2015,3 Interview with Johnny Reinhard
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University Microiilms, a XERQ\Company, Ann Arbor, Michigan
71-18,075 RINEHART, John McLain, 1937- IVES' COMPOSITIONAL IDIOMS: AN INVESTIGATION OF SELECTED SHORT COMPOSITIONS AS MICROCOSMS' OF HIS MUSICAL LANGUAGE. The Ohio State University, Ph.D., 1970 Music University Microiilms, A XERQ\Company, Ann Arbor, Michigan © Copyright by John McLain Rinehart 1971 tutc nTccrSTATmil HAS fiEEM MICROFILMED EXACTLY AS RECEIVED IVES' COMPOSITIONAL IDIOMS: AM IMVESTIOAT10M OF SELECTED SHORT COMPOSITIONS AS MICROCOSMS OF HIS MUSICAL LANGUAGE DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy 3n the Graduate School of The Ohio State University £ JohnfRinehart, A.B., M«M. # # * -k * * # The Ohio State University 1970 Approved by .s* ' ( y ^MrrXfOor School of Music ACm.WTji.D0F,:4ENTS Grateful acknov/ledgement is made to the library of the Yale School of Music for permission to make use of manuscript materials from the Ives Collection, I further vrish to express gratitude to Professor IJoman Phelps, whose wise counsel and keen awareness of music theory have guided me in thi3 project. Finally, I wish to acknowledge my wife, Jennifer, without whose patience and expertise this project would never have come to fruition. it VITA March 17, 1937 • ••••• Dorn - Pittsburgh, Pennsylvania 1959 • • • • • .......... A#B#, Kent State University, Kent, Ohio 1960-1963 . * ........... Instructor, Cleveland Institute of Music, Cleveland, Ohio 1 9 6 1 ................ • • • M.M., Cleveland Institute of ITu3ic, Cleveland, Ohio 1963-1970 .......... • • • Associate Professor of Music, Heidelberg College, Tiffin, Ohio PUBLICATIONS Credo, for unaccompanied chorus# New York: Plymouth Music Company, 1969. FIELDS OF STUDY Major Field: Theory and Composition Studies in Theory# Professor Norman Phelps Studies in Musicology# Professors Richard Hoppin and Lee Rigsby ill TAPLE OF CC NTEKTS A C KI JO WLE DGEME MT S ............................................... -
Andrián Pertout
Andrián Pertout Three Microtonal Compositions: The Utilization of Tuning Systems in Modern Composition Volume 1 Submitted in partial fulfilment of the requirements of the degree of Doctor of Philosophy Produced on acid-free paper Faculty of Music The University of Melbourne March, 2007 Abstract Three Microtonal Compositions: The Utilization of Tuning Systems in Modern Composition encompasses the work undertaken by Lou Harrison (widely regarded as one of America’s most influential and original composers) with regards to just intonation, and tuning and scale systems from around the globe – also taking into account the influential work of Alain Daniélou (Introduction to the Study of Musical Scales), Harry Partch (Genesis of a Music), and Ben Johnston (Scalar Order as a Compositional Resource). The essence of the project being to reveal the compositional applications of a selection of Persian, Indonesian, and Japanese musical scales utilized in three very distinct systems: theory versus performance practice and the ‘Scale of Fifths’, or cyclic division of the octave; the equally-tempered division of the octave; and the ‘Scale of Proportions’, or harmonic division of the octave championed by Harrison, among others – outlining their theoretical and aesthetic rationale, as well as their historical foundations. The project begins with the creation of three new microtonal works tailored to address some of the compositional issues of each system, and ending with an articulated exposition; obtained via the investigation of written sources, disclosure -
Boston Symphony Orchestra Concert Programs, Season 128, 2008-2009
