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Holmes Electronic and Experimental Music
C H A P T E R 2 Early Electronic Music in Europe I noticed without surprise by recording the noise of things that one could perceive beyond sounds, the daily metaphors that they suggest to us. —Pierre Schaeffer Before the Tape Recorder Musique Concrète in France L’Objet Sonore—The Sound Object Origins of Musique Concrète Listen: Early Electronic Music in Europe Elektronische Musik in Germany Stockhausen’s Early Work Other Early European Studios Innovation: Electronic Music Equipment of the Studio di Fonologia Musicale (Milan, c.1960) Summary Milestones: Early Electronic Music of Europe Plate 2.1 Pierre Schaeffer operating the Pupitre d’espace (1951), the four rings of which could be used during a live performance to control the spatial distribution of electronically produced sounds using two front channels: one channel in the rear, and one overhead. (1951 © Ina/Maurice Lecardent, Ina GRM Archives) 42 EARLY HISTORY – PREDECESSORS AND PIONEERS A convergence of new technologies and a general cultural backlash against Old World arts and values made conditions favorable for the rise of electronic music in the years following World War II. Musical ideas that met with punishing repression and indiffer- ence prior to the war became less odious to a new generation of listeners who embraced futuristic advances of the atomic age. Prior to World War II, electronic music was anchored down by a reliance on live performance. Only a few composers—Varèse and Cage among them—anticipated the importance of the recording medium to the growth of electronic music. This chapter traces a technological transition from the turntable to the magnetic tape recorder as well as the transformation of electronic music from a medium of live performance to that of recorded media. -
John Donald Robb Composers' Symposium
The University of New Mexico The College of Fine Arts, Department of Music Presents the Thirty-sixth Annual JOHN DONALD ROBB COMPOSERS’ SYMPOSIUM March 25-28, 2007 Featured Composer: Robert Ashley Curt Cacioppo Paul Lombardi Raven Chacon Brady McElligott Jack Douthett Sam Merciers Neil Haverstick Hyo-shin Na Richard Hermann Patricia Repar Hee Sook Kim Christopher Shultis Richard Krantz John Starrett Thomas Licata Joseph Turrin Peter Lieuwen Scott Wilkinson Artists in Residence Sam Ashley, Jacqueline Humbert Ensembles in Residence Del Sol Quartet: Kate Stenberg, Rick Shinozaki, Charlton Lee, Hannah Addario-Berry PARTCH: John Schneider, David Johnson, Erin Barnes Symposium events are held at the University of New Mexico, Center for the Arts All events are free and open to the public Dr. Christopher Mead, Dean, College of Fine Arts Dr. Steven Block, Chair, Department of Music Composers’ Symposium Staff Dr. Christopher Shultis, Artistic Director Doris Williams, Managing Director; Program Coordinator, John D. Robb Musical Trust Ethan Smith, Graduate Assistant, John D. Robb Musical Trust Victoria Weller, Keller Hall Manager Manny Rettinger, Audio Engineer Cover art: from CD “Foreign Experiences” copyright 1994 photo by Philip Makanna entitled: “Sunset Gas Station.” John Donald Robb John Donald Robb John Donald Robb (1892-1989) led a rich and varied life as an attorney, composer, arts administrator, and ethnomusicologist. He composed an impressive body of work including symphonies, concertos for viola and piano, sonatas, chamber and other instrumental music, choral works, songs, and arrangements of folk songs, two operas, including Little Jo, a musical comedy, Joy Comes to Deadhorse, and more than sixty- five electronic works. -
The Disturbance of the Dutch Premiere of Stockhausen's "Stimmung" Author(S): Robert Adlington Source: Music & Letters, Vol
