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The KNIGHT REVISION of HORNBOSTEL-SACHS: a New Look at Musical Instrument Classification
The KNIGHT REVISION of HORNBOSTEL-SACHS: a new look at musical instrument classification by Roderic C. Knight, Professor of Ethnomusicology Oberlin College Conservatory of Music, © 2015, Rev. 2017 Introduction The year 2015 marks the beginning of the second century for Hornbostel-Sachs, the venerable classification system for musical instruments, created by Erich M. von Hornbostel and Curt Sachs as Systematik der Musikinstrumente in 1914. In addition to pursuing their own interest in the subject, the authors were answering a need for museum scientists and musicologists to accurately identify musical instruments that were being brought to museums from around the globe. As a guiding principle for their classification, they focused on the mechanism by which an instrument sets the air in motion. The idea was not new. The Indian sage Bharata, working nearly 2000 years earlier, in compiling the knowledge of his era on dance, drama and music in the treatise Natyashastra, (ca. 200 C.E.) grouped musical instruments into four great classes, or vadya, based on this very idea: sushira, instruments you blow into; tata, instruments with strings to set the air in motion; avanaddha, instruments with membranes (i.e. drums), and ghana, instruments, usually of metal, that you strike. (This itemization and Bharata’s further discussion of the instruments is in Chapter 28 of the Natyashastra, first translated into English in 1961 by Manomohan Ghosh (Calcutta: The Asiatic Society, v.2). The immediate predecessor of the Systematik was a catalog for a newly-acquired collection at the Royal Conservatory of Music in Brussels. The collection included a large number of instruments from India, and the curator, Victor-Charles Mahillon, familiar with the Indian four-part system, decided to apply it in preparing his catalog, published in 1880 (this is best documented by Nazir Jairazbhoy in Selected Reports in Ethnomusicology – see 1990 in the timeline below). -
The Rai Studio Di Fonologia (1954–83)
ELECTRONIC MUSIC HISTORY THROUGH THE EVERYDAY: THE RAI STUDIO DI FONOLOGIA (1954–83) Joanna Evelyn Helms A dissertation submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music. Chapel Hill 2020 Approved by: Andrea F. Bohlman Mark Evan Bonds Tim Carter Mark Katz Lee Weisert © 2020 Joanna Evelyn Helms ALL RIGHTS RESERVED ii ABSTRACT Joanna Evelyn Helms: Electronic Music History through the Everyday: The RAI Studio di Fonologia (1954–83) (Under the direction of Andrea F. Bohlman) My dissertation analyzes cultural production at the Studio di Fonologia (SdF), an electronic music studio operated by Italian state media network Radiotelevisione Italiana (RAI) in Milan from 1955 to 1983. At the SdF, composers produced music and sound effects for radio dramas, television documentaries, stage and film operas, and musical works for concert audiences. Much research on the SdF centers on the art-music outputs of a select group of internationally prestigious Italian composers (namely Luciano Berio, Bruno Maderna, and Luigi Nono), offering limited windows into the social life, technological everyday, and collaborative discourse that characterized the institution during its nearly three decades of continuous operation. This preference reflects a larger trend within postwar electronic music histories to emphasize the production of a core group of intellectuals—mostly art-music composers—at a few key sites such as Paris, Cologne, and New York. Through close archival reading, I reconstruct the social conditions of work in the SdF, as well as ways in which changes in its output over time reflected changes in institutional priorities at RAI. -
Expanding Horizons: the International Avant-Garde, 1962-75
