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Piano; Trio for Violin, Horn & Piano) Eric Huebner (Piano); Yuki Numata Resnick (Violin); Adam Unsworth (Horn) New Focus Recordings, Fcr 269, 2020
Désordre (Etudes pour Piano; Trio for violin, horn & piano) Eric Huebner (piano); Yuki Numata Resnick (violin); Adam Unsworth (horn) New focus Recordings, fcr 269, 2020 Kodály & Ligeti: Cello Works Hellen Weiß (Violin); Gabriel Schwabe (Violoncello) Naxos, NX 4202, 2020 Ligeti – Concertos (Concerto for piano and orchestra, Concerto for cello and orchestra, Chamber Concerto for 13 instrumentalists, Melodien) Joonas Ahonen (piano); Christian Poltéra (violoncello); BIT20 Ensemble; Baldur Brönnimann (conductor) BIS-2209 SACD, 2016 LIGETI – Les Siècles Live : Six Bagatelles, Kammerkonzert, Dix pièces pour quintette à vent Les Siècles; François-Xavier Roth (conductor) Musicales Actes Sud, 2016 musica viva vol. 22: Ligeti · Murail · Benjamin (Lontano) Pierre-Laurent Aimard (piano); Bavarian Radio Symphony Orchestra; George Benjamin, (conductor) NEOS, 11422, 2016 Shai Wosner: Haydn · Ligeti, Concertos & Capriccios (Capriccios Nos. 1 and 2) Shai Wosner (piano); Danish National Symphony Orchestra; Nicolas Collon (conductor) Onyx Classics, ONYX4174, 2016 Bartók | Ligeti, Concerto for piano and orchestra, Concerto for cello and orchestra, Concerto for violin and orchestra Hidéki Nagano (piano); Pierre Strauch (violoncello); Jeanne-Marie Conquer (violin); Ensemble intercontemporain; Matthias Pintscher (conductor) Alpha, 217, 2015 Chorwerk (Négy Lakodalmi Tánc; Nonsense Madrigals; Lux æterna) Noël Akchoté (electric guitar) Noël Akchoté Downloads, GLC-2, 2015 Rameau | Ligeti (Musica Ricercata) Cathy Krier (piano) Avi-Music – 8553308, 2014 Zürcher Bläserquintett: -
Oscar Pablo Di Liscia (1955): Un Compositor Argentino Contemporáneo
FACULTAD DE FILOSOFÍA Y LETRAS DEPARTAMENTO DE DIDÁCTICA DE LA EXPRESIÓN MUSICAL, PLÁSTICA Y CORPORAL SECCIÓN DE MÚSICA TESIS DOCTORAL Oscar Pablo Di Liscia (1955): un compositor argentino contemporáneo Aportaciones biográficas, entrevistas cualitativas, catalogación de obras y aproximaciones analíticas (1955-2013) Presentada por Juan Manuel Abras Contel Para optar al grado de doctor por la Universidad de Valladolid Dirigida por Prof. Dra. Victoria Cavia Naya 2016 Oscar Pablo Di Liscia (1955): un compositor argentino contemporáneo Aportaciones biográficas, entrevistas cualitativas, catalogación de obras y aproximaciones analíticas (1955-2013) A mi madre, María Amalia: la persona a quien todo debo y única razón de mi vida Agradecimientos Deo gratias et Mariae. Sea público y manifiesto mi renovado agradecimiento a Victoria Cavia Naya, Enrique Cámara de Landa, María Antonia Virgili Blanquet, Juan P. Arregui y Oscar Pablo Di Liscia. VII Índice de ilustraciones Ilustración 1. Relaciones funcionales entre tesis, fuentes y niveles. ............................. 27 Ilustración 2. Primera entrevista. Nube de palabras. ................................................ 251 Ilustración 3. Segunda entrevista. Nube de palabras. ................................................ 257 Ilustración 4. Que sean dos (espacios 1-9). Intervalos armónicos. ............................. 320 Ilustración 5. Que sean dos (espacios 1-9). Intervalos armónicos. ............................. 320 Ilustración 6. Que sean dos (espacios 1-9). Relaciones interválicas. .......................... 321 Ilustración 7. Que sean dos (espacios 1-24). Relación pitch class sets-espacios. .......... 323 Ilustración 8. Que sean dos (espacios 68-72). Pitch class sets e intervalos melódicos. 324 Ilustración 9. Que sean dos (espacios 68-72). Intervalos armónicos. .......................... 324 Ilustración 10. Que sean dos (espacios 68-72). Relaciones interválicas. ..................... 325 Ilustración 11. Que sean dos (espacios 68-72). Pitch class sets. -
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. -
In I Nuet Via Darmstadt
