Micro-Tonality

Total Page:16

File Type:pdf, Size:1020Kb

Micro-Tonality Micro-tonality Course Code MSG 820 Spring 2013 Room 250 Friday 10:40-13:30 Onur Türkmen Room 325 [email protected] Phone: +90 312 290 23 10 http://turkmensmssfcourses.blogspot.com/ I. Week Introduction: A general overview Discussion Table: (Logarithmic) Ratio Distance Ratios on a Ratios Monochord between vibration frequencies Atonality, Tonality, Serialism, Just Spectral Intonation, Music Spectral Music Inductive Deductive Reading: Paul Griffiths, et al. "Microtone." Grove Music Online. Oxford Music Online. Oxford University Press.Web. 16 Jan. 2013. http://www.oxfordmusiconline.com/subscriber/article/grove/music/18616 Attempts for Definition: . Incompatibility (between different systems) Systems of Just Intonation Lou Harrison Serenade http://www.youtube.com/watch?v=GyZ-W5XmEQc&list=PLJqwnth- Xlk9we9n-HsNaFPJK6KNn1kuQ&index=4 Systems of Temperament Mozart Sonata on a fortepiano by Robert Hill http://www.youtube.com/watch?v=xeE4lrVj5Zs . Extension of Equal Temperament or Finer Divisions of an Octave Expansion Through Limit Systems http://www.youtube.com/watch?v=rl5DGWn-utk Equal Divisions of an Octave http://www.youtube.com/watch?v=wF50so3nWJk&list=PLJqwnth- Xlk9we9n-HsNaFPJK6KNn1kuQ Problems: . Practicality (Convention Appears as an Obstacle) . Harmony (Debates in Cognition) II. Week Readings: . "musical sound." Encyclopædia Britannica. Encyclopædia Britannica Online Academic Edition. Encyclopædia Britannica Inc., 2013. Web. 15 Jan. 2013. http://www.britannica.com/EBchecked/topic/399266/musical-sound . http://www.sim.spk-berlin.de/1_acoustical_rudiments_985.html . http://www.indiana.edu/~emusic/etext/acoustics/chapter1_shape.shtml . Borwick, John. "acoustics." The Oxford Companion to Music. Ed. Alison Latham. Oxford Music Online. Oxford University Press. Web. 17 Jan. 2013. http://www.oxfordmusiconline.com/subscriber/article/opr/t114/e53 . Charles Taylor and Murray Campbell. "Sound." Grove Music Online. Oxford Music Online. Oxford University Press. Web. 22 Jan. 2013. http://www.oxfordmusiconline.com/subscriber/article/grove/music/26289 . Baines, Anthony and John Borwick . "harmonic series." The Oxford Companion to Music. Ed. Alison Latham. Oxford Music Online. Oxford University Press. Web. 17 Jan. 2013. http://www.oxfordmusiconline.com/subscriber/article/opr/t114/e3137 . Suggested Book: Title: Fundamentals of musical acoustics Author: Benade, Arthur H. ISBN: 9780486264844 Publication Information: New York : Dover Publications, 1990. Physical Description: xii, 596 p. : ill. ; 24 cm. General Note: "Unabridged, extensively corrected republication of the edition originally published by Oxford University Press in 1976." Subject Term: Music -- Acoustics and physics. Call Number: ML3805 .B328 1990 Definitions in discussion: Vibrations Sound Wave Frequency/Pitch Amplitude Wave Shape Spectrum Complex Tone Periodicity Tone Noise Sinewaves Partials Difference between a harmonic and a partial Harmonic Tone Overtone Series Prime Numbers and mathematical sub-series – Series within a series – idea of fundamental(s) Notation of the Overtone Series . The Idea of Cent –Enharmonic determinations – microtonal determinations – See the Overtones_Kuehnl (pdf.) Duality of the Series – Overtonal and The Reciprocal Series III. Week Harmonic Ratios . Ratios between successive overtones . Octave Reduction Harmonic Ratios on a String – Experiments on Guitar, Piano or Other String Instruments Orders of Magnitude, Beating: http://www.sim.spk-berlin.de/1_acoustical_rudiments_985.html Duality of the Series – Overtonal and The Reciprocal/Undertonal Series Number 6 and the Idea of Closeness Discussions on