Masters Thesis
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S P O È Me E Lectronique
Densil Cabrera S o u n d S p a c e a n d E d g a r d V a r è s e ’ s P o è m e E l e c t r o n i q u e Master of Arts 1994 University of Technology, Sydney C E R T I F I C A T E I certify that this thesis has not already been submitted for any degree and is not being submitted as part of candidature for any other degree. I also certify that the thesis has been written by me and that any help that I have received in preparing this thesis, and all sources used, have been acknowledged in this thesis. Signature of Candidate i A c k n o w l e d g m e n t s The author acknowledges the specific assistance of the following people in the preparation of this thesis: Martin Harrison for supervision; Greg Schiemer for support in the early stages of research; Elizabeth Francis and Peter Keller for allowing the use of facilities at the University of New South Wales’ Infant Research Centre for the production of the Appendix; Joe Wolfe and Emery Schubert; Roberta Lukes for her correspondence; Kirsten Harley and Greg Walkerden for proof reading. The author also acknowledges an award from the University of Technology, Sydney Vice- Chancellor’s Postgraduate Student Conference Fund in 1992. ii T a b l e o f C o n t e n t s I n t r o d u c t i o n The Philips Pavilion and Poème Electronique Approaches C h a p t e r 1 - S o u n d i n t h e W a l l s Architecture, Music: A Lineage Music-Architecture: Hyperbolic Paraboloids Crystal Sculpture Domestic Images of Sound in Space Sound, Space, Surface C h a p t e r 2 - H y p e r b o l i c P a r a b o l o i d s A -
Ambient Music the Complete Guide
Ambient music The Complete Guide PDF generated using the open source mwlib toolkit. See http://code.pediapress.com/ for more information. PDF generated at: Mon, 05 Dec 2011 00:43:32 UTC Contents Articles Ambient music 1 Stylistic origins 9 20th-century classical music 9 Electronic music 17 Minimal music 39 Psychedelic rock 48 Krautrock 59 Space rock 64 New Age music 67 Typical instruments 71 Electronic musical instrument 71 Electroacoustic music 84 Folk instrument 90 Derivative forms 93 Ambient house 93 Lounge music 96 Chill-out music 99 Downtempo 101 Subgenres 103 Dark ambient 103 Drone music 105 Lowercase 115 Detroit techno 116 Fusion genres 122 Illbient 122 Psybient 124 Space music 128 Related topics and lists 138 List of ambient artists 138 List of electronic music genres 147 Furniture music 153 References Article Sources and Contributors 156 Image Sources, Licenses and Contributors 160 Article Licenses License 162 Ambient music 1 Ambient music Ambient music Stylistic origins Electronic art music Minimalist music [1] Drone music Psychedelic rock Krautrock Space rock Frippertronics Cultural origins Early 1970s, United Kingdom Typical instruments Electronic musical instruments, electroacoustic music instruments, and any other instruments or sounds (including world instruments) with electronic processing Mainstream Low popularity Derivative forms Ambient house – Ambient techno – Chillout – Downtempo – Trance – Intelligent dance Subgenres [1] Dark ambient – Drone music – Lowercase – Black ambient – Detroit techno – Shoegaze Fusion genres Ambient dub – Illbient – Psybient – Ambient industrial – Ambient house – Space music – Post-rock Other topics Ambient music artists – List of electronic music genres – Furniture music Ambient music is a musical genre that focuses largely on the timbral characteristics of sounds, often organized or performed to evoke an "atmospheric",[2] "visual"[3] or "unobtrusive" quality. -
Gp 3.Qxt 7/13/10 11:35 AM Page 1
07-19 Varese 2:Gp 3.qxt 7/13/10 11:35 AM Page 1 Sponsor Welcome to Lincoln Center Festival 2010. We have searched the world to bring you some of the best the performing arts have to offer. Over the 18 days of this month’s Festival, we present 45 performances by artists and ensembles from 12 countries, and expand our venues to include a new site on Governors Island. The Lincoln Center Festival opened with the Smoking Orchestra are hugely successful in North American premiere of Musashi, a lavish their homelands but have only recently burst Noh-inspired drama. Yukio Ninagawa directs the onto the international scene. Both make their late Hisashi Inoue’s reworking and revitalization U.S. debuts at the Festival last week. of a traditional Japanese tale based on the life of a real samurai warrior. Two dynamic directors gave new life to classics from literature and film at our newest perfor- We take an unprecedented look at the complete mance venue. An industrial warehouse on work of 20th-century musical maverick Edgard Governors Island was the dramatic backdrop for Varèse with a two-night retrospective. A true the North American premieres of Peter Stein’s pioneer, Varèse longed to “liberate sound” to marathon adaptation of Dostoyevsky’s novel reflect in music the immense technological The Demons and Toneelgroep Amsterdam’s changes of the last century, and the forces of Teorema, based on the film by Pier Paolo the New York Philharmonic, International Con- Pasolini and directed by Ivo van Hove. temporary Ensemble, So¯ Percussion, Musica Sacra, and the Oratorio Society reveal his suc- It is always a pleasure to present innovative cess. -
