DOCSLIB.ORG

Karlheinz Stockhausen Klang Bilder Audioprogramm

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Karlheinz Stockhausen Klang Bilder Audioprogramm Karlheinz Stockhausen Klang Bilder 03.11. 2018 – 24. 02. 2019 Audioprogramm Di – Sa 16 Uhr, So 12 und 16 Uhr, an Feiertagen wie an Sonntagen und nach Bedarf (sprechen Sie uns gerne an) Werk Dauer Termine KONTAKTE Elektronische Musik 35’ 03. Nov 15. Dez 30. Jan HYMNEN Elektronische Musik mit Orchester 42’ 04. Nov 16. Dez 31. Jan DREI LIEDER für Altstimme und Orchester 19’ 06. Nov GESANG DER JÜNGLINGE Elektronische Musik 14’ 18. Dez 01. Feb FREUDE für 2 Harfen 41’ 07. Nov (2. Stunde aus KLANG) 19. Dez 02. Feb HARLEKIN für Klarinette 45’ 08. Nov 20. Dez 03. Feb MIKROPHONIE I für Tamtam, 2 Mikrophone, 28’ 09. Nov 2 Filter mit Reglern 21. Dez KOMET für elektronisches Klavier, Tonband 15’ 05. Feb KATHINKAS GESANG für Flöte und 33’ 10. Nov Elektronische Musik 22. Dez 06. Feb HARMONIEN für Bassklarinette 16’ 11. Nov (5. Stunde aus KLANG) 23. Dez SCHÖNHEIT für Bassklarinette, Flöte und Trompete 28’ 07. Feb (6. Stunde aus KLANG) EXAMEN für Tenor, Trompete, Bassetthorn, 22’ 13. Nov Klavier, Sopran, Bass, 2 Sprecher-Mimen 27. Dez 08. Feb HARMONIEN für Flöte (5. Stunde aus KLANG) 15’ 14. Nov BALANCE für Bassklarinette, Englisch-Horn, Flöte 32’ 28. Dez (7. Stunde aus KLANG) 09. Feb TIERKREIS für Orchester 31’ 15. Nov 29. Dez 10. Feb ORVONTON für Bariton und Elektronische Musik 24’ 16. Nov (15. Stunde aus KLANG) 30. Dez PARADIES für Flöte und Elektronische Musik 17’ 12. Feb (21. Stunde aus KLANG) ATMEN GIBT DAS LEBEN 53’ 17. Nov Chor-Oper mit Orchester 02. Jan 13. Feb ORCHESTER-FINALISTEN 45’ 18. Nov für Orchester und Elektronische Musik 03. Jan 14. Feb DER JAHRESLAUF für Orchester und Tonband 46’ 20. Nov 04. Jan 15. Feb Werk Dauer Termine HOFFNUNG für Violoncello, Viola, Violine 32’ 21. Nov (9. Stunde aus KLANG) 05. Jan 16. Feb KREUZSPIEL für Oboe, Bassklarinette, Klavier, 11’ 22. Nov 3 Schlagzeuger 06. Jan CARRÉ für 4 Orchester und Chöre 36’ 17. Feb YLEM für 19 Spieler 26’ 23. Nov 08. Jan 19. Feb DIE 7 LIEDER DER TAGE für Tenor und Synthesizer 9’ 24. Nov WOCHENKREIS für Bassetthorn und 25’30 09. Jan elektronische Tasteninstrumente 20. Feb Solisten-Version MICHAELS REISE 48’ 25. Nov für einen Trompeter, 9 Mitspieler und 10. Jan Klangregisseur 21. Feb REFRAIN für drei Spieler 12’ 27. Nov JUBILÄUM für Orchester 16’ 11. Jan 22. Feb UNSICHTBARE CHÖRE für Chor a cappella 48’ 28. Nov 12. Jan 23. Feb ARIES für Trompete und Elektronische Musik 15’ 29. Nov LIBRA für Bassklarinette und Elektronische Musik 33’ 13. Jan 24. Feb TIERKREIS Trio-Version für Klarinette, 27’ 30. Nov Flöte und Piccolo, Trompete und Klavier 15. Jan GEBURTS-ARIEN für 3 Soprane, 3 Tenöre/Chor/ 18’ 01. Dez Kinderstimmen/Modernes Orchester 16. Jan MÄDCHENPROZESSION für Mädchenchor 19’ a cappella und Klavier WELT-PARLAMENT für Chor a cappella 40’ 02. Dez 17. Jan RECHTER AUGENBRAUENTANZ 35’ 04. Dez für Klarinetten, Bassklarinetten, einen Schlagzeuger, 18. Jan einen Synthesizer-Spieler DER KINDERFÄNGER für Altflöte mit Piccolo, 32’ 05. Dez 2 Synthesizer-Spieler, einen Schlagzeuger, 19. Jan Tonband und Klangregisseur STRAHLEN für einen Schlagzeuger und 35’ 06. Dez 10-kanalige Tonaufnahme 20. Jan HOCH-ZEITEN für Chor 35’ 07. Dez 22. Jan EUROPA-GRUSS für Bläser und Synthesizer 13’ 08. Dez STOP UND START für 6 Instrumentalgruppen 22’ 23. Jan LICHT-BILDER für Tenor, Trompete mit Ringmo- 42’ 09. Dez dulation, Bassetthorn, Flöte mit Ringmodulation, 24. Jan Synthesizer TIERKREIS für Tenor und Synthesizer 30’ 11. Dez 25. Jan DÜFTE – ZEICHEN für 7 Singstimmen, 57’ 12. Dez Knaben-Stimme, Synthesizer 26. Jan ENGEL-PROZESSIONEN für Chor a cappella 40’ 13. Dez 27. Jan VISION für Tenor, Trompete, 28’ 14. Dez Synthesizer und Tonband 29. Jan.