452 ROBYNN STILWELL Joplin, Janis. 'Me and Bobby McGee' (Columbia, 1971) i_ /Mercedes Benz' (Columbia, 1971) 17- Llttle Richard. 'Lucille' (Specialty, 1957) 'Tutti Frutti' (Specialty, 1955) Lynn, Loretta. 'The Pili' (MCA, 1975) Expanding horizons: the International 'You Ain't Woman Enough to Take My Man' (MCA, 1966) avant-garde, 1962-75 'Your Squaw Is On the Warpath' (Decca, 1969) The Marvelettes. 'Picase Mr. Postman' (Motown, 1961) RICHARD TOOP Matchbox Twenty. 'Damn' (Atlantic, 1996) Nelson, Ricky. 'Helio, Mary Lou' (Imperial, 1958) 'Traveling Man' (Imperial, 1959) Phair, Liz. 'Happy'(live, 1996) Darmstadt after Steinecke Pickett, Wilson. 'In the Midnight Hour' (Atlantic, 1965) Presley, Elvis. 'Hound Dog' (RCA, 1956) When Wolfgang Steinecke - the originator of the Darmstadt Ferienkurse - The Ravens. 'Rock All Night Long' (Mercury, 1948) died at the end of 1961, much of the increasingly fragüe spirit of collegial- Redding, Otis. 'Dock of the Bay' (Stax, 1968) ity within the Cologne/Darmstadt-centred avant-garde died with him. Boulez 'Mr. Pitiful' (Stax, 1964) and Stockhausen in particular were already fiercely competitive, and when in 'Respect'(Stax, 1965) 1960 Steinecke had assigned direction of the Darmstadt composition course Simón and Garfunkel. 'A Simple Desultory Philippic' (Columbia, 1967) to Boulez, Stockhausen had pointedly stayed away.1 Cage's work and sig- Sinatra, Frank. In the Wee SmallHoun (Capítol, 1954) Songsfor Swinging Lovers (Capítol, 1955) nificance was a constant source of acrimonious debate, and Nono's bitter Surfaris. 'Wipe Out' (Decca, 1963) opposition to himz was one reason for the Italian composer being marginal- The Temptations. 'Papa Was a Rolling Stone' (Motown, 1972) ized by the Cologne inner circle as a structuralist reactionary. -
3 the Invention of the Concertina
3 The Invention of the Concertina Introduction Having outlined the concertina’s place within the broad history of modern free-reed instruments, I now discuss in detail the circumstances surrounding its appearance and first commercial production. I seek to identify the intentions of its creator, the influences upon its form and the degree of innovation involved. In doing so I hope to address two popular, yet contrasting, views on the invention of the concertina. Firstly, I wish to challenge the view commonly held by enthusiasts of the instrument, including many of my informants, that its invention was the one-off, brilliant creation of an eccentric scientific genius. The concertina was first produced some time during the 1830s by Wheatstone and Co. of London and it is clear that its conception and design were the responsibility of Charles Wheatstone. It is, however, too easy to apply a “heroic” view of invention which clouds proper understanding of innovation in the nineteenth century and over-elevates individual achievements. As the previous chapter described, the concertina was just one of a number of new free-reed products to emerge from an extended period of research and innovation in musical instrument design and manufacture. I wish to emphasise here that it was also just one part of a line of innovations by its creator, who was also an outstanding teacher, experimenter and pioneering inventor in acoustics, optics, electricity, telegraphy and other fields. Secondly, while popular tradition privileges this single aspect of Wheatstone’s work, writers on scientific matters have tended to regard his activities in the musical field as an interesting sideline, engaged in while bearing early responsibility for the family music business but abandoned on maturity for pressing work in other, more important fields. -
Maestro D'arte E Di Vita
G IADA V IVIANI Maestro d’arte e di vita. Modelli e percorsi della riflessione teorica di Camillo Togni su Arnold Schönberg roverbiale è la strenua ricerca d’ordine condotta per tutta la vita da Camillo Togni, impostagli, secondo le sue stesse ricostruzioni a posteriori, dalla ferrea disciplina cui Pdall’età di tredici anni si era dovuto sottoporre per riuscire a convivere con il «bleicher Geselle» («pallido compagno») del diabete, ossia con il memento mori che, a partire dalla diagnosi dei medici, avrebbe pungolato la sua intera attività artistica e intellettuale. 