DOCSLIB.ORG

KÂMAKALÂ Press (English) ______

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

KÂMAKALÂ Press (English) ________________ CARREFOUR November 4, 1971 Jean-Claude ELOY et Georges SEBASTIAN (Jean-Claude ELOY and Georges SEBASTIAN) Antoine Goléa CLÉS POUR LA MUSIQUE (KEYS TO THE MUSIC) December 1971 Brussels Semaines Musicales Internationales de Paris Journées de Musique Contemporaine International Music Weeks in Paris Contemporary Music Days Harry Halbreich KÖLNISCHE RUNDSCHAU February 25, 1975 A weekend at the WDR studio for the " Current Music " Festival: A sumptuous "Meeting with India". By Hans-Elmar Bach KÖLNER STADT-ANZEIGER February 25, 1975 The fifth concert of the WDR "Current Music" cycle, a three-day meeting with India. By Dietolf Grewe MANNHEIMER MORGEN February 27, 1975 The Current Music Cycle of the Cologne Radio: A Look at India Hanspeter Krellmann DIE WELT February 28, 1975 "Meeting with India" at the WDR studio of Cologne Reinhard Beuth FRANKFURTER ALLGEMEINE ZEITUNG (F. A. Z.) March 6, 1975 Meeting with India – and the cult of India – during an artistic event in Cologne Gerhard R. Koch 1 NOTRE TEMPS Brussels, March 6, 1975 Prestige des religions Anciennes (Prestige of Ancient Religions) Évelyne Sznycer, Serge Pahaut. LUXEMBURGER WORT March 7, 75 VIe Biennale de Musique Moderne à Bruxelles (6th Biennial Festival of Modern Music in Brussels) Nicolas Koch-Martin LE QUOTIDIEN DE PARIS Tuesday, May 25, 1976 Perspectives du XXe siècle (20th Century Outlook) Gérard Mannoni LE NOUVEL OBSERVATEUR Monday, May 31, 1976 Music by Maurice Fleuret L'amour avec les sons (Love with Sounds) "Kâmakalâ" at Radio-France The Magic Vibration of Origins PIECES BY LUCIANO BERIO AND JEAN-CLAUDE ELOY Concerts with Radio-France THE TIMES OF INDIA NEW DELHI: FRIDAY, OCTOBER 27, 1978 Memorable session of electronic music By Krishna Chaitanya TÉLÉRAMA May 1979 Radio 20TH CENTURY OUTLOOK SATURDAY MAY 29. 2:45 PM. FRANCE-CULTURE MONDAY MAY 31. 2 PM. FRANCE-MUSIQUE Jean-Claude EIoy The Beauty of a Single Note Paul Meunier 2 KÂMAKALÂ Press (English) ________________________________________________ CARREFOUR November 4, 1971 Jean-Claude ELOY et Georges SEBASTIAN (Jean-Claude ELOY and Georges SEBASTIAN) I was quite worried last night at Jean-Claude Eloy's concert at the Théâtre de la Ville. I had arrived a little early, and had the time to glance through the program. There I found, underneath the composer's signature, a literature halfway between philosophy and Einstein physics, which, ignorant as I am, I did not understand at all. […] Years ago, I had greeted him for that as one of the most promising upcoming composers of the young generation following Boulez. The work I heard then, Equivalences for chamber orchestra, appealed to me for its clarity, especially that of its rhythmic structures, its timbres, and its very expressive sometimes dramatic dynamic. These were the qualities of an authentic musician, and they have remained until today when so many young people believe that it is enough to strike any old how on a piano for it to be music. For several years as he was prey to a real crisis of conscience, Eloy did not compose. He traveled the world, to America, Asia, mainly in India. He came back a fervent follower of a synthesis between Western and Eastern music. It is a path that Messiaen took on before him, but that he found again alone as he never was a student of Messiaen's nor simply under his influence. We heard the successions and superpositions of Equivalences again the other night, and the excellent impression that I had from this work was strongly confirmed, which is a sign of real value. Then we heard Faisceaux Diffractions, also for chamber orchestra. Behind this somewhat forbidding title, which refers to luminous beams, Eloy offers a much compelling work where expressive and dramatic powers are yet again accused. The composer possesses a gift now very rare: he knows how to use silences, and to give them an expressive weight. It is a gift as old as the hills in Western music, and in this area, Eloy has remained much of a Westerner. After the intermission came the world premiere of Kamakala, for three orchestras and vocal ensembles. The Hindu word used as the title means "soaring desire". It is about a very ambitious musical piece which tends to illustrate the birth and development of life having the universal desire as a source. It starts a little bit like The Rhine Gold by Wagner that also describes the birth of a world through indistinct, pianissimo murmurs in the lowest-pitched vocal registries. It rises very slowly both as a dynamic and as a tessitura, gradually held by instruments up to the highest levels of voice. The long held voices of the beginning are progressively split up until they sound like furiously torn barks of animals in heat. It is very impressive, all the more as Eloy never overplays the sound power: he does not kill his music by overpushing decibels and deafening