In i nuet via Darmstadt Fylkingen, Stockhausen och 50-talet Håkan Salomonsson C-uppsats 2006 Institutionen för musikvetenskap Uppsala universitet In i nuet via Darmstadt Fylkingen, Stockhausen och 50-talet Håkan Salomonsson Institutionen för Musikvetenskap Uppsala Universitet C-uppsats vt 2006 Handledare: Lars Berglund Abstract Håkan Salomonsson: In i nuet via Darmstadt – Fylkingen, Stockhausen och 50-talet. Uppsala Universitet: Institutionen för musikvetenskap, C-uppsats 2006. During the 1950s, Swedens musical avantgarde was mainly lead by the concert organisation Fylkingen. Some of the leading members used to belong to the Mondaygroup in the 1940s and brought a will to update and modernise Swedish music with them into Fylkingen. This resulted in a radical change in the concert programs of Fylkingen and a development that lead to the introduction of the music of Karlheinz Stockhausen in Sweden. The summercourses in Darmstadt became very important to Fylkingen, especially through Bengt Hambraeus’ close relationship with the European avantgarde. The aim of this essay is to discuss what kind of influence, if any, Karlheinz Stockhausen had on the Swedish music. If Stockhausen influenced the musical development in Darmstadt during the 1950s and Fylkingen was influenced by Darmstadt, one must ask: How did Stockhausen influence Swedish music? My conclusion is that Fylkingen used Stockhausen as a symbol and an argument for the European avant-garde music in their goal to convince their critics that the new music was of great importance for Sweden’s future as a part of the international musical scene. Innehållsförteckning 1 Inledning......................................................................................................... 7 1.1 Syfte och frågeställningar........................................................................................... 7 1.2 Forskningsläge .......................................................................................................... -
How the Darmstadt Internationale Ferienkurse Für Neue Musik Cultivated Solo Multiple Percussion Repertoire Through Graphic Notation and Indeterminacy
How the Darmstadt Internationale Ferienkurse Für Neue Musik Cultivated Solo Multiple Percussion Repertoire Through Graphic Notation and Indeterminacy Item Type text; Electronic Dissertation Authors Cross, Kevin Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 29/09/2021 06:38:05 Link to Item http://hdl.handle.net/10150/625858 HOW THE DARMSTADT INTERNATIONALE FERIENKURSE FÜR NEUE MUSIK CULTIVATED SOLO MULTIPLE PERCUSSION REPERTOIRE THROUGH GRAPHIC NOTATION AND INDETERMINACY by Kevin Cross __________________________ Copyright © Kevin Cross 2017 A Document Submitted to the Faculty of the FRED FOX SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS WITH A MAJOR IN PERCUSSION PERFORMANCE In the Graduate College THE UNIVERSITY OF ARIZONA 2017 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Document Committee, we certify that we have read the document prepared by Kevin Cross, titled “How the Darmstadt Internationale Ferienkurse für Neue Musik Cultivated Solo Multiple Percussion Repertoire through Graphic Notation and Indeterminacy” and recommend that it be accepted as fulfilling the document requirement for the Degree of Doctor of Musical Arts. _______________________________________________________________________ Date: Dr. Norman Weinberg _______________________________________________________________________ Date: Professor Edward Reid _______________________________________________________________________ Date: Dr. John Milbauer Final approval and acceptance of this document is contingent upon the candidate’s submission of the final copies of the document to the Graduate College. -
David Tudor Papers, 1800-1998, Bulk 1940-1996