Consonance and Dissonance Reading: Zarlino, the Senario, and Tonality Robert W. Wienpahl Journal of the American Musicological Society , Vol. 12, No. 1 (Spring, 1959), pp. 27-41 Published by: University of California Press on behalf of the American Musicological Society Article DOI: 10.2307/829515 Article Stable URL: http://www.jstor.org/stable/829515 Experiments on Guitar and Piano IV. Week Arguments on Dual Theory: Reading: The Dual Theory in Harmony Herbert Westerby Proceedings of the Musical Association , 29th Sess., (1902 - 1903), pp. 21-72 Published by: Taylor & Francis, Ltd. on behalf of the Royal Musical Association Article Stable URL: http://www.jstor.org/stable/765324 What is Just Intonation? Reading: Mark Lindley. "Just intonation." Grove Music Online. Oxford Music Online. Oxford University Press. Web. 18 Jan. 2013. http://www.oxfordmusiconline.com/subscriber/article/grove/music/14564 Listening and Score Example: Le Monte Young: http://www.youtube.com/watch?v=CViBJCos42M&list=PLJqwnth-Xlk9we9n- HsNaFPJK6KNn1kuQ Ben Johnston: http://www.youtube.com/watch?v=GLi1XVBpgQQ&list=PLJqwnth-Xlk9we9n- HsNaFPJK6KNn1kuQ Ben Johnston Score Example: Quintet for Groups see pdf. The Idea of a Harmonic Map Reading: Pages 1-78 Title: Harmonic experience : tonal harmony from its natural origins to its modern expressionAuthor: Mathieu, W. A. ISBN: 9780892815609 Publication Information: Rochester, Vt. : Inner Traditions International, c1997. Physical Description: xii, 563 p. : music ; 28 cm. Contents: Harmonic purity : feeling the numbers -- selective use of equal temperament -- functional commas of equal-tempered tonal harmony -- Harmonic practice, analysis, and review of the theory. Subject Term: Harmony. Electronic Access: Contributor biographical information http://www.loc.gov/catdir/enhancements/fy0644/96040069-b.htmlPublisher description http://www.loc.gov/catdir/enhancements/fy0644/96040069-d.htmlTable of contents only http://www.loc.gov/catdir/enhancements/fy0644/96040069-t.html Call Number: MT50 .M48 1997 V. Week Limit Systems on the Harmonic Map . 3 Limit System . Major Scale in 3 Limit Just Intonation – Listening Example (Daha Dün Annemizin) . Listening Example Lou Harrison- Sonata in İshartum: http://www.youtube.com/watch?v=yhdpsuXtewY&list=PLJqwnth-Xlk9we9n- HsNaFPJK6KNn1kuQ&index=24 See the score pdf. 5 Limit System Directions – Cousins – Spines on the Map Modes On the Map: From Bright to Dark – Lydian to Locrian Applications on the Guitar Remembering the Duality of the Harmonic Series – Overtonal and The Reciprocal Series Chromatic scale and its symmetry: ratios and the logarithmic symmetry – Different dimensions of distance The Extended 5 Limit System: See pages 122-123 (Harmonic Experience) Applications on the Guitar What is a comma? Definitions http://www.sim.spk-berlin.de/1_acoustical_rudiments_985.html . Pythagorean Comma . Syntonic Comma . Diesis Comma: Greater Diesis Lesser Diesis . Schizma Comma . Diaschizma Comma Placements on the Harmonic Map Extra Suggested Reading: Harmonic Experience The Functional Commas of Equal Tempered Tonal Harmony, Pages 246-342 Waldstein sonata and comma: http://bilkent.naxosmusiclibrary.com/catalogue/item.asp?cid=BIS-SACD-1573 VI. Week Tone Representation - Debates that Arouse from Different Cognitive Approaches Readings: Ideas for a Study "On the Imagination of Tone" Hugo Riemann Journal of Music Theory , Vol. 36, No. 1 (Spring, 1992), pp. 81-117 Published by: Duke University Press on behalf of the Yale University Department of Music Article Stable URL: http://www.jstor.org/stable/843911 Pages: 41-53 Title: Tonal pitch space Author: Lerdahl, Fred, 1943- ISBN: 9780195178296 Publication Information: New York : Oxford University Press, 2005 Physical Description: xvii, 411 p. : ill. ; 25 cm. Contents: Theoretical foundations -- Diatonic space -- Paths in pitch space -- Tonal tension and attraction -- Prolongational functions -- Chromatic tonal spaces -- Prolongations in chromatic spaces -- Atonal structures. Subject Term: Music theory. Tonality. Musical pitch. Musical analysis. Call Number: MT6.L36 T66 2005 An extra issue to discuss: http://books.google.com.tr/books/about/Casals_and_the_Art_of_Interpretation.html?id=IB72QjPfrnIC &redir_esc=y VII. Week Higher Limit Systems Readings: Harmonic Experience, The Seventh Partial and Beyond, pages 124-129 Changing the Metaphor: Ratio Models of Musical Pitch in the Work of Harry Partch, Ben Johnston, and James Tenney Bob Gilmore Perspectives of New Music , Vol. 33, No. 1/2 (Winter - Summer, 1995), pp. 458-503 Published by: Perspectives of New Music Article Stable URL: http://www.jstor.org/stable/833715 Extra Optional Reading: Pages 109 -157 Title: Genesis of a music; an account of a creative work, its roots and its fulfillments. Author: Partch, Harry, 1901- ISBN: 9780306715976 Edition: 2d ed., enl. Publication Information: [New York] : Da Capo Press, [c1974]. Physical Description: xxv, 517 p. illus. 26 cm. Subject Term: Vocal music -- History and criticism. Musical intervals and scales. Musical instruments. Musical temperament. Call Number: ML1400 .P3 1974 Listening Example Ben Johnston String Quartet 2: http://www.youtube.com/watch?v=YOozBrB2XT0 Listening Example Ben Johnston String Quartet 4: http://vimeo.com/17298063 Listening Example Ben Johnston String Quartet 5: http://www.youtube.com/watch?v=sG4Z8yVEHZI James Tenney Critical Band: http://www.youtube.com/watch?v=jEMCpUoQ_OQ Listening and Score Example: Ligeti Violin Concerto: http://www.youtube.com/watch?v=hSykk-2O3p8&list=PLJqwnth-Xlk9we9n- HsNaFPJK6KNn1kuQ – See the Score pdf. Extra Video Examples on Harry Partch: Video I: http://www.youtube.com/watch?v=lwqIAV98H2s&list=PLJqwnth-Xlk9we9n- HsNaFPJK6KNn1kuQ Video 2: http://www.youtube.com/watch?v=CfbcEa5sSIs&list=PLJqwnth-Xlk9we9n-HsNaFPJK6KNn1kuQ VIII. Week Temperament Systems Pythagorean Mean-tone Well-Tempered
Recommended publications
  • Andrián Pertout
    Andrián Pertout Three Microtonal Compositions: The Utilization of Tuning Systems in Modern Composition Volume 1 Submitted in partial fulfilment of the requirements of the degree of Doctor of Philosophy Produced on acid-free paper Faculty of Music The University of Melbourne March, 2007 Abstract Three Microtonal Compositions: The Utilization of Tuning Systems in Modern Composition encompasses the work undertaken by Lou Harrison (widely regarded as one of America’s most influential and original composers) with regards to just intonation, and tuning and scale systems from around the globe – also taking into account the influential work of Alain Daniélou (Introduction to the Study of Musical Scales), Harry Partch (Genesis of a Music), and Ben Johnston (Scalar Order as a Compositional Resource). The essence of the project being to reveal the compositional applications of a selection of Persian, Indonesian, and Japanese musical scales utilized in three very distinct systems: theory versus performance practice and the ‘Scale of Fifths’, or cyclic division of the octave; the equally-tempered division of the octave; and the ‘Scale of Proportions’, or harmonic division of the octave championed by Harrison, among others – outlining their theoretical and aesthetic rationale, as well as their historical foundations. The project begins with the creation of three new microtonal works tailored to address some of the compositional issues of each system, and ending with an articulated exposition; obtained via the investigation of written sources, disclosure
