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Voice Phenomenon Electronic
Praised by Morton Feldman, courted by John Cage, bombarded with sound waves by Alvin Lucier: the unique voice of singer and composer Joan La Barbara has brought her adventures on American contemporary music’s wildest frontiers, while her own compositions and shamanistic ‘sound paintings’ place the soprano voice at the outer limits of human experience. By Julian Cowley. Photography by Mark Mahaney Electronic Joan La Barbara has been widely recognised as a so particularly identifiable with me, although they still peerless interpreter of music by major contemporary want to utilise my expertise. That’s OK. I’m willing to composers including Morton Feldman, John Cage, share my vocabulary, but I’m also willing to approach a Earle Brown, Alvin Lucier, Robert Ashley and her new idea and try to bring my knowledge and curiosity husband, Morton Subotnick. And she has developed to that situation, to help the composer realise herself into a genuinely distinctive composer, what she or he wants to do. In return, I’ve learnt translating rigorous explorations in the outer reaches compositional tools by apprenticing, essentially, with of the human voice into dramatic and evocative each of the composers I’ve worked with.” music. In conversation she is strikingly self-assured, Curiosity has played a consistently important role communicating something of the commitment and in La Barbara’s musical life. She was formally trained intensity of vision that have enabled her not only as a classical singer with conventional operatic roles to give definitive voice to the music of others, in view, but at the end of the 1960s her imagination but equally to establish a strong compositional was captured by unorthodox sounds emanating from identity owing no obvious debt to anyone. -
Horizons '83, Meet the Composer, and New Romanticism's New Marketplace
Horizons ’83, Meet the Composer, and New Romanticism’s New Marketplace Downloaded from https://academic.oup.com/mq/advance-article-abstract/doi/10.1093/musqtl/gdz015/5653100 by guest on 06 December 2019 William Robin The New York Philharmonic was not entirely confident about the pros- pects for a new festival dedicated entirely to contemporary music, to be mounted over two weeks in June 1983. Although more than $80,000 had been budgeted toward advertising and promotion—nearly a tenth of the festival’s total anticipated expenses––advance ticket sales had been slow, perhaps demonstrating that despite recent aesthetic shifts in new music toward styles like minimalism and neo-Romanticism, audiences still felt that contemporary composition was inaccessible, academic, or full of alienating and atonal sounds. On the first night of the festival, dubbed Horizons ’83, the Philharmonic had opened only one of its box office windows at Avery Fisher Hall. But, to everyone’s surprise, a large audi- ence soon appeared, and the queue for same-day tickets quickly stretched out into Lincoln Center’s plaza. As the Philharmonic’s composer-in-residence Jacob Druckman, who curated the Horizons festi- val, later described, “There were 1,500 people lined up around the square and we were frantically telephoning to get somebody to open up other windows.”1 Horizons ’83 was a hit. It would go on to fill Avery Fisher Hall to an average of 70 percent capacity over the festival’s six concerts: A major box office coup for contemporary music, and one com- parable to the orchestra’s ticket sales for standard fare like Beethoven or Mozart. -
Parma Manifesto Frederic Rzewski
COMPOSER’S NOTEBOOK Parma Manifesto Frederic Rzewski I This text, Parma Manifesto, was written in the afternoon of a American-born and -raised composer and musician Frederic D E performance by Musica Elletronica Viva (MEV)—the Rome-based Rzewski began his career as a performer of new piano music in Italy N T electronic music and improvisation group that Rzewski had recently during the 1960s. His early associations with the composers Chris- I T co-founded—in March 1968 at the Festival Internazionale del Teatro tian Wolff, David Behrman, John Cage and David Tudor strongly Y Universitario in Parma, Italy. The evening performance, directed by influenced his compositional style and performance practice. He Jean-Jacques Lebel, although basically spontaneous, mainly had to do formed MEV in the mid-1960s with Alvin Curran and Richard with the necessity of taking theater out into the streets. It was termi- Teitelbaum in order to explore possibilities in live electronics and col- nated by the authorities, who simply turned off the electricity. The per- lective improvisation. Over the past three decades his work has been formers and audience carried the performance out of the theater. The performed across the U.S.A. and Europe, and he has taught composi- next day, the students occupied the University. MEV was involved in tion in the U.S., Belgium, Germany and the Netherlands. a number of similar incidents at that time. Works published as Composer’s Notebook entries in Leonardo Music Journal may include composers’ texts published in raw, unedited form, scores, working notes, schematics, diagrams or Frederic Rzewski (musician, composer), 142 Meyerbear, 1180 Brussels, Belgium. -
