL THEATRE, JAZZ AND POPULAR MUSIC 10 V. MUSIC AND THE AIDS/HIV CRISIS 13 VI. DEVELOPMENTS IN THE 1990S 14 VII. DIVAS AND DISCOS 16 VIII. ANTHROPOLOGY AND HISTORY 19 IX. ACKNOWLEDGEMENTS 24 X. EDITOR’S NOTES 24 XI. DISCOGRAPHY 25 XII. BIBLIOGRAPHY 25 I. INTRODUCTION TO THE ORIGINAL VERSION 1 What Grove printed under ‘Gay and Lesbian Music’ was not entirely what we intended, from the title on. Since we were allotted only two 2500 words and wrote almost five times as much, we inevitably expected cuts. These came not as we feared in the more theoretical sections, but in certain other tar- geted areas: names, popular music, and the role of women. Though some living musicians were allowed in, all those thought to be uncomfortable about their sexual orientation’s being known were excised, beginning with Boulez. -
Aaron Spectre «Lost Tracks» (Ad Noiseam, 2007) | Reviews На Arrhythmia Sound
2/22/2018 Aaron Spectre «Lost Tracks» (Ad Noiseam, 2007) | Reviews на Arrhythmia Sound Home Content Contacts About Subscribe Gallery Donate Search Interviews Reviews News Podcasts Reports Home » Reviews Aaron Spectre «Lost Tracks» (Ad Noiseam, 2007) Submitted by: Quarck | 19.04.2008 no comment | 198 views Aaron Spectre , also known for the project Drumcorps , reveals before us completely new side of his work. In protovoves frenzy breakgrindcore Specter produces a chic downtempo, idm album. Lost Tracks the result of six years of work, but despite this, the rumor is very fresh and original. The sound is minimalistic without excesses, but at the same time the melodies are very beautiful, the bit powerful and clear, pronounced. Just want to highlight the composition of Break Ya Neck (Remix) , a bit mystical and mysterious, a feeling, like wandering somewhere in the http://www.arrhythmiasound.com/en/review/aaron-spectre-lost-tracks-ad-noiseam-2007.html 1/3 2/22/2018 Aaron Spectre «Lost Tracks» (Ad Noiseam, 2007) | Reviews на Arrhythmia Sound dusk. There was a place and a vocal, in a track Degrees the gentle voice Kazumi (Pink Lilies) sounds. As a result, Lost Tracks can be safely put on a par with the works of such mastadonts as Lusine, Murcof, Hecq. Tags: downtempo, idm Subscribe Email TOP-2013 Submit TOP-2014 TOP-2015 Tags abstract acid ambient ambient-techno artcore best2012 best2013 best2014 best2015 best2016 best2017 breakcore breaks cyberpunk dark ambient downtempo dreampop drone drum&bass dub dubstep dubtechno electro electronic experimental female vocal future garage glitch hip hop idm indie indietronica industrial jazzy krautrock live modern classical noir oldschool post-rock shoegaze space techno tribal trip hop Latest The best in 2017 - albums, places 1-33 12/30/2017 The best in 2017 - albums, places 66-34 12/28/2017 The best in 2017. -
Erik Truffaz, Murcof, Talvin Singh
Roch-Olivier Maistre, Président du Conseil d’administration Laurent Bayle, Directeur général Jeudi 16 avril Erik Truffaz/Murcof /Talvin Singh Dans le cadre du cycle Répéter/varier II Du mardi 14 au vendredi 17 avril 2009 Jeudi avril 16 | Ce concert est difusé en direct sur les sites www.citedelamusique.fr et www.arte.tv. Il y restera disponible gratuitement pendant un mois. Erik Truffaz/Murcof /Talvin Singh /Talvin Erik Truffaz/Murcof Vous avez la possibilité de consulter les notes de programme en ligne, 2 jours avant chaque concert, à l’adresse suivante : www.citedelamusique.fr Cycle Répéter/varier II DU MARdi 14 AU VENDREdi 17 AVRIL Le jazz acoustique tourne enen rond.rond. En unsorcier mot, ilde se l’échantillonnage, répète. Tel est le verdict MARDI 14 AVRIL, 20H Eden unnombreux mot, il se jeunes répète. musiciens Tel est d’aujourd’hui.le guitariste Comment David en