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Summer, 1970
    ISM /, *w*s M •*r:;*. KUCJCW n;. ,-1. * Tanglewood 1970° Seiji Ozawa, Gunther Schuller, Artistic Directors Leonard Bernstein, Advisor FESTIVAL OF CONTEMPORARY MUSIC August 16 — August 20, 1970 Sponsored by the BERKSHIRE MUSIC CENTER In Cooperation with the FROMM MUSIC FOUNDATION PERSPECTIVES NEWOF MUSIC PERSPECTIVES OF NEW MUSIC Participants in this year's Festival are invited to subscribe to the American journal devoted to im- portant issues of contemporary music and the problems of the composer. Published for the Fromm Music Foundation by Princeton University Press. Editor: Benjamin Boretz Advisory Board: Aaron Copland, Ernst Krenek, Darius Milhaud, Walter Piston, Roger Sessions, Igor Stravinsky. Semi-annual. $6.00 a year. $15.00 three years. Foreign Postage is 25 cents additional per year. Single or back issues are $5.00. Princeton University Press Princeton, New Jersey I 5fta 'V. B , '*•. .-.-'--! HffiHHMEffl SiSsi M^lll Epppi ^EwK^^bJbe^h 1 * - ' :- HMK^HRj^EI! 9HKS&k 7?. BCJB1I MQ50 TANGLEWOOD SEIJI OZAWA, GUNTHER SCHULLER, Artistic Directors/LEONARD BERNSTEIN, Adviser THE BERKSHIRE MUSIC CENTER Joseph Silverstein, Chairman of the Faculty Harry J. Kraut, Administrator Aaron Copland, Chairman of the Faculty Emeritus Daniel R. Gustin, Assistant Administrator Leon Barzin, Head, Orchestral Activities James Whitaker, Chief Coordinator ,vvv /ss. Festival of Contemporary Music presented in cooperation with The Fromm Music Foundation Paul Fromm, President Fellowship Program Contemporary Music Activities Gunther Schuller, Head George Crumb, Charles Wuorinen, and Chou Wen-Chung, Guest Teachers Paul Zukofsky, Assistant The Berkshire Music Center is maintained for advanced study in music Sponsored by the Boston Symphony Orchestra William Steinberg, Music Director Michael Tilson Thomas, Associate Conductor Thomas D.
    [Show full text]
  • Harrison, Lou (1917-2003) by John Louis Digaetani
    Harrison, Lou (1917-2003) by John Louis DiGaetani Encyclopedia Copyright © 2015, glbtq, Inc. Entry Copyright © 2002, glbtq, Inc. Reprinted from http://www.glbtq.com American composer Lou Harrison enjoyed a long and distinguished career. He is particularly well known for his use of instruments from the East, especially the Javanese gamelan, and for his melodic and lyrical musical style, despite the fact that he studied composition in the atonal musical style of Arnold Schoenberg. One of America's most original and articulate composers, Harrison explored a number of interests, including puppetry, Esperanto, tuning systems, the construction of musical instruments, and dance. He was also actively involved in political causes, especially pacifism and gay rights. He was born Lou Silver Harrison in Portland, Oregon, on May 14, 1917, but his family moved to the San Francisco Bay area when he was a child, and he lived most of his life on the West Coast of the United States. As a child he was exposed to a wide range of music, including Cantonese operas, Gregorian chants, and Spanish and Mexican music. Harrison attended San Francisco State University, where he decided on music as his major and his life's work. He studied there with Henry Cowell and quickly became fascinated with melody and its powers, particularly in the music of the Orient. He also developed an interest in the works of American composer Charles Ives, some of whose musical manuscripts he later edited. Among Harrison's early compostions is a large body of percussion music that reveals Western, Asian, African, and Latin American rhythmic influences.
