Nancarrow's "Temporal Dissonance": Issues of Tempo Proportions, Metric Synchrony, and Rhythmic Strategies
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In the Player Piano Conventional Piano
;- THE AMICA NEWS BULLETIN OF THE AUTOMATIC MUSICAL INSTRUMENT COLLECTORS' ASSOCIATION NOVEMBER 1978 VOLUME 15 NUMBER 9 INTERNATlONAL OFFICERS CHAPTER OFFICERS PRESIDENT Bob Rosencrans 36 Hampden Rd. NO. CALIFORNIA Upper Darby, PA 19082 Pres.: Howard Koff Vice Pres: Phil McCoy VICE PRESIDENT Sec. David Fryman Bill Eicher Treas.: Bob Wilcox 465 Winding Way Reporter: Stuart Hunter Dayton, OH 45429 SO. CALIFORNIA Pres.: Francis Cherney SECRETARY Vice Pres.: Mary Lilien Jim Weisenborne Sec.: Greg Behnke AMICA MEMBERSHIP RATES: 73 Nevada St. Treas.: Roy Shelso Rochester, MI 48063 Reporter: Bill Toeppe Continuing Members: $1 S Dues TEXAS New Members, add $S processing fee PUBLISHER Pres.: Haden Vandiver Tom Beckett Vice Pres.: Bill Flynt Lapsed Members, add $3 processing fee 681 7 CI iffbrook SeclTreas.: Charlie Johnson Dallas, TX 75240 Reporter: Dick Barnes MIDWEST MEMBERSHIP SECRETARY Pres.: Bennet Leedy (New memberships and Vice Pres .. Jim Prendergast mailing problems) Sec.: Jim Weisenborne THE AMICA NEWS BULLETIN Charlie W Johnson Treas.: Alvin Wulfekuhl PO. Box 38623 Reporter: Molly Yeckley Dallas, Texas 75238 PHILADELPHIA AREA TREASURER Pres.: Mike Naddeo Published by the Automatic Musical Instrument Collectors' Jack & Mary Riffle Vice Pres. John Berry Association, a non-profit club devoted to the restoration, distribu 5050 Eastside Calpella Rd. Sec. Dick Price tion and enjoyment of musical instruments using perforated paper Ukiah, CA 95482 Treas: Claire Lambert music rolls. Reporter: Allen Ford Contributions: All subjects of interest to readers of the bulletin BOARD REPRESENTATIVES SOWNY (So. Ontario, West NY) are encouraged and invited by the publisher. All articles must be N. Cal. Frank Loob Pres.: Chuck Hannen received by the 10th of the preceding month. -
City Research Online
City Research Online City, University of London Institutional Repository Citation: Pace, I. (2017). Michael Finnissy - The Piano Music (10 and 11) - Brochure from Conference 'Bright Futures, Dark Pasts'. This is the other 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/17523/ 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] BRIGHT FUTURES, DARK PASTS Michael Finnissy at 70 Conference at City, University of London January 19th-20th 2017 Bright Futures, Dark Pasts Michael Finnissy at 70 After over twenty-five years sustained engagement with the music of Michael Finnissy, it is my great pleasure finally to be able to convene a conference on his work. This event should help to stimulate active dialogue between composers, performers and musicologists with an interest in Finnissy’s work, all from distinct perspectives. It is almost twenty years since the publication of Uncommon Ground: The Music of Michael Finnissy (Aldershot: Ashgate, 1998). -
Kyle Gann, the Music of Conlon Nancarrow, the Music
Preface My first thanks must go to Stuart Smith, who got me started on this project and spent tremendous unrecompensed time reading and ofFering suggestions. 1 I profusely thank H. Wiley Hitchcock for his help, advice, and encouragement in this project as in so many other?. Trimpin became my comrade in Nancarrow scholarship, giving me pages and pages of helpful computerized charts over steins The music: general considerations German beer. Peter Garland, Sylvia Srmth, and Don Gillespie provided me with scores, James Tenney with the unpublished works and some helpful analytical advice. Charles Amirkhanian smoothed my way to a composer reputed to be difficult to approach. Eva Soltes, Helen Zimbler, WiUiam Duckworth, and Carlos Sandoval contributed valuable information. Doug Simmons provided expert editing advice. Penny Souster made the book possible. My wife Nancy Cook, Compared to the musical traditions of Africa, India, and Indonesia, European who became a “Nancarrow widow” the way some women become football wid classical music has always been rhythmically limited. As sOon as American com ows, accepted my idee fixe witfc humor and love. Yoko Seguira, Mrs Nancarrow, posers broke away firom Europe following World War I, they made an aggressive was a warm, funny, and helpful informant, and a gracious hostess. And Charles attempt to remedy this deficiency. They found themselves thwarted, however, Nancarrow, since departed, treated me to a defightful evening of reminiscence. first by the difficulty of notating extreme rhythmic complexity,-then by the greater Most of all I thank C)onlon Nancarrow for cooperating in every possible obstacle of getting performers to execute their rhythms acfcurately. -
