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List of John Adams’s music used in the film “Io Sono L’Amore” www.iamlovemovie.com Title Album Duration THE CHARMAIN DANCES EARBOX 2 2’58'' Orchestra of St. Luke’s, Edo De Waart FIRST MOVEMENT CENTURY ROLLS 1'11'' The Cleveland Orchestra, Christoph von Dohànyi & 2000 Nonesuch records FIRST MOVEMENT CENTURY ROLLS 56'' The Cleveland Orchestra, Christoph von Dohànyi & 2000 Nonesuch Records FEARFUL SYMMETRIES EARBOX 2 1’33’’ Orchestra of St. Luke’s, Conductor John Adams FIRST MOVEMENT CENTURY ROLLS 1’13’’ The Cleveland Orchestra, Christoph von Dohànyi & 2000 Nonesuch Records FEARFUL SYMMETRIES EARBOX 2 1’08’’ Orchestra of St. Luke’s, Conductor John Adams MEISTER ECKARDT AND QUACKIE, EARBOX 7 1’37'' PART 3 San Francisco Symphony Orchestra, Edo De Waart LOLLAPALOOZA CENTURY ROLLS 1’38'' The Cleveland Orchestra, Christoph von Dohànyi & 2000 Nonesuch records THE CHARMAIN DANCES EARBOX 2 2’20’’ Orchestra of St. Luke’s, Conductor Edo De Waart BEGINNING NIXON IN CHINA 3 1’10’’ Orchestra of St. Luke’s, Edo De Waart 1987 Red Dawn Music (BMI) – 1988 Elektra/Asylum/Nonesuch Records SOME MEN YOU CANNOT SATISFY NIXON IN CHINA 3 1’06’’ Orchestra of St. Luke’s, Edo De Waart 1987 Red Dawn Music (BMI) – 1988 Elektra/Asylum/Nonesuch Records SHAKER LOOPS, LOOPS AND EARBOX - CD 1 4’47’’ VERSES THE DESERT CHORUS THE DEATH OF KLINGHOFFER 1’09’’ The Orchestra of the Opéra de Lyon, Kent Nagano 1992 Elektra Entertainment BEGINNING NIXON IN CHINA 3 1’21’’ Orchestra of St. Luke’s, Edo De Waart 1987 Red Dawn Music (BMI) – 1988 Elektra/Asylum/Nonesuch Records MEISTER ECKARDT AND QUACKIE, EARBOX 7 1’56’’ PART 3 San Francisco Symphony Orchestra Edo De Waart THE UNFORTAS WOUND, PART 2 EARBOX 7 3’40’’ San Francisco Symphony Orchestra Edo De Waart MEISTER ECKARDT AND QUACKIE, EARBOX 7 4’04’’ PART 3 San Francisco Symphony Orchestra Edo De Waart .

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UCLA UCLA Electronic Theses and Dissertations
UCLA UCLA Electronic Theses and Dissertations Title Hypermeter and Phrase Structure in Selected Works by Stravinsky, Crumb, and Adams Permalink https://escholarship.org/uc/item/8044m9c0 Author Young, Samuel M Publication Date 2018 Supplemental Material https://escholarship.org/uc/item/8044m9c0#supplemental Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Hypermeter and Phrase Structure in Selected Works by Stravinsky, Crumb, and Adams A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music by Samuel Martin Young 2018 © Copyright by Samuel Martin Young 2018 ABSTRACT OF THE DISSERTATION Hypermeter and Phrase Structure in Selected Works by Stravinsky, Crumb, and Adams by Samuel Martin Young Doctor of Philosophy in Music University of California, Los Angeles, 2018 Professor Ian Krouse, Co-Chair Professor David Samuel Lefkowitz, Co-Chair This dissertation studies the occurrence of hypermeter—the extension of metric organization beyond the measure level—in twentieth-century music. Meter is the hierarchical framework against which the listener relates melodic complexes on the musical surface, and this metric foundation is key to the listener’s understanding of the musical fabric as a whole. While many theorists have discussed the relationship between musical surface and metric structure in Classical- and Romantic-era music, the rhythmic and structural underpinning of twentieth- century repertoires has received far less attention. In the tonal music of the Common Practice period, meter was relatively stable, but metric structure became increasingly complex in the twentieth century, with repertoires that avoid regularity across musical parameters.