Focus 2020 Pioneering Women Composers of the 20Th Century
Focus 2020 Trailblazers Pioneering Women Composers of the 20th Century The Juilliard School presents 36th Annual Focus Festival Focus 2020 Trailblazers: Pioneering Women Composers of the 20th Century Joel Sachs, Director Odaline de la Martinez and Joel Sachs, Co-curators TABLE OF CONTENTS 1 Introduction to Focus 2020 3 For the Benefit of Women Composers 4 The 19th-Century Precursors 6 Acknowledgments 7 Program I Friday, January 24, 7:30pm 18 Program II Monday, January 27, 7:30pm 25 Program III Tuesday, January 28 Preconcert Roundtable, 6:30pm; Concert, 7:30pm 34 Program IV Wednesday, January 29, 7:30pm 44 Program V Thursday, January 30, 7:30pm 56 Program VI Friday, January 31, 7:30pm 67 Focus 2020 Staff These performances are supported in part by the Muriel Gluck Production Fund. Please make certain that all electronic devices are turned off during the performance. The taking of photographs and use of recording equipment are not permitted in the auditorium. Introduction to Focus 2020 by Joel Sachs The seed for this year’s Focus Festival was planted in December 2018 at a Juilliard doctoral recital by the Chilean violist Sergio Muñoz Leiva. I was especially struck by the sonata of Rebecca Clarke, an Anglo-American composer of the early 20th century who has been known largely by that one piece, now a staple of the viola repertory. Thinking about the challenges she faced in establishing her credibility as a professional composer, my mind went to a group of women in that period, roughly 1885 to 1930, who struggled to be accepted as professional composers rather than as professional performers writing as a secondary activity or as amateur composers. -
Pieces for Piano Cristina Spinei Mechanical Angels Reflections Relics the Road Frederic Rzewski Mile 47
Pieces for Piano Cristina Spinei Mechanical Angels Reflections Relics The Road Frederic Rzewski Mile 47, “Walk in the Woods (b. 1938) Mile 48, “Why” The People United Will Never Be Defeated! 36 Variations on ¡El pueblo unido jamás será vencido! Matthew Phelps is one of the most versatile classical musicians in the nation. He is a sought-after performer as a pianist and conductor. He has performed recitals for the Nashville Cathedral Arts Series, Steinway Society of Nashville, Nashville Symphony’s On Stage series, Wright State University, the University of Dayton, the Music at 990 series, and has appeared numerous times on Nashville Public Radio as a soloist and chamber musician. He has performed as a soloist with the Nashville Concerto Orchestra, Intersection, and participated in a complete performance of Beethoven’s 32 piano sonatas, where he and 20 other pianists performed Beethoven’s works in chronological order as part of a two-day festival. A proponent of new music and classical improvisation, Phelps is known for his performances of Frederic Rzweksi’s monumental, “The People United Will Never Defeated,” which he has played throughout the nation including a 2019 tour of California. He has also premiered music by Christina Spinei, Peter Morabito, Drew Dolan, David Macdonald, Dan Locklair, Dominick DiOrio. Phelps is active as a chamber musician, often playing with Erin Hall and Keith Nicholas as a founding member of the Elliston Trio. The trio has played throughout the nation in a repertoire that spans from Mozart to Joan Tower. Their performance of the Triple Concerto, under the baton of Earl Rivers, concluded Nashville’s Beethoven festival. -
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). -
Alvin Lucier's