Festival of New Music
Feb rua ry 29 ESTIVA , F L O 20 F 12 , t N h e E L A W B M U S I C M A R C H Je 1 w i - sh 2 C -3 om , 2 mu 0 ni 12 ty Cen ter o f San Francisco 1 MUSICAL ADVENTURE CHARLESTON,TOUR SC MAY 31 - JUNE 4, 2012 PHILIP GLASS JOHN CAGE SPOLETO GUO WENJING Experience the Spoleto USA Festival with Other Minds in a musical adventure tour from May 31-June 4 in Charleston, SC. Attend in prime seating American premiere performances of two operas, Feng Yi Ting by Guo OTHER MINDS Wenjing and Kepler by Philip Glass, and a concert Orchestra Uncaged, featur- ing Radiohead’s Jonny Greenwood and a US premiere of John Cage’s orches- tral trilogy, Twenty-Six, Twenty-Eight, and Twenty-Nine. The tour also includes: artist talks with Other Minds Artistic Director Charles Amirkhanian, Spoleto Festival USA conductor John Kennedy, & Festival Director Nigel Redden special appearance of Philip Glass discussing his work exclusive receptions at the festival day tours to Fort Sumter and an historic local plantation Tour partiticpants will stay in luxurious time to explore charming neighborhood homes & shopping boutiques accommodations at the Renaissance throughout Charleston Hotel in the heart of downtown Charleston, within walking distance to shops and JUNE 1 JUNE 3 restaurants. FENG YI TING ORCHESTRA UNCAGED American premiere John Kennedy, conductor CHARLESTON, SC Composed by Guo Wenjing Spoleto Festival USA Orchestra Directed by Atom Egoyan The Spoleto Festival USA Orchestra, led An empire at stake; two powerful men in by Resident Conductor John Kennedy, love with the same exquisite, inscrutable presents a special program of music of woman; and a plot that will change the our time. -
An Original Composition for Mixed Ensemble and Rhythm, Tempo and Time in Elliott Carter‘S Figment and Shard
ABSTRACT SPECULATIVE SPECULATIONS: AN ORIGINAL COMPOSITION FOR MIXED ENSEMBLE AND RHYTHM, TEMPO AND TIME IN ELLIOTT CARTER‘S FIGMENT AND SHARD. by Christian J. Loebs July, 2010 Director: Edward Jacobs SCHOOL OF MUSIC This thesis is composed of two parts. The first part is an original composition Speculative Speculations for flute, clarinet, piano, percussion, violin, viola and cello and was premiered November 14, 2009 at the A. J. Fletcher Recital Hall, East Carolina University. The second part is an analysis of Elliott Carter‘s use of rhythm, tempo and time in two pieces, Figment for solo cello and Shard for solo guitar. These pieces are microcosms Carter‘s style found in his larger scale works. SPECULATIVE SPECULATIONS: AN ORIGINAL COMPOSITION FOR MIXED ENSEMBLE AND RHYTHM, TEMPO AND TIME IN ELLIOTT CARTER‘S FIGMENT AND SHARD. A Thesis Presented To The Faculty of the School of Music East Carolina University In Partial Fulfillment of the Requirements for the Degree Master of Music Theory/Composition by Christian J. Loebs July, 2010 ©Copyright 2010 Christian J. Loebs SPECULATIVE SPECULATIONS: AN ORIGINAL COMPOSITION FOR MIXED ENSEMBLE AND RHYTHM TEMPO AND TIME IN ELLIOTT CARTER‘S FIGMENT AND SHARD. by Christian J. Loebs APPROVED BY: DIRECTOR OF THESIS:__________________________________________________ Edward Jacobs, DMA COMMITTEE MEMBER:__________________________________________________ Elliot Frank, DM COMMITTEE MEMBER:__________________________________________________ Marc Faris, PhD COMMITTEE MEMBERAND CHAIR OF THE DEPARTMENT OF THEORY, COMPOSTION AND MUSICOLOGY: ________________________________________________ Thomas Huener, PhD DEAN OF THE GRADUATE SCHOOL: ________________________________________________ Paul J. Gemperline, PhD This thesis is dedicated to my parents David and Susan Loebs. Thank you for everything you taught me and for encouraging me to follow my dreams. -
