The University Art Series Presents Vladimir Ussachevsky
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Holmes Electronic and Experimental Music
C H A P T E R 3 Early Electronic Music in the United States I was at a concert of electronic music in Cologne and I noticed that, even though it was the most recent electronic music, the audience was all falling asleep. No matter how interesting the music was, the audience couldn’t stay awake. That was because the music was coming out of loudspeakers. —John Cage Louis and Bebe Barron John Cage and The Project of Music for Magnetic Tape Innovation: John Cage and the Advocacy of Chance Composition Cage in Milan Listen: Early Electronic Music in the United States The Columbia–Princeton Electronic Music Center The Cooperative Studio for Electronic Music Roots of Computer Music Summary Milestones: Early Electronic Music of the United States Plate 3.1 John Cage and David Tudor, 1962. (John Cage Trust) 80 EARLY HISTORY – PREDECESSORS AND PIONEERS Electronic music activity in the United States during the early 1950s was neither organ- ized nor institutional. Experimentation with tape composition took place through the efforts of individual composers working on a makeshift basis without state support. Such fragmented efforts lacked the cohesion, doctrine, and financial support of their Euro- pean counterparts but in many ways the musical results were more diverse, ranging from works that were radically experimental to special effects for popular motion pictures and works that combined the use of taped sounds with live instrumentalists performing on stage. The first electronic music composers in North America did not adhere to any rigid schools of thought regarding the aesthetics of the medium and viewed with mixed skepticism and amusement the aesthetic wars taking place between the French and the Germans. -
UNIVERZITET UMETNOSTI U BEOGRADU FAKULTET MUZIČKE UMETNOSTI Katedra Za Muzikologiju
UNIVERZITET UMETNOSTI U BEOGRADU FAKULTET MUZIČKE UMETNOSTI Katedra za muzikologiju Milan Milojković DIGITALNA TEHNOLOGIJA U SRPSKOJ UMETNIČKOJ MUZICI Doktorska disertacija Beograd, 2017. Mentor: dr Vesna Mikić, redovni profesor, Univerzitet umetnosti u Beogradu, Fakultet muzičke umetnosti, Katedra za muzikologiju Članovi komisije: 2 Digitalna tehnologija u srpskoj umetničkoj muzici Rezime Od prepravke vojnog digitalnog hardvera entuzijasta i amatera nakon Drugog svetskog rata, preko institucionalnog razvoja šezdesetih i sedamdesetih i globalne ekspanzije osamdesetih i devedesetih godina prošlog veka, računari su prešli dug put od eksperimenta do podrazumevanog sredstva za rad u gotovo svakoj ljudskoj delatnosti. Paralelno sa ovim razvojem, praćena je i nit njegovog „preseka“ sa umetničkim muzičkim poljem, koja se manifestovala formiranjem interdisciplinarne umetničke prakse računarske muzike koju stvaraju muzički inženjeri – kompozitori koji vladaju i veštinama programiranja i digitalne sinteze zvuka. Kako bi se muzički sistemi i teorije preveli u računarske programe, bilo je neophodno sakupiti i obraditi veliku količinu podataka, te je uspostavljena i zajednička humanistička disciplina – computational musicology. Tokom osamdesetih godina na umetničku scenu stupa nova generacija autora koji na računaru postepeno počinju da obavljaju sve više poslova, te se pojava „kućnih“ računara poklapa sa „prelaskom“ iz modernizma u postmodernizam, pa i ideja muzičkog inženjeringa takođe proživljava transformaciju iz objektivističke, sistematske autonomne -
PDF Download Stockhausen on Music Ebook, Epub
STOCKHAUSEN ON MUSIC PDF, EPUB, EBOOK Karlheinz Stockhausen,Robin Maconie | 220 pages | 01 Sep 2000 | Marion Boyars Publishers Ltd | 9780714529189 | English | London, United Kingdom Stockhausen on Music PDF Book English translation of "Symbolik als kompositorische Methode in den Werken von Karlheinz Stockhausen". Die Zeit 9 December. After completing Licht , Stockhausen embarked on a new cycle of compositions based on the hours of the day, Klang "Sound". There's more gnarly theory to get stuck into with Karlheinz than with almost anyone else in music history, thanks to his own writings and the mini-industry of Stockhausen arcana and analysis out there. Custodis, Michael. Ars Electronica. Cross, Jonathan. Iddon, Martin. Selected