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Morton Feldman: a Celebration of His 80Th Birthday
Morton Feldman : A Celebration of His 80th Birthday Curated by John Bewley June 1 – September 15, 2006 Case 1 Morton Feldman was born January 12, 1926 in New York City to Irving and Frances Feldman. He grew up in Woodside, Queens where his father established a company that manufactured children’s coats. His early musical education consisted of piano lessons at the Third Street Settlement School in Manhattan and beginning at age twelve, with Vera Maurina Press, an acquaintance of the Russian composer, Alexander Scriabin, and a student of Ferruccio Busoni, Emil von Sauer, and Ignaz Friedman. Feldman began composing at age nine but did not begin formal studies until age fifteen when he began compositional studies with Wallingford Riegger. Morton Feldman, age 13, at the Perisphere, New York World’s Fair, 1939? Unidentified photographer Rather than pursuing a college education, Feldman chose to study music privately while he continued working for his father until about 1967. After completing his studies in January 1944 at the Music and Arts High School in Manhattan, Feldman studied composition with Stefan Wolpe. It was through Wolpe that Feldman met Edgard Varèse whose music and professional life were major influences on Feldman’s career. Excerpt from “I met Heine on the Rue Furstenburg”, Morton Feldman in conversation with John Dwyer, Buffalo Evening News, Saturday April 21, 1973 Let me tell you about the factory and Lukas Foss (composer and former Buffalo Philharmonic conductor). The plant was near La Guardia airport. Lukas missed his plane one day and he knew I was around there, so he called me up and invited me to lunch. -
Feldman the Rug-Maker, Weaving for John Cage by Meg Wilhoite
Feldman the Rug-maker, Weaving For John Cage By Meg Wilhoite In an interview with Jan Williams, Morton Feldman described his fascination with ancient Middle Eastern patterned rugs: “In older oriental rugs the dyes are made in small amounts and so what happens is that there is an imperfection throughout the rug of changing colors of these dyes. Most people feel that they are imperfections. Actually it is the refraction of the light on these small dye batches that makes the rugs wonderful. I interpreted this as going in and out of tune. There is a name for that in rugs - it's called abrash - a change of colors that leads us into pieces like Instruments III [1977] which was the beginning of my rug idea.”1 There is an intimate connection between the rugs Feldman admired and many of the pieces he wrote in the last fifteen or so years of his life. These rugs set up an overall effect of sameness by systematically repeating a set of patterns, while at the same time disrupting this effect by slightly altering the components of those patterns. Similarly, Feldman wrote long works that produce a sense of skewed sameness by writing musical patterns that repeat many times, but change in intonation and/or rhythm almost imperceptibly. I present here a picture of Feldman as meticulous rug-maker, as he wove together what pianist Siegfried Mauser referred to as “an image of discreetly arranged musical sound and form.”2 Thinking of Feldman’s lengthy late works in terms of rug weaving provides us with a useful framework on which to hang both small and large-scale analyses of his music. -
Notes on Morton Feldman's “The King of Denmark” by Eberhard Blum
Notes on Morton Feldman’s “The King of Denmark” by Eberhard Blum [English translation by Peter Söderberg] In February and March 2008 I had an exhibition, entitled “Choice & Chance”, at the Villa Oppenheim in Berlin, a centre for contemporary art. This featured some forty of my large graphite works on paper. In connection with the exhibition, the percussionist Adam Weisman gave a concert with the following programme: Morton Feldman – The King of Denmark (1964), first realization Karlheinz Stockhausen – Zyklus for a percussionist (1959) Morton Feldman – The King of Denmark (1964), second realization I have been familiar with both