Load more

Recommended publications
  • Zur Au Ührungspraxis Von Karlheinz Stockhausens Instrumentalem
    Kunstuniversität Graz Institut 1 für Komposition, Dirigieren und Musiktheorie Künstlerische Masterarbeit Zur Auührungspraxis von Karlheinz Stockhausens instrumentalem Musiktheater dargestellt am Beispiel von HALT aus DONNERSTAG aus LICHT von Margarethe Maierhofer-Lischka künstlerische Betreuung: Uli Fussenegger wissenschaftliche Betreuung: Prof. Dr. Christian Utz Matrikelnr.: 1073168 Graz 17. Dezember 2012 Zahlreiche zeitgenössische Instrumentalwerke überschreiten die Grenzen zwischen In- strumentalmusik und Musiktheater und stellen damit die Interpret/innen vor neue An- forderungen. Das Werk Karlheinz Stockhausens, insbesondere sein Musiktheaterzyklus LICHT, stellt dafür im Musikschaen des 20. Jahrhunderts ein herausragendes Beispiel dar. Diese Arbeit dokumentiert die auührungspraktische Auseinandersetzung mit die- sem Werkkomplex. Anhand der Szene HALT aus DONNERSTAG aus LICHT, die letz- tes Jahr im Rahmen eines künstlerischen Forschungsprojekts einstudiert und aufgeführt wurde, wird ein Einblick in Stockhausens ästhetische und musiktheatralische Konzepte vermittelt. Inhaltliche Kriterien für die Entwicklung einer werktreuen Neuinterpretati- on werden genauso vorgestellt wie performative Aufgaben, denen Musiker/innen für die Arbeit an musikalisch-szenischen Werken gewachsen sein müssen. Many contemporary instrumental works are crossing the borders between instrumental music and music theatre, thus imposing new challenges to their interpreters. One import- ant example for such an interdisciplinary body of works contained in the 20th
    [Show full text]
  • Classic Albums: the Berlin/Germany Edition
    Course Title Classic Albums: The Berlin/Germany Edition Course Number REMU-UT 9817 D01 Spring 2019 Syllabus last updated on: 2​3-Dec-2018 Lecturer Contact Information Course Details Wednesdays, 6:15pm to 7:30pm (14 weeks) Location NYU Berlin Academic Center, Room BLAC 101 Prerequisites No pre-requisites Units earned 2 credits Course Description A classic album is one that has been deemed by many —or even just a select influential few — as a standard bearer within or without its genre. In this class—a companion to the Classic Albums class offered in New York—we will look and listen at a selection of classic albums recorded in Berlin, or recorded in Germany more broadly, and how the city/country shaped them – from David Bowie's famous Berlin trilogy from 1977 – 79 to Ricardo Villalobos' minimal house masterpiece Alcachofa. We will deconstruct the music and production of these albums, ​ ​ putting them in full social and political context and exploring the range of reasons why they have garnered classic status. Artists, producers and engineers involved in the making of these albums will be invited to discuss their seminal works with the students. Along the way we will also consider the history of German electronic music. We will particularly look at how electronic music developed in Germany before the advent of house and techno in the late 1980s as well as the arrival of Techno, a new musical movement, and new technology in Berlin and Germany in the turbulent years after the Fall of the Berlin Wall in 1989, up to the present.