the listeners. Everything always remains musical with Eloy, far away though sounds sometimes appear to be from music. Once the target is achieved, everything is on the descent never finding again the silent murmur of the beginning: once life is given its impetus, it can never die; it sometimes simply reaches the shores of balance and serenity; thus ends Eloy's work, which Olivier Messiaen told me after the concert reminded him of Tibetan music to the point of obsession. The presentation by the choruses and the National Orchestra of the O.R.T.F., conducted by Marius Constant, Boris de Vinogradov and Catherine Comet sounded excellent to me. […] ANTOINE GOLÉA ________________________________________________ 3 CLÉS POUR LA MUSIQUE (KEYS TO THE MUSIC) December 1971 Brussels Semaines Musicales Internationales de Paris Journées de Musique Contemporaine International Music Weeks in Paris Contemporary Music Days […] A particularly exciting day gave Jean-Claude Eloy the opportunity to make a comeback long awaited for by all those who consider this 33-year-old composer, a disciple of Boulez', as one of the best bets in the current French music movement... During his few years in the United States, Eloy somehow kept a low profile in France, where many would-be artists hastily replaced the vacant spot. Today, he is emerging from a deep artistic and personal crisis, and his resurrection is nothing but stunning. For a long time, Eloy has been fascinated by Eastern music, and he explained the reasons why during an enthralling conference illustrated with striking sound examples. His whole current approach tends to throw a bridge between the East and us by defining the creative attitude that a Western musician from today can show when faced with non- European music. The lure of exoticism, which one has now gone beyond, yielded to a much more insidious one – that of intellectual colonialism, more sterile and destructive. Integrating Indian or Balinese "sound objects" is not more fruitful than developing sonatas or symphonies based on scales and rhythms from over there. Eloy wishes to go much further, and manages to do it: on the one hand, by aiming at an Eastern conception of musical time, excluding "closed" structures and architectures based on a certain periodical symmetry typical of Western music; and, on the other hand, by embracing the Eastern conception of musical matter, that of music created above all with sounds, rather than with notes: Varèse, and, in a certain way Debussy, had preceded him. Eloy has now entered a full evolution process, an unfinished evolution yet marked by a potential great richness, which will be exciting to follow. He is not about to review his accomplishments, and he says so. However, the three creations heard during the S.M.l.P. help appreciate the speed and the ascending curve of this evolution. Équivalences, for 18 instrumentalists (1963), that "pre-crisis" piece, although still in Boulez' wake somehow, already conveys quite a violence, and most of all an extraordinary sound seduction made of unusual refinement not in the least without power. Faisceaux-Diffractions for 28 instrumentalists (1970) was a quantum leap. A manly and muscled music, with the beauty of a sound texture worthy of Varèse, with magnificent brass sonorities, and which contrasts with the still "pointillist" discontinuity of the previous piece for the much Eastern-like sake of filling the entire time and sound space with large static aggregates. Sumptuously ornamented melisms, glissandi of electric guitars freely reminiscent of Indian sitars and sarods come within that continuity. It is one of the most efficient and most complete music piece composed in the past few years. May Belgium hear it soon. Nevertheless, the most awaited-for event was the world creation of Kâmakalâ for choirs and three orchestra groups, the biggest and most challenging work produced by the young composer. So far, he has only been able to accomplish the first tier of what sounds to be a huge triptych probably lasting an hour and a half to two hours. The completed part lasts about 37 minutes. "Kâmakalâ, Eloy explains, is a Sanskrit term meaning "triangle of energies" in Shivaism and, most of all, Tantrism. Kâma refers to desire, the God of eroticism, but also to the thirst for life, to the creative momentum born of the union between Shiva (the male entity, or Linga, the substance) and his 4 Shakti (female entity, or Yoni, the energy). Kalâ represents the Shiva components appearing in 5 degrees, from the absolute peace of dead silence to the physical appearance of the human being. Thus, the piece starts from a "pre-world deep silent sleep", and progressively builds up to the bursting of life, whose core part will describe the various expressions in a sort of giant "dance of life" before the third tier brings us back to the state of final dissolution.
Recommended publications
  • Thomas D. Svatos and Twentieth-Century Czech Critical Culture

