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Let Me Be Your Guide: 21St Century Choir Music in Flanders
Let me be your guide: 21st century choir music in Flanders Flanders has a rich tradition of choir music. But what about the 21st century? Meet the composers in this who's who. Alain De Ley Alain De Ley (° 1961) gained his first musical experience as a singer of the Antwerp Cathedral Choir, while he was still behind the school desks in the Sint-Jan Berchmans College in Antwerp. He got a taste for it and a few years later studied flute with Remy De Roeck and piano with Patrick De Hooghe, Freddy Van der Koelen, Hedwig Vanvaerenbergh and Urbain Boodts). In 1979 he continued his studies at the Royal Music Conservatory in Antwerp. Only later did he take private composition lessons with Alain Craens. Alain De Ley prefers to write music for choir and smaller ensembles. As the artistic director of the Flemish Radio Choir, he is familiar with the possibilities and limitations of a singing voice. Since 2003 Alain De Ley is composer in residence for Ensemble Polyfoon that premiered a great number of his compositions and recorded a CD dedicated to his music, conducted by Lieven Deroo He also received various commissions from choirs like Musa Horti and Amarylca, Kalliope and from the Flanders Festival. Alain De Ley’s music is mostly melodic, narrative, descriptive and reflective. Occasionally Alain De Ley combines the classical writing style with pop music. This is how the song Liquid Waltz was created in 2003 for choir, solo voice and pop group, sung by K’s Choice lead singer Sarah Bettens. He also regularly writes music for projects in which various art forms form a whole. -
Music Analysis: an Annotated Bibliography. INSTITUTION Southwest Regional Library for Educational Research and Development, Los Alamitos, Calif
DOCUMENT RESUME ED 067 359 SO 004 665 AUTHOR Fink, Michael TITLE Music Analysis: An Annotated Bibliography. INSTITUTION Southwest Regional Library for Educational Research and Development, Los Alamitos, Calif. REPORT NO TR-43 BUREAU NO BR- 6-2865 PUB DATE 1 Aug 72 NOTE 25p. EDRSPRICE MF-$0.65 HC-$3.29 DESCRIPTORS *Annotated Bibliographies; *Applied Music; Elementary Education; Higher Education; Music; Musical Composition; Music Appreciation; *Music Education; Music Techniques; *Music Theory; Secondary Education ABSTRACT One hundred and forty citations comprise this annotated bibliography of books, articles, and selected dissertations that encompass trends in music theory and k-16 music education since the late 19th century. Special emphasis is upon writings since the 19501s. During earlier development, music analysts concentrated upon the elements of music (i.e., melody, harmony, rhythm, and form). Since 1950, varying viewpoints on the teaching of music analysis have emerged, producing a surge of various analytical trends and philosophies derived from other than musical contexts. Information theory, phenomenology, and the application of computers have made the strongest impact upon music theory in recent years. Classified headings in the listing cover:1) general discussions of music analysis, 2)the analysis of specific elements of music (melody, harmony, etc.),3)principal trends and approaches to the subject, and 4)samples of analytic models. The headings reflect the evolution of trends within the subject. Author entries are alphabetically arranged under headings. Whief descriptive annotations are provided. (Author/SJM) ibie ks!) 1 I5A) SOUTHWEST REGIONAL LABORATORY FOR EDUCATIONAL RESEARCH & DEVELOPMENT Music Analysis: An AnnotatedBibliography Tit 431 August 1972 I U.S. -
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. -
3770001904221.Pdf
This is America! Meredith Monk (b. 1942) 1 Ellis Island 3’02 Leonard Bernstein (1918-1990) Symphonic Dances from West Side Story (transcription: John Musto) 2 Prologue 4’18 3 Somewhere 4’29 4 Mambo 2’19 5 Cha-Cha 1’02 6 Meeting Scene 0'41 7 Cool 0’38 8 Fugue 3’02 9 Rumble 2’01 10 Finale 2’27 Philip Glass (b. 1937) Four Movements for Two Pianos 11 Movement 1 6’21 12 Movement 2 4’49 13 Movement 3 6’19 14 Movement 4 5’30 John Adams (b. 1947) Hallelujah Junction 15 Movement 1 6’43 16 Movement 2 2’52 17 Movement 3 5’58 TT: 62’34 3 THIS IS AMERICA! | VANESSA WAGNER & WILHEM LATCHOUMIA Entretien avec Vanessa Wagner et Wilhem Latchoumia Apparu au milieu des années 60 aux États-Unis, le courant minimaliste a longtemps tutoyé l’avant-garde avant de gagner, au fil des ans, une audience beaucoup plus large et de s’imposer comme une étape majeure de la musique contemporaine. Terry Riley, La Monte Young, Steve Reich et Philip Glass, tous américains, sont considérés comme les pionniers de ce courant. Si beaucoup de ces compositeurs contestent l’étiquette minimaliste, réductrice à leurs yeux, leur approche se rejoint dans la recherche de nouvelles structures musicales, comme l’emploi de motifs répétitifs, une certaine forme de dépouillement et l’emploi de certains procédés spécifiques (la technique de « phasing » de Reich, utilisant simultanément des enregistrements avec un léger décalage). Les minimalistes ont intégré de nombreuses influences pour nourrir leur travail, le jazz et l’improvisation pour Terry Riley, la mouvance expérimentale pour La Monte Young, la musique indienne pour Philip Glass, les cultures africaines pour Steve Reich. -