Correspondence , vol. The sounds they play are mixed together with the sounds of the helicopters and played through speakers to the audience in the hall. Grant, M[orag] J[osephine], and Imke Misch eds. Hartwell, Robin. Mixtur was a live work for orchestra, sine wave generators, and ring modulators, with the latter resurfacing again in in Mikrophonie II, also scored for chorus and Hammond organ. English translation by Donato Totaro under the same title here. Otto Luening. Winter : — The lectures which are the heart of this book clarified some of Stockhausen's ideas and methods for me, although some points remain obscure. Michele Marelli. Very good insights into Stockhausen's process and thinking. What does it mean, my music? No trivia or quizzes yet. Westport, Conn. Kaletha, Holger. Electronic Folk International. Rathert, Wolfgang. Kraftwerk: I Was a Robot. The Musical Quarterly 61, no. Le Souffle du temps: Quodlibet pour Karlheinz Stockhausen. -
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. -
Battles Around New Music in New York in the Seventies
Presenting the New: Battles around New Music in New York in the Seventies A Dissertation SUBMITTED TO THE FACULTY OF UNIVERSITY OF MINNESOTA BY Joshua David Jurkovskis Plocher IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY David Grayson, Adviser December 2012 © Joshua David Jurkovskis Plocher 2012 i Acknowledgements One of the best things about reaching the end of this process is the opportunity to publicly thank the people who have helped to make it happen. More than any other individual, thanks must go to my wife, who has had to put up with more of my rambling than anybody, and has graciously given me half of every weekend for the last several years to keep working. Thank you, too, to my adviser, David Grayson, whose steady support in a shifting institutional environment has been invaluable. To the rest of my committee: Sumanth Gopinath, Kelley Harness, and Richard Leppert, for their advice and willingness to jump back in on this project after every life-inflicted gap. Thanks also to my mother and to my kids, for different reasons. Thanks to the staff at the New York Public Library (the one on 5th Ave. with the lions) for helping me track down the SoHo Weekly News microfilm when it had apparently vanished, and to the professional staff at the New York Public Library for Performing Arts at Lincoln Center, and to the Fales Special Collections staff at Bobst Library at New York University. Special thanks to the much smaller archival operation at the Kitchen, where I was assisted at various times by John Migliore and Samara Davis. -
2016-Program-Book-Corrected.Pdf
A flagship project of the New York Philharmonic, the NY PHIL BIENNIAL is a wide-ranging exploration of today’s music that brings together an international roster of composers, performers, and curatorial voices for concerts presented both on the Lincoln Center campus and with partners in venues throughout the city. The second NY PHIL BIENNIAL, taking place May 23–June 11, 2016, features diverse programs — ranging from solo works and a chamber opera to large scale symphonies — by more than 100 composers, more than half of whom are American; presents some of the country’s top music schools and youth choruses; and expands to more New York City neighborhoods. A range of events and activities has been created to engender an ongoing dialogue among artists, composers, and audience members. Partners in the 2016 NY PHIL BIENNIAL include National Sawdust; 92nd Street Y; Aspen Music Festival and School; Interlochen Center for the Arts; League of Composers/ISCM; Lincoln Center for the Performing Arts; LUCERNE FESTIVAL; MetLiveArts; New York City Electroacoustic Music Festival; Whitney Museum of American Art; WQXR’s Q2 Music; and Yale School of Music. Major support for the NY PHIL BIENNIAL is provided by The Andrew W. Mellon Foundation, The Fan Fox and Leslie R. Samuels Foundation, and The Francis Goelet Fund. Additional funding is provided by the Howard Gilman Foundation and Honey M. Kurtz. NEW YORK CITY ELECTROACOUSTIC MUSIC FESTIVAL __ JUNE 5-7, 2016 JUNE 13-19, 2016 __ www.nycemf.org CONTENTS ACKNOWLEDGEMENTS 4 DIRECTOR’S WELCOME 5 LOCATIONS 5 FESTIVAL SCHEDULE 7 COMMITTEE & STAFF 10 PROGRAMS AND NOTES 11 INSTALLATIONS 88 PRESENTATIONS 90 COMPOSERS 92 PERFORMERS 141 ACKNOWLEDGEMENTS THE NEW YORK PHILHARMONIC ORCHESTRA THE AMPHION FOUNDATION DIRECTOR’S LOCATIONS WELCOME NATIONAL SAWDUST 80 North Sixth Street Brooklyn, NY 11249 Welcome to NYCEMF 2016! Corner of Sixth Street and Wythe Avenue. -