http://oac.cdlib.org/findaid/ark:/13030/tf2j49n5h3 Online items available Finding aid for the David Tudor papers, 1800-1998, bulk 1940-1996 Lynda Bunting and Mary K Woods Finding aid for the David Tudor 980039 1 papers, 1800-1998, bulk 1940-1996 Descriptive Summary Title: David Tudor papers Date (inclusive): 1800-1998, bulk 1940-1996 Number: 980039 Creator/Collector: Tudor, David, 1926-1996 Physical Description: 177.5 Linear Feet Repository: The Getty Research Institute Special Collections 1200 Getty Center Drive, Suite 1100 Los Angeles 90049-1688 [email protected] URL: http://hdl.handle.net/10020/askref (310) 440-7390 Abstract: Papers of the avant-garde pianist and electronic music composer, David Tudor, comprehensively document his participation in post-World War II experimental music. Scores by other composers, notably John Cage, Earle Brown, Morton Feldman, Christian Wolff, Sylvano Bussotti, and Karlheinz Stockhausen, Tudor's realizations of their scores, and his own electronic compositional materials form the bulk of the collection. Archive includes correspondence, financial papers, programs and announcements, specifications and documentation for electronic equipment, and audio and video recordings. Request Materials: Request access to the physical materials described in this inventory through the catalog record for this collection. Click here for the access policy . Language: Collection material is in English Biographical/Historical Note Born in Philadelphia, Pa. in 1926, David Tudor studied composition and analysis with Stefan Wolpe, organ and theory with H. William Hawke, and piano with Irma Wolpe Rademacher. He began his professional work at 17 as an organist, and in 1950 established himself as a formidable talent in avant-garde music when he gave the American premiere of the Second Piano Sonata by Pierre Boulez. -
Hugh Davies's Electronic Music Documentation 1961–1968
This is a repository copy of Hugh Davies’s Electronic Music Documentation 1961–1968. White Rose Research Online URL for this paper: http://eprints.whiterose.ac.uk/80587/ Version: Accepted Version Article: Mooney, JR orcid.org/0000-0002-7925-9634 (2015) Hugh Davies’s Electronic Music Documentation 1961–1968. Organised Sound, 20 (1). pp. 111-121. ISSN 1355-7718 https://doi.org/10.1017/S1355771814000521 Reuse Items deposited in White Rose Research Online are protected by copyright, with all rights reserved unless indicated otherwise. They may be downloaded and/or printed for private study, or other acts as permitted by national copyright laws. The publisher or other rights holders may allow further reproduction and re-use of the full text version. This is indicated by the licence information on the White Rose Research Online record for the item. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ Hugh Davies’s Electronic Music Documentation 1961–8 Dr James Mooney [email protected] School of Music, University of Leeds, Woodhouse Lane, Leeds, West Yorkshire, LS2 9JT, UK – Abstract This paper provides an account and interpretation of Hugh and documentation from the period 1961 1968. It is argued that Davies, particularly via his International Electronic Music Catalog (published 1968), characterisedDavies’s electronic electronic music music research for the first time as a truly international, interdisciplinary– praxis, whereas in the preceding literature the full extent of that international, interdisciplinary scope had been represented only partially, Western European and North American schools. -
Front Matter
Cambridge University Press 978-1-107-03329-0 - New Music at Darmstadt: Nono, Stockhausen, Cage, and Boulez Martin Iddon Frontmatter More information New Music at Darmstadt New Music at Darmstadt explores the rise and fall of the so-called ‘Darmstadt School’, through a wealth of primary sources and analytical commentary. Martin Iddon’s book examines the creation of the Darmstadt New Music Courses and the slow development and subsequent collapse of the idea of the Darmstadt School, showing how participants in the West German new music scene, including Herbert Eimert and a range of journalistic commentators, created an image of a coherent entity, despite the very diverse range of compositional practices on display at the courses. The book also explores