Karlheinz Stockhausen
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
På Sporet Af Else Marie Pades Konkrete Musik
A-PDF Merger DEMO : Purchase from www.A-PDF.com to remove the watermark På sporet af Else Marie Pades konkrete musik En analyse af den æstetiske forbindelse mellem Else Marie Pades Symphonie magnétophonique og Pierre Schaeffers musique concrète Speciale ved Stine Kvist Jeppesen Afdeling for Musikvidenskab Institut for Æstetiske Fag, Aarhus Universitet Vejleder: Erling Kullberg Den 24. juli 2010 Forsidebilledet er en visualisering af en passage fra Else Marie Pades Symphonie magnétophonique, skabt af den grafiske designer Lisbeth Damgaard i 2006. Damgaards visuelle fortolkning af musikken er skabt med udgangspunkt i spektrogrammer fra det originale værk. De blå, brune, gule og grønne farver illustrerer lyden af hhv. lærketrille, fuglesang, mælkemandsfløjt og mælkeflasker, som er de lyde, der indleder Pades Symphonie magnétophonique. Billedet er hentet fra bogen Else Marie Pade og Symphonie magnétophonique, der er redigeret af Inge Bruland i 2006. Abstract This master thesis investigates to which extend it is possible to categorise the works of Danish composer Else Marie Pade (1924‐) as musique concrète, a term often used in Danish music research and critique to descibe Pade’s music. The thesis presumes that the appraisal of Pade’s music as musique concrète rests on a reduced understanding of musique concrète, inasmuch as this has only been sporadic and cursorily accounted for in a Danish context. To make a scholarly qualified reappraisal of Pade’s pioneer works of musique concrète, the master thesis will investigate the aesthetic link between Pades Symphonie magnétophonique and the music and aesthetics of the French composer and founder of musique concrète Pierre Schaeffer. The first two parts of the thesis will include an introduction to Pade’s work as well as an account and discussion of the reception of her music. -
Zur Au Ührungspraxis Von Karlheinz Stockhausens Instrumentalem
Kunstuniversität Graz Institut 1 für Komposition, Dirigieren und Musiktheorie Künstlerische Masterarbeit Zur Auührungspraxis von Karlheinz Stockhausens instrumentalem Musiktheater dargestellt am Beispiel von HALT aus DONNERSTAG aus LICHT von Margarethe Maierhofer-Lischka künstlerische Betreuung: Uli Fussenegger wissenschaftliche Betreuung: Prof. Dr. Christian Utz Matrikelnr.: 1073168 Graz 17. Dezember 2012 Zahlreiche zeitgenössische Instrumentalwerke überschreiten die Grenzen zwischen In- strumentalmusik und Musiktheater und stellen damit die Interpret/innen vor neue An- forderungen. Das Werk Karlheinz Stockhausens, insbesondere sein Musiktheaterzyklus LICHT, stellt dafür im Musikschaen des 20. Jahrhunderts ein herausragendes Beispiel dar. Diese Arbeit dokumentiert die auührungspraktische Auseinandersetzung mit die- sem Werkkomplex. Anhand der Szene HALT aus DONNERSTAG aus LICHT, die letz- tes Jahr im Rahmen eines künstlerischen Forschungsprojekts einstudiert und aufgeführt wurde, wird ein Einblick in Stockhausens ästhetische und musiktheatralische Konzepte vermittelt. Inhaltliche Kriterien für die Entwicklung einer werktreuen Neuinterpretati- on werden genauso vorgestellt wie performative Aufgaben, denen Musiker/innen für die Arbeit an musikalisch-szenischen Werken gewachsen sein müssen. Many contemporary instrumental works are crossing the borders between instrumental music and music theatre, thus imposing new challenges to their interpreters. One import- ant example for such an interdisciplinary body of works contained in the 20th -
Klsp2018iema Broschuere.Indd
KLANGSPUREN SCHWAZ INTERNATIONAL ENSEMBLE MODERN ACADEMY IN TIROL. REBECCA SAUNDERS COMPOSER IN RESIDENCE. 15TH EDITION 29.08. – 09.09.2018 KLANGSPUREN INTERNATIONAL ENSEMBLE MODERN ACADEMY 2018 KLANGSPUREN SCHWAZ is celebrating its 25th anniversary in 2018. The annual Tyrolean festival of contemporary music provides a stage for performances, encounters, and for the exploration and exchange of new musical ideas. With a different thematic focus each year, KLANGSPUREN aims to present a survey of the fascinating, diverse panorama that the music of our time boasts. KLANGSPUREN values open discourse, participation, and partnership and actively seeks encounters with locals as well as visitors from abroad. The entire beautiful region of Tyrol unfolds as the festival’s playground, where the most cutting-edge and modern forms of music as well as many young composers and musicians are presented. On the occasion of its own milestone anniversary – among other anniversaries that KLANGSPUREN SCHWAZ 2018 will be celebrating this year – the 25th edition of the festival has chosen the motto „Festivities. Places.“ (in German: „Feste. Orte.