    Thomas D. Svatos and Twentieth-Century Czech Critical Culture

    ex tempore A Journal of Compositional and Theoretical Research in Music Vol. XIV/2, Spring / Summer 2009 _________________________ A Clash over Julietta: the Martinů/Nejedlý Political Conflict - Thomas D. Svatos and Twentieth-Century Czech Critical Culture Dialectic in Miniature: Arnold Schoenberg‟s - Matthew Greenbaum Sechs Kleine Klavierstücke Opus 19 Stravinsky's Bayka (1915-16): Prose or Poetry? - Marina Lupishko Pitch Structures in Reginald Smith Brindle’s -Sundar Subramanian El Polifemo de Oro Rhythmic Cells and Organic Development: - Jean-Louis Leleu The Function of Harmonic Fields in Movement IIIb of Livre pour quatuor by Pierre Boulez Analytical Diptych: Boulez Anthèmes / Berio Sequenza XI - John MacKay co-editors: George Arasimowicz, California State University, Dominguez Hills John MacKay, West Springfield, MA associate editors: Per Broman, Bowling Green University Jeffrey Brukman, Rhodes University, RSA John Cole, Elisabeth University of Music, JAP Angela Ida de Benedictis, University of Pavia, IT Paolo Dal Molin, Université Paul Verlaine de Metz, FR Alfred Fisher, Queen‟s University, CAN Cynthia Folio, Temple University Gerry Gabel, Texas Christian University Tomas Henriques, Universidade Nova de Lisboa, POR Timothy Johnson, Ithaca College David Lidov, York University, CAN Marina Lupishko, le Havre, FRA Eva Mantzourani, Canterbury Christchurch Univ, UK Christoph Neidhöfer, McGill University, CAN Paul Paccione, Western Illinois University Robert Rollin, Youngstown State University Roger Savage, UCLA Stuart Smith, University of Maryland Thomas Svatos, Eastern Mediterranean Univ, TRNC André Villeneuve UQAM, CAN Svatos/A Clash over Julietta 1 A Clash over Julietta: The Martinů/Nejedlý Political Conflict and Twentieth-Century Czech Critical Culture Thomas D. Svatos We know and honor our Smetana, but that he must have been a Bolshevik, this is a bit out of hand.
  • Conservatoire National Supérieur De Musique Et De Danse De Par I S Programme 2018 - 19 Saison 2018–19 L'année Des Lumières

    Conservatoire National Supérieur De Musique Et De Danse De Par I S Programme 2018 - 19 Saison 2018–19 L'année Des Lumières