The Denman Maroney Quintet
Contact: Glenn Siegel, Ken Irwin, (413) 545-2876 www.fineartscenter.com/magictriangle THE 2013 MAGIC TRIANGLE JAZZ SERIES PRESENTS: THE DENMAN MARONEY QUINTET The Magic Triangle Jazz Series, produced by WMUA-91.1FM and the Fine Arts Center at the University of Massachusetts, Amherst, concludes its 24th season on Thursday, April 25, at Bezanson Recital Hall, at 8:00pm with a performance by the Denman Maroney Quintet. Maroney will be joined by Ned Rothenberg, reeds, Dave Ballou, trumpet, Reuben Radding, bass and Michael Sarin, drums. "There are few minds as agile and inquiring as that of pianist, composer and educator Denman Maroney,” writes Mark Medwin. “Over nearly 40 years, he has managed to rethink the piano’s vocabulary, creating a readily identifiable language on the instrument. He calls his contribution ‘hyperpiano’, a method of playing inside the piano that is characterized by a dizzying and diverse pallet of sonorities that make the instrument into an orchestra. He has also developed an equally unique compositional language. Yet, there is a directness, at times almost a simplicity, in his music." The music of Denman Maroney is inspired by natural sounds and the music of John Cage, Ornette Coleman, Henry Cowell, Duke Ellington, Charles Ives, Scott Joplin, Olivier Messiaen, Thelonious Monk, Conlon Nancarrow and Karlheinz Stockhausen, among others. Maroney uses a set of extended performance techniques that involves playing the keys with one hand and the strings with the other using bows and slides of metal, plastic, rubber and wood. He also uses a system of temporal harmony based on the undertone series (the reciprocal of the overtone series) to compose and improvise in multiple tempos at once. -
Ruth Crawford Seeger Beau Bothwell
American Music Review Th e H. Wiley Hitchcock Institute for Studies in American Music Conservatory of Music, Brooklyn College of the City University of New York Volume XL, Number 1 Fall 2010 Desire in Three Works by Ruth Crawford Seeger Beau Bothwell Among the most basic passions evoked by music, central to the way we conceive of the art, is desire. Relying on a tradition of tonal- ity, we are accustomed to the idea that desire plays a central role in the way music works, whether we attribute that desire anthropomor- phically to the notes themselves (e.g., “the leading tone wants to resolve”) or more ac- curately to ourselves as listeners (e.g., “I want the leading tone to resolve”). Susan McClary traces the birth of tonality itself to the need to manipulate desire, stating that “Tonality emerged as a way of arousing and channel- ing desire in early opera, although instru- mentalists quickly adopted its procedures for their own repertories.”1 In her post-tonal music, Ruth Crawford Seeger abandoned what she considered outmoded idioms of composition, but maintained the emotional resonance of music’s ability to evoke desire. Carl Sandburg and Ruth Crawford Seeger, ca. 1929 Three of her works—Diaphonic Suite no. 4 (1930), “Chinaman, Laundryman” from Two Ricercare (1932), and “White Moon” from Five Songs to Poems by Carl Sandburg (1929)—clearly demonstrate how her music engages intellectual, nostalgic, political, and erotic desire. Although we do not have a convenient, uniform vocabulary for analyzing expectation and desire in post-tonal music, its for- mal elements can still imply directionality. -
Ladders from Line to Sonority In
TEXTURAL DEPTH, STRUCTURAL DEPTH, EXPRESSIVE DEPTH: LADDERS FROM LINE TO SONORITY IN ARVO PÄRT AND HENRYK MIKOŁAJ GÓRECKI AND BURNING THE DEEP RED SEA (AN ORIGINAL COMPOSITION FOR CHAMBER ENSEMBLE) by Ivan Jimenez B.S. in Music (Composition) Pontificia Universidad Javeriana, Colombia, 2000 M.A. in Composition and Theory University of Pittsburgh, 2005 Submitted to the Graduate Faculty of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2007 UNIVERSITY OF PITTSBURGH FACULTY OF ARTS AND SCIENCES This dissertation was presented by Ivan Jimenez It was defended on April 18, 2007 and approved by Eric Moe, Ph.D., Professor of Music Mathew