1 In alcune dichiarazioni rilasciate tra gli anni ’80 e ’90, il compositore fa infatti coincidere con l’inizio della malattia – o meglio, della cura – la propria svolta decisiva verso quell’ideale di impegno e rigore che ne permeerà tanto l’esistenza quanto l’espressione arti- stica, incarnandosi sul piano della scrittura musicale in un’adesione assoluta, seppur mai acritica, al metodo della composizione seriale: Una disciplina ferrea richiesta dalla mia sopravvivenza di giorno in giorno e l’assiduità con cui perseguivo la cura insulinica l’ho applicata alla serie. Mi ero forgiato un metodo. Questo biograficamente è vero, perché io ho cominciato a studiare sul serio, anche a scuola, proprio allora. Il modo di curarmi mi ha insegnato una certa disciplina.2 Al di là dell’interesse aneddotico di simili affermazioni, costituisce un dato essen- ziale per l’esegesi togniana la sua personale concezione del «metodo compositivo dodecafo- nico» come «l’unico ausilio […] per un musicista dei nostri tempi per mettere in ordine le proprie idee», la quale, formulata già nel 1951 in una lettera indirizzata al compositore svedese Bengt Hambraeus,3 ha rappresentato per tutta la sua vita una costante cruciale del pensiero del compositore. -
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). -
The Wordy Worlds of Popular Music in Eastern and Southern Africa
This article was downloaded by: [University of Liverpool] On: 06 January 2015, At: 06:11 Publisher: Routledge Informa Ltd Registered in England and Wales Registered Number: 1072954 Registered office: Mortimer House, 37-41 Mortimer Street, London W1T 3JH, UK Journal of Language, Identity & Education Publication details, including instructions for authors and subscription information: http://www.tandfonline.com/loi/hlie20 The Wordy Worlds of Popular Music in Eastern and Southern Africa: Possible Implications for Language-in-Education Policy Sinfree Makoni a , Busi Makoni a & Aaron Rosenberg a a Pennsylvania State University , Published online: 16 Feb 2010. To cite this article: Sinfree Makoni , Busi Makoni & Aaron Rosenberg (2010) The Wordy Worlds of Popular Music in Eastern and Southern Africa: Possible Implications for Language-in-Education Policy, Journal of Language, Identity & Education, 9:1, 1-16, DOI: 10.1080/15348450903476824 To link to this article: http://dx.doi.org/10.1080/15348450903476824 PLEASE SCROLL DOWN FOR ARTICLE Taylor & Francis makes every effort to ensure the accuracy of all the information (the “Content”) contained in the publications on our platform. However, Taylor & Francis, our agents, and our licensors make no representations or warranties whatsoever as to the accuracy, completeness, or suitability for any purpose of the Content. Any opinions and views expressed in this publication are the opinions and views of the authors, and are not the views of or endorsed by Taylor & Francis. The accuracy of the Content should not be relied upon and should be independently verified with primary sources of information. Taylor and Francis shall not be liable for any losses, actions, claims, proceedings, demands, costs, expenses, damages, and other liabilities whatsoever or howsoever caused arising directly or indirectly in connection with, in relation to or arising out of the use of the Content. -
Pierre Boulez Rituel
PROGRAM NOTES by Phillip Huscher Pierre Boulez Born March 26, 1925, Montbrison, France. Currently resides in Paris, France. Rituel (In memoriam Bruno Maderna) Boulez composed this work in 1974 and 1975, and conducted the first performance on April 2, 1975, in London. The score calls for three flutes and two alto flutes, three oboes and english horn, three clarinets, E- flat clarinet and bass clarinet, alto saxophone, four bassoons, six horns, four trumpets, four trombones, six violins, two violas, two cellos, and a percussion battery consisting of tablas, japanese bells, woodblocks, japanese woodblock, maracas, tambourine, sizzle cymbal, turkish cymbal, chinese cymbal, cow bells, snare drums (with and without snares), guiros, bongo, claves, maracas-tubes, triangles, hand drums, castanets, temple blocks, tom-toms, log drum, conga, gongs, and tam-tams. Performance time is approximately twenty- five minutes. Bruno Maderna died on November 13, 1973. For many years he had been a close friend of Pierre Boulez (and a true friend of all those involved in new music activities) and a treasured colleague; like Boulez, he had made his mark both as a composer and as a conductor. “In fact, to get any real idea of what he was like as a person,” Boulez wrote at the time of his death, “the conductor and the composer must be taken together; for Maderna was a practical person, equally close to music whether he was performing or composing.” In 1974 Boulez began Rituel as a memorial piece in honor of Maderna. (In the catalog of his works, Rituel follows . explosante-fixe . ., composed in 1971 as a homage to Stravinsky.) The score was completed and performed in 1975. -