Tuning in and Dropping out: The Disturbance of the Dutch Premiere of Stockhausen's "Stimmung" Author(s): Robert Adlington Source: Music & Letters, Vol. 90, No. 1 (Feb., 2009), pp. 94-112 Published by: Oxford University Press Stable URL: https://www.jstor.org/stable/20532864 Accessed: 03-09-2018 01:11 UTC REFERENCES Linked references are available on JSTOR for this article: https://www.jstor.org/stable/20532864?seq=1&cid=pdf-reference#references_tab_contents You may need to log in to JSTOR to access the linked references. 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]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at https://about.jstor.org/terms Oxford University Press is collaborating with JSTOR to digitize, preserve and extend access to Music & Letters This content downloaded from 129.74.250.206 on Mon, 03 Sep 2018 01:11:26 UTC All use subject to https://about.jstor.org/terms Music & Letters,Vo\. 90 No. 1, ? The Author (2009). Published by Oxford University Press. All rights reserved. doi:10.1093/ml/gcn084, available online at www.ml.oxfordjournals.org TUNING IN AND DROPPING OUT: THE DISTURBANCE OF THE DUTCH PREMIERE OF STOCKHAUSEN'S STIMMUNG By Robert Adlington* The greatest "scandal" in the eighty-year history of this temple of the muses': so wrote the weekly newspaper Vrij Nederland about the events that unfolded at the Amsterdam Concertgebouw on the evening of 22 June 1969. -
Dorothea Redepenning• Ricorda Cosa Ti Hanno
Dorothea Redepenning • Ricorda cosa ti hanno fatto in Auschwitz Music against violence and war Luigi Nono’s title for the electronic piece he compiled from his stage music for Peter Weiss’s Ermittlung 1 offers a suitable motif for this contribution. The word “Auschwitz” has become a formula for the inconceivable. It stands for the death and suffering of the individual and, in equal measure, for the death and suffering of millions of people. It highlights the policy of racial discrimination and annihi- lation of the National Socialists, and stands for holocaust and genocide. In a broader sense, it encompasses the horrors of the Second World War. The works by European composers that deal with this topic range from large-scale, representative works that were completed as a musical contribution to collective remembrance rituals on specific memorial occasions, such as Yurii Levitin’s Rekviem pamiati pavshych geroev (Re- quiem to commemorate the fallen heroes, 1946), 2 through works that unsettle the listener with their highly dissonant, almost painful sound, with the aim of keeping alive our memory of the suffering, such as Luigi Nono’s commemo- rational works, to instrumental works in which the topic is reflected solely by the period in which they were compo- sed and the attitudes known to be held by their author, ——— • Dorothea Redepenning (b. 1954), Prof. Dr., musicologist, University of Heidelberg OSTEUROPA 2007, The Europe beyond Europe, pp. 63–102 64 Dorothea Redepenning such as Karl Amadeus Hartmann’s almost entirely instru- mental oeuvre, or Dmitrii Shostakovich’s eighth string quartet (1960), which is dedicated to the memory of the victims of Fascism and war. -
Copyright by Robert Harry Hallis Jr 2004
Copyright by Robert Harry Hallis Jr 2004 The Dissertation Committee for Robert Harry Hallis Jr certifies that this is the approved version of the following dissertation: Reevaluating the Compositional Process of Anton Webern: 1910-1925 Committee: ______________________________ Elliott Antokoletz, Supervisor ______________________________ Hanns-Bertold Dietz ______________________________ Rebecca A Baltzer ______________________________ Kathleen Higgins ______________________________ Merianne Wheeldon Reevaluating the Compositional Process of Anton Webern: 1910-1925 by Robert Harry Hallis Jr, B.M.E., B.A., B.M., M.M., M.L.I.S. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin May 2004 In loving memory of my mother. Preface The brevity of Anton Webern’s works is deceptive. Although his complete works can be performed in an afternoon, he is encountered in almost any critical discussion of music at the turn of the twentieth century. This treatise represents the fruits of several years of examining only a portion of his compositions within the scholarly discourse that has grown around his works. My interest in his compositions, however, began long before this, and extended beyond the compositional process of a single composer. As an undergraduate, I found it curious that such a brief corpus of works should have so profound an influence on the development of Western Music. As a student of composition, I was fascinated by the organization of his rows, and how he brought an extraordinary musical expression to a potentially mechanical succession of pitches. -
Luigi Nono: a Composer in Context Carola Nielinger-Vakil Frontmatter More Information
