Every Sound You Can Imagine
Total Page:16
File Type:pdf, Size:1020Kb

Load more
Recommended publications
-
Vocality and Listening in Three Operas by Luciano Berio
Clare Brady Royal Holloway, University of London The Open Voice: Vocality and Listening in three operas by Luciano Berio Submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy in Music February 2017 The Open Voice | 1 Declaration of Authorship I, Patricia Mary Clare Brady, hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: February 1st 2017 The Open Voice | 2 Abstract The human voice has undergone a seismic reappraisal in recent years, within musicology, and across disciplinary boundaries in the humanities, arts and sciences; ‘voice studies’ offers a vast and proliferating array of seemingly divergent accounts of the voice and its capacities, qualities and functions, in short, of what the voice is. In this thesis, I propose a model of the ‘open voice’, after the aesthetic theories of Umberto Eco’s seminal book ‘The Open Work’ of 1962, as a conceptual framework in which to make an account of the voice’s inherent multivalency and resistance to a singular reductive definition, and to propose the voice as a site of encounter and meaning construction between vocalist and receiver. Taking the concept of the ‘open voice’ as a starting point, I examine how the human voice is staged in three vocal works by composer Luciano Berio, and how the voice is diffracted through the musical structures of these works to display a multitude of different, and at times paradoxical forms and functions. In Passaggio (1963) I trace how the open voice invokes the hegemonic voice of a civic or political mass in counterpoint with the particularity and frailty of a sounding individual human body. -
Performance and Installation by William Basinski and James Elaine
FOR IMMEDIATE RELEASE ! ! MEDIA CONTACT Connie McAllister ALWAYS FRESH Director of Community Engagement ALWAYS FREE Tel 713 284 8255 [email protected] The Contemporary Arts Museum Houston presents a performance and installation by acclaimed composer William Basinski and artist James Elaine. Performance and installation by William Basinski and James Elaine At CAMH: Installation on view: Tuesday, October 8 – Sunday, October 13, 2013 Live Performance: Friday, October 11 | 7PM At Texas Contemporary Art Fair*: Special Installation: Thursday, October 10 – Sunday, October 13, 2013 *Location: George R. Brown Convention Center Houston, TX (August 19, 2013)—The Contemporary Arts Museum Houston is pleased to present a performance and installation by acclaimed composer William Basinski and artist James Elaine. An installation by the duo will be on view at CAMH as well as a site-specific installation for the Texas Contemporary Art Fair. A live performance by the two will take place at CAMH on Friday, October 11 at 7PM. Since 1978, James Elaine and William Basinski have worked together closely, creating some of the most visually poetic and aurally arresting installation and theatrical experiences. Using original compositions, found sound, tape loops, and delay devices, Basinski’s experimental music compositions provide a brilliant accompaniment to Elaine’s fragmented and painterly moving images recorded using super-8 video. By using obsolete technology and analogue tape loops, Basinki and Elaine explore the temporal nature of life, the reverberations of memory, and the mystery of time. The result of their collaboration provides a melancholic meditation on the passing of time and the decay that remains in its wake. -
Theatre & Engineering a View of 9 Evenings