Ied U4\JS'9 CONTENTS
VthSE: THE CRANBER WORKS OF THE 1920' 5 Detailed Analyses of H.yperpriem, Octandxe and Intégrales by P.W. CLA.YTON ieD U4\JS'9 CONTENTS PREFACE ..................... 11 PART I CHAPTER ONE INTRODUCTION: VARESE'S STYLE 1. PART II CHAPTER TWO HYPERPRISM...............19. CHAPTER THREE OCTANDRE 1st. Movement ......40. 2nd. Movement ..... 57. 3rd. Movement ..... 74. CHAPTER FOUR INTEGRALES..................90. APPENDIX VARESE'S WORKS ....................................... 130. BIBLIOGRAPHY ....................................... 131. PREFACE The object of my analysis of Hyperprism, Octand.re and Intgrales is to explain the mechanics of the construction of Varse's works and., thereby, reveal his concept of music, in general, and the consequent treatment of the various parameters of music, in particular. These analyses have been written in a way that assumes almost constant reference to a score. In the text I refer the reader to bar numbers in the music for ease of the accurate pin-pointing of specific events. In the score of Intgrales bar numbers can be easily calculated because the rehearsal figures occur at ten-bar intervals; starting with figure D] which is bar 11, there- fore, figure j] is bar 21 etc. When discussing the length of sections within a work I sometimes refer to the number of beats and at other times the length of a section is described in seconds. The reason for this is that when the portion of music being discussed is governed by a Bingle tempo indication the length can accurately be described in number of beats, but when changes of tempo are involved a time value is necessary in order to be able to effectively compare the length of one section with another. -
Edgard Varèse, 1939 Lecture This Concert Is Supported in Part by an A
This concert is supported in part by an award from the National Endowment for the Arts. “The very basis of creative work is irreverence!” — Edgard Varèse, 1939 lecture Leslie Chin, flute William Banovetz, oboe William Wohlmacher, clarinet Rufus Olivier, bassoon Lawrence Ragent, French horn Charles Metzger, trumpet Hall Goff, trombone William Winant, percussion Thomas Schultz, piano Roy Malan, violin Nina Flyer, cello Steven D’Amico, bass Donald Palma, Music Director San Francisco Contemporary Music Players Program Notes Monday, February 28, 2000 • 8 pm Center for the Arts Theater GUNTHER SCHULLER (B. 1925) AMERICAN ORIGINALS “Scholar, composer, conductor, teacher, author, music publisher, GUNTHER SCHULLER indefatigable advocate—Gunther Schuller isn’t merely a musician, he’s Sonata for Alto Saxophone and Piano (1999) a monopoly,” wrote Alan Rich in New York Magazine of this dazzlingly Kenneth Radnofsky, alto saxophone Thomas Schultz, piano energetic artist, once described as a “true practitioner of the 28-hour day.” SEYMOUR SHIFRIN The Nick of Time (1978) I. mm=66 Born in New York City, Schuller was the son of German II. mm=40 immigrants. His father was a violinist with the New York Philharmonic; III. Fast his mother was also a devout lover of music. When the boy was seven years old, his parents sent him back to Germany for a “real” private — INTERMISSION — school education. Five years later, he was enrolled at New York’s RALPH SHAPEY prestigious St. Thomas Church Choir School, where he quickly shone Kroslish Sonate (1985) forth as a soprano soloist. At the age of sixteen—proficient in three I. Maestoso - Joyous - Vivo - Maestoso II. -
Industrial Music for Industrial People: the History and Development of an Underground Genre Bret D
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2007 Industrial Music for Industrial People: The History and Development of an Underground Genre Bret D. Woods Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC INDUSTRIAL MUSIC FOR INDUSTRIAL PEOPLE: THE HISTORY AND DEVELOPMENT OF AN UNDERGROUND GENRE By BRET D. WOODS A thesis submitted to the College of Music In partial fulfillment of the requirements for the degree of Master of Music Degree Awarded: Summer Semester, 2007 Copyright © 2007 Bret D. Woods All Rights Reserved The members of the Committee approve the thesis of Bret Woods defended on June 6, 2007. ________________________________ Frank D. Gunderson Professor Directing Thesis ________________________________ Michael B. Bakan Committee Member ________________________________ Jane Piper Clendinning Committee Member The Office of Graduate Studies has verified and approved the above named committee members. ii ACKNOWLEDGEMENTS I wish to mention Philip K. Dick (1928-1982), who wrote several of my favorite stories, including Blade Runner, and H.P. Lovecraft (1890-1937), who wrote the Cthulhu mythos, among other works, both of whose works inspire me greatly. In addition, I thank the committee, Dr. Frank D. Gunderson, Dr. Michael B. Bakan, and Dr. Jane Piper Clendinning, for their critical eyes, wonderful hearts, and intelligent brains as well as their willingness to see this project unfold. I thank the industrial music community for providing me with an interesting topic as well as many years of fun listening to and participating in music.