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The Agenda of the Athenian Acropolis Museum
Zakakis, N., Bantimaroudis, P., and Zyglidopoulos, S. (2015) Museum promotion and cultural salience: the agenda of the Athenian Acropolis museum. Museum Management and Curatorship, 30(4), pp. 342-358. There may be differences between this version and the published version. You are advised to consult the publisher’s version if you wish to cite from it. http://eprints.gla.ac.uk/105578/ Deposited on: 1 May 2015 Enlighten – Research publications by members of the University of Glasgow http://eprints.gla.ac.uk Museum Promotion and Cultural Salience: The Agenda of the Athenian Acropolis Museum Nikos Zakakis Philemon Bantimaroudis Department of Cultural Technology and Communication, University of the Aegean, Mytilene, T.K. 81100, Greece E-Mail: [email protected] E-Mail: [email protected] And Stelios Zyglidopoulos Adam Smith Business School University of Glasgow, Main Building, Glasgow, G12 8QQ, Scotland, UK E-mail: [email protected] Paper accepted for publication at the Museum Management and Curatorship As of April 2015 Museum Promotion and Cultural Salience: The Agenda of the Athenian Acropolis Museum Abstract This case study examines a process of agenda building in the context of cultural organizations. We chose the Acropolis Museum, as a new, emerging cultural organization in the European periphery which engages in public actions, in the form of symbolic initiatives, in order to set a specific cultural agenda for Greek and international media. We scrutinize seven symbolic initiatives publicized by the museum, as attributes that influence media content. We conclude that development of cultural/educational services, advertising and marketing, visitor/customer relations, partnerships, symbolic actions, special events, and supporting services constitute significant cultural attributes, which strategically become a part of the media agenda, thereby contributing toward the building of a museum agenda. -
Littérature Et Vocalité Chez Xenakis Ou Comment Traiter Des Abîmes Nicolas Darbon
Document generated on 09/24/2021 11 a.m. Intersections Canadian Journal of Music Revue canadienne de musique Littérature et vocalité chez Xenakis ou comment traiter des abîmes Nicolas Darbon Volume 34, Number 1-2, 2014 Article abstract The mytheme of Chaos is studied through the vocal works of Xenakis. It is URI: https://id.erudit.org/iderudit/1030872ar representative of the history, the concerns, and the sensibility of the DOI: https://doi.org/10.7202/1030872ar “contemporary” (of the end of the twentieth century): although inspired by Greek antiquity, the treatment of the text oscillates between the poles of pure See table of contents abstraction and significant expression. Furious, stormy, the Xenakian Chaos can result from trauma, madness, and war, to indicate the state of what has no shape, the abyss, the deluge, the genesis, the perdition, to be a transition, Publisher(s) process, to represent the origin or the end of the world. So the composer wanted “to handle abysses” by the soloist or the choir vocality, to find “all the Canadian University Music Society / Société de musique des universités cosmic wealth, but chaotically.” This article opens a diptych; the second section canadiennes is entitled “The Big Neolithic Mother in Serment-Orkos” (published by the Iannis Xenakis Center, University of Rouen). The postulate is that chaos theory ISSN and complexity theory belong themselves to an anthropology of the imagination. This article joins research on the transdiction (notion explained 1911-0146 (print) on the site of the CEREdI, University of Rouen): sound and body in the 1918-512X (digital) musico-literary transfers. -
Cambridge University Press 978-1-107-13355-6 — the Cambridge Companion to Electronic Music Edited by Nick Collins , Julio D'escrivan Index More Information 317
Cambridge University Press 978-1-107-13355-6 — The Cambridge Companion to Electronic Music Edited by Nick Collins , Julio d'Escrivan Index More Information 317 I n d e x 1, 2, 1- 2- 3- 4 , 47 electronic and acoustic compared, 202 1- Bit Symphony , 248 and game music, 166 , 167 2001 A Space Odyssey , 193 and global connection, 32 242.pilots, 131 – 2 information aesthetics, 145 4’33 (Cage), 227 and live electronics, 178 , 262 – 4 , 265 – 7 , 270 , 8- bit music, 81 , 173 – 4 , 248 271 – 2 and microsound, 216 – 17 Aarset, Eivind, 270 – 1 modes of listening, 203 – 4 Abandoned Lake in Maine , 287 and music for i lm, 163 ‘Abstract Cinema - Chromatic Music’, 125 and networks, 148 abstract i lmmaking, visual