    [Show full text]
  • Divisions of the Tetrachord Are Potentially Infinite in Number
    EDITOR'S INTRODUCTION ''''HEN I WAS A young student in California, Lou Harrison suggested that I send one of my first pieces, Piano Study #5 (forJPR) to a Dr. Chalmers, who might publish it in his journal Xenbarmonikon. Flattered and fascinated, I did, and John did, and thus began what is now my twenty year friendship with this polyglot fungus researcher tuning guru science fiction devotee and general everything expert. Lou first showed me the box of papers, already called Divisions ofthe Tetracbord, in 1975. I liked the idea of this grand, obsessive project, and felt that it needed to be availablein a way that was, likeJohn himself, out of the ordinary. When Jody Diamond, Alexis Alrich, and I founded Frog Peak Music (A Composers' Collective) in the early 80S, Divisions (along with Tenney's then unpublished Meta + Hodos) was in my mind as one of the publishing collective's main reasons for existing, and for calling itself a publisher of"speculative theory." The publication of this book has been a long and arduous process. Re­ vised manuscripts traveled with me from California to Java and Sumatra (John requested we bring him a sample of the local fungi), and finally to our new home in New Hampshire. The process of writing, editing, and pub­ lishing it has taken nearly fifteen years, and spanned various writing tech­ nologies. (When John first started using a word processor, and for the first time his many correspondents could actually read his long complicated letters, my wife and I were a bit sad-we had enjoyed reading his com­ pletely illegible writing aloud as a kind of sound poetry).
    [Show full text]
  • Just Guitars 2010
    JUST GUITARS John Schneider, adapted guitars Suite for National Steel (1952/2002)………………………………………. Lou Harrison Jahla • Solo • Palace Music • Threnody • Serenado por Gitaro Men are Men & Mountains are Mountains (2007) ..................John Schneider In Memoriam James Tenney electric guitar Tombeau for Lou Harrison (2006).........................................................John Schneider Plaint • Passacaglia • Valse Triste • Jahla • intermission • Quando Cosas Malas Caen del Cielo (2003). .................................Terry Riley • National Broadstreet March • Quando Cosas Malas Caen del Cielo The Tavern (1998) .................................................................................................... Ben Johnston (1926) 1. Prelude 2. Who Says Words With My Mouth 3. A Community of the Spirit 4. A Children’s Game 5. The Many Wines 6. Special Plates 7. Burnt Kabob 8. The New Rule Lou Harrison was one of the most extraordinary musical minds of the 20th century. Poet, dancer, calligrapher, maker & player of many instruments, fluent in Esperanto & American Sign Language, ardent Pacifist, voracious reader, his music is as bold, expansive, and elegantly singular as his personality. Having worked closely with such luminaries as Henry Cowell, Arnold Schoenberg, Charles Ives, Harry Partch & John Cage, Harrison went on to embrace non-Western traditions, integrating the music of other cultures into his robust musical output. I had been playing the music found in the Suite for National Steel Guitar for many years on various refretted just intonation guitars, but the creation of an 11-limit just National Steel guitar for Lou’s Scenes from Nek Chand (2002) inspired a new set of arrangements that put familiar works in new modes. Theses new interpretations delighted the composer so much that he requested charts for the tunings for his personal records.