    CONSERVATOIRE NATIONAL SUPÉRIEUR DE MUSIQUE ET DE DANSE DE PAR I S PROGRAMME 2018 - 19 SAISON 2018–19 L'ANNÉE DES LUMIÈRES Bruno Mantovani Directeur du Conservatoire Lumière sombre avec le Requiem allemand de Johannes Brahms à la Cathédrale Saint-Louis des Invalides et le Requiem d’Hector Berlioz à la Philharmonie de Paris en collaboration avec l’Orchestre de Paris, lumière éclatante avec la mise en musique de l’exposition Éblouissante Venise au Grand Palais, lumière tamisée d’Il Mondo della Luna de Joseph Haydn représenté au Conservatoire sous la direction de Tito Ceccherini et mis en scène par Marc Paquien, lumière noire du Grand macabre de György Ligeti à la Philharmonie de Paris sous la direction de Matthias Pintscher, lumière intense du Brésil à travers une nouvelle collaboration avec l’Orchestre des jeunes de São Paulo… Cette nouvelle saison des spectacles du Conservatoire célèbre la lumière dans tous ses états, une lumière partagée par le plus grand nombre, dans les salles publiques de l’école, chez nos nombreux partenaires (parmi lesquels de nouveaux lieux qui ouvrent leurs portes au Conservatoire de Paris comme le Théâtre 71 ou la Fondation Louis Vuitton), dans les favelas brésiliennes ou dans des camps de réfugiés en Grèce. Comme la musique et la danse, la lumière est une nécessité vitale et elle appartient à tous. Ce seront aussi les professeurs du Conservatoire qui seront mis en lumière lors de cette saison, notamment à l’occasion des cours du soir (dont certains seront retransmis en direct sur internet). La recherche occupera elle aussi une part importante de la programmation lors des nombreux concerts- lectures ou dans les colloques et autres soutenances de thèses organisés au Conservatoire.
  • Teaching Post-Tonal Music to Twenty-First- Century Students Author(S): Miguel A

    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.
  • This Electronic Thesis Or Dissertation Has Been Downloaded from Explore Bristol Research

    This Electronic Thesis Or Dissertation Has Been Downloaded from Explore Bristol Research

    This electronic thesis or dissertation has been downloaded from Explore Bristol Research, http://research-information.bristol.ac.uk Author: Vagopoulou, Evaggelia Title: Cultural tradition and contemporary thought in Iannis Xenakis's vocal works General rights Access to the thesis is subject to the Creative Commons Attribution - NonCommercial-No Derivatives 4.0 International Public License. A copy of this may be found at https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode This license sets out your rights and the restrictions that apply to your access to the thesis so it is important you read this before proceeding. Take down policy Some pages of this thesis may have been removed for copyright restrictions prior to having it been deposited in Explore Bristol Research. However, if you have discovered material within the thesis that you consider to be unlawful e.g. breaches of copyright (either yours or that of a third party) or any other law, including but not limited to those relating to patent, trademark, confidentiality, data protection, obscenity, defamation, libel, then please contact [email protected] and include the following information in your message: •Your contact details •Bibliographic details for the item, including a URL •An outline nature of the complaint Your claim will be investigated and, where appropriate, the item in question will be removed from public view as soon as possible. Cultural Tradition and Contemporary Thought in lannis Xenakis's Vocal Works Volume I: Thesis Text Evaggelia Vagopoulou A dissertation submitted to the University of Bristol in accordancewith the degree requirements of the of Doctor of Philosophy in the Faculty of Arts, Music Department.
  • BMN 2002/2.Indd