Thesis Submission
Rebuilding a Culture: Studies in Italian Music after Fascism, 1943-1953 Peter Roderick PhD Music Department of Music, University of York March 2010 Abstract The devastation enacted on the Italian nation by Mussolini’s ventennio and the Second World War had cultural as well as political effects. Combined with the fading careers of the leading generazione dell’ottanta composers (Alfredo Casella, Gian Francesco Malipiero and Ildebrando Pizzetti), it led to a historical moment of perceived crisis and artistic vulnerability within Italian contemporary music. Yet by 1953, dodecaphony had swept the artistic establishment, musical theatre was beginning a renaissance, Italian composers featured prominently at the Darmstadt Ferienkurse , Milan was a pioneering frontier for electronic composition, and contemporary music journals and concerts had become major cultural loci. What happened to effect these monumental stylistic and historical transitions? In addressing this question, this thesis provides a series of studies on music and the politics of musical culture in this ten-year period. It charts Italy’s musical journey from the cultural destruction of the post-war period to its role in the early fifties within the meteoric international rise of the avant-garde artist as institutionally and governmentally-endorsed superman. Integrating stylistic and aesthetic analysis within a historicist framework, its chapters deal with topics such as the collective memory of fascism, internationalism, anti- fascist reaction, the appropriation of serialist aesthetics, the nature of Italian modernism in the ‘aftermath’, the Italian realist/formalist debates, the contradictory politics of musical ‘commitment’, and the growth of a ‘new-music’ culture. In demonstrating how the conflict of the Second World War and its diverse aftermath precipitated a pluralistic and increasingly avant-garde musical society in Italy, this study offers new insights into the transition between pre- and post-war modernist aesthetics and brings musicological focus onto an important but little-studied era. -
Ferienkurse Für Internationale Neue Musik, 25.8.-29.9. 1946
Ferienkurse für internationale neue Musik, 25.8.-29.9. 1946 Seminare der Fachgruppen: Dirigieren Carl Mathieu Lange Komposition Wolfgang Fortner (Hauptkurs) Hermann Heiß (Zusatzkurs) Kammermusik Fritz Straub (Hauptkurs) Kurt Redel (Zusatzkurs) Klavier Georg Kuhlmann (auch Zusatzkurs Kammermusik) Gesang Elisabeth Delseit Henny Wolff (Zusatzkurs) Violine Günter Kehr Opernregie Bruno Heyn Walter Jockisch Musikkritik Fred Hamel Gemeinsame Veranstaltungen und Vorträge: Den zweiten Teil dieser Übersicht bilden die Veranstaltungen der „Internationalen zeitgenössischen Musiktage“ (22.9.-29.9.), die zum Abschluß der Ferienkurse von der Stadt Darmstadt in Verbindung mit dem Landestheater Darmstadt, der „Neuen Darmstädter Sezession“ und dem Süddeutschen Rundfunk, Radio Frankfurt, durchgeführt wurden. Datum Veranstaltungstitel und Programm Interpreten Ort u. Zeit So., 25.8. Erste Schloßhof-Serenade Kst., 11.00 Ansprache: Bürgermeister Julius Reiber Conrad Beck Serenade für Flöte, Klarinette und Streichorchester des Landes- Streichorchester (1935) theaters Darmstadt, Ltg.: Carl Wolfgang Fortner Konzert für Streichorchester Mathieu Lange (1933) Solisten: Kurt Redel (Fl.), Michael Mayer (Klar.) Kst., 16.00 Erstes Schloß-Konzert mit neuer Kammermusik Ansprachen: Kultusminister F. Schramm, Oberbürger- meister Ludwig Metzger Lehrkräfte der Ferienkurse: Paul Hindemith Sonate für Klavier