Torn finir avec avec son ses MERCREDI 15 AVRIL, 20H letrajectoires verdict de trop nombreux prévisibles, jeunes ses harmoniesescouade bien calées, d’improvisateurs ses rythmiques de musiciensà la ligne ? d’aujourd’hui.Comment sortir Comment de ce son daté,choc trop (Tim quadrillé Berne, Craig par la Taborn tradition ? et Aufgang & PC Pieces enComment finir avec s’échapper ses trajectoires de l’inévitable trop schémaTom R « thèmeainey) propose et variation » ? avec Prezens prévisibles,Comment changer ses harmonies de beat bien pour trouverde de mélanger nouveaux motifs mondes répétitifs, ? Telles Première partie : calées,sont les ses questions rythmiques auxquelles à la ligne ? toute unetextures nouvelle électroniques, génération tente ambiances de Aufgang Commentrépondre en sortir branchant de ce son l’improvisation daté, hypnotiques sur le courant et électronique. -
Musical Inspirations Posted on 01 November 2011
Musical Inspirations Posted on 01 November 2011. By Laura Di Orio. While each choreographer seems to have his/her own process during the creation of a work, most seem to share a common driving force: music. Whether the choreography stems from a piece of music or a choreographer needs to search for music to suit the movement’s needs, the importance of the relationship between dance and its accompanying music in undeniable. Here, Dance Informa speaks with a few choreographers about their musical inspirations and processes. What inspires you musically? What is it about a certain piece of music that moves you to choreograph? Christopher Liddell and dancers. Photo by Bill Hebert Christopher Liddell, theater dance choreographer www.cliddellchoreography.com First, I’ve got to feel it in the gut, whether it’s because the lyrics spin a great tale or the music itself paints a robust picture. A great arrangement is key, containing at least three ‘acts’ or movements: plot intro, exposition and/or conflict, resolution. And I like when it’s catchy enough for the audience to hum on their way out. Lar Lubovitch, choreographer, Lar Lubovitch Dance Company www.lubovitch.org It’s not totally conscious, but I’m certainly looking for something that makes me need to dance and that triggers my inner eye. My response to music is in effect making an action painting for the music. What comes first for you – the choreography or the music? Lydia Johnson, choreographer, Lydia Johnson Dance www.lydiajohnsondance.org I think that’s changed. It used to be music first, but in the last four or five years what started to happen was whatever I’m working on is kind of coming of its own accord and is growing independently from music. -
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 -
Claudia Richter, Photos/Layout: Claudia Richter
No Fear of a blank interview By Uwe Häberle And Claudia Richter, Photos/Layout: Claudia Richter During the „Fear of a blank planet“ autumn tour 2007 Steven Wilson was ready to answer the questions of the editors from www.Voyage-PT.de on 13th Novem- ber 2007 at the „LKA“ in Stuttgart, despite the fact that there is no massive promotion effect for the band to be expected from a fan website as e.g. from re- spective music magazines or radio stations. Mr. Wilson presented himself as a deeply grateful conversational partner. And if he enjoyed the questions than the coverage of his answers exceeded the questions many times over. Steven allo- wed fascinating insights into his intellectual world, which significantly influences his creativity. And en passant he proved that he still is a down-to-earth person. There is probably nothing a blank planet“ tour in au- take several pictures. Our Well prepared we came on better