Eine Betrachtung von 9 Evenings: Theatre & Engineering A View of 9 Evenings: Theatre & Engineering Simone Das im Januar begonnene Projekt war ursprünglich als der ame- The project, begun in January, was to be the American Forti rikanische Beitrag zum Mitte September stattfindenden contribution to the Stockholm Festival for Art and Tech- Stockholm Festival for Art and Technology gedacht. Doch nach nology, which took place in mid-September. But by zehnmonatiger Entwicklung wurde es schließlich zur Perfor- October, after ten months of development, it emerged mancereihe 9 Evenings: Theatre & Engineering, die im Oktober in as a series of performances called 9 Evenings: Theatre & der 69th Regiment Armory in New York gezeigt wurde, in demsel- Engineering, at the 69th Regiment Armory in New York, ben Gebäude, in dem 1913 die berühmte Armory Show stattge- the same building that housed the famous Armory Show funden hatte. Präsentiert wurden Arbeiten, die aus der Kollabo- of 1913. It showed work that had come out of a collab- ration von zehn Künstlerinnen und Künstlern und etwa dreißig oration between ten artists and about thirty engineers, Ingenieuren, die meisten von den Bell Telephone Laboratories, most of whom were from Bell Telephone Laboratories. entstanden waren. The Swedish organization that had invited the Amer- Die schwedische Organisation, die die amerikanische Gruppe ican group agreed to supply ten thousand US dollars for eingeladen hatte, sagte zu, 10 000 US-Dollar für die Herstellung the making of equipment and for artists’ fees and -
DISINTEGRATION Loop 1.1
SVILOVA | WILLIAM BASINSKI DISINTEGRATION LOOP 1.1 WILLIAM BASINSKI JUNE 18–JULY 31, 2014 www.svilova.org 1 SVILOVA | WILLIAM BASINSKI SCALE BE THY KING: THE BLACK Mirror OF William Basinski By David Keenan 1. Scalle Bee Thie Kynge. There is a magical idea, rarely articulated, that imagination is the world-creating matrix of desire, in other words that imagination is what translates a sensation into a thought. Disintegration Loops, still the central, emblematic work of the artist and composer William Basinski, conflates the biological with the constructed, the historical with the personal, by a creative act of imagination that would attempt to mimic the function of memory via accidental processes of auto-forgetting while connecting it with historical trauma –the 9/11 attacks on the Twin Towers as a head wound – and romantic portraiture, through the back cover recreation of Henry Wallis’s 1856 painting, The Death Of Chatterton, with Basinski posed as the dead 18th Century English poet, who poisoned himself in 1770, aged 17. Thomas Chatterton’s reputation as a forger of mystical poetry is of note here. From the age of 12 onwards he produced a run of strange, visionary verse that he claimed was the work of a 15th century monk of his own invention, Thomas Rowley. Indeed, a particular adjective, “Rowliean”, has been coined to describe the works of this historical figment, this shade birthed of an intoxicated imagination. Rowley’s verse is difficult, its language being largely derived from Chatterton’s study of the English philologist John Kersey’s Dictionarium Anglo-Britannicum, “comprehending a brief explication of all sorts of difficult words”. -
Venice Music Biennale Announces 2021 Programme, ‘Choruses’, September 17-26
VENICE MUSIC BIENNALE ANNOUNCES 2021 PROGRAMME, ‘CHORUSES’, SEPTEMBER 17-26 FIRST MUSIC BIENNALE UNDER ARTISTIC DIRECTOR LUCIA RONCHETTI FIFTEEN WORLD PREMIERES TO BE GIVEN KAIJA SAARIAHO RECEIVES GOLDEN LION LIFETIME ACHIEVEMENT AWARD Lucia Ronchetti. Photo credit: Vanessa Francia The programme for the 2021 Venice Music Biennale, one of the six Biennale di Venezia that showcase the best in contemporary Architecture, Art, Dance, Film, Music and Theatre, has been announced by Artistic Director Lucia Ronchetti. For her first Biennale as Artistic Director the Italian composer is presenting 15 world premieres over 10 days of performances across Venice under the heading of ‘Choruses.’ ‘Choruses’ will focus on contemporary choral writing through performances of new commissions and some of the most important works of the last 50 years that explore the human voice. The Venice Music Biennale 2021 is fostering a dialogue between the Venetian past and the present, and the possible renaissance of vocal polyphony through performances from major Venetian organisations across the city. The 65th Music Biennale will welcome major European vocal and choral ensembles such as Theatre of Voices from Copenhagen, Neue Vocalsolisten from Stuttgart, Accentus choir from Paris, vocal ensemble Sequenza 9.3 from Paris and SWR Vokalensemble from Stuttgart, as well as the renowned historical Venetian choirs the Cappella Marciana di San Marco and the choir of the Teatro La Fenice. The Festival will open at the Teatro La Fenice with a performance of Oltra mar for choir and orchestra by Kaija Saariaho, winner of the Golden Lion for Music, whose chamber work Only the sound remains will also be presented at the Teatro Malibran. -