CHAMBERS This page intentionally left blank CHAMBERS Scores by ALVIN LUCIER Interviews with the composer by DOUGLAS SIMON Wesleyan University Press Middletown, Connecticut Scores copyright © 1980 by Alvin Lucier Interviews copyright © 1980 by Alvin Lucier and Douglas Simon Several of these scores and interviews have appeared in similar or different form in Arts in Society; Big Deal; The Painted Bride Quar- terly; Parachute; Pieces 3; The Something Else Yearbook; Source Magazine; and Individuals: Post-Movement Art in America, edited by Alan Sondheim (New York: E.P. Dutton, 1977). Typography by Jill Kroesen The authors gratefully acknowledge the support of a Wesleyan University Project Grant. Library of Congress Cataloging in Publication Data Lucier, Alvin. [Works. Selections] Chambers. Concrete music. Bibliography: p. Includes index. 1. Concrete music. 2. Chance compositions. 3. Lucier, Alvin. 4. Composers—United States- Interviews. I. Simon, Douglas, 1947- II. Title. M1470.L72S5 789.9'8 79-24870 ISBN 0-8195-5042-6 Distributed by Columbia University Press 136 South Broadway, Irvington, N.Y. Printed in the United States of America First edition For Ellen Parry and Wendy Stokes This page intentionally left blank CONTENTS Preface ix 1. Chambers 1 2. Vespers 15 3. "I Am Sitting in a Room" 29 4. (Hartford) Memory Space 41 5. Quasimodo the Great Lover 53 6. Music for Solo Performer 67 7. The Duke of York 79 8. The Queen of the South and Tyndall Orchestrations 93 9. Gentle Fire 109 10. Still and Moving Lines of Silence in Families of Hyperbolas 127 11. Outlines and Bird and Person Dyning 145 12. -
Academiccatalog 2017.Pdf
New England Conservatory Founded 1867 290 Huntington Avenue Boston, Massachusetts 02115 necmusic.edu (617) 585-1100 Office of Admissions (617) 585-1101 Office of the President (617) 585-1200 Office of the Provost (617) 585-1305 Office of Student Services (617) 585-1310 Office of Financial Aid (617) 585-1110 Business Office (617) 585-1220 Fax (617) 262-0500 New England Conservatory is accredited by the New England Association of Schools and Colleges. New England Conservatory does not discriminate on the basis of race, color, religion, sex, age, national or ethnic origin, sexual orientation, physical or mental disability, genetic make-up, or veteran status in the administration of its educational policies, admission policies, employment policies, scholarship and loan programs or other Conservatory-sponsored activities. For more information, see the Policy Sections found in the NEC Student Handbook and Employee Handbook. Edited by Suzanne Hegland, June 2016. #e information herein is subject to change and amendment without notice. Table of Contents 2-3 College Administrative Personnel 4-9 College Faculty 10-11 Academic Calendar 13-57 Academic Regulations and Information 59-61 Health Services and Residence Hall Information 63-69 Financial Information 71-85 Undergraduate Programs of Study Bachelor of Music Undergraduate Diploma Undergraduate Minors (Bachelor of Music) 87 Music-in-Education Concentration 89-105 Graduate Programs of Study Master of Music Vocal Pedagogy Concentration Graduate Diploma Professional String Quartet Training Program Professional -
Electronic Music
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by The Research Repository @ WVU (West Virginia University) Graduate Theses, Dissertations, and Problem Reports 2018 Rethinking Interaction: Identity and Agency in the Performance of “Interactive” Electronic Music Jacob A. Kopcienski Follow this and additional works at: https://researchrepository.wvu.edu/etd Part of the Musicology Commons, and the Other Music Commons Recommended Citation Kopcienski, Jacob A., "Rethinking Interaction: Identity and Agency in the Performance of “Interactive” Electronic Music" (2018). Graduate Theses, Dissertations, and Problem Reports. 7493. https://researchrepository.wvu.edu/etd/7493 This Thesis is protected by copyright and/or related rights. It has been brought to you by the The Research Repository @ WVU with permission from the rights-holder(s). You are free to use this Thesis in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you must obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Thesis has been accepted for inclusion in WVU Graduate Theses, Dissertations, and Problem Reports collection by an authorized administrator of The Research Repository @ WVU. For more information, please contact [email protected]. Rethinking Interaction: Identity and Agency in the Performance of “Interactive” Electronic Music Jacob A. Kopcienski Thesis submitted To the College of Creative Arts at West Virginia University in partial fulfillment of the requirements for the degree of Master of Arts in Musicology Travis D. -
Guide to the Milt Gabler Papers