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Digital Concert Hall Streaming Partner of the Digital Concert Hall 21/22 season Where we play just for you Welcome to the Digital Concert Hall The Berliner Philharmoniker and chief The coming season also promises reward- conductor Kirill Petrenko welcome you to ing discoveries, including music by unjustly the 2021/22 season! Full of anticipation at forgotten composers from the first third the prospect of intensive musical encoun- of the 20th century. Rued Langgaard and ters with esteemed guests and fascinat- Leone Sinigaglia belong to the “Lost ing discoveries – but especially with you. Generation” that forms a connecting link Austro-German music from the Classi- between late Romanticism and the music cal period to late Romanticism is one facet that followed the Second World War. of Kirill Petrenko’s artistic collaboration In addition to rediscoveries, the with the orchestra. He continues this pro- season offers encounters with the latest grammatic course with works by Mozart, contemporary music. World premieres by Beethoven, Schubert, Mendelssohn, Olga Neuwirth and Erkki-Sven Tüür reflect Brahms and Strauss. Long-time compan- our diverse musical environment. Artist ions like Herbert Blomstedt, Sir John Eliot in Residence Patricia Kopatchinskaja is Gardiner, Janine Jansen and Sir András also one of the most exciting artists of our Schiff also devote themselves to this core time. The violinist has the ability to capti- repertoire. Semyon Bychkov, Zubin Mehta vate her audiences, even in challenging and Gustavo Dudamel will each conduct works, with enthusiastic playing, technical a Mahler symphony, and Philippe Jordan brilliance and insatiable curiosity. returns to the Berliner Philharmoniker Numerous debuts will arouse your after a long absence.
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AS Level Performance Studies Topic Exploration Pack (John Adams)
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Traficante Final Dissertation
UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE AN ANALYSIS OF JOHN ADAMS’ GRAND PIANOLA MUSIC A DOCUMENT SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the Degree of DOCTOR OF MUSICAL ARTS By DEBRA LEE TRAFICANTE Norman, Oklahoma 2010 AN ANALYSIS OF JOHN ADAMS’ GRAND PIANOLA MUSIC A DOCUMENT APPROVED FOR THE SCHOOL OF MUSIC BY ________________________________ Dr. William K. Wakefield, Chair ________________________________ Dr. Roland Barrett ________________________________ Dr. Paula Conlon ________________________________ Dr. Michael Raiber ________________________________ Dr. Teresa DeBacker © Copyright by DEBRA LEE TRAFICANTE 2010 All Rights Reserved. ACKNOWLEDGEMENTS My document committee consists of Dr. William K. Wakefield, Dr. Roland Barrett, Dr. Michael Raiber, Dr. Paula Conlon, and Dr. Teresa DeBacker, and I thank each of them for their careful reading and great assistance in the execution of this document. I feel very fortunate to have had the members who served on this committee, and hold them each in high regard. Special thanks are especially due to Dr. Wakefield, chair of my committee; he tirelessly helped me clarify ideas, find new ways to experience the piece, and express my thoughts more cogently. Without his unremitting support, this document would not exist. To my parents, Ron and Mary Ann Manna, I owe any success I have ever achieved to you both. The never-ending support you have afforded me is why I have accomplished what I have. I love you both and thank you. To my in-laws, Harry and Cheryl Craig, I sincerely appreciate the endless love and support you have given to me for the last fifteen years.
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University of Connecticut OpenCommons@UConn Doctoral Dissertations University of Connecticut Graduate School 12-9-2014 A Wind Ensemble Transcription of Part 1 (the First Movement) of Harmonielehre by John Adams with Commentary Richard E. Wyman University of Connecticut - Storrs, [email protected] Follow this and additional works at: https://opencommons.uconn.edu/dissertations Recommended Citation Wyman, Richard E., "A Wind Ensemble Transcription of Part 1 (the First Movement) of Harmonielehre by John Adams with Commentary" (2014). Doctoral Dissertations. 613. https://opencommons.uconn.edu/dissertations/613 A Wind Ensemble Transcription of Part 1 (the First Movement) of Harmonielehre by John Adams with Commentary Richard Edward Wyman, DMA University of Connecticut, 2014 John Adams, perhaps the most prominent American composer of the last twenty-five years (and reported to be the most frequently performed living composer), has created important repertoire for almost every major musical medium except the Wind Ensemble or Band. Published transcriptions exist of two shorter orchestral works, Lollapalooza (1995, six minutes long), transcribed by John Spinazzola, and Short Ride in a Fast Machine (1986, four minutes long), transcribed by Lawrence Odom, and both of these have become important works in the repertoire. By presenting a transcription of the seventeen-minute long first movement of Adams’s large-scale symphonic work Harmonielehre (1984-1985), this project presents the possibility for wind ensemble performers and their audiences to experience John Adams’s music on a larger scale. Also included is contextual commentary of value to conductors, performers, and scholars of John Adams; this discusses the historical background and the analysis of music relating to Minimalism, post-minimalism, John Adams, and Harmonielehre.
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