these compositions for a long time. Their principles of construction have influenced many considerations affecting the construction of my own graphic work (e.g., the question: What could be the nature of indeterminate or aleatoric graphic works?). Morton Feldman often talked about his piece and also described its relationship to Stockhausen’s. Through the percussionist Jan Williams I came to know Feldman’s piece in detail. During his tenure at the “Center of the Creative and Performing Arts” in Buffalo, Jan had created a version which fully corresponded to Feldman’s own conception of the work. The choice of percussion instruments, which are not determined in the score, was made by Jan according to Feldman’s proposals and wishes. More than once I observed them both in the famous percussion room – Room 100 of the Music Department at the University, where early in 1978 we first performed Feldman’s work “Why Patterns?”, then still called “Instruments 4”, for his students – the two of them comparing the sounds of small cymbals and triangles to make the right decision. -
Solo Percussion Is Published Ralph Shapey by Theodore Presser; All Other Soli for Solo Percussion
Tom Kolor, percussion Acknowledgments Recorded in Slee Hall, University Charles Wuorinen at Buffalo SUNY. Engineered, Marimba Variations edited, and mastered by Christopher Jacobs. Morton Feldman The King of Denmark Ralph Shapey’s Soli for Solo Percussion is published Ralph Shapey by Theodore Presser; all other Soli for Solo Percussion works are published by CF Peters. Christian Wolff Photo of Tom Kolor: Irene Haupt Percussionist Songs Special thanks to my family, Raymond DesRoches, Gordon Gottlieb, and to my colleagues AMERICAN MASTERPIECES FOR at University of Buffalo. SOLO PERCUSSION VOLUME II WWW.ALBANYRECORDS.COM TROY1578 ALBANY RECORDS U.S. 915 BROADWAY, ALBANY, NY 12207 TEL: 518.436.8814 FAX: 518.436.0643 ALBANY RECORDS U.K. BOX 137, KENDAL, CUMBRIA LA8 0XD TEL: 01539 824008 © 2015 ALBANY RECORDS MADE IN THE USA DDD WARNING: COPYRIGHT SUBSISTS IN ALL RECORDINGS ISSUED UNDER THIS LABEL. AMERICAN MASTERPIECES FOR AMERICAN MASTERPIECES FOR Ralph Shapey TROY1578 Soli for Solo Percussion SOLO PERCUSSION 3 A [6:14] VOLUME II [6:14] 4 A + B 5 A + B + C [6:19] Tom Kolor, percussion Christian Wolf SOLO PERCUSSION Percussionist Songs Charles Wuorinen 6 Song 1 [3:12] 1 Marimba Variations [11:11] 7 Song 2 [2:58] [2:21] 8 Song 3 Tom Kolor, percussion • Morton Feldman VOLUME II 9 Song 4 [2:15] 2 The King of Denmark [6:51] 10 Song 5 [5:33] [1:38] 11 Song 6 VOLUME II • 12 Song 7 [2:01] Tom Kolor, percussion Total Time = 56:48 SOLO PERCUSSION WWW.ALBANYRECORDS.COM TROY1578 ALBANY RECORDS U.S. TROY1578 915 BROADWAY, ALBANY, NY 12207 TEL: 518.436.8814 FAX: 518.436.0643 ALBANY RECORDS U.K. -
Generalized Interval System and Its Applications
Generalized Interval System and Its Applications Minseon Song May 17, 2014 Abstract Transformational theory is a modern branch of music theory developed by David Lewin. This theory focuses on the transformation of musical objects rather than the objects them- selves to find meaningful patterns in both tonal and atonal music. A generalized interval system is an integral part of transformational theory. It takes the concept of an interval, most commonly used with pitches, and through the application of group theory, generalizes beyond pitches. In this paper we examine generalized interval systems, beginning with the definition, then exploring the ways they can be transformed, and finally explaining com- monly used musical transformation techniques with ideas from group theory. We then apply the the tools given to both tonal and atonal music. A basic understanding of group theory and post tonal music theory will be useful in fully understanding this paper. Contents 1 Introduction 2 2 A Crash Course in Music Theory 2 3 Introduction to the Generalized Interval System 8 4 Transforming GISs 11 5 Developmental Techniques in GIS 13 5.1 Transpositions . 14 5.2 Interval Preserving Functions . 16 5.3 Inversion Functions . 18 5.4 Interval Reversing Functions . 23 6 Rhythmic GIS 24 7 Application of GIS 28 7.1 Analysis of Atonal Music . 28 7.1.1 Luigi Dallapiccola: Quaderno Musicale di Annalibera, No. 3 . 29 7.1.2 Karlheinz Stockhausen: Kreuzspiel, Part 1 . 34 7.2 Analysis of Tonal Music: Der Spiegel Duet . 38 8 Conclusion 41 A Just Intonation 44 1 1 Introduction David Lewin(1933 - 2003) is an American music theorist. -