    BMN 2002/2.Indd

    Bohuslav Martinů May – August 2002 Always Slightly off Center An Interview with Christopher Hogwood When the Fairies Learned to Walk Feuilleton on The Three Wishes in Augsburg Second The Wonderful Flights issue It Was a Dream for Me to Have a Piece by Martinů Jiří Tancibudek and Concerto for Oboe and Small Orchestra 25 Years of the Martinů Quartet Bats in the Belfry The Film Victims and Murderers Martinů News and Events The International Bohuslav Martinů Society The Bohuslav Martinů Institute CONTENTS WELCOME Karel Van Eycken ....................................... 3 BOHUSLAV MARTINŮ SOCIETIES AROUND THE WORLD .................................. 3 ALWAYS SLIGHTLY OFF CENTER Christopher Hogwood interviewed by Aleš Březina ..................................... 4 - 6 REVIEW Sandra Bergmannová ................................. 7 WHEN THE FAIRIES LEARNED TO WALK Feuilleton on The Three Wishes in Augsburg Jörn Peter Hiekel .......................................8 BATS IN THE BELFRY The Film Victims and Murderers Patrick Lambert ........................................ 9 MARTINŮ EVENTS 2002 ........................10 - 11 THE WONDERFUL FLIGHTS Gregory Terian .........................................12 THE CZECH RHAPSODY IN A NEW GARB Adam Klemens .........................................13 25 YEARS OF THE MARTINŮ QUARTET Eva Vítová, Jana Honzíková ........................14 “MARTINŮ WAS A GREAT MUSICIAN, UNFORGETTABLE…” Announcement about Margrit Weber ............15 IT WAS A DREAM FOR ME TO HAVE A PIECE BY MARTINŮ Jiří Tancibudek and Concerto
  • Maurice Fleuret Une Politique Démocratique De La Musique

    Maurice Fleuret Une Politique Démocratique De La Musique

    Annexe 3 sont les seuls à échapper à la délinquance juvénile). À l’heure où la société est légitimement sollicitée de protéger toujours mieux l’individu dans son quotidien, la création artistique reste le seul domaine où, sans mettre en péril la perpétuation et le développement de la communauté, chacun peut prendre les risques fondamentaux, nécessaires à sa conscience et à son existence. Cependant, outre l’accomplissement indi- viduel qu’entraîne le fait de s’investir dans l’acte de création, de se pro- jeter dans l’objet créé et d’y risquer beaucoup, il y a là le facteur le plus dynamique du développement de la communication, puisque chacun crée pour l’autre, et donc de formation de la conscience collective indispen- sable à l’évolution de la société ; échangeant plus et, ainsi, se connais- sant mieux, le groupe est mieux à même de choisir son destin et de mesu- rer les conséquences de sa décision. À l’heure du bilan, il écrit : « La vie musicale en France : une révolution culturelle ?* » Les Italiens chantent Verdi dans la rue, les Anglais vont au concert comme ils iraient au cinéma, les Allemands font de la pratique chorale le ciment de la société, et les Autrichiens célèbrent la musique savante comme fondement de la civilisation. Dans le concert européen des nations musicales, la France reste absente : depuis au moins Lully, il est admis que le Français n’est pas musicien, même pas mélomane, et qu’il faut, pour se consoler, s’en tenir ici à quelques grands noms qui font exception mais confirment la règle.
  • Downloaded From