“). The program emphasizes projects and works that focus on aspects of celebrations, festivities, rituals, and events and have a specific reference to place and situation. KLANGSPUREN INTERNATIONAL ENSEMBLE MODERN ACADEMY is celebrating its 15th anniversary. The Academy is an offshoot of the renowned International Ensemble Modern Academy (IEMA) in Frankfurt and was founded in the same year as IEMA, in 2003. The Academy is central to KLANGSPUREN and has developed into one of the most successful projects of the Tyrolean festival for new music. The high standards of the Academy are vouched for by prominent figures who have acted as Composers in Residence: György Kurtág, Helmut Lachenmann, Steve Reich, Benedict Mason, Michael Gielen, Wolfgang Rihm, Martin Matalon, Johannes Maria Staud, Heinz Holliger, George Benjamin, Unsuk Chin, Hans Zender, Hans Abrahamsen, Wolfgang Mitterer, Beat Furrer, Enno Poppe, and most recently in 2017, Sofia Gubaidulina. -
Stockhausen's Cosmic Pulses
Robin Maconie: Stockhausen’s Cosmic Pulses 2009–14 (copyright) 1 Stockhausen’s Cosmic Pulses ROBIN MACONIE Some people chase tornados; others go after black holes. From the late 1950s Stockhausen was fascinated by the idea of sounds in rotation and how to realise them in a technical sense, by means of an array of loudspeakers. Completed in 2007, Cosmic Pulses is Stockhausen’s final electronic composition.1 For a number of reasons I believe the composer knew it would be his last. The work was completed in a rush. In many ways, notably in terms of the sound material, which is very basic, it remains a sketch. The music can be described as a massive rotating sound mass, composed in 24 separately spinning frequency layers. The work thickens gradually to 24 layers, then reduces symmetrically upward in an ascending spiral that ends quite abruptly. An audience may experience the sensation of falling headlong into a black hole, or, if one is an optimist, of being carried aloft on the whirlwind like Dorothy in The Wizard of Oz. A tornado is an effect of a natural imbalance between temperature layers in the atmosphere, tipped into motion by the earth’s rotation, which moves progressively faster toward the equator. The rotating air mass that results spirals upwards and generates a powerful electrical charge. A black hole by comparison is an effect of gravitation creating an imbalance in spacetime. The rotational process that results spirals downward or inward and leads to the extinction of reality as we know it, or again, if one is an optimist, creates a wormhole leading either into another universe, or into our own universe at Robin Maconie: Stockhausen’s Cosmic Pulses 2009–14 (copyright) 2 another point in time. -
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 ). -
Department of Musicology, Faculty of Music, University of Arts in Belgrade Editors Prof. Dr. Tijana Popović Mladjenović Prof
Department of Musicology, Faculty of Music, University of Arts in Belgrade MUSICOLOGICAL STUDIES: MONOGRPAHS CONTEXTUALITY OF MUSICOLOGY – What, How, WHY AND Because Editors Prof. Dr. Tijana Popović Mladjenović Prof. Dr. Ana Stefanović Dr. Radoš Mitrović Prof. Dr. Vesna Mikić Reviewers Prof. Dr. Leon Stefanija Prof. Dr. Ivana Perković Prof. Dr. Branka Radović Proofreader Matthew James Whiffen Publisher Faculty of Music in Belgrade For Publisher Prof. Ljiljana Nestorovska, M.Mus. Dean of the Faculty of Music in Belgrade Editor-in-Chief Prof. Dr. Gordana Karan Executive Editor Marija Tomić Cover Design Dr. Ivana Petković Lozo ISBN 978-86-81340-25-7 This publication was supported by the Ministry of Education, Science and Technological Development of the Republic of Serbia. CONTEXTUALITY OF MUSICOLOGY What, How, Why and Because Editors Tijana Popović Mladjenović Ana Stefanović Radoš Mitrović Vesna Mikić UNIVERSITY OF ARTS IN BELGRADE FACULTY OF MUSIC Belgrade 2020 УНИВЕРЗИТЕТ УМЕТНОСТИ У БЕОГРАДУ ФАКУЛТЕТ МУЗИЧКЕ УМЕТНОСТИ UNIVERSITY OF ARTS IN BELGRADE FACULTY OF MUSIC Contents 7 Marija Maglov Musicology in the Context of Media – Media in the Context of Musicology ................................................... 279 Ivana Perković, Radmila Milinković, Ivana Petković Lozo Digital Music Collections in Serbian Libraries for New Music Research Initiatives .............................................. 293 IV What, How, Why and Because Nikola Komatović The Context(s) of Tonality/Tonalities ............................... 311 John Lam Chun-fai Stravinsky à Delage: (An)Hemitonic Pentatonicism as Japonisme ....... 319 Fabio Guilherme Poletto When Different Cultural Contexts Resize a Popular Song: A Study about The Girl from Ipanema .............................. 334 Ana Djordjević Music Between Layers – Music of Lepa sela lepo gore in The Context of Film Narrative ................................... -
Stockhausen Concerts and Classes for Clarinettists and Others. Clarinettists Have Reason to Be Very Happy with the Development
