Helffer Inv 28-7-10
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Pace Final 26.11.15
Positions, Methodologies and Aesthetics in the Published Discourse about Brian Ferneyhough: A Critical Study Ian Pace1 Since Brian Ferneyhough achieved a degree of public recognition following the premiere of his Transit (1972-75) in March 1975 at the Royan Festival, a range of writings on and reviews of his work have appeared on a relatively regular basis. The nature, scope, style, and associated methodologies of these have expanded or changed quite considerably over the course of Ferneyhough's career––in part in line with changes in the music and its realization in performance––but nonetheless one can discern common features and wider boundaries. In this article, I will present a critical analysis of the large body of scholarly or extended journalistic reception of Ferneyhough's work, identifying key thematic concerns in such writing, and contextualizing it within wider discourses concerning new music. Several key methodological issues will be considered, in particular relating to intentionality and sketch study, from which I will draw a variety of conclusions that apply not only to Ferneyhough, but to wider contemporary musical study as well. Early Writings on Ferneyhough The first extended piece of writing about Ferneyhough's work was an early 1973 article by Elke Schaaf2 (who would become Ferneyhough's second wife),3 which deals with Epicycle (1968), Missa Brevis (1969), Cassandra's Dream Song (1970), Sieben Sterne (1970), Firecyle Beta (1969-71), and the then not-yet-complete Transit. Schaaf’s piece already exhibits one of the most -
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. -
21-Asis Aktualios Muzikos Festivalis GAIDA 21Th Contemporary Music Festival
GAIDA 21-asis aktualios muzikos festivalis GAIDA 21th Contemporary Music festival 2011 m. spalio 21–29 d., Vilnius 21–29 October, 2011, Vilnius Festivalio viešbutis Globėjai: 21-asis tarptautinis šiuolaikinės muzikos festivalis GAIDA 21th International Contemporary Music Festival Pagrindiniai informaciniai rėmėjai: MINIMAL | MAXIMAL • Festivalio tema – minimalizmas ir maksimalizmas muzikoje: bandymas Informaciniai rėmėjai: pažvelgti į skirtingus muzikos polius • Vienos didžiausių šiuolaikinės muzikos asmenybių platesnis kūrybos pristatymas – portretas: kompozitorius vizionierius Iannis Xenakis • Pirmą kartą Lietuvoje – iškiliausio XX a. pabaigos lenkų simfoninio kūrinio, Henryko Mikołajaus Góreckio III simfonijos, atlikimas • Dėmesys tikriems šiuolaikinės muzikos atlikimo lyderiams iš Prancūzijos, Vokietijos ir Italijos Partneriai ir rėmėjai: • Intriguojantys audiovizualiniai projektai – originalios skirtingų menų sąveikos ir netikėti sprendimai • Keletas potėpių M. K. Čiurlioniui, pažymint kompozitoriaus 100-ąsias mirties metines • Naujų kūrinių užsakymai ir geriausi Lietuvos bei užsienio atlikėjai: simfoniniai orkestrai, ansambliai, solistai Festivalis GAIDA yra europinio naujosios muzikos kūrybos ir sklaidos tinklo Réseau Varése, remiamo Europos Komisijos programos Kultūra, narys. The GAIDA Festival is a member of the Réseau Varése, European network Rengėjai: for the creation and promotion of new music, subsidized by the Culture Programme of the European Commission. TURINYS / CONTENT Programa / Programme.......................................................................................2 -
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. -
City, University of London Institutional Repository
City Research Online City, University of London Institutional Repository Citation: Pace, I. ORCID: 0000-0002-0047-9379 (2021). New Music: Performance Institutions and Practices. In: McPherson, G and Davidson, J (Eds.), The Oxford Handbook of Music Performance. Oxford, UK: Oxford University Press. This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/25924/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] New Music: Performance Institutions and Practices Ian Pace For publication in Gary McPherson and Jane Davidson (eds.), The Oxford Handbook of Music Performance (New York: Oxford University Press, 2021), chapter 17. Introduction At the beginning of the twentieth century concert programming had transitioned away from the mid-eighteenth century norm of varied repertoire by (mostly) living composers to become weighted more heavily towards a historical and canonical repertoire of (mostly) dead composers (Weber, 2008). -