the collapse of the seeming collegiality of the Darmstadt composers, which crystallised around the arrival there in 1958 of the most famous, and notorious, of all post-war composers, John Cage, an event that, Carl Dahlhaus opined, ‘swept across the European avant-garde like a natural disaster’. MARTIN IDDON is Associate Professor of Music at the University of Leeds. He previously lectured at University College Cork and Lancaster University, and studied composition and musicology at the universities of Durham and Cambridge. His musicological research largely focusses on post-war music in Germany and the United States of America, and has been published in numerous leading journals, including Musical Quarterly, twentieth-century music,andContemporary Music Review.His music has been performed in Europe, North America, and Australasia, and has been featured on BBC Radio 3, Radio New Zealand, and the Österreichischer Rundfunk. -
An Interview with Earle Brown Amy C
This article was downloaded by: [University of California, Santa Cruz] On: 22 November 2010 Access details: Access Details: [subscription number 923037288] Publisher Routledge Informa Ltd Registered in England and Wales Registered Number: 1072954 Registered office: Mortimer House, 37- 41 Mortimer Street, London W1T 3JH, UK Contemporary Music Review Publication details, including instructions for authors and subscription information: http://www.informaworld.com/smpp/title~content=t713455393 An Interview with Earle Brown Amy C. Beal To cite this Article Beal, Amy C.(2007) 'An Interview with Earle Brown', Contemporary Music Review, 26: 3, 341 — 356 To link to this Article: DOI: 10.1080/07494460701414223 URL: http://dx.doi.org/10.1080/07494460701414223 PLEASE SCROLL DOWN FOR ARTICLE Full terms and conditions of use: http://www.informaworld.com/terms-and-conditions-of-access.pdf This article may be used for research, teaching and private study purposes. Any substantial or systematic reproduction, re-distribution, re-selling, loan or sub-licensing, systematic supply or distribution in any form to anyone is expressly forbidden. The publisher does not give any warranty express or implied or make any representation that the contents will be complete or accurate or up to date. The accuracy of any instructions, formulae and drug doses should be independently verified with primary sources. The publisher shall not be liable for any loss, actions, claims, proceedings, demand or costs or damages whatsoever or howsoever caused arising directly or indirectly in connection with or arising out of the use of this material. Contemporary Music Review Vol. 26, Nos. 3/4, June/August 2007, pp. 341 – 356 An Interview with Earle Brown Amy C. -
Liner Notes From
for example, he used such curiosities as the sarrusaphone, the theory of musical perception under Otto E. Laske at the heckelphone, and the "tLrogat6" (a Hungarian folk double- Institute for Sonology. Here he became acquainted with the reed instrument), not to mention clarinets and trombones in inner life of sonorities and found his own footing as a com- obsolete kevs. poser. In 1973 he studied comparative musicology at the Even though his works are more or less fully composed Jaap Kunst Centre for Ethnomusicology in Amsterdam, and notated they retain a quasi-improvisatory character. In playing in the gamelan orchestra. His first commissioned his choise of instrumental attacks and scoring he has taken a piece - "Akkordarbeit" (Piece-Work) for piano, orchestra few cues from free jazz, with which he shares a fondness for and three loudspeaker channels - was performed in Hanno- spontaneity. Like John Cage, Hespos is an advocate of the ver in 1971. This work, based on the "Grand Paganini Etu- uniqueness and irreproducibility of music: he shuns consoli- de" by Franz Liszt, is a demonstration of the basic compo- dation and ossification in any form, upholding the principles nents of labour, and involves people giving orders, others of evolution, variation and flux. Yet his works do not seem carrying them out, and still others monitoring the results. to reveal any changes in him as a composer: as far as their The composition "einer ist keiner" (one is none) for seven compositional techniques are concerned they are interchange- instruments (1972) is an attempt to translate human rela- able. Compared to his preceding oeuvre, each new work tions as accurately as possible into music on the basis of owes its character solely to its instrumentation, the indivi- "81 phases in the evolution of personality". -