Guide to the Milt Gabler Papers NMAH.AC.0849 Paula Larich and Matthew Friedman 2004 Archives Center, National Museum of American History P.O. Box 37012 Suite 1100, MRC 601 Washington, D.C. 20013-7012 [email protected] http://americanhistory.si.edu/archives Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 2 Arrangement..................................................................................................................... 3 Scope and Contents........................................................................................................ 3 Biographical / Historical.................................................................................................... 2 Names and Subjects ...................................................................................................... 4 Container Listing ............................................................................................................. 5 Series 1: Personal Correspondence, 1945-1993..................................................... 5 Series 2: Writings, 1938 - 1991............................................................................... 7 Series 3: Music Manuscripts and Sheet Music,, 1927-1981.................................. 10 Series 4: Personal Financial and Legal Records, 1947-2000............................... -
Los Angeles Percussion Quartet Los Angeles Percussion Quartet
Chapman University Chapman University Digital Commons Printed Performance Programs (PDF Format) Music Performances 9-12-2009 Los Angeles Percussion Quartet Los Angeles Percussion Quartet Ben Phelps Vicki Ray Follow this and additional works at: http://digitalcommons.chapman.edu/music_programs Recommended Citation Los Angeles Percussion Quartet; Phelps, Ben; and Ray, Vicki, "Los Angeles Percussion Quartet" (2009). Printed Performance Programs (PDF Format). Paper 564. http://digitalcommons.chapman.edu/music_programs/564 This Guest Recital is brought to you for free and open access by the Music Performances at Chapman University Digital Commons. It has been accepted for inclusion in Printed Performance Programs (PDF Format) by an authorized administrator of Chapman University Digital Commons. For more information, please contact [email protected]. FEATURING BEN PI-IELPS & GUEST ARTIST VICKI RAY SEPTEMBER 12, 2009 SALMON RECITAI"' HALL CONSERVATORY OF MUSIC CI-IAPMAN UNIVERSITY PROGRAM A DOLLHOUSE STORY ELECTRONIC REALIZATION BY ALEX MILLER ISTVAN MARTA MUSIC FOR PERCUSSION GERALD STRANG WAKE FOR CHARLES IVES FROM THREE PIECES FOR DRUM QUARTET JAMES TENNEY BAD TIMES COMING BEN PHELPS, PERCUSSION VICKI RAY, PIANO SHAUN NAIDOO - INTERMISSION - CATFISH MARK APPLEBAUM ALWAYS VERY SOFT JOHN LUTHER ADAMS THIRD CONSTRUCTION JOHN CAGE Pianist Vicki Ray performs internationally as a soloist and collaborative artist. She is a member of the award winning California E.A.R. Unit and Xtet. As a founding member of PianoSpheres, an acclaimed solo piano series dedicated to exploring the less familiar realms of the piano repertoire, her playing has been hailed by the Los Angeles Times for "displaying that kind of musical thoroughness and technical panache that puts a composer's thoughts directly before the listener." A long-time champion of new music Ms. -
Univeristy of California Santa Cruz Cultural Memory And
UNIVERISTY OF CALIFORNIA SANTA CRUZ CULTURAL MEMORY AND COLLECTIVITY IN MUSIC FROM THE 1991 PERSIAN GULF WAR A dissertation submitted in partial satisfaction of the requirements for the degree of DOCTOR OF PHILOSOPHY in MUSIC by Jessica Rose Loranger December 2015 The Dissertation of Jessica Rose Loranger is approved: ______________________________ Professor Leta E. Miller, chair ______________________________ Professor Amy C. Beal ______________________________ Professor Ben Leeds Carson ______________________________ Professor Dard Neuman ______________________________ Tyrus Miller Vice Provost and Dean of Graduate Studies Copyright © by Jessica Rose Loranger 2015 CONTENTS Illustrations vi Musical Examples vii Tables viii Abstract ix Acknowledgments xi CHAPTER 1: INTRODUCTION 1 Purpose Literature, Theoretical Framework, and Terminology Scope and Limitations CHAPTER 2: BACKGROUND AND BUILDUP TO THE PERSIAN GULF WAR 15 Historical Roots Desert Shield and Desert Storm The Rhetoric of Collective Memory Remembering Vietnam The Antiwar Movement Conclusion CHAPTER 3: POPULAR MUSIC, POPULAR MEMORY 56 PART I “The Desert Ain’t Vietnam” “From a Distance” iii George Michael and Styx Creating Camaraderie: Patriotism, Country Music, and Group Singing PART II Ice-T and Lollapalooza Michael Franti Ani DiFranco Bad Religion Fugazi Conclusion CHAPTER 4: PERSIAN GULF WAR SONG COLLECTION, LIBRARY OF CONGRESS 116 Yellow Ribbons: Symbols and Symptoms of Cultural Memory Parents and Children The American Way Hussein and Hitler Antiwar/Peace Songs Collective