    [Show full text]
  • In 1953 (The Year John Luther Adams Was Born), Lou Harrison, Then A
    In 1953 (the year John Luther Adams was born), Lou Harrison, then a young composer still in his thirties, came home to California after a decade on the East Coast—first in New York City and then at Black Mountain College in rural North Carolina. Back on the West Coast he eventually settled in Aptos, a small coastal community near Santa Cruz. Lou’s “Chinese poet” hermitage was up on the hill, just a short distance from the Pacific Ocean. He and Bill Colvig were still in that tiny house when John and I and others—two generations now after Lou—first met him in the 1970s. By then he was an “elder” (a status we are rapidly approaching!) and an iconic figure in Western American culture. As such, his life and work represented an alternative to the career and reputation machine of New York, and his example was a profound inspiration to several of us younger composers. We were all products of the social and cultural upheavals of the 1960s— too young to have been original participants, but old enough to be thoroughly influenced and enthused by the incredible cultural-imaginative expansion which that era represented. By the time we came of age in the early seventies, much of that original energy had become diffused (and already commercialized and exploited), and the dominant ethos of those years was the idea of “going back to the land.” What that represented was a dropping out of the “rat race” of mainstream society and its values and the development of a personal and cultural self-sufficiency.
    [Show full text]
  • Lou Harrison Centennial EVA SOLTES EVA
    Please turn off all electronic Photography and audio/video recording devices before entering the in the performance hall are prohibited. performance hall. Lou Harrison Centennial EVA SOLTES EVA DEPARTMENT OF These performances are made possible in part by: PERFORMING ARTS, MUSIC, The P. J. McMyler Musical Endowment Fund AND FILM The Ernest L. and Louise M. Gartner Fund The Cleveland Museum of Art The Anton and Rose Zverina Music Fund 11150 East Boulevard The Frank and Margaret Hyncik Memorial Fund Cleveland, Ohio 44106–1797 The Adolph Benedict and Ila Roberts Schneider Fund The Arthur, Asenath, and Walter H. Blodgett Memorial Fund [email protected] The Dorothy Humel Hovorka Endowment Fund cma.org/performingarts The Albertha T. Jennings Musical Arts Fund #CMAperformingarts Programs are subject to change. Series sponsors: Friday, October 20, 2017 TICKETS 1–888–CMA–0033 cma.org/performingarts Welcome to the PerformingLou Harrison Arts 2017–18 Centennial Cleveland Museum of Art Friday, October 20, 2017, 7:30 p.m. cma.org/performingartsGartner Auditorium, the Cleveland Museum of Art The Cleveland Museum of Art’s performing arts series #CMAperformingarts offers a fascinating concert calendar notable for its boundless multiplicity. This year, visits from old friends Chamber Music in the Galleries CIM Organ Studio Wednesday, October 4, 6:00 Sunday, March 11, 2:00 and new bring century-spanning music from around the Mr. Harrison’s Gamelans globe, exploring cultural connections that link the human Butler, Bernstein & the Hot 9 Wu Man & heart and spirit. Wednesday, October 11, 7:30 Huayin Shadow Puppet Band Suite for Violin and Wednesday,Lou Harrison March 21, (1917–2003) 7:30 Lou Harrison Centennial American Gamelan (1973) & Richard Dee In the Galleries Friday, October 20, 7:30 Chamber Music in the Galleries 1.
    [Show full text]
  • Microfest 2000
    MICROFEST 2000 NEW MUSIC AND VIDEO MAY 5, 2000 8:00 PM Lyman Hall, Pomona College, Claremont — P R O G R A M — Part I: Live performances "Palace Music" from Young Caesar Lou Harrison John Schneider — guitar Three Themes Kraig Grady Kraig Grady — meta-slendro vibraphone Lament John Schneider John Schneider — guitar A Noiseless Patient Spider Joe Monzo Joe Monzo — intoned voice — I N T E R M I S S I O N — Part II: Microtonal Film Scores Openings Scores by Stephen James Taylor Windsong Score by Harry Partch Excerpts from Three Films of James Broughton Scores by Lou Harrison Static Cling Bill Alves Be sure to attend the other concerts in the MicroFest 2000 series: Sunday, May 9, 7:30 PM at Pierce College, Woodland Hills; Friday May 12, 8:00 PM Neighborhood Church, Pasadena; Sunday May 14, 7:00 PM Brand Library and Arts Center, Glendale. Special thanks to the Garrett Fund of Harvey Mudd College Department of Humanities and Social Sciences. Thanks also to Pomona College Department of Music, Joseph Brennan, Joel Singer. Palace Music. Lou Harrison's "Palace Music" was originally written for solo harp to accompany scene IX of his puppet play Young Caesar (1971/88), transcribed here by the performer. Lou Harrison. Born in Portland in 1917, Lou Harrison is now recognized as one of the greatest living American composers. He studied with the great composers Henry Cowell (who ignited his interest in music of other cultures and new American music) and Arnold Schoenberg. Harrison pioneered the use of "found" instruments and staged the first percussion concerts with John Cage in 1930s San Francisco.