for a diehard Porcu- tumn 2007 we retried our main goal was to conduct the dot to the „LKA“ to fire pine Tree fan (beside the miss out chance again and an interview that steps be- our questions at Steven. live events of course ) as to started a new inquiry at the yond the usual questions Not an easy undertaking, ask Steven Wilson exactly record label „Roadrunner“. and that addresses as- as it all causes a great those questions that you „Roadrunner“ arranged pects on which Steven, in excitement on ourselves always wanted to ask. Du- an interview appointment our humble opinion, never that we had to keep under ring the Blackfield tour in on the 13th of November commented on. -
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. -
Helsingin Kaupunginteatteri
HELSINGIN KAUPUNGINTEATTERI Luettelo esityksistä on ensi-iltajärjestyksessä. Tiedot perustuvat esitysten käsiohjelmiin. Voit etsiä yksittäisen esityksen nimeä lukuohjelmasi hakutoiminnolla (yleensä ctrl-F) Walentin Chorell: Sopulit (Lemlarna) Suomennos: Marja Rankkala Ensi-ilta 9.9.1965 Vallila Esityskertoja: 13 Ohjaus: Sakari Puurunen & Kalle Holmberg Ohjaajan assistentti: Ritva Siikala Lavastus: Lassi Salovaara Puvut: Elsa Pättiniemi Musiikki: Ilkka Kuusisto Valokuvaaja: Pentti Auer HENKILÖT: Käthi: Elsa Turakainen/ Lise: Eila Rinne/ Tabitha: Hillevi Lagerstam/ Paula: Pirkko Peltomäki/ Muukalainen: Hannes Häyrinen/ Johann: EskoMannermaa/ Peter: Eero Keskitalo/ Äiti: Tiina Rinne/ Ilse: Heidi Krohn/ Wilhelm: Veikko Uusimäki/ Pappi: Uljas Kandolin/ Günther: Kalevi Kahra/ Tauno Kajander/ Leo Jokela/ Arto Tuominen/ Sakari Halonen/ Stig Fransman/ Elina Pohjanpää/ Marjatta Kallio/ Marja Rankkala: Rakkain rakastaja Ensi-ilta:23.9.1965 YO-talo Esityskertoja: 20 Ohjaus: Ritva Arvelo Apulaisohjaaja: Kurt Nuotio Lavastus ja puvut: Leo Lehto Musiikki: Arthur Fuhrmann Valokuvaaja: Pentti Auer HENKILÖT: Magdalena Desiria: Anneli Haahdenmaa/ Magdalena nuorena: Anja Haahdenmaa/ Ella: Martta Kontula/ Jolanda: Enni Rekola/ David: Oiva Sala/ Alfred: Aarre Karén/ “Karibian Konsuli”: Leo Lähteenmäki/ Rikhard: Kullervo Kalske/ Rafael: Sasu Haapanen/ Ramon: Viktor Klimenko/ Daniel: Jarno Hiilloskorpi/ Pepe: Helmer Salmi/ Anne: Eira Karén/ Marietta: Marjatta Raita/ Tuomari: Veikko Linna/ Tanssiryhmä: Marjukka Halttunen, Liisa Huuskonen, Rauni Jakobsson, Ritva -
UC San Diego UC San Diego Electronic Theses and Dissertations
UC San Diego UC San Diego Electronic Theses and Dissertations Title Constructing musical spaces beyond technological Eden : a participative initiative for musical interface development based in the Peruvian context Permalink https://escholarship.org/uc/item/9r3229qm Author Lopez Ramirez-Gaston, Jose Ignacio Publication Date 2008 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA SAN DIEGO Constructing Musical Spaces Beyond Technological Eden: A Participative Initiative for Musical Interface Development Based in the Peruvian Context A Thesis submitted in partial satisfaction of the requirements for the degree of Master of Arts in Music by Jose Ignacio Lopez Ramirez-Gaston Committee in charge Professor Miller Puckette, Chair Professor Shlomo Dubnov Professor David Borgo 2008 Copyright Jose Ignacio Lopez Ramirez-Gaston, 2008 All rights reserved The Thesis of Jose Ignacio Lopez Ramirez-Gaston is approved and is acceptable in quality and form for publication on microfilm and electronically: ____________________________________________________________________________________ ____________________________________________________________________________________ ____________________________________________________________________________________ Chair University of California, San Diego 2008 iii TABLE OF CONTENTS Signature Page ……………………………………………………………………………….. iii Table of Contents …………………………………………………………………………….. iv List of Figures ………………………………………………………………………………….. -