    [Show full text]
  • Stockhausen's Cosmic Pulses
    Robin Maconie: Stockhausen’s Cosmic Pulses 2009–14 (copyright) 1 Stockhausen’s Cosmic Pulses ROBIN MACONIE Some people chase tornados; others go after black holes. From the late 1950s Stockhausen was fascinated by the idea of sounds in rotation and how to realise them in a technical sense, by means of an array of loudspeakers. Completed in 2007, Cosmic Pulses is Stockhausen’s final electronic composition.1 For a number of reasons I believe the composer knew it would be his last. The work was completed in a rush. In many ways, notably in terms of the sound material, which is very basic, it remains a sketch. The music can be described as a massive rotating sound mass, composed in 24 separately spinning frequency layers. The work thickens gradually to 24 layers, then reduces symmetrically upward in an ascending spiral that ends quite abruptly. An audience may experience the sensation of falling headlong into a black hole, or, if one is an optimist, of being carried aloft on the whirlwind like Dorothy in The Wizard of Oz. A tornado is an effect of a natural imbalance between temperature layers in the atmosphere, tipped into motion by the earth’s rotation, which moves progressively faster toward the equator. The rotating air mass that results spirals upwards and generates a powerful electrical charge. A black hole by comparison is an effect of gravitation creating an imbalance in spacetime. The rotational process that results spirals downward or inward and leads to the extinction of reality as we know it, or again, if one is an optimist, creates a wormhole leading either into another universe, or into our own universe at Robin Maconie: Stockhausen’s Cosmic Pulses 2009–14 (copyright) 2 another point in time.
    [Show full text]
  • Karlheinz Stockhausen: Works for Ensemble English
    composed 137 works for ensemble (2 players or more) from 1950 to 2007. SCORES , compact discs, books , posters, videos, music boxes may be ordered directly from the Stockhausen-Verlag . A complete list of Stockhausen ’s works and CDs is available free of charge from the Stockhausen-Verlag , Kettenberg 15, 51515 Kürten, Germany (Fax: +49 [0 ] 2268-1813; e-mail [email protected]) www.stockhausen.org Karlheinz Stockhausen Works for ensemble (2 players or more) (Among these works for more than 18 players which are usu al ly not per formed by orches tras, but rath er by cham ber ensem bles such as the Lon don Sin fo niet ta , the Ensem ble Inter con tem po rain , the Asko Ensem ble , or Ensem ble Mod ern .) All works which were composed until 1969 (work numbers ¿ to 29) are pub lished by Uni ver sal Edi tion in Vien na, with the excep tion of ETUDE, Elec tron ic STUD IES I and II, GESANG DER JÜNGLINGE , KON TAKTE, MOMENTE, and HYM NEN , which are pub lished since 1993 by the Stock hau sen -Ver lag , and the renewed compositions 3x REFRAIN 2000, MIXTURE 2003, STOP and START. Start ing with work num ber 30, all com po si tions are pub lished by the Stock hau sen -Ver lag , Ket ten berg 15, 51515 Kürten, Ger ma ny, and may be ordered di rect ly. [9 ’21”] = dura tion of 9 min utes and 21 sec onds (dura tions with min utes and sec onds: CD dura tions of the Com plete Edi tion ).