    Downloaded From

    BÄRENREITER URTEXT offering the best CZECHMUSIC of Czech music BÄRENREITER URTEXT is a seal of quality assigned only to scholarly-critical editions. It guarantees that the musical text represents the current state of research, prepared in accordance with clearly defined editorial guidelines. Bärenreiter Urtext: the last word in authentic text — the musicians’ choice. Your Music Dealer SPA 314 SPA SALES CATALOGUE 2021 /2022 Bärenreiter Praha • Praha Bärenreiter Bärenreiter Praha | www.baerenreiter.cz | [email protected] | www.baerenreiter.com BÄRENREITER URTEXT Other Bärenreiter Catalogues THE MUSICIAN ' S CHOICE Bärenreiter – Bärenreiter – The Programme 2019/2020 Das Programm 2018/2019 SPA 480 (Eng) SPA 478 (Ger) Bärenreiter's bestsellers for The most comprehensive piano, organ, strings, winds, catalogue for all solo chamber ensembles, and solo instruments, chamber music voice. It also lists study and and solo voice. Vocal scores orchestral scores, facsimiles and study scores are also and reprints, as well as books included. on music. Bärenreiter – Bärenreiter – Bärenreiter Music for Piano 2019/2020 Music for Organ Music for Organ 2014/2015 SPA 233 (Eng) 2014/2015 SPA 238 (Eng) Bärenreiter's complete Urtext Bärenreiter's Urtext programme for piano as well programme for organ as well as all educational titles and as collections and series. collections for solo and piano You will also find jazz works, four hands. Chamber music transcriptions, works for with piano is also listed. Your Music Dealer: organ and voice, as well as a selection of contemporary music. Bärenreiter-Verlag · 34111 Kassel · Germany · www.baerenreiter.com · SPA 238 MARTINŮ B Ä R E N R E I T E R U R T E X T Bärenreiter – Bärenreiter – Music for Strings 2018/2019 Choral Music 2018/2019 Nonet č.
  • TOC 0249 CD Booklet.Indd

    TOC 0249 CD Booklet.Indd

    BOHUSLAV MARTINŮ: EARLY ORCHESTRAL WORKS, VOLUME TWO by Michael Crump In 1906 a promising young Czech violinist called Bohuslav Martinů lef his home town of Polička and began life as a student at the Conservatoire in Prague. His studies were made possible largely afer an appeal in his local newspaper raised the necessary funds. Doubtless he had every intention of rewarding the trust thus placed in him by graduating with full honours, but the cultural life of the Czech capital proved to be irresistibly distracting. Te performances at the National Teatre, in particular, drew him like a magnet night afer night, usually in the company of his friend and fellow-student Stanislav Novák. His devotion to the theatre unfortunately led to the neglect of his violin studies and his eventual expulsion from the Conservatoire in 1910, but by this time he was already well aware that his future lay in composition, not performance. He stayed on in Prague, supported by modest fnancial support from his parents, and his love-afair with the National Teatre continued unabated. Novák later wrote a short reminiscence of his friend, giving details of his musical sympathies at this time of his life: He was free, nobody bothered him with counterpoint, he could attend rehearsals of the Philharmonic and read all day, he could compose whatever and however he liked and in the evening he would have to get himself to the theatre at any price. At this time he would never miss a single performance of Smetana’s operas, nor of Rusalka or Te Jacobin.
  • Het Hoofd Van Orpheus in De Spiegel

    Het Hoofd Van Orpheus in De Spiegel

    Universiteit Gent Faculteit Letteren en Wijsbegeerte Vakgroep Kunst-, Muziek-, en Theaterwetenschappen Academiejaar 2006-2007 Het hoofd van Orpheus in de spiegel Een onderzoek naar de convergentiepunten tussen muziek en poëzie na 1945 Proefschrift ingediend tot het behalen van de graad van Doctor in de Kunstwetenschappen door Jelle Dierickx Promotor: Prof. Dr. Marc Leman Co-promotor: Em. Prof. Dr. Herman Sabbe 2 Het hoofd van Orpheus in de spiegel Een onderzoek naar de convergentiepunten tussen muziek en poëzie na 1945 Om eerder te beginnen met - 8 1) Inleiding 9 1.1. Het schijnbaar getemde onderwerp 9 1.1.1. Opzet, achtergrond en afbakening van het onderwerp 9 1.1.2. Waarom Orpheus opnieuw lastigvallen? 11 1.1.3. De structuur van het essay 14 1.2. Een web van definities 18 1.2.1. Eerder poëzie 18 1.2.2. Eerder muziek 20 1.2.3. Convergentiepunten? 21 2) Een beknopte geschiedenis van woord-toonverhoudingen 26 2.1. Inleiding 26 2.1.1. Getoonde woorden en woordelijke tonen 26 2.1.2. Homo ludens 26 2.2. Tot 1870 28 2.2.1. De orale dimensie van poëzie en muziek 28 2.2.1.1. Oraliteit 29 2.2.1.2. Poëzie, muziek en oraliteit 33 2.2.2. “Archaïsche vormen” 34 2.2.2.1. Inleiding 34 2.2.2.2 Glossolalie en orakeltalen 36 2.2.2.3. Onomatopeeën 41 2.2.2.4. Nonsensverzen 44 2.2.3. Het fenomeen mousikē 46 2.2.4. Ars trovare en cantus contra cantum 48 2.2.5. Van Vlaamse polyfonisten tot grammelot 52 2.2.6.
  • Still SELF-UPDATING