2008-2009 SEASON i**f Bernard Haitink Conducto M& Seiji Ozawa Music Director Laureate . the Clarendon BACK BAY The Way to Live D nyi m H ' • utt. win j m: in* i ! || |Ifi| »!i»U IB, p !i« on IIP !CfU ' !' r,-—1_ x, 1IINHI Hi !! li ' !! : Ill HI. IHI mil : Il; U J 'I K • ? I! ,1 m nil ; t i :: ^ - INTRODUCING FIVE STAR LIVING™ WITH UNPRECEDENTED SERVICES AND AMENITIES DESIGNED BY ROBERT A.M. STERN ARCHITECTS, LLP ONE TO FOUR BEDROOM LUXURY CONDOMINIUM RESIDENCES STARTING ON THE 15TH FLOOF CORNER OF CLARENDON AND STUART STREETS THE CLARENDON SALES AND DESIGN GALLERY, 14 NEWBURY STREET, BOSTON, MA 617.267.4001 www.theclarendonbackbay.com BRELATED DC/\Lcompai REGISTERED WITH THE U.S. GREEN BUILDING COUN( ANTICIPATED LEED SILVER CERTIFICATION fg> The artist's rendering shown may not be representative of the building. The features described and depicted herein are based upon current development plans, v, No S subject to change without notice. No guarantee is made that said features will be built, or. if built, will be of the same type, size, or nature as depicted or described. prohit agency has judged the merits or value, if any, of this property. This is not an offer where registration is reguired prior to any offer being made. Void where Table of Contents | Week 19 15 BSO NEWS 21 ON DISPLAY IN SYMPHONY HALL 23 BSO MUSIC DIRECTOR JAMES LEVINE 26 THE BOSTON SYMPHONY ORCHESTRA 29 A BRIEF HISTORY OF SYMPHONY HALL 33 A "MULTIPLICITY OF MUSICS": THE PREMIERE OF CHARLES IVES'S SYMPHONY NO. -
A Study of Microtones in Pop Music
University of Huddersfield Repository Chadwin, Daniel James Applying microtonality to pop songwriting: A study of microtones in pop music Original Citation Chadwin, Daniel James (2019) Applying microtonality to pop songwriting: A study of microtones in pop music. Masters thesis, University of Huddersfield. This version is available at http://eprints.hud.ac.uk/id/eprint/34977/ The University Repository is a digital collection of the research output of the University, available on Open Access. Copyright and Moral Rights for the items on this site are retained by the individual author and/or other copyright owners. Users may access full items free of charge; copies of full text items generally can be reproduced, displayed or performed and given to third parties in any format or medium for personal research or study, educational or not-for-profit purposes without prior permission or charge, provided: • The authors, title and full bibliographic details is credited in any copy; • A hyperlink and/or URL is included for the original metadata page; and • The content is not changed in any way. For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. http://eprints.hud.ac.uk/ Applying microtonality to pop songwriting A study of microtones in pop music Daniel James Chadwin Student number: 1568815 A thesis submitted to the University of Huddersfield in partial fulfilment of the requirements for the degree of Master of Arts University of Huddersfield May 2019 1 Abstract While temperament and expanded tunings have not been widely adopted by pop and rock musicians historically speaking, there has recently been an increased interest in microtones from modern artists and in online discussion. -
Explorations of Equal-Tempered Microtonality / Ivan Wyschnegradsky, Manual of Quarter-Tone Harmony, Edited by Noah Kaplan and Tr