Murcof (From Tijuana Nortec Collective)
Press Release 7/14/07 As part of the San Francisco Electronic Music Festival’s week-long in- ternational festival, NEXMAP presents 2 contemporary cutting edge Mexican artists: Murcof (from Tijuana Nortec Collective) “A work of unimaginable complexity and staggering simplicity... A haunting collection of atmospheric music of a style few have ever managed to crack with such grace.” --Indigoflow Murcof was founded early 2001 by only member Fernando Corona in Ti- juana, México, as an outgrowth of his previous involvement with the inter- nationally-reputed art and electronic movement entitled Nortec Collective. Murcof’s music is sparse, minimalist, sample-based electronica. Although founded on complex, at times, abstract, glitchy electronic percussion, Co- rona’s recordings are more melodic and traditionally structured than many Founded in 1999, the San Francisco Electronic Music Festival-- an annual contemporary electronic musicians, drawing inspiration and samplings multi-day festival consisting of concerts, installations and discussions-- focuses on independent artists whose innovative aesthetics challenge from orchestral string ensembles and works by modern composers such as academic and commercial standards. www.sfemf.net Arvo Pärt. He has performed for films such as Fritz Lang’s Metropolis. .Pig “Artistic traditions are evolving and mutating through the integration of .PIG is a Mexico City based duo formed by Andrés Solís and Rogelio Sosa electronic and digital tools. NEXMAP is eager to explore through perfor- which focuses on live sound experimentation. .Pig’s work relies on blending mances, workshops and discussions the opportunities offered by new technologies and the vital connection between artistic mastery and electronic and digital media with acoustic instruments or concrete sound these new developments...” sources. -
Program (As of 1 August 2018)
AMS/SMT ANNUAL MEETING San Antonio, 1–4 November 2018 Preliminary Program (as of 1 August 2018) 10:00–12:00 SIMSSA: Single Interface for Music Score WEDNESDAY 31 October Searching and Analysis, Working Group 11:00–1:30 Society for Seventeenth-Century Music 9:00–12:00 Grove Editorial Board Governing Board 9:00–6:30 Staging Witches: Gender, Power, 11:00–7:00 Speaker Ready Room and Alterity in Music Sponsored by the AMS Committee on Women and Gender and 12:00–2:00 AMS Membership and the LGBTQ Study Group Professional Development Committee 1:00–8:00 Exhibits 1:00–5:00 Grove Editorial Board and Advisory Panel 2:00–6:00 SMT Executive Board THURSDAY AFTERNOON SESSIONS—2:15–3:45 2:00–8:00 AMS Board of Directors African-American Representations (AMS) 3:00 Diversifying Music Academia: Strengthening the Pipeline Thomas Riis (University of Colorado Boulder), Chair 3:00–6:00 The Mendelssohn Network: Current Mary Beth Sheehy (University of Kansas), “Portrayals of Female Exoti- Developments in Mendelssohn Research cism in the Early Broadway Years: The Music and Performance Styles of ‘Exotic’ Comedy Songs in the Follies of 1907” 6:15–7:30 SMT Executive Board, Networking Committee, Kristen Turner (North Carolina State University), “Back to Africa: Images Publications Committee, and of the Continent in Early Black Musical Theater” Publication Awards Committee Dinner Sean Lorre (Rutgers University), “Muddy Waters, Folk Singer? On the Discursive Power of Album Art and Liner Notes at Mid-Century” 7:30–11:00 SMT Networking Committee Cassettes (AMS) 7:30–11:00