vierhändig Heinz Schröter, Georg Kuhl- (1938) mann (Kl.) Datum Veranstaltungstitel und Programm Interpreten Ort u. Zeit Hermann Heiß Sonate für Flöte und Klavier Kurt Redel (Fl.), Hermann Heiß (1944-45) (Kl.) Heinz Schröter Altdeutsches Liederspiel , II. Teil, Elisabeth Delseit (Sopr.), Heinz op. 4 Nr. 4-6 (1936-37) Schröter (Kl.) Wolfgang Fortner Sonatina für Klavier (1934) Georg Kuhlmann (Kl.) Igor Strawinsky Duo concertant für Violine und Günter Kehr (Vl.), Heinz Schrö- Klavier (1931-32) ter (Kl.) Mo., 26.8. Komponisten-Selbstporträts I: Helmut Degen Kst., 16.00 Kst., 19.00 Einführung zum Klavierabend Georg Kuhlmann Di., 27.8. -
Introducing the Harmonica Box Concertina
Introducing The Harmonica, Button Box and Anglo Concertina The harmonica, the Anglo concertina and the button accordion are three instruments that operate on a similar blow/draw or push/pull principle. This means, in theory at least, that if you can get your mind around the way one of them works then moving on to another will be familiar, even relatively painless. So if you can rattle out a tune on the mouth organ you should at least have an idea how the concertina or button accordion works. A full octave of musical tones or steps contains 12 notes, 13 if you count the next octave note. (To get an octave note just means doubling, or halving, the frequency, such as by halving the length of a guitar string, or causing a reed to vibrate half, or twice, as fast). A scale containing all those 12 notes is called a chromatic scale. Most basic songs and tunes however only need a select 8 of these tones, the familiar ‘doh, re, me, fa, so, la, ti, doh’ thing, that’s 7 only notes, or 8 if you count the second ‘doh’. This is called a diatonic scale. The harmonica, Anglo concertina and button accordion are diatonic free reed instruments, in general they come with just the basic 7 notes that you will need to play most tunes, in one set key or starting point. And they make those notes when air is blown over little metal reeds that sit snugly in a frame. Each button, or hole on a harmonica, has two reeds and makes two different sounds, one when the bellows are pushed together, or you blow into a harmonica, another when the bellows are pulled apart, or you draw air in. -
The Harmonica Its Evolution, Variety and Beauty for Players, Collectors, and the Curious
The Harmonica Its Evolution, Variety and Beauty For Players, Collectors, And the Curious A Presentation for the Members of the Lyncean Group by John Whiteman La Jolla, CA eMail: [email protected] Mobile Phone: (858) 922-3750 July 11, 2018 Outline 1. About harmonicas • Definition • History 2. Harmonica as a musical instrument • Types • Demonstration 3. Harmonica as a “collectible” • Show and tell 3 Definition of “Harmonica” • “Free reed” instrument that is played by blowing/drawing with the mouth. – Also known as mouth organ (UK mostly), mundharmonika (Germany), harp • Other popular free reed instruments: – Accordion (button box, concertina, handharmonika, piano accordion) – Jew’s harp – Reed organ (pump organ) – Melodica (evolved from the blow accordion) 4 Standard Harmonica I’ll explain this later Typical “Diatonic” Harmonica With 10 holes and 20 reeds (2 per hole) (Disassembled on the next slide!) A harmonica reed Organ reeds Air Reed is “offset” from the reed plate; air must pass in direction of arrow for reed to vibrate and make sound 5 The Insides Comb – it is sandwiched between the reed plates Plastic: good Lower CoverPlate Wood: bad Upper Cover Plate Upper Reed Lower Reed Plate - Plate - Blow Draw 27 September 2017 6 Brief History of the Harmonica • ~1821 – first harmonica was made in Berlin from pitch pipes by Christian Buschmann – a mere 196 years ago • ~1830 – first U.S. harmonicas made by James Bazin • 1857 – Hohner starts to manufacture (700 first year) • 1887 – Hohner produces 1 million per year • 1920s – Golden age of harmonicas, 20 million/year • 1932 – Peak production of 25m despite Depression • 1938 – Recorded music and world situation decreases Hohner production back to 20 million, steadily declining ever since; Germany eventually cedes harmonica preeminence to Japan and China.