    [Show full text]
  • Stockhausen Works for Orchestra
    composed 37 works for orchestra from 1950 to 2007. SCORES , compact discs, books , posters, videos, music boxes may be ordered directly from the Stockhausen-Verlag . A complete list of Stockhausen ’s works and CDs is available free of charge from the Stockhausen-Verlag , Kettenberg 15, 51515 Kürten, Germany (Fax: +49 [0]2268-1813; e-mail [email protected]) www.stockhausen.org Duration Publisher CD of the Stockhausen Complete Edition 1950 DREI LIEDER (THRE E SONGS [19 ’26”] U.E. e1 for alto voice and chamber orchestra ( cond. )(Universal Edition ) (fl. / 2 cl. / bsn. / tp. / trb. / 2 perc. / piano / elec. harpsichord / strings) 1951 FORMEL (FORMULA) [12 ’57”] U. E e2 for orchestra [28 players] ( cond. ) 1952 SPIEL (PLAY) [16 ’01”] U. E. e2 for orchestra ( cond. ) 195 2/ PUNKTE (POINTS) [ca. 27 ’] U. E. e2 E81‰ 1962 / 1993 for orchestra ( cond. ) 195 2 KONTRA-PUNKTE (COUNTER-POINTS) [14 ’13”] U. E. e4 to 53 for 10 instruments ( cond. ) (fl. / cl. / bass cl. / bsn. / tp. / trb. / piano / harp / vl. / vc.) 195 5 GRUPPEN (GROUPS) [24 ’25”] U. E. e5 to 57 for 3 orchestras ( 3 cond. ) 195 9 CARRÉ [ca. 36’] U. E. e5 to 60 for 4 orchestras and 4 choirs ( 4 cond. ) 196 2 MOMENTE (MOMENTS) [113’] St. e7 E80‰ to 64 for solo soprano, 4 choir groups (Stockhausen-Verlag ) (finished in ’69) and 13 instrumentalists ( cond. ) 1964 MIXTUR (MIXTURE) [ca. 2 x 27’] U. E for orchestra, 4 sine-wave generators and 4 ring modulators ( cond. ) 1964 / MIXTUR (MIXTURE) [2 x 27’] U. E. e8 1967 for small orchestra (cond.
    [Show full text]
  • Practical Theology Reflecting on the Public Sphere
    HTS Teologiese Studies/Theological Studies ISSN: (Online) 2072-8050, (Print) 0259-9422 Page 1 of 6 Original Research Sounding the sacred in the age of fake news – Practical theology reflecting on the public sphere Author: The public sphere, in which religion is lived and in which religious singing functions, is briefly 1 Elsabé Kloppers discussed and related to manipulated truths and ‘fake news’ regarding the use of spiritual Affiliation: songs and hymns as religious and cultural offerings, with reference especially to texts displaying 1Department of Philosophy, a disregard for responsible hermeneutical principles. A plea is made not only for a practical Practical and Systematic theology that engages critically with the fundamentals of the current culture and the use of Theology, School of religious symbols in public, but also for a sounding theology that reflects on communication Humanities, University of South Africa, Pretoria, through singing and other forms of art in the public space of worship as well as in the more South Africa ‘visible’ public sphere whilst creating beauty in the process of reflection. Through this means, spaces of resonance could be opened where people become participants drawn in into a Corresponding author: performance of practical theology, reflecting together on the religion they live and finding new Elsabé Kloppers, [email protected] ways of voicing their faith in the public sphere, unveiling aspects of authenticity and truth. Dates: Contribution: From an interdisciplinary perspective fitting the scope of the journal, it is Received: 17 May 2020 shown how hymns, texts and music draw people into a performance of a practical theology Accepted: 10 Aug.