    Still SELF-UPDATING

    GE THE ORIGINS OF SYNTHETIC TIMBRE SERIALISM AND THE PARISIAN CONFLUENCE, 1949–52 by John-Philipp Gather October 2003 A dissertation submitted to the Faculty of the Graduate School of State University of New York at Buffalo in partial fulfillment of the requirements for the degree of Doctor of Philosophy Department of Music COPYRIGHT NOTE The first fifty copies were published by the author. Berlin: John-Philipp Gather, 2003. Printed by Blasko Copy, Hilden, Germany. On-demand copies are available from UMI Dissertation Services, U.S.A. Copyright by John-Philipp Gather 2003 ii ACKNOWLEDGEMENTS Many persons have contributed to the present work. I would like to name first and foremost my major advisor Christopher Howard Gibbs for his unfailing support and trust throughout the five-year writing period, guiding and accompanying me on my pathways from the initial project to the present study. At the State University of New York at Buffalo, my gratitude goes to Michael Burke, Carole June Bradley, Jim Coover, John Clough, David Randall Fuller, Martha Hyde, Cort Lippe, and Jeffrey Stadelman. Among former graduate music student colleagues, I would like to express my deep appreciation for the help from Laurie Ousley, Barry Moon, Erik Oña, Michael Rozendal, and Matthew Sheehy. A special thanks to Eliav Brand for the many discussion and the new ideas we shared. At the Philips Exeter Academy in New Hampshire, I am grateful to Jacquelyn Thomas, Peter Schulz, and Rohan Smith, who helped this project through a critical juncture. I also extend my warm thanks to Karlheinz Stockhausen, who composed the music at the center of my musicological research.
  • BOHUSLAVMARTINU the International Martinů Circle

    BOHUSLAVMARTINU the International Martinů Circle

    BOHUSLAV MARTINU ° The Bohuslav Martinů Foundation The Bohuslav Martinů Institute The International Martinů Circle Festival in Leamington MAY—AUGUST Martinů’s Fifth Symphony 2008 B.Martinů & The Czech / VOL. VIII Philharmonic Orchestra / NO. Martinů Revisited 2 List ofMartinů’s Works Part III NEWS & EVENTS New CDs ts– Conten VOL. VIII / NO.2 MAY— AUGUST 2008 e WelcomE i Historical Recordings — INTERNATIONAL MARTINŮ CIRCLE MARTINŮ’S FIFTH SYMPHONY — NEWS • PATRICK LAMBERT r Martinů RevisiteD o Reviews INTRODUCTORY WORD MARTINŮ AT THE LEAMINGTON • ALEŠ BŘEZINA CZECH MUSIC FESTIVAL • GRAHAM MELVILLE-MASON a Reviews HARRY HALBREICH: BOHUSLAV MARTINŮ, WERKVERZEICHNIS UND BIOGRAFIE • IVANA RENTSCH s SpeciaL Series LIST OF MARTINŮ’S WORKS III WORKS FOR LARGE ORCHESTRA t Martinů RevisiteD — UPCOMING HIGHLIGHTS — MARTINŮ’S BALLET IN ROSTOCK f ResearcH • GÜNTHER THIELE BOHUSLAV MARTINŮ & THE CZECH PHILHARMONIC y News / AutographS ORCHESTRA – PART I • KAREL ŠPELINA — PRECIOUS GIFT — MINI-INTERVIEW • JANA HONZÍKOVÁ j News u Reviews IVANA RENTSCH: l Events ANKLÄNGE AN DIE AVANTGARDE • EVA VELICKÁ CARL DAHLHAUS ON MARTINŮ ; News • JUSTIN KRAWITZ — NEW CDs y Bohuslav Martinů in Prague, 1905–1906 © PBM me– b ] Welco THE BOHUSLAV MARTINŮ INCIRCLE NEWS THE INTERNATIONAL NEWSLETTER is published by the MARTINŮ CIRCLE Bohuslav Martinů Foundation in collaboration We hope you will enjoy our latest Newsletter.The majority of our members with the Bohuslav Martinů Institute in Prague have now paid their subscriptions for 2008.We would ask those members Members receive the illustrated Bohuslav EDITORS who have not yet made their 2008 payments to do so immediately to Martinů Newsletter published three times ensure that they continue to receive the Newsletter and next CD.
  • To Graphic Notation Today from Xenakis’S Upic to Graphic Notation Today

