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Live-Electronic Music
live-Electronic Music GORDON MUMMA This b()oll br.gills (lnd (')uis with (1/1 flnO/wt o/Ihe s/u:CIIlflli01I$, It:clmulogira{ i,m(I1M/;OIn, find oC('(uimwf bold ;lIslJiraliml Iltll/ mm"k Ihe his lory 0/ ciec/muir 111111';(", 8u/ the oIJt:ninf!, mui dosing dlll/J/er.f IIr/! in {art t/l' l)I dilfcl'CIIt ltiJ'ton'es. 0110 Luerd ng looks UfI("/,- 1,'ulIl Ihr vll l/laga poillt of a mnn who J/(u pel'smlfl.lly tui(I/I'sscd lite 1)Inl'ch 0/ t:lcrh'Ollic tccJlIlulogy {mm II lmilll lIellr i/s beg-ilmings; he is (I fl'ndj/l(lnnlly .~{'hooletJ cOml)fJj~l' whQ Iws g/"lulll/llly (lb!Jfll'ued demenls of tlli ~ iedmoiQI!J' ;11(0 1111 a/rc(uiy-/orllleti sCI al COlli· plJSifion(l/ allillldes IInti .rki{l$. Pm' GarrlOll M umma, (m fllr. other IWfI((, dec lroll;c lerllll%gy has fllw/lys hetl! pre.telll, f'/ c objeci of 01/ fl/)sm'uillg rlln'osily (mrl inUre.fI. lu n MmSI; M 1I11111W'S Idslur)l resltllle! ",here [ . IIt:1lillg'S /(.;lIve,( nff, 1',,( lIm;lI i11g Ihe dCTleiojJlm!lIls ill dec/m1/ ;,. IIII/sir br/MI' 19j(), 1101 ~'/J IIIlIrli liS exlell siom Of $/ili em'fier lec1m%gicni p,"uedcnh b111, mOw,-, as (upcclS of lite eCQllol/lic lind soci(ll Irislm)' of the /.!I1riotl, F rom litis vh:wJ}f)il1/ Ite ('on,~i d ".r.f lHU'iQII.f kint/s of [i"t! fu! r/urmrl1lcI' wilh e/cclnmic medifl; sl/)""m;ys L'oilabomlive 1>t:rformrl1lce groU/JS (Illd speril/f "heme,f" of cIIgilli:C'-;lIg: IUltl ex/,/orcs in dt:lllil fill: in/tulmet: 14 Ihe new If'dllllJiolO' 011 pop, 10/1(, rock, nllrl jllu /Ill/SIC llJi inJlnwu:lI/s m'c modified //till Ille recording studio maltel' -
Magisterarbeit
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by OTHES MAGISTERARBEIT Titel der Magisterarbeit „Es war einmal MTV. Vom Musiksender zum Lifestylesender. Eine Programmanalyse von MTV Germany im Jahr 2009.“ Verfasserin Sandra Kuni, Bakk. phil. angestrebter akademischer Grad Magistra der Philosophie (Mag. phil.) Wien, Februar 2010 Studienkennzahl lt. Studienblatt: A 066 841 Studienichtung lt. Studienblatt: Publizistik und Kommunikationswissenschaft Betreuerin / Betreuer: Ao. Univ. Prof. Dr. Friedrich Hausjell DANKSAGUNG Die Fertigstellung der Magisterarbeit bedeutet das Ende eines Lebensabschnitts und wäre ohne die Hilfe einiger Personen nicht so leicht möglich gewesen. Zu Beginn möchte ich Prof. Dr. Fritz Hausjell für seine kompetente Betreuung und die interessanten und vielseitigen Gespräche über mein Thema danken. Großer Dank gilt Dr. Axel Schmidt, der sich die Zeit genommen hat, meine Fragen zu bearbeiten und ein informatives Experteninterview per Telefon zu führen. Besonders möchte ich auch meinem Freund Lukas danken, der mir bei allen formalen und computertechnischen Problemen geholfen hat, die ich alleine nicht geschafft hätte. Meine Tante Birgit stand mir immer mit Rat und Tat zur Seite, ihr möchte ich für das Korrekturlesen meiner Arbeit und ihre Verbesserungsvorschläge danken. Zum Schluss danke ich noch meinen Eltern und all meinen guten Freunden für ihr offenes Ohr und ihre Unterstützung. Danke Vicky, Kathi, Pia, Meli und Alex! EIDESSTATTLICHE ERKLÄRUNG Ich habe diese Magisterarbeit selbständig verfasst, alle meine Quellen und Hilfsmittel angegeben und keine unerlaubten Hilfen eingesetzt. Diese Arbeit wurde bisher in keiner Form als Prüfungsarbeit vorgelegt. Ort und Datum Sandra Kuni INHALTSVERZEICHNIS I. EINLEITUNG .....................................................................................................1 I.1. Auswahl der Thematik................................................................................................ 1 I.2. -
Gardner • Even Orpheus Needs a Synthi Edit No Proof