    [Show full text]
  • Lou Harrison and the Aesthetics of Revision, Alteration, and Self-Borrowing
    JOBNAME: Twentieth Century Mu PAGE: 1 SESS: 11 OUTPUT: Mon Oct 31 11:19:25 2005 /hling/journals/cup/170/00020 twentieth-century music 2/1, 79–107 © 2005 Cambridge University Press doi:10.1017/S1478572205000204 Printed in the United Kingdom Lou Harrison and the Aesthetics of Revision, Alteration, and Self-Borrowing LETA E. MILLER Abstract Lou Harrison seems always to have been re-examining his older works, revising or updating them, reworking them into movements of longer compositions, or creating alternative versions. This article examines Harrison’s revisions, alterations, and self-borrowings in terms of both technique and aesthetic objectives. Harrison’s first reworking of a set of short pieces into an extended composition, the Suite for Symphonic Strings of 1960, resulted in a poly-stylistic work he found so attractive that he not only used the self-borrowing technique in later works (such as the Third Symphony) but also incorporated similar contrasts in most of his long works, whether or not they were based on recycled materials. Thus the process of revision and self-borrowing in itself helped Harrison develop a distinctive personal style – one marked by its own eclecticism. In developing the works-catalogue for my 1998 biography of Lou Harrison (1917–2003),1 I faced a particularly thorny problem: Harrison’s propensity to revise, alter, reappraise, rescore or borrow earlier works had resulted in such an intricate network of interrelated compositions that its scope was difficult, if not impossible, to convey to the reader. Harrison abandoned numerous pieces after their inception, revisiting and completing them years later; other pieces were substantially revised – sometimes repeatedly – after performance, publication or recording.
    [Show full text]
  • Dramatic Structures in the Theatrical Music of Harry Partch and Manfred Stahnke
    MICROTONALITY, TECHNOLOGY, AND (POST)DRAMATIC STRUCTURES IN THE THEATRICAL MUSIC OF HARRY PARTCH AND MANFRED STAHNKE By NAVID BARGRIZAN A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2018 © 2018 Navid Bargrizan To my parents, whose passion for both music and academic education has inspired me ACKNOWLEDGMENTS I would like to express my sincere gratitude for their mentorship and constructive criticism to my advisor Dr. Silvio dos Santos, and the members of my doctoral committee, Dr. Jennifer Thomas, Dr. Paul Richards, and Dr. Ralf Remshardt. I am very much obliged to Dr. Manfred Stahnke for his generosity and wisdom; Ms. Susanne Stahnke for her cordial hospitality; Dr. Georg Hajdu for sharing his knowledge, and Dr. Albrecht Schneider for evoking my interest in microtonality. I appreciate the support of the following individuals and organizations, without whom I could not have realized this dissertation: DAAD (German Academic Exchange Service); the past and present directors of UF’s Music Department, Dr. John Duff and Dr. Kevin Orr; UF’s College of the Arts; UF’s Graduate School and Office of Research; UF’s Center for the Humanities and the Public Sphere; UF’s Student Government; Singer and Tedder Families; director of the Sousa Archives and Center for American Music at the University of Illinois, Dr. Scott Schwarz; the staff of the University of California San Diego Special Collections and Northwestern University Library. My family, friends, and early mentors have encouraged and supported me throughout my academic education.