Rosenblum, Ph.D., Professor of Music Amy Williams, Ph.D., Assistant Professor, Department of Music Fil Hearn, Ph.D., Professor Emeritus of History of Art and Architecture Dissertation Advisor: Eric Moe, Ph.D., Professor of Music ii Copyright © by Ivan Jimenez 2007 iii Textural Depth, Structural Depth, Expressive Depth: Ladders from Line to Sonority in Arvo Pärt and Henryk Mikołaj Górecki Ivan Jimenez, PhD University of Pittsburgh, 2007 The intense emotional response that Arvo Pärt's Cantus and the canon from Henryk Mikołaj Górecki's Symphony No. 3, The Symphony of Sorrowful Songs generate in many listeners raises analytical questions. A preliminary hypothesis is that the intense and durable emotional response evoked by the works was a result of their complexity. A detailed analysis of these two canons demonstrates such complexity. This complexity is clear, coherent, and hierarchical, and in each case is the result of a very simple compositional procedure. -
Terms from Kostka Twentieth Century Music
AnalysisofContemporaryMusic Terminology Dr. Mark Feezell The following list of terms is taken from Kostka’s Materials and Techniques of Twentieth-Century Music, 3rd ed. Most of the definitions are word-for-word from the same text. This is a VERY useful study guide for the text, but does not substitute for careful reading and examination of the examples in the text itself. Ch. Term Pg. Definition 1 chromatic mediant rela- 3 Triads with roots M3 or m3 apart, both major or both minor, one common tone tionship 1 doubly chromatic me- 3 Triads with roots M3 or m3 apart, one major, one minor; no common tones diant relationship 1 direct modulation 3 Modulation with no common chord between the two keys 1 tritone relationships 5 Movement of one harmony directly to a harmony whose root is a tritone away 1 real sequence 6 A sequence in which the pattern is transposed exactly 1 brief tonicizations 6 A quick succession of tonal centers, often associated with real sequences 1 enharmonicism 6 The enharmonic reinterpretation of certain (normally chromatic) harmonies so that they resolve in an unexpected way; ex: Ger+6 --> V7 1 suspended tonality 6 Passages that are tonally ambiguous 1 parallel voice leading 7 A type of progression in which at least some voices move in parallel motion 1 nonfunctional chord 8 A progression in which the chords do not “progress” in any of the ways found in succession diatonic tonal harmony 1 voice-leading chords 9 Chords that are the result of goal-directed motion in the various voices rather than traditional harmonic progression 1 unresolved dissonances 10 Dissonances which do not follow the dictates of functional harmony to resolve. -
Michael Finnissy (Piano)
MICHAEL FINNISSY (b. 1946) THE HISTORY OF PHOTOGRAPHY IN SOUND CD1: 1 Le démon de l’analogie [28.29] 2 Le réveil de l’intraitable réalité [20.39] Total duration [49.11] CD2: 1 North American Spirituals [23.41] 2 My parents’ generation thought War meant something [35.49] Total duration [59.32] CD3: 1 Alkan-Paganini [13.37] 2 Seventeen Immortal Homosexual Poets [34.11] 3 Eadweard Muybridge-Edvard Munch [26.29] Total duration [74.18] CD4: 1 Kapitalistisch Realisme (met Sizilianische Männerakte en Bachsche Nachdichtungen) [67.42] CD5: 1 Wachtend op de volgende uitbarsting van repressie en censuur [17.00] 2 Unsere Afrikareise [30.35] 3 Etched bright with sunlight [28.40] Total duration [76.18] IAN PACE, piano IAN PACE Ian Pace is a pianist of long-established reputation, specialising in the farthest reaches of musical modernism and transcendental virtuosity, as well as a writer and musicologist focusing on issues of performance, music and society and the avant-garde. He was born in Hartlepool, England in 1968, and studied at Chetham's School of Music, The Queen's College, Oxford and, as a Fulbright Scholar, at the Juilliard School in New York. His main teacher, and a major influence upon his work, was the Hungarian pianist György Sándor, a student of Bartók. Based in London since 1993, he has pursued an active international career, performing in 24 countries and at most major European venues and festivals. His absolutely vast repertoire of all periods focuses particularly upon music of the 20th and 21st Century. He has given world premieres of over 150 pieces for solo piano, including works by Julian Anderson, Richard Barrett, James Clarke, James Dillon, Pascal Dusapin, Brian Ferneyhough, Michael Finnissy (whose complete piano works he performed in a landmark 6- concert series in 1996), Christopher Fox, Volker Heyn, Hilda Paredes, Horatiu Radulescu, Frederic Rzewski, Howard Skempton, Gerhard Stäbler and Walter Zimmermann. -