Fonds Charles Koechlin
Fonds Charles KOECHLIN Médiathèque Musicale Mahler 11 bis, rue Vézelay – F-75008 Paris – (+33) (0)1.53.89.09.10 Médiathèque Musicale Mahler – Fonds Charles Koechlin Table des matières Documents personnels sur Charles Koechlin .................................................................................. 4 Biographie / Ephémérides ........................................................................................................... 4 Ecrits autobiographiques ............................................................................................................. 4 Ecrits et dossiers de voyages ...................................................................................................... 5 Œuvres de Charles Koechlin ......................................................................................................... 10 Boite 1 : Listes d’œuvres ........................................................................................................... 10 Boite 2 : Ecrits de Ch. Koechlin sur ses œuvres ........................................................................ 10 Ecrits de Charles Koechlin ............................................................................................................ 12 Conférences .............................................................................................................................. 12 Causeries radiophoniques ......................................................................................................... 14 Articles et textes ....................................................................................................................... -
Ferienkurse Für Internationale Neue Musik, 25.8.-29.9. 1946
Ferienkurse für internationale neue Musik, 25.8.-29.9. 1946 Seminare der Fachgruppen: Dirigieren Carl Mathieu Lange Komposition Wolfgang Fortner (Hauptkurs) Hermann Heiß (Zusatzkurs) Kammermusik Fritz Straub (Hauptkurs) Kurt Redel (Zusatzkurs) Klavier Georg Kuhlmann (auch Zusatzkurs Kammermusik) Gesang Elisabeth Delseit Henny Wolff (Zusatzkurs) Violine Günter Kehr Opernregie Bruno Heyn Walter Jockisch Musikkritik Fred Hamel Gemeinsame Veranstaltungen und Vorträge: Den zweiten Teil dieser Übersicht bilden die Veranstaltungen der „Internationalen zeitgenössischen Musiktage“ (22.9.-29.9.), die zum Abschluß der Ferienkurse von der Stadt Darmstadt in Verbindung mit dem Landestheater Darmstadt, der „Neuen Darmstädter Sezession“ und dem Süddeutschen Rundfunk, Radio Frankfurt, durchgeführt wurden. Datum Veranstaltungstitel und Programm Interpreten Ort u. Zeit So., 25.8. Erste Schloßhof-Serenade Kst., 11.00 Ansprache: Bürgermeister Julius Reiber Conrad Beck Serenade für Flöte, Klarinette und Streichorchester des Landes- Streichorchester (1935) theaters Darmstadt, Ltg.: Carl Wolfgang Fortner Konzert für Streichorchester Mathieu Lange (1933) Solisten: Kurt Redel (Fl.), Michael Mayer (Klar.) Kst., 16.00 Erstes Schloß-Konzert mit neuer Kammermusik Ansprachen: Kultusminister F. Schramm, Oberbürger- meister Ludwig Metzger Lehrkräfte der Ferienkurse: Paul Hindemith Sonate für Klavier vierhändig Heinz Schröter, Georg Kuhl- (1938) mann (Kl.) Datum Veranstaltungstitel und Programm Interpreten Ort u. Zeit Hermann Heiß Sonate für Flöte und Klavier Kurt Redel (Fl.), Hermann Heiß (1944-45) (Kl.) Heinz Schröter Altdeutsches Liederspiel , II. Teil, Elisabeth Delseit (Sopr.), Heinz op. 4 Nr. 4-6 (1936-37) Schröter (Kl.) Wolfgang Fortner Sonatina für Klavier (1934) Georg Kuhlmann (Kl.) Igor Strawinsky Duo concertant für Violine und Günter Kehr (Vl.), Heinz Schrö- Klavier (1931-32) ter (Kl.) Mo., 26.8. Komponisten-Selbstporträts I: Helmut Degen Kst., 16.00 Kst., 19.00 Einführung zum Klavierabend Georg Kuhlmann Di., 27.8. -
JAMES D. BABCOCK, MBA, CFA, CPA 191 South Salem Road Ridgefield, Connecticut 06877 (203) 994-7244 [email protected]