Cambridge University Press 978-0-521-84534-2 - Luigi Nono: A Composer in Context Carola Nielinger-Vakil Frontmatter More information Luigi Nono The anti-fascist cantata Il canto sospeso, the string quartet Fragmente – Stille, an Diotima and the ‘Tragedy of Listening’ Prometeo cemented Luigi Nono’s place in music history. In this study Carola Nielinger-Vakil examines these major works in the context of Nono’s amalgamation of avant-garde composition with communist political engagement. Part I discusses Il canto sospeso in the context of all of Nono’s anti-fascist pieces, from the unfinished Fučík project (1951) to Ricorda cosa ti hanno fatto in Auschwitz (1966). Nielinger-Vakil explores Nono’s position at the Darmstadt Music Courses, the evolution of his compositional technique, his penchant for music theatre and his use of spatial and electronic techniques to set the composer and his works against the diverging circumstances in Italy and Germany after 1945. Part II further examines these concerns and shows how they live on in Nono’s work after 1975, culminating in a thorough analysis of Prometeo. carola nielinger-vakil is a freelance flautist and musicologist based in London. She has published widely on the music of Luigi Nono. In collaboration with Martin Brady, she has also written on film music by Paul Dessau. © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-84534-2 - Luigi Nono: A Composer in Context Carola Nielinger-Vakil Frontmatter More information Music Since 1900 general editor Arnold Whittall This series – formerly Music in the Twentieth Century – offers a wide perspective on music and musical life since the end of the nineteenth century. -
UNIVERSITY of CALIFORNIA Santa Barbara Analyzing With
UNIVERSITY OF CALIFORNIA Santa Barbara Analyzing with Compositional Static Artifacts of MIDI-mediated Mixed-Media Music A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Music by Elizabeth Jean Hambleton Committee in charge: Professor Benjamin Levy, Chair Professor Janet Bourne Professor Curtis Roads September 2020 The dissertation of Elizabeth Jean Hambleton is approved. _____________________________________________ Janet Bourne _____________________________________________ Curtis Roads _____________________________________________ Benjamin Levy, Committee Chair September 2020 (docu-signed) Analyzing with Compositional Static Artifacts of MIDI-mediated Mixed-Media Music Copyright © 2020 by Elizabeth Jean Hambleton iii ACKNOWLEDGMENTS This dissertation would have been impossible without the guidance of my advisor, Prof. Ben Levy, and the support and help of my committee members Prof. Curtis Roads and Prof. Janet Bourne. Thank you for everything. I owe a great debt to Prof. Martha Sprigge, Eugenia Conte, Jillian Fischer, Sunaina Kale, and the rest of the dissertation workshop cohort for reading my drafts with definitely not enough heads-up and still giving brilliantly insightful feedback. This document would not have made it to this stage without their unending support. I extend a special thanks to Kate Morics for her stupendous support in helping to clean up formatting, my least favorite writing task. Many thanks go out to the composers at UCSB, especially Nick Norton, Kramer Elwell, Matt Owensby, and Raphael Radna, who listened to strange CDs with me, helped track down rare scores, trained me learn to write music in DAWs and with programming languages, and encouraged my own compositional efforts. The music library staff has my gratitude for the many years we were coworkers and colleagues, and the multiple occasions they helped me track down a rare CD, scanned chapters for me during the pandemic, and let me sleep off migraines in the video room. -
Connection Between Visual Arts and Music: the Painting and Music of I-Uen Wang Hwang Yining Jenny Jiang James Madison University