On Stockhausen's Kontakte
Document generated on 10/02/2021 2:45 a.m. Circuit Musiques contemporaines On Stockhausen’s Kontakte (1959-60) for tape, piano and percussion A lecture/analysis by John Rea given at the University of Toronto, march 1968 Sur Kontakte de Stockhausen (1959-1960) pour bande, piano et percussions Une conférence/analyse de 1968 John Rea Stockhausen au Québec Article abstract Volume 19, Number 2, 2009 A lecture/analysis given by John Rea at the University of Toronto, March 1968, discusses various topics in the composition such as: concepts (performance URI: https://id.erudit.org/iderudit/037453ar time, production time, subjective perception of time, moment time, moment DOI: https://doi.org/10.7202/037453ar characteristics), discussion of particular Moments, hardware, overall formal organization, definition of structure, parameter of space (an example), See table of contents temporal transformation, and performance practice. The lecture text is also notable for the fact that Rea spoke to the pianist who had premiered Kontakte, David Tudor, who was in Toronto at that time to participate in a four and a half hour ‘happening’ known as Reunion (on March 5, 1968) organized by John Publisher(s) Cage, and featuring Marcel Duchamp with whom he played chess on a Les Presses de l'Université de Montréal photo-sensitive electronic chessboard. ISSN 1183-1693 (print) 1488-9692 (digital) Explore this journal Cite this article Rea, J. (2009). On Stockhausen’s Kontakte (1959-60) for tape, piano and percussion: A lecture/analysis by John Rea given at the University of Toronto, march 1968. Circuit, 19(2), 77–86. https://doi.org/10.7202/037453ar Tous droits réservés © Les Presses de l’Université de Montréal, 2009 This document is protected by copyright law. -
Interactive Electroacoustics
Interactive Electroacoustics Submitted for the degree of Doctor of Philosophy by Jon Robert Drummond B.Mus M.Sc (Hons) June 2007 School of Communication Arts University of Western Sydney Acknowledgements Page I would like to thank my principal supervisor Dr Garth Paine for his direction, support and patience through this journey. I would also like to thank my associate supervisors Ian Stevenson and Sarah Waterson. I would also like to thank Dr Greg Schiemer and Richard Vella for their ongoing counsel and faith. Finally, I would like to thank my family, my beautiful partner Emma Milne and my two beautiful daughters Amelia Milne and Demeter Milne for all their support and encouragement. Statement of Authentication The work presented in this thesis is, to the best of my knowledge and belief, original except as acknowledged in the text. I hereby declare that I have not submitted this material, either in full or in part, for a degree at this or any other institution. …………………………………………… Table of Contents TABLE OF CONTENTS ..................................................................................................................I LIST OF TABLES..........................................................................................................................VI LIST OF FIGURES AND ILLUSTRATIONS............................................................................ VII ABSTRACT..................................................................................................................................... X CHAPTER ONE: INTRODUCTION............................................................................................. -
Nino Ro Ta Chamber