A Tribute to Otto Luening Members of the New York Flute Club
NWCR561 A Tribute to Otto Luening Members of the New York Flute Club 13. Timbre ...................................................... (1:11) 14. Multiples .................................................. (1:09) 15. Birthday Greeting ..................................... (1:04) 16. Aria .......................................................... (1:29) John Heiss, flute Harvey Sollberger: 17. Killpata/Chaskapata for solo flute and Flute Choir (1983) ............................................... (6:50) Rachel Rudich, solo flute; Peter Ader, Polly Meyerding, piccolos; Russell Dedrick, Mary Schmidt, Kathleen Nester, Lisa Johnson, Rheva Kaplan, Peter Bacchus, Rie Schmidt, flutes; Wendy Rolfe, Susan Deaver, alto flutes; Harvey Sollberger, conductor Otto Luening: 18. Three Canons for Two Flutes 1985)..................... (4:22) 19. Canon I–Allegreo Moderato ..................... (1:43) 20. Canon II–Allegro Moderato ..................... (1:28) 21. Canon III–Allegro .................................... (1:32) Sue Ann Kahn and John Wion, flutes Ezra Laderman: Otto Luening: Trio for Three Flutists (1966) ............ (12:46) 22. June 29th (1983) .................................................. (6:32) 1. Introduction ............................................... (2:46) Carol Wincenc, flute 2. Pastorale .................................................... (2:31) Otto Luening: Suite No. 2 for Solo Flute (1953) ....... (7:07) 3. Interlude .................................................... (2:16) 23. Lyric Scene: Moderato ............................ -
Harpsichord and Its Discourses
Popular Music and Instrument Technology in an Electronic Age, 1960-1969 Farley Miller Schulich School of Music McGill University, Montréal April 2018 A thesis submitted to McGill University in partial fulfilment of the requirements of the degree of Ph.D. in Musicology © Farley Miller 2018 Table of Contents Abstract ................................................................................................................... iv Résumé ..................................................................................................................... v Acknowledgements ................................................................................................ vi Introduction | Popular Music and Instrument Technology in an Electronic Age ............................................................................................................................ 1 0.1: Project Overview .................................................................................................................. 1 0.1.1: Going Electric ................................................................................................................ 6 0.1.2: Encountering and Categorizing Technology .................................................................. 9 0.2: Literature Review and Theoretical Concerns ..................................................................... 16 0.2.1: Writing About Music and Technology ........................................................................ 16 0.2.2: The Theory of Affordances ......................................................................................... -
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. -
Boston Symphony Orchestra Concert Programs, Season 113, 1993-1994