The Elements of Music
KSKS35 The elements of music Anna Gower was by Anna Gower a secondary music teacher and head of music for 18 years. She now works as a consultant for Trinity College London INTRODUCTION and Musical Futures International, as well The elements of music. DR P SMITH or MAD T SHIRT; posters on the walls of your classroom; a handy checklist as with various MEH for writing a model answer to a GCSE question; or a guide to development in an A level composition. and organisations in the UK and overseas. The elements of music have long been an important component of KS3 music, whether they’re taught as a stand- alone unit or topic, or threaded through performing, composing or listening activities in a topic-based curriculum. Often described as the ‘building blocks’ of music, the However, the elements of music are really just a set of labels and concepts under which sits a wealth of musical elements of music understanding, and a heap of vocabulary and musical language that can help to hone student responses to may have slightly music that they hear, play, sing or compose from the very start of their music education. different labels that vary from school to school. But they It’s that further layer beneath the label and concept that’s much harder to measure, and which weaves through each come with all good music learning and teaching. It’s about crafting an understanding of what makes music a medium a label or name (pitch, rhythm, through which to be expressive, to make sense of sound, and to arrange it into meaningful musical experiences etc), a concept that allow students to demonstrate their learning in ways other than a listening test or performance assessment. -
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. -
Oefeningen Voor Een Derde Oog
Oefeningen voor een derde oog Dick Hillenius bron Dick Hillenius, Oefeningen voor een derde oog. De Arbeiderspers, Amsterdam 1965 Zie voor verantwoording: http://www.dbnl.org/tekst/hill005oefe01_01/colofon.htm © 2007 dbnl / erven Dick Hillenius 7 ± Chronologisch Dick Hillenius, Oefeningen voor een derde oog 9 [I] RESTJES WEESHUIS Ordesa 20 juli 1963. Toen wij de eerste keer met Tycho op reis wilden - hij was toen 10 maanden - kwamen er alle mogelijke betuttelaars in de weer. L. kwam zelfs met haar psychiater aandragen, vol afgrijzen over het te kwetsen zieleheil en dat het kind er nog jaren later moeilijkheden van zou ondervinden. Op die tientallen die zich vol bezorgdheid keren tegen het meenemen van kinderen op reis, is er nooit één die problemen ziet in het achterlaten bij verzorgers of in een tehuis. Ik weet niet, misschien is dat bij elk kind weer anders, maar wat mij zelf betreft ondervind ik nu, na bijna dertig jaar, de herinnering aan het 4 weken verzorgd achtergelaten zijn in een Hervormd Weeshuis, als een niet verdwenen aantasting. Een week voordat mijn jongste broer werd geboren, op mijn zevende verjaardag, werden mijn andere broer en ik door een tante die werksterdiensten verrichtte in de familie naar het Hervormde Weeshuis gebracht in de Volkerakstraat. Ik herinner me van de eerste dag een man met lange witte baard, de directeur, manden met potten jam, kinderen joelend op de binnenplaats. De kinderen droegen een uniform in de stijl van de tekeningen van Jetses, in de boekjes van Ot en Sien, mode van ±40 jaar tevoren. De meisjes droegen lang haar tot op de schouders (kort was toen mode), de jongens waren kaal met een kuifje van voren. -
Concerts from the Library of Congress 2012-2013