Document generated on 09/27/2021 5:49 p.m. Circuit Musiques contemporaines Explorations of Equal-Tempered Microtonality Ivan Wyschnegradsky, Manual of Quarter-Tone Harmony, Edited by Noah Kaplan and translated by Rosalie Kaplan, Brooklyn, Underwolf, 2017. 28 pages with online audio supplement Julia Werntz, Steps to the Sea: Ear Training and Composing in a Minute Equal Temperament, Frog Peak Music, 2014. 47 pages with online audio supplement Robert Hasegawa Les voies de la pansonorité : la musique microtonale d’hier à aujourd’hui Volume 29, Number 2, 2019 URI: https://id.erudit.org/iderudit/1062570ar DOI: https://doi.org/10.7202/1062570ar See table of contents Publisher(s) Circuit, musiques contemporaines ISSN 1183-1693 (print) 1488-9692 (digital) Explore this journal Cite this review Hasegawa, R. (2019). Review of [Explorations of Equal-Tempered Microtonality / Ivan Wyschnegradsky, Manual of Quarter-Tone Harmony, Edited by Noah Kaplan and translated by Rosalie Kaplan, Brooklyn, Underwolf, 2017. 28 pages with online audio supplement / Julia Werntz, Steps to the Sea: Ear Training and Composing in a Minute Equal Temperament, Frog Peak Music, 2014. 47 pages with online audio supplement]. Circuit, 29(2), 99–102. https://doi.org/10.7202/1062570ar Tous droits réservés © Circuit, musiques contemporaines, 2019 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. -
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. -
1-5 Frontespizio
UNIVERSITÀ DEGLI STUDI DI NAPOLI “L’ORIENTALE” CENTRO DI STUDI EBRAICI ARCHIVIO DI STUDI EBRAICI III\5 ALOMA BARDI ESOTISMI MUSICALI DEL DIBBUK ISPIRAZIONI DA UN SOGGETTO DEL FOLCLORE EBRAICO UniorPress AdSE III\5 ARCHIVIO DI STUDI EBRAICI DIRETTO DA GIANCARLO LACERENZA REDAZIONE: DIANA JOYCE DE FALCO, DOROTA HARTMAN CENTRO DI STUDI EBRAICI DIPARTIMENTO ASIA, AFRICA E MEDITERRANEO UNIVERSITÀ DEGLI STUDI DI NAPOLI “L’ORIENTALE” PIAZZA S. DOMENICO MAGGIORE 12, 80134 NAPOLI TEL.+39 0816909675 - FAX.+39 0815517852 E-MAIL: [email protected] In copertina: Solomon Epstein, The Dybbuk: An Opera in Yiddish in Three Acts. Atto III, Scena 7 (Finale dell’opera): la sposa velata; trasfigurazione e morte di Leah. Il soprano Camilla Griehsel nella parte di Leah; regia Rachel Michaeli. Suzanne Dellal Centre for Dance and Theatre, Tel Aviv, 2 maggio 1999. Used by permission. © Rachel Michaeli, [email protected] ISBN 978-88-6719-056-0 Prodotto da IL TORCOLIERE – Officine Grafico-Editoriali di Ateneo © Università degli Studi di Napoli “L’Orientale” 2014 Edizione digitale UniorPress - 2020 UNIVERSITÀ DEGLI STUDI DI NAPOLI “L’ORIENTALE” CENTRO DI STUDI EBRAICI ARCHIVIO DI STUDI EBRAICI III\5 ALOMA BARDI ESOTISMI MUSICALI DEL DIBBUK ISPIRAZIONI DA UN SOGGETTO DEL FOLCLORE EBRAICO Napoli 2014 A Gabriele Boccaccini con gratitudine per quello che mi ha insegnato sull’ebraismo e ancor di più per il suo esempio di studioso AB SOMMARIO PREFAZIONE Il dramma Der Dybuk di S. An-Ski e la musica 11 I. RICERCA ETNOGRAFICA E ORIGINI DELL’INTERESSE MUSICALE 15 An-Ski e la musica del Dibbuk 17 Le musiche di scena di Yoel Engel 22 Le trascrizioni di A.Z. -
Pitch Cd Cover Designs
CLASSIC P-200210 Nicolo Vicentino Musica prisca caput Giuseppe Tartini Devil’s Tril in G Minorl Johannes Brahms Trio in Eb Major Ludwig van Beethoven Trio in B Major Béla Bartok Presto Andreas Werckmeister Preludium und Fuga in G Major Johann Sebastian Bach A Musical Offering Douglas Frank Chorale Joshua Pierce, piano Gilad Harel, clarinet James Ferree, natural horn Johnny Reinhard, bassoon Dan Auerbach, violin Julianne Klopotic, violin Daniel Barrett, cello American Festival of Microtonal Music, Inc. © 2004 All Rights Reserved. Unauthorized duplication is a violation of applicable laws. www.afmm.org WORLD P-200211 Reza Derakhshani Chargah-Shur Cameron Hitami, kemanche Hearn Gadbois, percussion Theodosii Spassov Kaval Fryd Ensemble Brureslag Frå jerkreim & Jeg Ser Deg, O Guds Lam, Å Stå Frank J. Oteri Just Salsa Mark Rankin Will the Circle Be Unbroken? Svjetlana Bukvich-Nichols Before & After the Tekke Ana Milosavljevic, violin American Festival of Microtonal Music, Inc. © 2004 All Rights Reserved. Unauthorized duplication is a violation of applicable laws. www.afmm.org IDEAS P-200212 Charles Ives Unanswered Question Paolo Bellomia, conductor Julian Carrillo I Think of You Meredith Borden, soprano Johnny Reinhard, conductor Harry Partch Ulysseus Departs From the Edge of the Earth Johnny Reinhard, conductor Lou Harrison Simfony in Free Style Nathan Fuhr, conductor David Beardsley Sonic Bloom Percy Grainger Free Music Gloria Coates Lunar Loops Ruth Fischer & Stephen Steins, guitars Georgy Rimsky-Korsakov Prelude John Cage In the Name of -