Rethinking Minimalism: at the Intersection of Music Theory and Art Criticism
Rethinking Minimalism: At the Intersection of Music Theory and Art Criticism Peter Shelley A dissertation submitted in partial fulfillment of requirements for the degree of Doctor of Philosophy University of Washington 2013 Reading Committee Jonathan Bernard, Chair Áine Heneghan Judy Tsou Program Authorized to Offer Degree: Music Theory ©Copyright 2013 Peter Shelley University of Washington Abstract Rethinking Minimalism: At the Intersection of Music Theory and Art Criticism Peter James Shelley Chair of the Supervisory Committee: Dr. Jonathan Bernard Music Theory By now most scholars are fairly sure of what minimalism is. Even if they may be reluctant to offer a precise theory, and even if they may distrust canon formation, members of the informed public have a clear idea of who the central canonical minimalist composers were or are. Sitting front and center are always four white male Americans: La Monte Young, Terry Riley, Steve Reich, and Philip Glass. This dissertation negotiates with this received wisdom, challenging the stylistic coherence among these composers implied by the term minimalism and scrutinizing the presumed neutrality of their music. This dissertation is based in the acceptance of the aesthetic similarities between minimalist sculpture and music. Michael Fried’s essay “Art and Objecthood,” which occupies a central role in the history of minimalist sculptural criticism, serves as the point of departure for three excursions into minimalist music. The first excursion deals with the question of time in minimalism, arguing that, contrary to received wisdom, minimalist music is not always well understood as static or, in Jonathan Kramer’s terminology, vertical. The second excursion addresses anthropomorphism in minimalist music, borrowing from Fried’s concept of (bodily) presence. -
Defining Musical Americanism: a Reductive Style Study of the Piano Sonatas of Samuel Barber, Elliott Carter, Aaron Copland, and Charles Ives
Defining Musical Americanism: A Reductive Style Study of the Piano Sonatas of Samuel Barber, Elliott Carter, Aaron Copland, and Charles Ives A document submitted to the Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS in the Keyboard Studies Division of the College-Conservatory of Music by Brendan Jacklin BM, Brandon University, 2011 MM, Bowling Green State University, 2013 Committee Chair: bruce d. mcclung, PhD Abstract This document includes a reductive style study of four American piano sonatas premiered between 1939 and 1949: Piano Sonata No. 2 “Concord” by Charles Ives, Piano Sonata by Aaron Copland, Piano Sonata by Elliott Carter, and Piano Sonata, Op. 26 by Samuel Barber. Each of these sonatas represents a different musical style and synthesizes traditional compositional techniques with native elements. A reductive analysis ascertains those musical features with identifiable European origins, such as sonata-allegro principle and fugue, and in doing so will reveal which musical features and influences contribute to make each sonata stylistically American. While such American style elements, such as jazz-inspired rhythms and harmonies, are not unique to the works of American composers, I demonstrate how the combination of these elements, along with the extent each composer’s aesthetic intent in creating an American work, contributed to the creation of an American piano style. i Copyright © 2017 by Brendan Jacklin. All rights reserved. ii Acknowledgments I would first like to offer my wholehearted thanks to my advisor, Dr. bruce mcclung, whose keen suggestions and criticisms have been essential at every stage of this document.