James Madison University JMU Scholarly Commons Dissertations The Graduate School Fall 2017 Connection between visual arts and music: The painting and music of I-Uen Wang Hwang Yining Jenny Jiang James Madison University Follow this and additional works at: https://commons.lib.jmu.edu/diss201019 Part of the Composition Commons, Musicology Commons, Music Performance Commons, and the Other Music Commons Recommended Citation Jiang, Yining Jenny, "Connection between visual arts and music: The ainp ting and music of I-Uen Wang Hwang" (2017). Dissertations. 164. https://commons.lib.jmu.edu/diss201019/164 This Dissertation is brought to you for free and open access by the The Graduate School at JMU Scholarly Commons. It has been accepted for inclusion in Dissertations by an authorized administrator of JMU Scholarly Commons. For more information, please contact [email protected]. Connection between Visual Arts and Music: The Painting and Music of I-Uen Wang Hwang Yining Jenny Jiang A Doctor of Musical Arts Document submitted to the Graduate Faculty of JAMES MADISON UNIVERSITY In Partial Fulfillment of the Requirements for the degree of Doctor of Musical Arts School of Music December 2017 FACULTY COMMITTEE: Committee Chair: Dr. Eric Ruple Committee Members/ Readers: Dr. Lori Piitz Dr. Eric Guinivan Acknowledgments Eric Ruple, D.M.A., for his continuous academic support. I-Uen Wang Hwang for her genuine and generous help in the interview. Graduate Reseach Fund in School of Music of James Madison University to support the trip of interviewing. My family’s support and help. My friends and colleagues, who have helped me throughout my doctoral degree study. -
Konrad Boehmer Zur Theorie Der Offenen Form in Der Neuen Musik Einleitung 5 " I
KONRAD BOEHMER ZUR THEORIE DER OFFENEN FORM IN DER NEUEN MUSIK konrad boehmer zur theorie der offenen form in der neuen musik Einleitung 5 " I. Beispiele ., offener Formen der abendländischen Musikgeschichte . • . 9 II . Determination - Indetermination, Reihe und Form 48 III. Mobilität der Strukturen 71 IV. Erwartung und Wahrscheinlichkeit 96 V. Beispiele zur strukturellen Variabilität 103 VI. Strukturelle Indetermination und Klanggestalt 130 VII. Indetermination als Gestalt 158 VIII. Zufall als Ideologie 170 IX. Indetermination und neue Perspektiven der Formbildung 187 X. Rückblick 201 Bibliographie 207 Anmerkungen 215 © 1967 by Konrad Boehmer for all countries, included the DPRK and USA Zum Andenken an THOMAS ER M A (1939-1964) Konrad BOEHMER: Zur Theorie der offenen Form in der neuen Musik Vorwort zur zweiten Auflage Das schönste, was einem Buch geschehen kann, ist, daß man es nicht lesen kann und daß dennoch einjeder darüber spricht. Vor 21Jahren erschien "Zur Theorie der offenen Form in der Neuen Musik" in einer relativ kleinen Auflage. Schnell war sie vergriffen und die Musikgeschichte schien sich in eine Richtung weiter zu bewegen, die anders aussah als die im Buche kritisch angedeutete. Dennoch hat der Entschluß, das Buch in einer zweiten Auflage erscheinen zu lassen, nichts mit dem Unfrieden zu tun, den man über die neueren Entwicklungen der Musik - von "minimal" bis "neue Einfachkeit" - empfinden möchte. In den letzten zwanzig Jahren hat sich auch der Blick auf die Musik geändert, die Gegenstand der kritischen Betrachtungen dieses Buches ist. Dies macht es sinn voll, die "Theorie" erneut herauszubringen: vor allem Leser der jüngsten Gene ration könnte seine Lektüre ein Anreiz sein, theortische Positionen erneut zu überdenken, die inzwischen vom Schutt der Moden bedeckt wurden. -
Luca Lombardi CONSTRUCTION of FREEDOM
Luca Lombardi CONSTRUCTION OF FREEDOM COLLECTION D’ÉTUDES MUSICOLOGIQUES SAMMLUNG MUSIKWISSENSCHAFTLICHER ABHANDLUNGEN Volume 97 LUCA LOMBARDI CONSTRUCTION OF FREEDOM and other writings Translated by THOMAS DONNAN and JÜRGEN THYM Edited by JÜRGEN THYM With Lists of the Composer’s Writings and Works by GABRIELE BECHERI 2006 VERLAG VALENTIN KOERNER • BADEN-BADEN Luca Lombardi: Construction of Freedom and other writings./ Translated by Thomas Donnan and Jürgen Thym. Edited by Jürgen Thym Luca Lombardi – Baden-Baden: Koerner 2006 (Sammlung musikwissenschaftlicher Abhandlungen 97) ISBN 3-87320-597-1 ISSN 0085-588x Photograph of Luca Lombardi: © Roberto Masotti Alle Rechte vorbehalten © 2006 Printed in Germany Luca Lombardi is an important composer of our time and also an important thinker in matters musical, especially when it comes to issues involving the often tricky relations between music and society. For that reason I salute the publication at hand that makes Lombardi’s widely-scattered writings available, at least in form of a selection, in one volume: not only in trans- lations in English but, in the appendix, also in their Italian and German originals. What wealth (and also what clarity) of thoughts and insights during difficult and critical decades—years that witnessed developments and paradigm shifts of historical significance, both politically and musically. I admire the intellectual honesty as much as the consistency of thought that manifests itself in the texts: Lombardi is an author who remains faithful to himself, even (or precisely) when he considers it necessary to revise earlier opinions. As in his music, he formulates his positions with precision, poignancy, and wit—in that respect he is the heir to the classical tradition of his native land with which he grew up. -