Stockhausen concerts and classes for clarinettists and others. Clarinettists have reason to be very happy with the development of their repertoire in de 20th century, as it had a previously unseen growth. One of the main figures of post war new music has been Karlheinz Stockhausen (1928-2007). This often controversial composer has enriched clarinet literature with an unprecedented number of works for clarinet, bassethorn and bass clarinet, especially after 1974. These sometimes demanding pieces, often with theatrical elements, require a specific approach and way of playing, easily underestimated. Stockhausen was well aware of this and started coaching a new generation of players in the 1980’s, in order to pass this tradition of interpretation on to others. In spite of Stockhausen’s compositions having the reputation of being difficult and intellectual (if not quasi-religious), to play, watch and listen to them is generally great fun, and very satisfying to work on - if done well. Because the music calls on many apects of performing (e.g. fysical and mental attitude on stage, memory, presentation, awareness of the structure of the music, disciplin) the leaning process has a beneficial influence on performing traditional music too. This series of concerts and courses offers the possibility to watch, listen, study and rehearse a number of Stockhausen’s works with Michel Marang, a clarinettist who worked with the composer since 1986 and performed his music hundreds of times worldwide. The course can have the character of an introductory lecture and concert, but eventually may result in seminars over a longer stretch of time, as much as needed to bring specific works on concert level. -
KARLHEINZ STOCKHAUSEN Stockhausen
KARLHEINZ STOCKHAUSEN 1928-2007 Stockhausen German composer, widely acknowledged by critics as one of the most important, but also controversial composers of the 20th and early 21st centuries Another critic calls him "one of the great visionaries of 20th-century music" Stockhausen He is known for his groundbreaking work in electronic music, aleatory (controlled chance) in serial composition, and musical spatialization. Stockhausen Hymnen (1966-67) https://www.youtube.com/watch?v=Hyx0I8_kTAQ One of the finest examples of formal tape music from the 1960’s 113 minutes long - four album sides when first released on record Gesang der Jünglinge (1955–56) Song of the Youths Routinely described as "the first masterpiece of electronic music” Seamlessly integrates electronic sounds with the human voice by means of matching voice resonances with pitch and creating sounds of phonemes electronically. The vocal parts were supplied by 12-year- old Josef Protschka. https://www.youtube.com/watch?v=UmGIiBfWI0E Scores Scores Scores Scores Aphex Twin Richard David James (born 18 August 1971), best known by his stage name Aphex Twin British electronic musician and composer. He has been described by The Guardian as "the most inventive and influential figure in contemporary electronic music" Aphex Twin's album Selected Ambient Works 85-92 was called the best album of the 1990s by FACT Magazine. https://www.youtube.com/watch?v=Xw5AiRVqfqk Plastikman https://www.youtube.com/watch?v=Nsct-e-HVE0 Richard "Richie" Hawtin (born June 4, 1970) is an English-born Canadian electronic musician and DJ who was an influential part of Detroit techno's second wave of artists in the early 1990s A leading exponent of minimal techno since the mid-1990s. -
Separation Integration Programme
Edinburgh Research Explorer Separation - Integration Citation for published version: Williams, S, Separation - Integration: Concert of works centred on David C Johnson, 2014, Performance. Link: Link to publication record in Edinburgh Research Explorer Document Version: Publisher's PDF, also known as Version of record General rights Copyright for the publications made accessible via the Edinburgh Research Explorer is retained by the author(s) and / or other copyright owners and it is a condition of accessing these publications that users recognise and abide by the legal requirements associated with these rights. Take down policy The University of Edinburgh has made every reasonable effort to ensure that Edinburgh Research Explorer content complies with UK legislation. If you believe that the public display of this file breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 04. Oct. 2021 This programme is built around David C Johnson’s 4-channel tape piece Our third interruption is a realisation of Yoko Ono’s 1963 Tape Piece III: Telefun, realised in the WDR Studio for Electronic Music, Cologne. Snow Piece: Gemini 8 is a new work by Sean Williams for Grey Area based on NASA's Take a tape of the sound of the snow Gemini missions of the 1960s which paved the way for the Apollo missions to falling. the moon. Gemini 8, piloted by Neil Armstrong, was the first manned space This should be done in the evening. mission in which two spacecraft, launched an hour and a half apart, Do not listen to the tape. -