JAMES D. BABCOCK, MBA, CFA, CPA 191 South Salem Road Ridgefield, Connecticut 06877 (203) 994-7244 [email protected] List of Addendums First Addendum – Middle Ages Second Addendum – Modern and Modern Sub-Categories A. 20th Century B. 21st Century C. Modern and High Modern D. Postmodern and Contemporary E. Descrtiption of Categories (alphabetic) and Important Composers Third Addendum – Composers Fourth Addendum – Musical Terms and Concepts 1 First Addendum – Middle Ages A. The Early Medieval Music (500-1150). i. Early chant traditions Chant (or plainsong) is a monophonic sacred form which represents the earliest known music of the Christian Church. The simplest, syllabic chants, in which each syllable is set to one note, were probably intended to be sung by the choir or congregation, while the more florid, melismatic examples (which have many notes to each syllable) were probably performed by soloists. Plainchant melodies (which are sometimes referred to as a “drown,” are characterized by the following: A monophonic texture; For ease of singing, relatively conjunct melodic contour (meaning no large intervals between one note and the next) and a restricted range (no notes too high or too low); and Rhythms based strictly on the articulation of the word being sung (meaning no steady dancelike beats). Chant developed separately in several European centers, the most important being Rome, Hispania, Gaul, Milan and Ireland. Chant was developed to support the regional liturgies used when celebrating Mass. Each area developed its own chant and rules for celebration. In Spain and Portugal, Mozarabic chant was used, showing the influence of North Afgican music. The Mozarabic liturgy survived through Muslim rule, though this was an isolated strand and was later suppressed in an attempt to enforce conformity on the entire liturgy. -
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. -
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. -
Leonard Stein Papers PASC-M.0270
http://oac.cdlib.org/findaid/ark:/13030/kt1s20351n No online items Finding Aid for the Leonard Stein Papers PASC-M.0270 Finding aid prepared by UCLA Library Special Collections staff; machine-readable finding aid created by Caroline Cubé. UCLA Library Special Collections Online finding aid last updated 2021 January 4. Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA 90095-1575 [email protected] URL: https://www.library.ucla.edu/special-collections Finding Aid for the Leonard Stein PASC-M.0270 1 Papers PASC-M.0270 Contributing Institution: UCLA Library Special Collections Title: Leonard Stein papers Creator: Stein, Leonard Identifier/Call Number: PASC-M.0270 Physical Description: 29 Linear Feet(58 boxes) Date (inclusive): 1930-2004 Abstract: The collection consists of printed scores (including scores with performance annotations, analysis, and/or composers' inscriptions), lecture notes, sound recordings, correspondence, and other papers relating to the life and work of the musicologist and pianist. Stored off-site. All requests to access special collections material must be made in advance using the request button located on this page. Language of Material: English . Conditions Governing Access Open for research. All requests to access special collections materials must be made in advance using the request button located on this page. Physical Characteristics and Technical Requirements CONTAINS AUDIO MATERIALS: This collection contains both processed and unprocessed audiovisual materials. Audio materials are not currently available for access, unless otherwise noted in a Physical Characteristics and Technical Requirements note at the series and file levels. All requests to access processed audio materials must be made in advance using the request button located on this page. -
City Research Online
City Research Online City, University of London Institutional Repository Citation: Pace, I. (2015). Ferneyhough Hero: Scholarship as Promotion. Music and Letters, 96(1), pp. 99-112. doi: 10.1093/ml/gcu111 This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/8171/ Link to published version: http://dx.doi.org/10.1093/ml/gcu111 Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] Review-Article Ferneyhough Hero: Scholarship as Promotion BY IAN PACE* Since the early 1970s, and especially following the premiere of Transit (1972–5) in March 1975 at the Royan Festival, there has been a steady stream of scholarly and other writings on Brian Ferneyhough and his music.1 This can be divided loosely into a range of categories: aesthetic, descriptive, or compositionally focused work often written by composers;2 sketch-based studies (especially the work of Richard Toop and Cordula Pätzold);3 explorations of Ferneyhough's work in notation and performance;4 and wider reflections on issues of 'complexity', often including other composers as well as Ferneyhough.5 The first book-length work devoted to Ferneyhough appeared *Ian Pace, City University.