The Hands: the Making of a Digital Musical Instrument
Giuseppe Torre,∗ Kristina Andersen,† The Hands: The Making of a and Frank Balde´ † ∗Room CS2-007 Digital Media & Arts Digital Musical Instrument Research Centre Department of Computer Science & Information Systems University of Limerick Limerick, Ireland [email protected] †Studio for Electro-Instrumental Music (STEIM) Achtergracht 19 Amsterdam, 1017 WL, Netherlands {kristina, fgb}@steim.nl Abstract: Michel Waisvisz’s The Hands is one of the most famous and long-lasting research projects in the literature of digital music instruments. Consisting of a pair of data gloves and exhibited for the first time in 1984, The Hands is a pioneering work in digital devices for performing live music. It is a work that engaged Waisvisz for almost a quarter of a century and, in turn, has inspired many generations of music technologists and performers of live music. Despite being often cited in the relevant literature, however, the documentation concerning the sensor architecture, design, mapping strategies, and development of these data gloves is sparse. In this article, we aim to fill this gap by offering a detailed history behind the development of The Hands. The information contained in this article was retrieved and collated by searching the STEIM archive, interviewing close collaborators of Waisvisz, and browsing through the paper documentation found in his personal folders and office. ...it was very restrictive and very difficult the composer relentlessly for 25 years of his life, too ...but it was a huge lesson! little in the way of documentation or records of this —Michel Waisvisiz, 24 April 2007 effort is available. Waisvisz believed that the magic of a performance can be communicated only live, Michel Waisvisz (1949–2008) was a composer, not in a recording (Waisvisz 1999). -
Matthew A. Ostrowski Education
Matthew A. Ostrowski 180 Monitor Street Brooklyn, NY 11222 USA ph: +1 917 541 1040 [email protected] www.ostrowski.info Education Institute of Sonology, Royal Conservatory, the Hague 1993-95 Sonology Kursus Composition studies with Clarence Barlow and Joel Ryan; Digital Synthesis and composition with Paul Berg and Dick Raaijmakers; DSP and Psychoacoustics with Stan Templaars and Peter Pabon; History of electronic music with Konrad Boehmer. Oberlin College 1980 - 1983 A. B. History Specialty in late antique and early modern marginal religious movements with Marsha Colish and Sanford Shepard. Studies in Technology in Music and Related Arts with Gary Lee Nelson and Conrad Cummings. 1982 Internship with Robert Ashley and David Behrman at the GLCA New York Arts Program. New School for Social Research 1979-80 Freshman Year Program. Analog synthesis studies with W. Lefferts Brown. Matthew Ostrowski cv p. 1 of 20 Teaching Trinity College, Hartford Visiting Lecturer, 2020 Classes in Sound Art and Interactive Media Steinhardt School of Education, New York University Adjunct Faculty, 2016-present Instructor, multichannel audio and video, history, theory and practice. Harvestworks, Inc., New York City Faculty, 2001-present Classes and private lessons in Max/MSP/Jitter, Introductory and intermediate Max/MSP/Jitter, Max/MSP Night School, and granular synthesis classes. Also serve as tutor for Max/MSP certification program. Columbia University Artist Mentor, 2017 Mentor for the Masters Degree Program in Sound Art. Took students in the program to museum exhibitions, artist studio visits, and meetings with curators, led discussions and critiques, worked individually with students on their final projects. Steinhardt School of Education, New York University Adjunct Faculty, 2003-04 Instructor of Digital Music and Technology.