New 2014–2017
Stockhausen-Verlag, 51515 Kürten, Germany www.karlheinzstockhausen.org / [email protected] NEW 2014–2017 New scores (can be ordered directly online at www.stockhausen-verlag.com): TELEMUSIK (TELE MUSIC) Electronic Music (English translation) ................................ __________ 96 ¤ (54 bound pages, 9 black-and-white photographs) ORIGINALE (ORIGINALS) Musical Theatre (Textbook) ..................................................... __________ 88 ¤ (48 bound pages, 11 black-and-white photographs) TAURUS-QUINTET for tuba, trumpet, bassoon, horn, trombone .................................... __________ 60 ¤ (folder with score in C, 10 bound pages, cover in colour with Stockhausen’s original drawing, plus performance material: 5 loose-leaf parts for tuba, trumpet, bassoon, horn in F and trombone) CAPRICORN for bass and electronic music ................................................................................ __________ 65 ¤ (60 bound pages, cover in colour) KAMEL-TANZ (CAMEL-DANCE) .............................................................................................. __________ 30 ¤ (of WEDNESDAY from LIGHT) for bass, trombone, synthesizer or tape and 2 dancers (20 bound pages, cover in colour) MENSCHEN, HÖRT (MANKIND, HEAR) .................................................................................. __________ 30 ¤ (of WEDNESDAY from LIGHT) for vocal sextet (2 S, A, T, 2 B) (24 bound pages, cover in colour with Stockhausen’s original drawing) HYMNEN (ANTHEMS) Electronic and Concrete Music – study -
The Composer's Guide to the Tuba
THE COMPOSER’S GUIDE TO THE TUBA: CREATING A NEW RESOURCE ON THE CAPABILITIES OF THE TUBA FAMILY Aaron Michael Hynds A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS August 2019 Committee: David Saltzman, Advisor Marco Nardone Graduate Faculty Representative Mikel Kuehn Andrew Pelletier © 2019 Aaron Michael Hynds All Rights Reserved iii ABSTRACT David Saltzman, Advisor The solo repertoire of the tuba and euphonium has grown exponentially since the middle of the 20th century, due in large part to the pioneering work of several artist-performers on those instruments. These performers sought out and collaborated directly with composers, helping to produce works that sensibly and musically used the tuba and euphonium. However, not every composer who wishes to write for the tuba and euphonium has access to world-class tubists and euphonists, and the body of available literature concerning the capabilities of the tuba family is both small in number and lacking in comprehensiveness. This document seeks to remedy this situation by producing a comprehensive and accessible guide on the capabilities of the tuba family. An analysis of the currently-available materials concerning the tuba family will give direction on the structure and content of this new guide, as will the dissemination of a survey to the North American composition community. The end result, the Composer’s Guide to the Tuba, is a practical, accessible, and composer-centric guide to the modern capabilities of the tuba family of instruments. iv To Sara and Dad, who both kept me going with their never-ending love. -
Karlheinz Stockhausen
What to Expect: Welcome to KLANG! There is a lot happening Elizabeth Huston and Analog Arts Present today, so we recommend you take a quick look at this packet to orient yourself. Inside you will find the schedule and location Karlheinz Stockhausen of performances, the schedule and location of talks, interviews, and Q&As, and a guide to all amenities that will be available as you navigate this marathon. First, let’s start with the rules. The day is broken up into four sections. You may have purchased a ticket for just one section, KLANG or you may have purchased an all-day pass. Either way, please THE 24 HOURS OF THE DAY familiarize yourself with the rules for each section, as each is a distinctly different experience. PHILADELPHIA, PA • April 7–8, 2018 Welcome to KLANG: At 10am sharp you will be welcomed by a welcome to enter and exit the spaces during performances. At performance of all three versions of HARMONIEN performed in all other times, please be courteous and enter and exit between La Peg, the Theater, and the Studio simultaneously. Feel free to performances. wander between the spaces, eventually settling in the Studio for… KLANG Immersion (4pm–7pm): A mix between KLANG up Close and KLANG in Concert, this time period showcases some of the KLANG up Close (10am–1pm): This time period is an opportu- most well known parts of KLANG, while still allowing the audi- nity to have an intimate concert experience with KLANG. This ence to be up close with the music. Taking place entirely in the will take place entirely in the Studio.