A Musical Work Emerges and Disappears – Morton Feldman's The
A musical work emerges and disappears – Morton Feldman’s The Possibility of a New Work for Electric Guitar 1 by Peter Söderberg The Possibility of a New Work for Electric Guitar is a work by Morton Feldman that does not exist. Or maybe it does, after all! There was certainly something resembling a work for one year, between 1966 and 1967, after which all traces seemed to disappear. But can an existing musical work really cease to be, and if so, under what conditions? Can a work reappear after many years, in spite of the fact that the original, the composer’s manuscript, is lost? Morton Feldman composed The Possibility of a New Work for Electric Guitar in early 1966, at the request of his colleague Christian Wolff. Feldman and Wolff were since the early 1950’s part of the circle around John Cage in New York, and they both belong amongst the most the prominent American composers of the second half of the 20th century. Less well- known is the fact that, around that time, Christian Wolff performed as an electric guitar player. He played the instrument without any real training and with an idiosyncratic technique, often with the guitar lying on the floor or on a table. Wolff has testified that the music emerged on a single occasion, when he and Feldman got together. Feldman sat at the piano, playing sounds that Wolff would try to transfer to the guitar. The result of the investigation was notated by Feldman, and in that way the work took shape. On the same occasion, Feldman handed over the sheet music to Wolff, and accordingly the work was established in the form that would be the ultimate – at least from the composer’s pen. -
Suspicious Silence: Walking out on John Cage
Suspicious Silence: Walking Out on John Cage Clark Lunberry “What we require is / silence; but what silence requires / is that I go on talking .” –John Cage, “Lecture on Nothing” “Well, shall we / think or listen? Is there a sound addressed / not wholly to the ear?” –William Carlos Williams, “The Orchestra” Critical Innocence: 2012 marked what would have been the composer and writer John Cage’s 100th birthday, offering a nice round numbered moment to commemorate and reevaluate Cage’s lasting legacy. And it is a rich and still, astonishingly, controversial legacy, bringing forth bold assessments of Cage that range, as they have for decades, from worshipful acclaim, to ridiculing rejection. It seems with Cage, still, that it’s either black or white, love or hate; that he is either a saintly prophet of new sounds, new silences, or a foolish charlatan leading anarchically astray. Of late, however, one reads more and more critical accounts of Cage that, while acknowledging his wide–ranging influence and importance, suggest nonetheless of him a deafening innocence to his own renowned hearing. A new generation of writers and listeners, one that is perhaps more theoretically inclined and less reverential of the composer’s acclaim, have begun to raise questions about what they perceive as the unexamined dimensions of some of Cage’s claims about silence, the nature of the nothing that was thought to have constituted it. Cage, as a consequence, is now often more mystically presented as somewhat naively espousing a kind of zen–like syncing of a scene with a sound, with its immediate moment. -
Can Musicians Track Two Different Beats Simultaneously? Author(S): Ève Poudrier and Bruno H