music, 125 – 6 and sot ware tools, 76 academic electronic music, 32 – 3 , 294 and sound art, 220 – 2 , 225 – 6 , 228 , 230 – 1 , acousmatic musi c . see also Tape Music 236 – 7 challenges to, 31 – 2 , 297 – 8 and spatial elements, 211 , 213 – 15 language and voice use, 208 – 9 and studio development, 27 listener interface, 37 and synaesthetic art, 134 – 5 musique concrète, 27 , 141 , 155 , 157 , 202 , and technology, 27 – 9 , 32 , 76 , 201 , 298 203 – 5 and transmission, 141 , 146 use of noise, 209 – 11 a f ective approach to analysis, 287 origin, 9 – 10 , 203 Africa, as inspiration, 176 soundscapes, 163 , 174 – 5 , 218 – 19 At ershock , 285 spatial aspects, 211 – 15 AI hoaxes, 10 – 11 streaming ef ects, 207 – 8 aleatoric principles, 114 – 15 Acousmonium, 212 Alexander, Amy, 133 acoustic ecology, 174 – 5 , 285 , see also algorithmic compositio -
Task Force on Economic and Monetary Union Briefing 22 First
Task Force on Economic and Monetary Union Briefing 22 First revision Prepared by the Directorate General for Research Economic Affairs Division The opinions expressed are those of the author, and do not necessarily reflect the position of the European Parliament Although Greece is making remarkable progress towards economic convergence, it remains the only EU country that does not satisfy any of the Maastricht criteria. Luxembourg 28th. April 1998 PE 166.453/rev.1 EMU and Greece Contents Introduction 3 Fulfilment of the Criteria 4 a) Inflation 4 b) Long-term interest rates 5 c) Budget deficit as a percentage of GDP 6 d) Public debt as a percentage of GDP 7 e) Exchange rate stability 9 f) Independence of the Greek Central Bank 9 g) Growth and Unemployment 10 h) Balance of Payments 12 The Political background 13 a) Government policy 13 b) The Opposition 13 c) Industry 13 d) Trade Unions 14 e) Privatization 15 f) The Press 15 g) Public opinion 15 Tables and Charts Table 1: Convergence criteria for Greece 4 Table 2: Gross public debt - structural characteristics 8 Table 3: Sustainability of debt trends 9 Chart 1: Inflation (1990-1999) 5 Chart 2: Long-term interest rates 6 Chart 3: Budget deficits as a percentage of GDP (1990-1999) 7 Chart 4: Public debt as a percentage of GDP (1990-1999) 8 Chart 5: Growth of GDP (1990-1999) 10 Chart 6: Unemployment (1990-1999) 11 Chart 7: Occupation of the labour force in 3 sectors of the economy 11 Chart 8: Balance of payments 12 Authors: Alexandros Kantas and Jérome Durand Editor: Ben Patterson 2 PE 166.453/rev.1 EMU and Greece Introduction On the 25th March the Commission and the European Monetary Institute published their separate reports on progress towards meeting the convergence criteria for Economic and Monetary Union. -
00 Title Page
The Pennsylvania State University The Graduate School College of Arts and Architecture SPATIALIZATION IN SELECTED WORKS OF IANNIS XENAKIS A Thesis in Music Theory by Elliot Kermit-Canfield © 2013 Elliot Kermit-Canfield Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts May 2013 The thesis of Elliot Kermit-Canfield was reviewed and approved* by the following: Vincent P. Benitez Associate Professor of Music Thesis Advisor Eric J. McKee Associate Professor of Music Marica S. Tacconi Professor of Musicology Assistant Director for Graduate Studies *Signatures are on file in the School of Music ii Abstract The intersection between music and architecture in the work of Iannis Xenakis (1922–2001) is practically inseparable due to his training as an architect, engineer, and composer. His music is unique and exciting because of the use of mathematics and logic in his compositional approach. In the 1960s, Xenakis began composing music that included spatial aspects—music in which movement is an integral part of the work. In this thesis, three of these early works, Eonta (1963–64), Terretektorh (1965–66), and Persephassa (1969), are considered for their spatial characteristics. Spatial sound refers to how we localize sound sources and perceive their movement in space. There are many factors that influence this perception, including dynamics, density, and timbre. Xenakis manipulates these musical parameters in order to write music that seems to move. In his compositions, there are two types of movement, physical and apparent. In Eonta, the brass players actually walk around on stage and modify the position of their instruments to create spatial effects. -
´Electronique Based On