James Gardner Even Orpheus Needs a Synthi Since his return to active service a few years ago1, Peter Zinovieff has appeared quite frequently in interviews in the mainstream press and online outlets2 talking not only about his recent sonic art projects but also about the work he did in the 1960s and 70s at his own pioneering computer electronic music studio in Putney. And no such interview would be complete without referring to EMS, the synthesiser company he co-founded in 1969, or namechecking the many rock celebrities who used its products, such as the VCS3 and Synthi AKS synthesisers. Before this Indian summer (he is now 82) there had been a gap of some 30 years in his compositional activity since the demise of his studio. I say ‘compositional’ activity, but in the 60s and 70s he saw himself as more animateur than composer and it is perhaps in that capacity that his unique contribution to British electronic music during those two decades is best understood. In this article I will discuss just some of the work that was done at Zinovieff’s studio during its relatively brief existence and consider two recent contributions to the documentation and contextualization of that work: Tom Hall’s chapter3 on Harrison Birtwistle’s electronic music collaborations with Zinovieff; and the double CD Electronic Calendar: The EMS Tapes,4 which presents a substantial sampling of the studio’s output between 1966 and 1979. Electronic Calendar, a handsome package to be sure, consists of two CDs and a lavishly-illustrated booklet with lengthy texts. -
Karlheinz Stockhausen: Works for Ensemble English
composed 137 works for ensemble (2 players or more) from 1950 to 2007. SCORES , compact discs, books , posters, videos, music boxes may be ordered directly from the Stockhausen-Verlag . A complete list of Stockhausen ’s works and CDs is available free of charge from the Stockhausen-Verlag , Kettenberg 15, 51515 Kürten, Germany (Fax: +49 [0 ] 2268-1813; e-mail [email protected]) www.stockhausen.org Karlheinz Stockhausen Works for ensemble (2 players or more) (Among these works for more than 18 players which are usu al ly not per formed by orches tras, but rath er by cham ber ensem bles such as the Lon don Sin fo niet ta , the Ensem ble Inter con tem po rain , the Asko Ensem ble , or Ensem ble Mod ern .) All works which were composed until 1969 (work numbers ¿ to 29) are pub lished by Uni ver sal Edi tion in Vien na, with the excep tion of ETUDE, Elec tron ic STUD IES I and II, GESANG DER JÜNGLINGE , KON TAKTE, MOMENTE, and HYM NEN , which are pub lished since 1993 by the Stock hau sen -Ver lag , and the renewed compositions 3x REFRAIN 2000, MIXTURE 2003, STOP and START. Start ing with work num ber 30, all com po si tions are pub lished by the Stock hau sen -Ver lag , Ket ten berg 15, 51515 Kürten, Ger ma ny, and may be ordered di rect ly. [9 ’21”] = dura tion of 9 min utes and 21 sec onds (dura tions with min utes and sec onds: CD dura tions of the Com plete Edi tion ). -
Teaching Electronic Music – Journeys Through a Changing Landscape
Revista Vórtex | Vortex Music Journal | ISSN 2317–9937 | http://vortex.unespar.edu.br/ D.O.I.: https://doi.org/10.33871/23179937.2020.8.1.12 Teaching electronic music – journeys through a changing landscape Simon Emmerson De Montfort University | United Kingdom Abstract: In this essay, electronic music composer Simon Emmerson examines the development of electronic music in the UK through his own experience as composer and teacher. Based on his lifetime experiences, Emmerson talks about the changing landscape of teaching electronic music composition: ‘learning by doing’ as a fundamental approach for a composer to find their own expressive voice; the importance of past technologies, such as analogue equipment and synthesizers; the current tendencies of what he calls the ‘age of the home studio’; the awareness of sonic perception, as opposed to the danger of visual distraction; questions of terminology in electronic music and the shift to the digital domain in studios; among other things. [note by editor]. Keywords: electronic music in UK, contemporary music, teaching composition today. Received on: 29/02/2020. Approved on: 05/03/2020. Available online on: 09/03/2020. Editor: Felipe de Almeida Ribeiro. EMMERSON, Simon. Teaching electronic music – journeys throuGh a chanGinG landscape. Revista Vórtex, Curitiba, v.8, n.1, p. 1-8, 2020. arly learning. The remark of Arnold Schoenberg (in the 1911 Preface to his Theory of Harmony) – “This book I have learned from my pupils” – is true for me, too. Teaching is E learning – without my students I would not keep up nearly so well with important changes in approaches to music making, and it would be more difficult to develop new ideas and skills. -