    To Graphic Notation Today from Xenakis’S Upic to Graphic Notation Today

    FROM XENAKIS’S UPIC TO GRAPHIC NOTATION TODAY FROM XENAKIS’S UPIC TO GRAPHIC NOTATION TODAY FROM XENAKIS’S UPIC TO GRAPHIC NOTATION TODAY PREFACES 18 PETER WEIBEL 24 LUDGER BRÜMMER 36 SHARON KANACH THE UPIC: 94 ANDREY SMIRNOV HISTORY, UPIC’S PRECURSORS INSTITUTIONS, AND 118 GUY MÉDIGUE IMPLICATIONS THE EARLY DAYS OF THE UPIC 142 ALAIN DESPRÉS THE UPIC: TOWARDS A PEDAGOGY OF CREATIVITY 160 RUDOLF FRISIUS THE UPIC―EXPERIMENTAL MUSIC PEDAGOGY― IANNIS XENAKIS 184 GERARD PAPE COMPOSING WITH SOUND AT LES ATELIERS UPIC/CCMIX 200 HUGUES GENEVOIS ONE MACHINE— TWO NON-PROFIT STRUCTURES 216 CYRILLE DELHAYE CENTRE IANNIS XENAKIS: MILESTONES AND CHALLENGES 232 KATERINA TSIOUKRA ESTABLISHING A XENAKIS CENTER IN GREECE: THE UPIC AT KSYME-CMRC 246 DIMITRIS KAMAROTOS THE UPIC IN GREECE: TEN YEARS OF LIVING AND CREATING WITH THE UPIC AT KSYME 290 RODOLPHE BOUROTTE PROBABILITIES, DRAWING, AND SOUND TABLE SYNTHESIS: THE MISSING LINK OF CONTENTS COMPOSERS 312 JULIO ESTRADA THE UPIC 528 KIYOSHI FURUKAWA EXPERIENCING THE LISTENING HAND AND THE UPIC AND UTOPIA THE UPIC UTOPIA 336 RICHARD BARRETT 540 CHIKASHI MIYAMA MEMORIES OF THE UPIC: 1989–2019 THE UPIC 2019 354 FRANÇOIS-BERNARD MÂCHE 562 VICTORIA SIMON THE UPIC UPSIDE DOWN UNFLATTERING SOUNDS: PARADIGMS OF INTERACTIVITY IN TACTILE INTERFACES FOR 380 TAKEHITO SHIMAZU SOUND PRODUCTION THE UPIC FOR A JAPANESE COMPOSER 574 JULIAN SCORDATO 396 BRIGITTE CONDORCET (ROBINDORÉ) NOVEL PERSPECTIVES FOR GRAPHIC BEYOND THE CONTINUUM: NOTATION IN IANNIX THE UNDISCOVERED TERRAINS OF THE UPIC 590 KOSMAS GIANNOUTAKIS EXPLORING