Vincenzo Lombardo,∗ Andrea Valle,∗ John Fitch,† Kees Tazelaar,∗∗ A Virtual-Reality Stefan Weinzierl,†† and Reconstruction of Poeme` Wojciech Borczyk§ ´ ∗Centro Interdipartimentale di Ricerca Electronique Based on sulla Multimedialita` e l’Audiovisivo Universita` di Torino Philological Research Virtual Reality and Multi Media Park ViaS.Ottavio20 10123 Torino, Italy [email protected]; [email protected] †Department of Computer Science University of Bath BA2 7AY, Bath, United Kingdom [email protected] ∗∗Institute of Sonology Royal Conservatory Juliana v. Stolberglaan 1 2595CA Den Haag, The Netherlands [email protected] ††Fachgebiet Audiokommunikation Technische Universitat¨ Berlin Einsteinufer 17c D-10587 Berlin, Germany [email protected] §Instytut Informatyki Wydzial Automatyki Elektroniki i Informatyki Politechniki Slaskiej´ Akademicka 16 44-100 Gliwice, Poland [email protected] “The last word is imagination” [Le dernier mot est Electronique´ (1958). This seminal work was Varese’s` imagination] (Edgard Varese,` in Charbonnier 1970, only purely electroacoustic work (apart from the p. 79): with this statement, Varese` replies to George very short La Procession de Verges` of 1955; Bernard Charbonnier, closing a 1955 interview about the 1987, p. 238), and also, to the best of our knowledge, aesthetic postulates of his long but difficult career. the first electroacoustic work in the history of While speaking about the relationship between music to be structurally integrated in an audiovisual music and image, Varese` declares—somewhat context (cf. Chadabe 1997). surprisingly—that he would like to see a film based The history of Poeme` Electronique´ , as docu- on his last completed orchestral work, Deserts´ mented by Petit (1958) and Treib (1996), goes back (1954). -
Akrata, for 16 Winds by Iannis Xenakis: Analyses1
AKRATA, FOR 16 WINDS BY IANNIS XENAKIS: ANALYSES1 Stéphan Schaub: Ircam / University of Paris IV Sorbonne In Makis Solomos, Anastasia Georgaki, Giorgos Zervos (ed.), Definitive Proceedings of the “International Symposium Iannis Xenakis” (Athens, May 2005), www.iannis-xenakis.org, October 2006. Paper first published in A. Georgaki, M. Solomos (éd.), International Symposium Iannis Xenakis. Conference Proceedings, Athens, May 2005, p. 138-149. This paper was selected for the Definitive Proceedings by the scientific committee of the symposium: Anne-Sylvie Barthel-Calvet (France), Agostino Di Scipio (Italy), Anastasia Georgaki (Greece), Benoît Gibson (Portugal), James Harley (Canada), Peter Hoffmann (Germany), Mihu Iliescu (France), Sharon Kanach (France), Makis Solomos (France), Ronald Squibbs (USA), Georgos Zervos (Greece) … a sketch in which I make use of the theory of groups 2 ABSTRACT In the following paper the author presents a reconstruction of the formal system developed by Iannis Xenakis for the composition of Akrata, for 16 winds (1964-1965). The reconstruction is based on a study of both the score and the composer’s preparatory sketches to his composition. Akrata chronologically follows Herma for piano (1961) and precedes Nomos Alpha for cello (1965-1966). All three works fall within the “symbolic music” category. As such, they were composed under the constraint of having a temporal function unfold “algorithmically” the work’s “outside time” architecture into the “in time” domain. The system underlying Akrata, undergoes several mutations over the course of the music’s unfolding. In its last manifestation, it bears strong resemblances with the better known system later applied to the composition of Nomos Alpha. -
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. -
Expanding Horizons: the International Avant-Garde, 1962-75
452 ROBYNN STILWELL Joplin, Janis. 'Me and Bobby McGee' (Columbia, 1971) i_ /Mercedes Benz' (Columbia, 1971) 17- Llttle Richard. 'Lucille' (Specialty, 1957) 'Tutti Frutti' (Specialty, 1955) Lynn, Loretta. 'The Pili' (MCA, 1975) Expanding horizons: the International 'You Ain't Woman Enough to Take My Man' (MCA, 1966) avant-garde, 1962-75 'Your Squaw Is On the Warpath' (Decca, 1969) The Marvelettes. 'Picase Mr. Postman' (Motown, 1961) RICHARD TOOP Matchbox Twenty. 'Damn' (Atlantic, 1996) Nelson, Ricky. 'Helio, Mary Lou' (Imperial, 1958) 'Traveling Man' (Imperial, 1959) Phair, Liz. 'Happy'(live, 1996) Darmstadt after Steinecke Pickett, Wilson. 'In the Midnight Hour' (Atlantic, 1965) Presley, Elvis. 'Hound Dog' (RCA, 1956) When Wolfgang Steinecke - the originator of the Darmstadt Ferienkurse - The Ravens. 'Rock All Night Long' (Mercury, 1948) died at the end of 1961, much of the increasingly fragüe spirit of collegial- Redding, Otis. 'Dock of the Bay' (Stax, 1968) ity within the Cologne/Darmstadt-centred avant-garde died with him. Boulez 'Mr. Pitiful' (Stax, 1964) and Stockhausen in particular were already fiercely competitive, and when in 'Respect'(Stax, 1965) 1960 Steinecke had assigned direction of the Darmstadt composition course Simón and Garfunkel. 'A Simple Desultory Philippic' (Columbia, 1967) to Boulez, Stockhausen had pointedly stayed away.1 Cage's work and sig- Sinatra, Frank. In the Wee SmallHoun (Capítol, 1954) Songsfor Swinging Lovers (Capítol, 1955) nificance was a constant source of acrimonious debate, and Nono's bitter Surfaris. 'Wipe Out' (Decca, 1963) opposition to himz was one reason for the Italian composer being marginal- The Temptations. 'Papa Was a Rolling Stone' (Motown, 1972) ized by the Cologne inner circle as a structuralist reactionary. -