Fall 2009 Feature: Celebrate the Reader|
F A L L 2 0 0 9 Feature: Ontario Public Library Week October 17-25 Me & My Library Dave Carley www.londonpubliclibrary.ca |feature: OPLW Ontario Public I am a reader. Library Week I am always on the hunt for my next October 13-24 read: a new book, an undiscovered Celebrate your reading book, an old writer new to me, the book Chose from your Library’s wide that will suit my particular mood... selection of books, magazines, movies In my work as a librarian, I meet people or music - be the lucky person to check every day that are also looking for ‘a out a chosen item and you could win a ballot to enter for a draw good book’ and part of my job is to help prize. Hint: both staff and customer them find it. I start by asking questions: recommendations may be eligible for a what do you like to read, who are your chance to win. For all ages. favourite authors, why did you like that particular book? Do you like a cozy October 17-25 British mystery, medical suspense, Celebrity check out literary award winners? I am always Local “celebrities” take on the role of meeting people who don’t know they honourary employees at most locations can ask library staff for help finding one day this week. Drop in for a chat at books to read, although they regularly the check out! ask a lot of other questions! The next October 17 time you are stuck, ask a staff member 2-4 pm - all locations for help. -
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. -
Artistic Name: Flo Menezes Date of Birth: 18Th April 1962 Nationality
Flo Menezes – Curriculum Vitae 1 Artistic Name: Flo Menezes Full Name: Florivaldo Menezes Filho Date of birth: 18th April 1962 Nationality: Brazilian and Italian. Summary Flo MENEZES was born in São Paulo in 1962. Between 1980 and 1985 he studied Composition with Willy Corrêa de Oliveira at the University of São Paulo (USP), where he had also classes of musical analysis with Gilberto Mendes. In 1986 he became a German scholarship of DAAD to study Electronic Composition with Hans Ulrich Humpert at the Cologne Studio für elektronische Musik of the Music High School, where he was active as guest composer until the end of 1990, receiving his German diploma in 1989 (Mauricio Kagel, Hans Werner Henze and other in the jury). In 1991 he lived in Italy and worked as a composer at the Centro di Sonologia Computazionale of the University of Padua, working with Music V. In 1988 he was selected for the International Centre Acanthes Courses with Pierre Boulez. In 1989 he was invited by the Mozarteum of Salzburg to follow all activities of Luciano Berio as guest composer of that Festival. In 1992 he concluded his PhD on Berios Music at the University of Liège, Belgium, under the orientation of Henri Pousseur. His analysis of Visage by Berio won unanimously the First Prize at the First International Prize for Musicology organized in Latina, Italy. In 1992, Berio himself asked Paul Sacher to afford him a scholarship to organize and develop research on Berios manuscripts at the Paul Sacher Foundation, Basle. In 1994 he founded the Studio PANaroma of Electroacoustic Music at the State University of São Paulo (Unesp), internationally considered as the most important center of research and production of electroacoustic music in Brazil. -
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This Electronic Thesis Or Dissertation Has Been Downloaded from Explore Bristol Research
This electronic thesis or dissertation has been downloaded from Explore Bristol Research, http://research-information.bristol.ac.uk Author: Vagopoulou, Evaggelia Title: Cultural tradition and contemporary thought in Iannis Xenakis's vocal works General rights Access to the thesis is subject to the Creative Commons Attribution - NonCommercial-No Derivatives 4.0 International Public License. A copy of this may be found at https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode This license sets out your rights and the restrictions that apply to your access to the thesis so it is important you read this before proceeding. Take down policy Some pages of this thesis may have been removed for copyright restrictions prior to having it been deposited in Explore Bristol Research. However, if you