95237 CHAMBER MUSIC NINO ROTA Rocco Parisi clarinet Andrea Favalessa cello Gabriele Rota piano NINO ROTA 1911-1979 The name of Nino Rota is universally linked to his accomplishments in film music, Chamber Music which made of him one of the most popular and beloved Italian composers of our era. On the contrary, his remaining production is less known to the general public, Trio for clarinet, cello and piano [1973] Variazioni e Fuga nei dodici toni sul nome di however it is very wide (about 120 works) and extremely varied (it includes all 1. I. Allegro quasi in 1 5’23 Bach for piano [1950] musical genres). 2. II. Andante 5’45 Variations and Fugue in the twelve keys on the "The music of Nino Rota", Guido Agosti wrote, "is like the clearest of springs and 3. III. Allegrissimo 4’15 name of Bach has many excellent qualities: spontaneity, crystal transparency and unerring balance 17. Proposta. Sostenuto un poco Sonata in D for clarinet and piano [1945] liberamente 1’14 of each element of the composition. Here we never meet forced rhetoric, violence, 4. I. Allegretto scorrevole 4’24 18. Variazione I. Mosso, deciso 0'45 heaviness, opacity, on the contrary you can see the terse clarity of detail. Nino Rota 5. II. Andante (quasi adagio) 3’55 19. Variazione II. Tranquillo, had - not as something painstakingly acquired, but as a gift - an innate almost classic 6. III. Allegro scorrevole 3’39 scorrevole 1’12 sense of form and a masterly style". 20. Variazione III. Allegro vivace 0'56 And it is especially in the more intimate and personal field of chamber music that 7. -
Jon Phetteplace Papers
http://oac.cdlib.org/findaid/ark:/13030/kt2r29r4xt No online items Jon Phetteplace Papers Finding aid prepared by Special Collections & Archives Special Collections & Archives, UC San Diego 9500 Gilman Drive La Jolla, California, 92093-0175 858-534-2533 [email protected] Copyright 2008 Jon Phetteplace Papers MSS 0135 1 Descriptive Summary Title: Jon Phetteplace Papers Identifier/Call Number: MSS 0135 Contributing Institution: Special Collections & Archives, UC San Diego 9500 Gilman Drive La Jolla, California, 92093-0175 Languages: English Physical Description: 15.0 Linear feet (6 archives boxes, 6 records cartons, 2 card file boxes and 52 oversize folders) Date (inclusive): 1885 - 1991 (bulk 1965 - 1991) Abstract: Papers of Jon Phetteplace, composer and performer of contemporary music. The papers include drafts, transparencies, and Ozalid prints of his own scores, as well as materials for the performance of works by others; correspondence with composers and friends in English and Italian; programs from Phetteplace's activity with orchestras and small ensembles; miscellaneous appointment books, calendars, and journals; photographs; subject files; notebooks; and audio recordings of his work and the work of others. One of the strengths of the collection is the extensive documentation of his time in Italy, both in terms of his own work and that of others. Creator: Phetteplace, Jon, 1940- Scope and Content of Collection The Jon Phetteplace Papers contain the scores of Phetteplace's musical compositions, in manuscript and printed versions, in addition to notes and sketches which document his major activities from 1965 to 1991. There are also materials for the performance of works by others, including printed scores and annotations. -
Sylvano Bussotti Cycle De Creations
SYLVANO BUSSOTTI CYCLE DE CREATIONS MUSIQUE VIVANTE DIEGODIRECTION MASSON KATHERINE CIESINSKI- GIANNI PALA-CONTINI ANDRE BATTEDOU- CAMILLE LE PRINCE - AURIO TOMICICH OPERA-COMIQUE LUNDI 11 DECEMBRE 1989 GRAND THEATRE DE GENEVE MERCREDI 13 DECEMBRE 1989 Document de communication du Festival d'Automne à Paris - tous droits réservés CYCLE DE CREATIONS SYLVANO BUSSOTTI Né à Florence le 1er octobre 1 931 dans une famille SYLVANO BUSSOTTI d'artistes(sonfrèreRenzo etson oncle Tono BUSSOTTIOPERABALLET Zancanaro sont peintres et exercent sur lui, ainsi que INTEGRALE SADE lepoèteAldoBraibanti,uneinfluencetrès extraits de concerts 1 966-1 989 importante),SylvanoBussotti a l'enfancedes surdoués :à l'âge de quatre ans,il commence à sur une idée de Rocco apprendre le violon et vers six ans, il compose ses poème de Enzo Fileno Carabba premières pièces, tout en consacrant beaucoup de musique de Sylvano Bussotti temps au dessin et à la peinture. Après des classes de violon (chezMaglioni),d'harmonieetde scena prima