Can Musicians Track Two Different Beats Simultaneously? Author(s): Ève Poudrier and Bruno H. Repp Source: Music Perception: An Interdisciplinary Journal, Vol. 30, No. 4 (April 2013), pp. 369- 390 Published by: University of California Press Stable URL: http://www.jstor.org/stable/10.1525/mp.2013.30.4.369 . Accessed: 17/11/2015 19:06 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . 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]. University of California Press is collaborating with JSTOR to digitize, preserve and extend access to Music Perception: An Interdisciplinary Journal. http://www.jstor.org This content downloaded from 23.235.32.0 on Tue, 17 Nov 2015 19:06:20 PM All use subject to JSTOR Terms and Conditions Tracking Different Beats Simultaneously 369 CAN MUSICIANS TRACK TWO DIFFERENT BEATS SIMULTANEOUSLY? E` VE POUDRIER Swedish death metal group Meshuggah; see Pieslak, Yale University 2007), and 20th century Western art music. In the latter, composers whose stylistic orientations range from exper- BRUNO H. REPP imentalism (notably in the works of the American com- Haskins Laboratories, New Haven, Connecticut posers Charles Ives, Henry Cowell, and Conlon Nancarrow) and modernism (Elliott Carter and Gyo¨rgy THE SIMULTANEOUS PRESENCE OF DIFFERENT Ligeti, the latter having been influenced by the music of meters is not uncommon in Western art music and the the Aka Pygmies; see Taylor, 2003) to minimalism and music of various non-Western cultures. -
Morton Feldman and Abstract Expressionism
Morton Feldman and Abstract Expressionism Time and sound construction in his piano miniatures of the 1950s and 1960s by Gianmario Borio (English translation by Francesco Sani) This essay was first published in Italian in Itinerari della musica americana, edited by Gianmario Borio and Gabrio Taglietti, Lucca, Lim 1996, pp. 119-134. An earlier version appeared as a chapter in Borio’s PhD dissertation Musikalische Avantgarde um 1960. Entwurf einer Theorie der informellen Musik, Laaber Verlag, Laaber 1993, pp. 146-167. The circle of musicians gathering around John Cage towards the latter part of the 1940s – Earle Brown, Morton Feldman, David Tudor and Christian Wolff – expressed a strong interest in the visual arts. Cage, right from the time of his studies with Arnold Schoenberg in 1935, had taken an interest in abstract painting – Paul Klee, Wassily Kandinsky and Piet Mondrian – and had himself begun painting. The most fruitful encounter for him was with Mark Tobey at the Cornish School of Art in Seattle; the latter’s white paintings suggested to Cage the idea of non-representational and radically abstract art[1]. Perhaps it was after meeting Cage in 1941 that Tobey began studying piano and composition. His fascination with music concerned especially rhythmic and contrapuntal aspects, the subject of his paintings – stars, swarming lights, crowds and urban landscapes – executed through several interacting lines giving life to an experience characterised by an overall rhythmic pulse[2]. Tobey worked in the West Coast, an area that more than any other in the US was influenced by Asian philosophy and religion. This cultural background helps understanding the intellectual affinity felt http://www.cnvill.net/mfborio.pdf 1 by Cage when confronted with Tobey’s work. -
Kreuzspiel, Louange À L'éternité De Jésus, and Mashups Three
Kreuzspiel, Louange à l’Éternité de Jésus, and Mashups Three Analytical Essays on Music from the Twentieth and Twenty-First Centuries Thomas Johnson A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts University of Washington 2013 Committee: Jonathan Bernard, Chair Áine Heneghan Program Authorized to Offer Degree: Music ©Copyright 2013 Thomas Johnson Johnson, Kreuzspiel, Louange, and Mashups TABLE OF CONTENTS Page Chapter 1: Stockhausen’s Kreuzspiel and its Connection to his Oeuvre ….….….….….…........1 Chapter 2: Harmonic Development and The Theme of Eternity In Messiaen’s Louange à l’Éternité de Jésus …………………………………….....37 Chapter 3: Meaning and Structure in Mashups ………………………………………………….60 Appendix I: Mashups and Constituent Songs from the Text with Links ……………………....103 Appendix II: List of Ways Charles Ives Used Existing Musical Material ….….….….……...104 Appendix III: DJ Overdub’s “Five Step” with Constituent Samples ……………………….....105 Bibliography …………………………………........……...…………….