Music Inspired by Astronomy, Organized by Topic an Annotated Listing by Andrew Fraknoi
Music Inspired by Astronomy, Organized by Topic An Annotated Listing by Andrew Fraknoi © copyright 2019 by Andrew Fraknoi. All rights reserved. Used with permission. Borresen: At Uranienborg Cage: Atlas Eclipticalis Glass: Orion Connections between astronomy and music have been proposed since the time of the ancient Greeks. This annotated listing of both classical and popular music inspired by astronomy restricts itself to music that has connections to real science -- not just an astronomical term or two in the title or lyrics. For example, we do not list Gustav Holst’s popular symphonic suite The Planets, because it draws its inspiration from the astrological, and not astronomical, characteristics of the worlds in the solar system. Similarly, songs like Soundgarden’s “Black Hole Sun” or the Beatles’ “Across the Universe” just don’t contain enough serious astronomy to make it into our guide. When possible, we give links to a CD and a YouTube recording or explanation for each piece. The music is arranged in categories by astronomical topic, from asteroids to Venus. Additions to this list are most welcome (as long as they follow the above guidelines); please send them to the author at: fraknoi {at} fhda {dot} edu Table of Contents Asteroids Meteors and Meteorites Astronomers Moon Astronomy in General Nebulae Black Holes Physics Related to Astronomy Calendar, Time, Seasons Planets (in General) Comets Pluto Constellations Saturn Cosmology SETI (Search for Intelligent Life Out There) Earth Sky Phenomena Eclipses Space Travel Einstein Star Clusters Exoplanets Stars and Stellar Evolution Galaxies and Quasars Sun History of Astronomy Telescopes and Observatories Jupiter Venus Mars 1 Asteroids Coates, Gloria Among the Asteroids on At Midnight (on Tzadik). -
Chapter 29: National Monuments I. Introduction A. Modernism Existed
Chapter 29: National Monuments I. Introduction A. Modernism existed in places other than Austro-Germany or France. B. After the defeat of Germany in 1918, music became increasingly international in Europe and the United States. II. Outskirts of Western Europe A. Sibelius 1. Sibelius was one of the earliest of these composers to become famous internationally. 2. His life established a pattern that many subsequent composers followed: traditional music training abroad, study with Modernist composers, interest in his own national traditions, fame at home that resulted in an international reputation. 3. From Finland and speaking Swedish (because of Swedish domination of Finnish culture and politics), Sibelius studied with Busoni in Helsinki. 4. He then studied in Berlin and Vienna. 5. Wagner was an early influence, later Strauss and Debussy. 6. Sibelius’ native interest followed similar strains in music by Tchaikovsky and Grieg. 7. He used Finnish native literature, such as epic poetry (see his Kalevala), in his music. 8. Sibelius’ most famous tone poem was Finlandia (1900). a. It aided in Finland’s struggle for independence from Russia. b. It became an unofficial national anthem. 9. His symphonies and Violin Concerto owe some debt to Tchaikovsky. 10. Sibelius wrote less and less as he got older, even though he became something of a national monument (his birthday is a national holiday). He came to be seen as the embodiment of “The North.” B. England 1. Since the eighteenth century, England’s musical life was dominated by imported composers. This changed in the late nineteenth century. 2. Elgar was the most prominent English composer at the turn of the century. -