    [Show full text]
  • LOU HARRISON: LA KORO SUTRO SUITE for VIOLIN with AMERICAN GAMELAN LOU HARRISON 1917–2003 SUITE for VIOLIN with AMERICAN GAMELAN (1974) Gabriela Diaz, Violin [1] I
    LOU HARRISON: LA KORO SUTRO SUITE FOR VIOLIN WITH AMERICAN GAMELAN SUITE FOR VIOLIN WITH AMERICAN GAMELAN (1974) LOU HARRISON 1917–2003 Gabriela Diaz, violin [1] I. Threnody 6:30 SUITE FOR VIOLIN WITH AMERICAN GAMELAN [2] II. Estampie 5:17 [3] III. Air 3:30 composed with Richard Dee (b. 1936) [4] IV. Jahla 1 2:32 [5] Jahla 2 1:34 LA KORO SUTRO [6] Jahla 3 1:59 [7] V. Chaconne 4:59 LA KORO SUTRO (1971) GABRIELA DIAZ violin Providence Singers PROVIDENCE SINGERS [8] Kunsonoro kaj Gloro (Chime and Glory) 2:06 ANDREW CLARK, DIRECTOR [9] 1a Paragrafo 4:05 [10] 2a Paragrafo 3:24 [11] 3a Paragrafo 1:28 [12] 4a Paragrafo 4:11 BOSTON MODERN ORCHESTRA PROJECT [13] 5a Paragrafo 3:43 GIL ROSE, CONDUCTOR [14] 6a Paragrafo 2:40 [15] 7a Paragrafo 2:09 [16] Mantro kaj Kunsonoro (Mantram and Chime) 2:52 TOTAL 52.59 COMMENT enough to know just European tradition, or those raised in that tradition, or the Japanese tradition, or whatever. And I think that’s very good advice. JLA: Certainly a uniquely 20th-century perspective. LH: Well, to a degree. One does remember, of course, that there were exchanges between the Ottoman Empire and Europeans. After all, they told the people that Mozart wrote Lou Harrison in conversation with John Luther Adams, 1999 Turkish marches. Why? Because the advanced part of the Ottoman Empire was at the John Luther Adams: We’re in a time of extremely rapid change and growth in music, and gates of Vienna. I remember you once observed that all good things must come to an end… even the 20th century.
    [Show full text]
  • 1/1, the Journal of the Just Intonation Network, Spring 2004
    David B. Doty Technical Writer/Technical Editor/Copyeditor 2751 Via Caballero Del Sur Santa Fe, NM 87505 505 • 473 • 1924 [email protected] Writing, Editing, and/or Design/Production Sample What: 1/1, The Journal of the Just Intonation Network, Spring 2004 My Role: Substantive Editor, Copyeditor, Some Illustration, Production Designer SPRING 2004 1 1 Volume 11, Number 4 THE JOURNAL OF THE JUST INTONATION NETWORK A PROJECT OF OTHER MUSIC, INC. Just Intonation and Music for Theatre by Alison Monteith One Friday in October, 2002, I received a phone call Unnamed (I’ll call it a septimal minor pentatonic): 1 7 4 3 7 2 from the secretary of the Scottish Borders Youth Theatre /1, /6, /3, /2, /4, /1 (BYT) asking me to provide music for a production of 1 16 7 4 22 47 9 2 Three Tales by Oscar Wilde. Their musical director had Kyai Udan Arum: /1, /15, /6, /3, /15, /30, /5, /1 pulled out at the eleventh hour and rehearsals started (harmonics 30, 32, 35, 40, 44, 47, 54) the next day, with performances the following Friday 1 13 7 17 3 19 7 2 Lou Harrison’s: /1, /12, /6, /12, /2, /12, /4, /1. and Saturday. (harmonics 12, 13, 14, 17, 18, 19, 21) Of the several options I had to offer, I proposed using my orchestra of tuned and untuned hand-built I liked the idea of using Harrison’s gamelan tunings instruments. We agreed on a fee and I suggested that for several reasons. First, it felt right to be tapping into the producer, John Haswell, take a look at my website that part of gamelan where the music accompanies some to get a better idea of what he was taking on.
    [Show full text]