On the Creative Process of Syrmos by Iannis Xenakis
Visualizing Sound, Hearing Diagrams: On the Creative Process of Syrmos by Iannis Xenakis José L. Besada Universidad Complutense de Madrid, Madrid, Spain [Preprint version, no images embedded] Abstract. A salient feature of Iannis Xenakis’ compositional practices was the use of several concepts and techniques borrowed from architectural design and from scientific fields. He sometimes drew complete graphic scores preluding the transcription of his fair copy of conventional musical notation. I discuss the diagrammatical features of Xenakis’ graphic score for Syrmos: although disparate representations depend on shared image schemata and cross-modal correspondences, their respective compositional logics are dissimilar. Keywords: Science-based composition · Sketch studies · Cross-modal correspondences · Material anchors · Iannis Xenakis 1 Introduction In Syrmos, a piece for string orchestra for eighteen players, Iannis Xenakis achieved a synthesis between compositional perspectives he developed during the 1950s. He implemented extra-musical ideas in compositional processes mainly borrowed from architectural design, mathematics, and physics. When playing Syrmos, the musicians and the conductor are supposed to read a score with standard notation on their respective music stands. A first and diagrammatic version of Syrmos is kept in the composer’s archives. It was written on graph paper in order to transcribe the data it contains as accurately as possible. Among its numerous pages, one of them displays a kind of hyperbolic envelope surrounded by a seemingly unpatterned cluster made of little crosses (see Fig. 1). Henceforth, I will only focus on this page, as a paradigmatic case in which both graphical elements, line segments and dots, are confronted. I will prove that, although both elements are immersed in the same diagrammatical space and share therefore common features, their underlying compositional logics are quite different. -
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). -
Abstracts Euromac2014 Eighth European Music Analysis Conference Leuven, 17-20 September 2014
Edited by Pieter Bergé, Klaas Coulembier Kristof Boucquet, Jan Christiaens 2014 Euro Leuven MAC Eighth European Music Analysis Conference 17-20 September 2014 Abstracts EuroMAC2014 Eighth European Music Analysis Conference Leuven, 17-20 September 2014 www.euromac2014.eu EuroMAC2014 Abstracts Edited by Pieter Bergé, Klaas Coulembier, Kristof Boucquet, Jan Christiaens Graphic Design & Layout: Klaas Coulembier Photo front cover: © KU Leuven - Rob Stevens ISBN 978-90-822-61501-6 A Stefanie Acevedo Session 2A A Yale University [email protected] Stefanie Acevedo is PhD student in music theory at Yale University. She received a BM in music composition from the University of Florida, an MM in music theory from Bowling Green State University, and an MA in psychology from the University at Buffalo. Her music theory thesis focused on atonal segmentation. At Buffalo, she worked in the Auditory Perception and Action Lab under Peter Pfordresher, and completed a thesis investigating metrical and motivic interaction in the perception of tonal patterns. Her research interests include musical segmentation and categorization, form, schema theory, and pedagogical applications of cognitive models. A Romantic Turn of Phrase: Listening Beyond 18th-Century Schemata (with Andrew Aziz) The analytical application of schemata to 18th-century music has been widely codified (Meyer, Gjerdingen, Byros), and it has recently been argued by Byros (2009) that a schema-based listening approach is actually a top-down one, as the listener is armed with a script-based toolbox of listening strategies prior to experiencing a composition (gained through previous style exposure). This is in contrast to a plan-based strategy, a bottom-up approach which assumes no a priori schemata toolbox.