have discovered material within the thesis that you consider to be unlawful e.g. breaches of copyright (either yours or that of a third party) or any other law, including but not limited to those relating to patent, trademark, confidentiality, data protection, obscenity, defamation, libel, then please contact [email protected] and include the following information in your message: •Your contact details •Bibliographic details for the item, including a URL •An outline nature of the complaint Your claim will be investigated and, where appropriate, the item in question will be removed from public view as soon as possible. Cultural Tradition and Contemporary Thought in lannis Xenakis's Vocal Works Volume I: Thesis Text Evaggelia Vagopoulou A dissertation submitted to the University of Bristol in accordancewith the degree requirements of the of Doctor of Philosophy in the Faculty of Arts, Music Department. -
Ulrich Buch Engl. Ulrich Buch Englisch
Stockhausen-Stiftung für Musik First edition 2012 Published by Stockhausen-Stiftung für Musik 51515 Kürten, Germany (Fax +49-[0] 2268-1813) www.stockhausen-verlag.com All rights reserved. Copying prohibited by law. O c Copyright Stockhausen-Stiftung für Musik 2012 Translation: Jayne Obst Layout: Kathinka Pasveer ISBN: 978-3-9815317-0-1 STOCKHAUSEN A THEOLOGICAL INTERPRETATION BY THOMAS ULRICH Stockhausen-Stiftung für Musik 2012 TABLE OF CONTENTS Preliminary Remark .................................................................................................. VII Preface: Music and Religion ................................................................................. VII I. Metaphysical Theology of Order ................................................................. 3 1. Historical Situation ....................................................................................... 3 2. What is Music? ............................................................................................. 5 3. The Order of Tones and its Theological Roots ............................................ 7 4. The Artistic Application of Stockhausen’s Metaphysical Theology in Early Serialism .................................................. 14 5. Effects of Metaphysical Theology on the Young Stockhausen ................... 22 a. A Non-Historical Concept of Time ........................................................... 22 b. Domination Thinking ................................................................................ 23 c. Progressive Thinking -
AMRC Journal Volume 21
American Music Research Center Jo urnal Volume 21 • 2012 Thomas L. Riis, Editor-in-Chief American Music Research Center College of Music University of Colorado Boulder The American Music Research Center Thomas L. Riis, Director Laurie J. Sampsel, Curator Eric J. Harbeson, Archivist Sister Dominic Ray, O. P. (1913 –1994), Founder Karl Kroeger, Archivist Emeritus William Kearns, Senior Fellow Daniel Sher, Dean, College of Music Eric Hansen, Editorial Assistant Editorial Board C. F. Alan Cass Portia Maultsby Susan Cook Tom C. Owens Robert Fink Katherine Preston William Kearns Laurie Sampsel Karl Kroeger Ann Sears Paul Laird Jessica Sternfeld Victoria Lindsay Levine Joanne Swenson-Eldridge Kip Lornell Graham Wood The American Music Research Center Journal is published annually. Subscription rate is $25 per issue ($28 outside the U.S. and Canada) Please address all inquiries to Eric Hansen, AMRC, 288 UCB, University of Colorado, Boulder, CO 80309-0288. Email: [email protected] The American Music Research Center website address is www.amrccolorado.org ISBN 1058-3572 © 2012 by Board of Regents of the University of Colorado Information for Authors The American Music Research Center Journal is dedicated to publishing arti - cles of general interest about American music, particularly in subject areas relevant to its collections. We welcome submission of articles and proposals from the scholarly community, ranging from 3,000 to 10,000 words (exclud - ing notes). All articles should be addressed to Thomas L. Riis, College of Music, Uni ver - sity of Colorado Boulder, 301 UCB, Boulder, CO 80309-0301. Each separate article should be submitted in two double-spaced, single-sided hard copies.