    [Show full text]
  • Stockhausen Concerts and Classes for Clarinettists and Others. Clarinettists Have Reason to Be Very Happy with the Development
    Stockhausen concerts and classes for clarinettists and others. Clarinettists have reason to be very happy with the development of their repertoire in de 20th century, as it had a previously unseen growth. One of the main figures of post war new music has been Karlheinz Stockhausen (1928-2007). This often controversial composer has enriched clarinet literature with an unprecedented number of works for clarinet, bassethorn and bass clarinet, especially after 1974. These sometimes demanding pieces, often with theatrical elements, require a specific approach and way of playing, easily underestimated. Stockhausen was well aware of this and started coaching a new generation of players in the 1980’s, in order to pass this tradition of interpretation on to others. In spite of Stockhausen’s compositions having the reputation of being difficult and intellectual (if not quasi-religious), to play, watch and listen to them is generally great fun, and very satisfying to work on - if done well. Because the music calls on many apects of performing (e.g. fysical and mental attitude on stage, memory, presentation, awareness of the structure of the music, disciplin) the leaning process has a beneficial influence on performing traditional music too. This series of concerts and courses offers the possibility to watch, listen, study and rehearse a number of Stockhausen’s works with Michel Marang, a clarinettist who worked with the composer since 1986 and performed his music hundreds of times worldwide. The course can have the character of an introductory lecture and concert, but eventually may result in seminars over a longer stretch of time, as much as needed to bring specific works on concert level.
    [Show full text]
  • New 2014–2017
    Stockhausen-Verlag, 51515 Kürten, Germany www.karlheinzstockhausen.org / [email protected] NEW 2014–2017 New scores (can be ordered directly online at www.stockhausen-verlag.com): TELEMUSIK (TELE MUSIC) Electronic Music (English translation) ................................ __________ 96 ¤ (54 bound pages, 9 black-and-white photographs) ORIGINALE (ORIGINALS) Musical Theatre (Textbook) ..................................................... __________ 88 ¤ (48 bound pages, 11 black-and-white photographs) TAURUS-QUINTET for tuba, trumpet, bassoon, horn, trombone .................................... __________ 60 ¤ (folder with score in C, 10 bound pages, cover in colour with Stockhausen’s original drawing, plus performance material: 5 loose-leaf parts for tuba, trumpet, bassoon, horn in F and trombone) CAPRICORN for bass and electronic music ................................................................................ __________ 65 ¤ (60 bound pages, cover in colour) KAMEL-TANZ (CAMEL-DANCE) .............................................................................................. __________ 30 ¤ (of WEDNESDAY from LIGHT) for bass, trombone, synthesizer or tape and 2 dancers (20 bound pages, cover in colour) MENSCHEN, HÖRT (MANKIND, HEAR) .................................................................................. __________ 30 ¤ (of WEDNESDAY from LIGHT) for vocal sextet (2 S, A, T, 2 B) (24 bound pages, cover in colour with Stockhausen’s original drawing) HYMNEN (ANTHEMS) Electronic and Concrete Music – study
    [Show full text]
  • Ulrich Buch Engl. Ulrich Buch Englisch
    Stockhausen-Stiftung für Musik First edition 2012 Published by Stockhausen-Stiftung für Musik 51515 Kürten, Germany (Fax +49-[0] 2268-1813) www.stockhausen-verlag.com All rights reserved. Copying prohibited by law. O c Copyright Stockhausen-Stiftung für Musik 2012 Translation: Jayne Obst Layout: Kathinka Pasveer ISBN: 978-3-9815317-0-1 STOCKHAUSEN A THEOLOGICAL INTERPRETATION BY THOMAS ULRICH Stockhausen-Stiftung für Musik 2012 TABLE OF CONTENTS Preliminary Remark .................................................................................................. VII Preface: Music and Religion ................................................................................. VII I. Metaphysical Theology of Order ................................................................. 3 1. Historical Situation ....................................................................................... 3 2. What is Music? ............................................................................................. 5 3. The Order of Tones and its Theological Roots ............................................ 7 4. The Artistic Application of Stockhausen’s Metaphysical Theology in Early Serialism .................................................. 14 5. Effects of Metaphysical Theology on the Young Stockhausen ................... 22 a. A Non-Historical Concept of Time ........................................................... 22 b. Domination Thinking ................................................................................ 23 c. Progressive Thinking
    [Show full text]
  • Hommage À Stockhausen (1928-2007) Gilles Tremblay
    Document generated on 09/30/2021 1:37 a.m. Les Cahiers de la Société québécoise de recherche en musique Hommage à Stockhausen (1928-2007) Gilles Tremblay Les musiques du Québec Volume 10, Number 1, December 2008 URI: https://id.erudit.org/iderudit/1054174ar DOI: https://doi.org/10.7202/1054174ar See table of contents Publisher(s) Société québécoise de recherche en musique ISSN 1480-1132 (print) 1929-7394 (digital) Explore this journal Cite this document Tremblay, G. (2008). Hommage à Stockhausen (1928-2007). Les Cahiers de la Société québécoise de recherche en musique, 10(1), 89–90. https://doi.org/10.7202/1054174ar Tous droits réservés © Société québécoise de recherche en musique, 2008 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ nvention, découverte : Zeitmasse, Gruppen I(pour trois orchestres), le Chant des ado- lescents (un chef-d’œuvre électroacoustique), Hommage à Kontakte, Hymnen, Refrain, Momente, les Klavierstücke, Inori, Stimmung (« Accord »), Stockhausen Mantra, Zyklus, Spiral, Sirius, Helikopter (qua- tuor à cordes) [Helikopter-Streichquartett], (1928-2007) Licht (opéra en 7 jours), Ora Prima/Ascension [Ora Prima, pour la fête de l’Ascension]. Ces Gilles Tremblay quelques titres évoquent un esprit, celui d’un explorateur d’une rare audace.