Hugh Davies's Electronic Music Documentation 1961–8 James
Proceedings of the Electroacoustic Music Studies Network Conference Electroacoustic Music Beyond Concert Performance, Berlin, June 2014 www.ems-network.org Hugh Davies’s Electronic Music Documentation 1961–8 James Mooney School of Music, University of Leeds, UK [email protected] Abstract I will provide an account of certain key aspects of Hugh Davies’s electronic music research and documentation in the 1960s. By presenting evidence from a range of Davies’s published (see ‘selective bibliography’) and unpublished writings I aim to show how Davies sought to document the development of the electronic music phenomenon up to 1967. In his writings from this period, Davies commented upon the fragmented nature of the electronic idiom, as evidenced—for example—in multiple parallel nomenclatures (elektronische Musik, musique concrète, Cage’s ‘Music for Tape-Recorder’ group, Varèse’s ‘organised sound,’etc.). ‘This proliferation of different names for what is basically the same kind of music,’ he wrote in 1963, ‘shows that a considerable number of composers in different countries are all trying to find a workable idiom.’ (Davies 1963b) I aim to provide an account of some of the ways that Davies described the idiom’s maturation as an international, interdisciplinary praxis, conveying – perhaps for the first time – a sense of the various international, aesthetic, and disciplinary threads coalescing into an apparently coherent whole, a process driven by the exchange of ideas across international and disciplinary boundaries. Even in his earliest unpublished writings on the subject (dating from 1961), Davies drew attention to the presence of ‘a large group of international composers’ at the WDR studio in Cologne, and also indicated the existence of studios in various different countries throughout the world. -
On the Threshold of Beauty Philips and the Origins Of
Kees Tazelaar On the Threshold of Beauty Philips and the Origins of Electronic Music in the Netherlands 1925–1965 revised PDF edition, 2020 Dedicated to Dick Raaijmakers and Gottfried Michael Koenig Contents Foreword by Daniel Teruggi 7 Introduction 9 Part I Electroacoustics and Electronic Music at Philips Research Laboratories 1 Developments in Electroacoustics at Philips before 1945 17 Philips Research Laboratories · 17 Radios and Loudspeaker Development · 18 Film Sound: The Loetafoon and the Film “Philips Radio” · 22 The Philips-Miller Recording System · 26 Stereophonic Sound · 28 Synthetic Sound · 33 The Philiolist Loudspeaker Violins · 36 2 After World War II: Towards Electronic Music 38 “Canned Music” and a Music Laboratory · 38 Collaboration with Leopold Stokowski · 40 Leopold Stokowski and Roelof Vermeulen at the Concertgebouw · 45 Multiplication of Concerts · 50 Ambiophonics and Reverberation · 53 The Gravesano Music and Electroacoustics Conference · 59 Electronic Musical Instruments for the Fair of Science · 62 3 The Studio at Philips Research Laboratories 64 Henk Badings and the Nederlandse Radio Unie · 64 Henk Badings’ “Kaïn en Abel” and the Studio Equipment in Room 306 · 66 “Variations électroniques” and Philips’ Commercial Animation Films · 72 The Electronic Popular Music of Dick Raaijmakers, aka Kid Baltan · 77 Tom Dissevelt’s “Electronic Movements” · 80 More Electronic Music by Henk Badings · 83 Ton de Leeuw’s “Antiphonie” for Wind Quintet and Electronic Sounds · 86 The Composer Dick Raaijmakers · 87 The End of the Studio