Concerts from the Library of Congress 2012-2013 LIBRARY LATE ACME & yMusic Friday, November 30, 2012 9:30 in the evening sprenger theater Atlas performing arts center The McKim Fund in the Library of Congress was created in 1970 through a bequest of Mrs. W. Duncan McKim, concert violinist, who won international prominence under her maiden name, Leonora Jackson; the fund supports the commissioning and performance of chamber music for violin and piano. Please request ASL and ADA accommodations five days in advance of the concert at 202-707-6362 or [email protected]. Latecomers will be seated at a time determined by the artists for each concert. Children must be at least seven years old for admittance to the concerts. Other events are open to all ages. Please take note: UNAUTHORIZED USE OF PHOTOGRAPHIC AND SOUND RECORDING EQUIPMENT IS STRICTLY PROHIBITED. PATRONS ARE REQUESTED TO TURN OFF THEIR CELLULAR PHONES, ALARM WATCHES, OR OTHER NOISE-MAKING DEVICES THAT WOULD DISRUPT THE PERFORMANCE. Reserved tickets not claimed by five minutes before the beginning of the event will be distributed to stand-by patrons. Please recycle your programs at the conclusion of the concert. THE LIBRARY OF CONGRESS Atlas Performing Arts Center FRIDAY, NOVEMBER 30, 2012, at 9:30 p.m. THE mckim Fund In the Library of Congress American Contemporary Music Ensemble Rob Moose and Caleb Burhans, violin Nadia Sirota, viola Clarice Jensen, cello Timothy Andres, piano CAROLINE ADELAIDE SHAW Limestone and Felt, for viola and cello DON BYRON Spin, for violin and piano (McKim Fund Commission) JOHN CAGE (1912-1992) String Quartet in Four Parts (1950) Quietly Flowing Along Slowly Rocking Nearly Stationary Quodlibet MICK BARR ACMED, for violin, viola and cello Intermission *Meet the Artists* yMusic Alex Sopp, flutes Hideaki Aomori, clarinets C.J. -
BRUCE CALE, SERIALISM and the LYDIAN CONCEPT by Eric Myers* ______
BRUCE CALE, SERIALISM AND THE LYDIAN CONCEPT by Eric Myers* ____________________________________________________ [This article appeared in the October, 1985 edition of APRA, the magazine of the Australasian Performing Right Association.] hen the Australia** Music Centre's film on Australian composers Notes On A Landscape came out in 1980, it was apparent that most of the ten W composers included, picked themselves: Don Banks, Anne Boyd, Colin Brumby, Barry Conyngham, Keith Humble, Elena Kats, Graeme Koehne, Richard Meale, Peter Sculthorpe. In addition to them, there was one composer who, on the face of it, might not have been regarded as such an automatic choice: Bruce Cale. Bruce Cale on the verandah of his house in the Blue Mountains, with his dog Muffin… PHOTO CREDIT MARGARET SULLIVAN __________________________________________________________________ *When this was written in October, 1985, Eric Myers was editor of the Australian Jazz Magazine, and writing jazz reviews for The Australian. **Australia Music Centre was at the time the correct spelling. Sometime later ‘Australia’ was changed to ‘Australian’. 1 After all, he was principally known as a jazz composer and performer, and when the film was planned, had been back in Australia only two years, following 13 years in Britain and the United States. On the other hand, there were some eyebrows raised in the Australian jazz world that Cale was "the only jazz composer" included in the film. But those who were aware of Cale's work knew that he had been included because of his orchestral writing as well as his jazz composition; his work had certainly emerged from jazz but, in a highly individual way, he was seeking to merge jazz and classical traditions. -
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. -
Bankks Butterley Mealee Werder
BANKS BUTTERLEY MEALE WERDER Like so many string quartets, the maestoso’, but the music is hard and changes texture in a more flexible manner. pieces recorded here engage with the concrete. These blocks of sound vary The moments when the quartet comes relationship of the ensemble’s four in length – the rhythmic notation is together in rhythmically regular music are players. Some of the works continue flexible – and the performers decide the striking and climactic. the tradition of cohesive playing, and length of each block in the moment of The second seating configuration, ‘far others question that aspect of the genre’s performance. The effect is that both the away’, begins with, is sustained by, and history. start and end of notes are highly charged. ends with clouds of harmonics. If the first In live performances of Meale’s String In some cases Meale further heightens section retains some hint of progression Quartet No. 1 his direct challenge to this idea, and the fourth chord, marked in its procession of variations, this section the performers is plain to see, for the dolce, ends with a left-hand pizzicato as is totally still. Through the harmonics piece is in two sections: in the first the the bow leaves the string. The abruptness Meale traces lines of pitches that lead us performers sit in the usual configuration, of the gesture is not at all what one might across the stage, but nowhere else. These and for the second section the performers think of as dolce, but this is a piece that three sequences are labelled ‘Tropes’. -
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).