Soston Symphony Orchestra Twentieth Anniversary Seas n i 9 9 3 - 9 4 £ €B€L i t th arc h e c t s of t i m e beluga Soft and elegant. Hand sculpted in Switzerland exclusively in 18 karat gold. Water resistant. Five year international limited warranty. Intelligently priced. E.B. HORN Jewelers Since 1839 Positively The Best Value In Jewelry 429 WASHINGTON ST BOSTON 02108 r^ ALL MAJOR CREDIT CARDS ACCEPTED BUDGET TERMS hife MAIL OR PHONE ORDERS 542-3902 • OPEN MON. AND THURS. 'TIL 7 Cffj Seiji Ozawa, Music Director One Hundred and Thirteenth Season, 1993-94 Trustees of the Boston Symphony Orchestra, Inc. J. P. Barger, Chairman George H. Kidder, President Mrs. Lewis S. Dabney, Vice-Chairman Nicholas T. Zervas, Viee-Chairmsn Mrs. John H. Fitzpatriek, Vice-Chairman William J. Poorvu, Vice-Chairman and treasurer David B. Arnold, Jr. William M. Crozier, Jr. Julian T. Houston Mrs. August R. Meyer Peter A. Brooke Deborah B. Davis Mrs. BelaT. Kalman Molly Beals Millman James F. Cleary Nina L. Doggett Allen Z. Kluchman Mrs. Robert B. Newman John F Cogan, Jr. Dean Freed Harvey Chet Krentzman Peter C. Read Julian Cohen Avram J. Goldberg George Krupp Richard A. Smith William F Connell Thelma E. Goldberg R. Wdlis Leith, Jr. Ray Stata Trustees Emeriti Vernon R. Alden Nelson J. Darling, Jr. Mrs. George I. Kaplan Mrs. George Lee Sargent Philip K. Allen Archie C. Epps Albert L. Nickerson Sidney Stoneman Allen G. Barry Mrs. Harris Fahnestock Thomas D. Perry, Jr. John Hoyt Stookey Leo L. Beranek Mrs. John L. -
! ! ! Universidade!Estadual!Paulista! Júlio!De!Mesquita!Filho! Instituto!De
! ! ! Universidade!Estadual!Paulista! Júlio!de!Mesquita!Filho! Instituto!de!Artes! Departamento!de!Música! ! ! ! ! ! ! ! ! ! ! ! ! ! GEORGE!OLOF!DE!FREITAS!ALVESKOG! ! ! ! ! Escritura!do!Espaço!na!Música!Eletroacústica! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! São!Paulo! 2016! ! ! ! ! GEORGE!OLOF!DE!FREITAS!ALVESKOG! ! ! ! ! Escritura!do!Espaço!na!Música!Eletroacústica! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! Dissertação! apresentada! ao! Programa! de! PósEgraduação! em! Música! do! Instituto! de! Artes! da! Universidade! Estadual! Paulista,! Linha! de! Pesquisa! Epistemologia! e! Práxis! do! Processo! Criativo,! como! exigência! parcial! para! a! obtenção! do! título! de! Mestre! em! Música,! sob! orientação! do! Prof.! Dr.!Florivaldo!Menezes!Filho.! ! ! ! ! São!Paulo! 2016! ! ! ! ! ! ! ! ! ! ! Ficha!catalográfica!preparada!pelo!Serviço!de!Biblioteca!e!Documentação!do!Instituto!de!Artes!da! UNESP! ! ! ! A474e! Alveskog,!George!Olof!De!Freitas! Escritura!do!espaço!na!música!eletroacústica!!/!George!Olof!De! Freitas!Alveskog.!E!São!Paulo,!2016.! 119!f.!:!il.!color.!! ! Orientador:!Prof.!Dr.!Florivaldo!Menezes!Filho! Dissertação!(Mestrado!em!Música)!–!Universidade!Estadual! Paulista!“Julio!de!Mesquita!Filho”,!Instituto!de!Artes.! ! 1.!Musica!por!computador.!!2.!Composição!(Música).!3.!Música! –!Análise,!apreciação.!I.!Menezes!Filho,!Florivaldo.!II.!Universidade! Estadual!Paulista,!Instituto!de!Artes.!III.!Título.! ! CDD!789.99!!!! ! ! ! ! GEORGE!OLOF!DE!FREITAS!ALVESKOG! Escritura!do!espaço!na!música!eletroacústica! Dissertação aprovada como requisito -
BEAUTIFUL NOISE Directions in Electronic Music
BEAUTIFUL NOISE Directions in Electronic Music www.ele-mental.org/beautifulnoise/ A WORK IN PROGRESS (3rd rev., Oct 2003) Comments to [email protected] 1 A Few Antecedents The Age of Inventions The 1800s produce a whole series of inventions that set the stage for the creation of electronic music, including the telegraph (1839), the telephone (1876), the phonograph (1877), and many others. Many of the early electronic instruments come about by accident: Elisha Gray’s ‘musical telegraph’ (1876) is an extension of his research into telephone technology; William Du Bois Duddell’s ‘singing arc’ (1899) is an accidental discovery made from the sounds of electric street lights. “The musical telegraph” Elisha Gray’s interesting instrument, 1876 The Telharmonium Thaddeus Cahill's telharmonium (aka the dynamophone) is the most important of the early electronic instruments. Its first public performance is given in Massachusetts in 1906. It is later moved to NYC in the hopes of providing soothing electronic music to area homes, restaurants, and theatres. However, the enormous size, cost, and weight of the instrument (it weighed 200 tons and occupied an entire warehouse), not to mention its interference of local phone service, ensure the telharmonium’s swift demise. Telharmonic Hall No recordings of the instrument survive, but some of Cahill’s 200-ton experiment in canned music, ca. 1910 its principles are later incorporated into the Hammond organ. More importantly, Cahill’s idea of ‘canned music,’ later taken up by Muzak in the 1960s and more recent cable-style systems, is now an inescapable feature of the contemporary landscape.