…………………….106 i Johnson, Kreuzspiel, Louange, and Mashups LIST OF EXAMPLES EXAMPLE 1.1. Phase 1 pitched instruments ……………………………………………....………5 EXAMPLE 1.2. Phase 1 tom-toms …………………………………………………………………5 EXAMPLE 1.3. Registral rotation with linked pitches in measures 14-91 ………………………...6 EXAMPLE 1.4. Tumbas part from measures 7-9, with duration values above …………………....7 EXAMPLE 1.5. Phase 1 tumba series, measures 7-85 ……………………………………………..7 EXAMPLE 1.6. The serial treatment of the tom-toms in Phase 1 …………………………........…9 EXAMPLE 1.7. Phase two pitched mode ………………………………………………....……...11 EXAMPLE 1.8. Phase two percussion mode ………………………………………………....…..11 EXAMPLE 1.9. Pitched instruments section II …………………………………………………...13 EXAMPLE 1.10. Segmental grouping in pitched instruments in section II ………………….......14 EXAMPLE 1.11. -
Morton Feldman in Conversation with Stuart Morgan the Following
Pie-Slicing and Small Moves: exemplified in the twentieth century by Mondrian. Tact informs Feldman's art criticism, which is Morton Feldman in conversation with Stuart meditative, daring and partisan. (See, for example, Morgan "Some Elementary Questions" Art News April 1967; "After Modernism" Art in America December 1971; "The Anxiety of Art" Art in The following interview was originally published in America September-October 1973.) A heightened Artscribe (April 1978) pp 34-37. sensitivity to time and the gradual progression of artistic careers underlies both his reminiscences "I don't know what a composer is," said Morton ("Give my Regards to Eighth Street" Art in Feldman two years ago. "I never knew as a young America March-April 1971) and an eloquent man, I don't know now and I'm gonna be fifty tribute to his friend Frank O'Hara ("Frank next month." Feldman (at present Edgar Varèse O'Hara: Lost Times and Future Hopes" Art in Professor of Music at the State University of New America March-April 1972). Preoccupation with York at Buffalo) studied composition with images of life and death is evident in his images of Wallingford Riegger and Stefan Wolpe. In New creative work. "What it really amounts to is York in the fifties he met John Cage and joined a whether you want to be in the work, in the circle that included Earle Brown, Christian Wolff medium or outside it . I feel that Cage and and pianist David Tudor. A second major myself are in the work . Stockhausen and influence was painting; friendships with Rothko, Boulez are out of it". -
Beat Tracking with Dynamic Programming
Beat Tracking with Dynamic Programming Daniel P.W. Ellis LabROSA, Dept. of Electrical Engineering Columbia University, New York NY 10027 USA [email protected] Abstract choosing one tempo, and accepting that matches will not be There are many applications for which we would like to high for subjects who choose a different tempo. be able to track the ‘beat’ of a piece of recorded music – The following section describes our system, then section analogous to a listener’s foot-tapping. This paper describes 3 reports performance on the evaluation data. our beat-tracking system, which operates by first estimating a global tempo (via autocorrelation of an ‘onset strength’ 2. System Overview signal), then using dynamic programming to find the best This section describes each module in our system. sequence of beat times through the whole piece that both places beats on moments of high ‘onset strength’, as well 2.1. Onset Strength Signal as maintaining a spacing between beats that agrees with the global tempo. This system has been submitted to the 2006 The first stage of processing is to convert the audio into a MIREX Audio Tempo Extraction and Audio Beat Tracking one-dimensional function of time at a lower sampling rate competitions. that reflects the strength of onsets (beats) at each time. We based this on the front-end on the one described in [2]. A Keywords: Tempo Extraction, Beat Tracking, Autocorrela- log-magnitude 40-channel Mel-frequency spectrogram is cal- tion, Dynamic Programming culated for 8 kHz downsampled mono versions of the orig- 1. Introduction inal recording with a 32 ms window and 4 ms hop between frames.