Ives, Charles | Grove Music
Grove Music Online Ives, Charles (Edward ) J. Peter Burkholder, James B. Sinclair and Gayle Sherwood Magee https://doi.org/10.1093/gmo/9781561592630.article.A2252967 Published in print: 26 November 2013 Published online: 16 October 2013 Charles Ives. Lebrecht Music and Arts (b Danbury, CT, Oct 20, 1874; d New York, NY, May 19, 1954). American composer. His music is marked by an integration of American and European musical traditions, innovations in rhythm, harmony, and form, and an unparalleled ability to evoke the sounds and feelings of American life. He is regarded as the leading American composer of art music of the early 20th century. Page 1 of 92 PRINTED FROM Oxford Music Online. © Oxford University Press, 2017. All Rights Reserved. Under the terms of the licence agreement, an individual user may print out a PDF of a single article in Oxford Music Online for personal use (for details see Privacy Policy). 1. Unusual aspects of Ives’s career. Ives had an extraordinary working life. After professional training as an organist and composer, he worked in insurance for 30 years, composing in his free time. He used a wide variety of styles, from tonal Romanticism to radical experimentation, even in pieces written during the same period, and in his mature music frequently used multiple styles within a single work as a formal and expressive device. His major works often took years from first sketch to final revisions, and most pieces lay unperformed for decades. His self- publications in the early 1920s brought a small group of admirers who worked to promote his music. -
I Temperamenti L'incontro Fra Suoni Ed Esigenze Compositive
I Temperamenti L'incontro fra suoni ed esigenze compositive PDF generato attraverso il toolkit opensource ''mwlib''. Per maggiori informazioni, vedi [[http://code.pediapress.com/ http://code.pediapress.com/]]. PDF generated at: Thu, 01 Mar 2012 14:54:56 UTC Indice Voci Premessa 1 Prerequisiti 3 Intervallo 3 Semitono 6 Tono 7 Cent 8 Scala musicale 9 Scala diatonica 11 Scala cromatica 14 Circolo delle quinte 15 Dalla fisica alla musica 18 Rapporto tra musica e matematica 18 Battimenti 25 Consonanza e dissonanza 28 Temperamenti 33 Temperamento 33 Armonici naturali 39 Armonici artificiali 41 Comma 42 Scala pitagorica 43 Temperamento equabile 46 Temperamento mesotonico 50 Temperamento naturale 52 Esempi di musica di diversi temperamenti 53 Musica nell'antica Grecia 53 Il clavicembalo ben temperato 59 Musica microtonale 63 Appendice 72 Onda sonora 72 Altezza dei suoni 74 Accordatura 79 Intonazione 81 Principio di indeterminazione tonale 83 Andreas Werckmeister 84 Note Fonti e autori delle voci 86 Fonti, licenze e autori delle immagini 87 Licenze della voce Licenza 88 Premessa 1 Premessa Cos'è questo libro Questo è un libro di Wikipedia. È una raccolta di voci tratte dall'edizione italiana dell'enciclopedia online Wikipedia [1]. Le voci di Wikipedia sono scritte collettivamente e i lettori sono anche gli autori. Nessuno è stato pagato per scrivere questo libro. Come usare questo libro Quest'opera può essere liberamente utilizzata, riprodotta, modificata, distribuita per qualsiasi scopo (anche commerciale), a patto di attribuire correttamente la provenienza dei contenuti e citare gli autori, nel rispetto della licenza Creative Commons Attribuzione-Condividi allo stesso modo (CC-BY-SA) 3.0 [2] per quanto riguarda i testi.