    [Show full text]
  • A Symphonic Poem on Dante's Inferno and a Study on Karlheinz Stockhausen and His Effect on the Trumpet
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2008 A Symphonic Poem on Dante's Inferno and a study on Karlheinz Stockhausen and his effect on the trumpet Michael Joseph Berthelot Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Berthelot, Michael Joseph, "A Symphonic Poem on Dante's Inferno and a study on Karlheinz Stockhausen and his effect on the trumpet" (2008). LSU Doctoral Dissertations. 3187. https://digitalcommons.lsu.edu/gradschool_dissertations/3187 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. A SYMPHONIC POEM ON DANTE’S INFERNO AND A STUDY ON KARLHEINZ STOCKHAUSEN AND HIS EFFECT ON THE TRUMPET A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agriculture and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The School of Music by Michael J Berthelot B.M., Louisiana State University, 2000 M.M., Louisiana State University, 2006 December 2008 Jackie ii ACKNOWLEDGEMENTS I would like to thank Dinos Constantinides most of all, because it was his constant support that made this dissertation possible. His patience in guiding me through this entire process was remarkable. It was Dr. Constantinides that taught great things to me about composition, music, and life.
    [Show full text]
  • AMRC Journal Volume 21
    American Music Research Center Jo urnal Volume 21 • 2012 Thomas L. Riis, Editor-in-Chief American Music Research Center College of Music University of Colorado Boulder The American Music Research Center Thomas L. Riis, Director Laurie J. Sampsel, Curator Eric J. Harbeson, Archivist Sister Dominic Ray, O. P. (1913 –1994), Founder Karl Kroeger, Archivist Emeritus William Kearns, Senior Fellow Daniel Sher, Dean, College of Music Eric Hansen, Editorial Assistant Editorial Board C. F. Alan Cass Portia Maultsby Susan Cook Tom C. Owens Robert Fink Katherine Preston William Kearns Laurie Sampsel Karl Kroeger Ann Sears Paul Laird Jessica Sternfeld Victoria Lindsay Levine Joanne Swenson-Eldridge Kip Lornell Graham Wood The American Music Research Center Journal is published annually. Subscription rate is $25 per issue ($28 outside the U.S. and Canada) Please address all inquiries to Eric Hansen, AMRC, 288 UCB, University of Colorado, Boulder, CO 80309-0288. Email: [email protected] The American Music Research Center website address is www.amrccolorado.org ISBN 1058-3572 © 2012 by Board of Regents of the University of Colorado Information for Authors The American Music Research Center Journal is dedicated to publishing arti - cles of general interest about American music, particularly in subject areas relevant to its collections. We welcome submission of articles and proposals from the scholarly community, ranging from 3,000 to 10,000 words (exclud - ing notes). All articles should be addressed to Thomas L. Riis, College of Music, Uni ver - sity of Colorado Boulder, 301 UCB, Boulder, CO 80309-0301. Each separate article should be submitted in two double-spaced, single-sided hard copies.
    [Show full text]