contrepoint(chezLupi)etde piano (chez scena seconda Dallapiccola) au Conservatoire de Florence oùil terza scena entre en 1940,laguerre interrompt ses études scena quarta musicales.Illes reprend entre 1949 et 1956, en canzonetta autodidacte. En 1957, il suit à Paris l'enseignement de intermezzo drammatico Max Deutsch, rencontre Pierre Boulez et Heinz-Klaus duetto Metzger qui le mènent aux cours d'été à Darmstadt doppia ballata A) L'altro duetto oùildécouvre la similitude de certaines de ses sesta scena detta della Passion orientations avec celles de John Cage. Son activité doppia ballata B) settima scena internationale de compositeur commence avec les fiammata, dalla nona ed ultima scena exécutions de ses uvres par lepianiste David Tudor en Allemagne, puis par Cathy Berberian et KATHERINE CIESINSKI, mezzo-soprano sous la direction de Pierre Boulez à Paris. -
John Cage, Gilles Deleuze, and the Idea of Sound Iain
John Cage, Gilles Deleuze, and the Idea of Sound Iain Campbell [draft only, final version published in parallax, 23:3, 361-378, DOI:10.1080/13534645.2017.1343785] Across John Cage’s writings there is one moment to which he would often return, posing it as a turning point, a kind of singular epiphany in his thought and work. This is his famous visit to an anechoic chamber, and the consequent ‘discovery’ of his concept of silence. Describing his visit to the chamber, an environment designed to have as little acoustic resonance as possible and as such to be as silent as possible, Cage recounts hearing two sounds, one low and one high. Asking the engineer what these sounds were, Cage was told that the former was the sound of his blood in circulation, the latter his nervous system in operation. What Cage takes from this is that there can be no genuine silence, that ‘until I die there will be sounds’.1 This in turn entails a conception of sound wherein it is not defined simply by its analytical characteristics, but also by how it necessarily exceeds intentionality, of both composer and of listener. This is the basis for Cage’s often-repeated but obscure claim that the function of art is to ‘imitate Nature in her manner of operation’,2 and by extension the other oft-repeated Cagean mantra of ‘let[ting] sounds be themselves’3 – two cornerstones of an understanding of art in which the certainty of a creative or observational standpoint cannot serve as its foundation. -
David Tudor in Darmstadt Amy C
This article was downloaded by: [University of California, Santa Cruz] On: 22 November 2010 Access details: Access Details: [subscription number 923037288] Publisher Routledge Informa Ltd Registered in England and Wales Registered Number: 1072954 Registered office: Mortimer House, 37- 41 Mortimer Street, London W1T 3JH, UK Contemporary Music Review Publication details, including instructions for authors and subscription information: http://www.informaworld.com/smpp/title~content=t713455393 David Tudor in Darmstadt Amy C. Beal To cite this Article Beal, Amy C.(2007) 'David Tudor in Darmstadt', Contemporary Music Review, 26: 1, 77 — 88 To link to this Article: DOI: 10.1080/07494460601069242 URL: http://dx.doi.org/10.1080/07494460601069242 PLEASE SCROLL DOWN FOR ARTICLE Full terms and conditions of use: http://www.informaworld.com/terms-and-conditions-of-access.pdf This article may be used for research, teaching and private study purposes. Any substantial or systematic reproduction, re-distribution, re-selling, loan or sub-licensing, systematic supply or distribution in any form to anyone is expressly forbidden. The publisher does not give any warranty express or implied or make any representation that the contents will be complete or accurate or up to date. The accuracy of any instructions, formulae and drug doses should be independently verified with primary sources. The publisher shall not be liable for any loss, actions, claims, proceedings, demand or costs or damages whatsoever or howsoever caused arising directly or indirectly in connection with or arising out of the use of this material. Contemporary Music Review Vol. 26, No. 1, February 2007, pp. 77 – 88 David Tudor in Darmstadt1 Amy C.