DOCSLIB.ORG

Om Licht Kvällarna Med Stockhausen

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Om Licht Kvällarna Med Stockhausen Förord 2 av Ulf Stenberg Tid Rum Klang 4 – 50 år i musikens frontlinje av Göran Fant Äventyret Stockhausen 32 av UIf Stenberg Ängelns galenskap Ð om Licht 46 av Guido Zeccola Kvällarna med Stockhausen 56 av Göran Bergendahl Stockhausen i Sverige 62 av Göran Fant Stockhausen och den nya tidens strukturering 66 av Gunnar Holmberg Björk intervjuar Stockhausen 88 Kort (officiell) biografi 92 av James Stonebraker Stockhausen 2000 le k t ro n m u s i k fe s t i v alen i Skinnskatt e b e r g ser i år ba n d / l i ve -e l e k t ro n i k ko n s e rt e r , eft e r Enå go t annorlunda ut. Ett nyt td e ce n n i u m ,s e ke l de t att den anpassats till den te k n i k och millennium för p l i k t i ga r . Is t ä l l e t för att som ti d i - och det ljus som krävs .S p o rt h a l l e n gar e år foku s e r a på en nation Ð som inneburit at tv i har byggts om och utvi d g ats med kl a r at av nästan hela Europ a , No rd a m e r i ka , nå g r a en läktare. De t väl d e l i g a akus t i s k a länder i Lati n a m e r i k a och Japan Ð tä n k er vi låta ett ru m m e t ut f ormas ut i minsta en s k i l t kon s t n ä r s s k ap hamna i foku s ,Kar l h e i n z Konstnären Olle Kåks detalj för att passa maestro som gjorde förlagan till den Sto c k h a u s e n s ,och det av flera skäl . själv sitter vid mixer b o rd e t oc h affisch som alla år varit Han är en av de största och mest be t yd e l s e f u l l a elektronmusikfestivalens an s var ar för ljud- och ljusdesignen. ton s ä ttarna efter kriget , han fyller 72 i år och han signum.Här bilden från Galleri Astley i Uttersberg, so m har inte var i t här på över tr ettio år. Karlheinz Stoc k - 1998 då Tyskland var sj ä l v k l a r t är med också denna hausen är en ton s ät t a r e (och levande pionjär; ha n gästnation. gån g , även om inga kon s e r ter äger ”up p fa n n ”el e k t ro n m u s i k en tillsammans med Pie r r e rum där, blir utställningsplats för parti t u r , gra f i k , Sh a e f fer för fem tio år sedan) som utmanat och satt sk i s s e r , fot on och filmer ur Stockhausens femt i o - if rå g a på löpande band men knappast sat t si t t lj u s år i g a prod u k t i o n . under skäp p a n . Hans operap ro j e k t , Sieben Tagen aus I Väs t e r ås för b e r eds under vår en hans ankom s t Licht,som om något år når sin fullborda n , slår till och med verk från hans fant a s t i s k a 60-tal (Kontakte, med Richard Wagners Niebelungens Ring med flera Zyklus, Mantra,Klavierstücke, Aus den Sieben Tagen, ti m m a r . Och efter vec k ans sju dagar kastar han sig The Little Harlequin) med några av vår a främ s t a flö ver dygnets tj u g ofyr a ti m m a r ! ut to l ka r e av Stockhausen (Jo n n y Axel s s o n , Fred r i k Nat u r l i g t vis retar detta. Kan s k e det oc k så är en Ull é n , Kristine Sholtz, Ma ts Pe r s s o n ,M a rtin Frös t m av för k l a r i n g arna till att han inte var i t här sedan slu- fl ) . En skiva på märket Cap r i c e Ð för s t på cd och sedan te t av sext i o t a l e t , i mellanmjölkens för l o vade land. I som DVD! Ð med Stockhausenmusik släpps under Sver i g e håller vi oss på jord e n ,v i l ke t är got t och väl , vå re n .D e s s u tom dras ett sko l p ro j e k t ig ång i Väs t e r - men det får inte innebära att vi inte någon gång kan ås som erhållit st öd från Kul t u rd e p a rt e m e nt e t , öppna oss mot an d r a världar eller himlar. Ett öp p e t ”S t ockhausen lever ” . sinnelag bör också innefatta van s i n n e t . Denna guide till Stockhausen vill var a en väg l e d - ”Midsommar med Stoc k h a u s e n ”. .d e tl åter kan - ning in i denna märkliga och på vår a bred d g r ader Ð sk e lite omaka men ta n k en är att in g en ska behöva fak t i s k t Ð fög a kända vär l d , åtm i n s t one gäller det för st ry k a på foten för den andre. Midsommar på de sedan slutet av sjuttiotalet inmutade utmar- da g arna och Stockhausen på kvällarna enligt de n ker n a . Sedan är det upp till envar att bo t a n i s e r a bestämda övert y gelsen att även den omaka bland- vi d a r e bland alla rar a blomster. Jag ta c k ar Göran ni n g en är möjlig och till och med efte r s t r ävan s vär d Fant , Gunnar Holmberg, Gö r an Bergen d a l , Gu i d o om ingredienserna är de rätt a . Zec cola och Curt Lu n d b e r g för benäge tb i s t å n d . Tre musiker och tr e te k n i k er har han med sig Ð Kat- ulf stenberg hi n k a Paa s ver , Su z anne Stephens och Markus Stoc k - Festivalansvarig hausen Ð och Sporthallen i Skinnskatt e b e r g blir kon - se rt p l a ts för tr e bandkon s e r ter och tr e instrument- 2 3 Tid Rum Klang Om Karlheinz Stockhausens femtio år som den moderna musikens spjutspets Från början av femt i o t a l e t har Kar l h e i n z St ockhausen var i t en sprän g k ra f t i det int e r - na tionella musiklivet . En ledande ton s ät t a re , be u n d ra d ,i m p u l s g i va r e till otaliga yngre kom - ponister Ð men också omstridd. Vad gör honom så ofrå n k omlig? Göran Fan t tecknar en bild av hans kom p o n e ra n d e . ”Ni letar efter en höna i en abstra k tm å l n i n g ” En yngling i tj u g oårsåldern bryter den andakts- fulla ty stnaden under kompositionslektionen när bo ks t av l i g tt a l a t ur det gamlas ruiner och på samma Theodor W.Ad o r n o , en av de tyngsta auktoriteterna i sät t är det med musiken . frå g or om ny musik, kr i t i s e r ar ett nysk r i ve t ver k . De unga ton s ä ttarna står inför ett slags noll- De t är myc ke tt i d i g t femt i o t a l , en av de beröm d a pu n k t . Al l t är möjligt, a l l tu tom de gamla kon vent i o - so m m a r k urserna för ny musik i Darmstadt. Ad o r n o ne r n a . De exp e r i m e nt e r ar sig igenom för k r i g s ge n e - frå g ade efter melodins uppbyggn a d . Men fråg an blir rationens kon s t n ä r l i g a lösningar på jakt ef ter det ju s t nu , i detta ögon b l i c k , gam m a l m o d i g . Den arge ver k l i g t nya .B a rtó k ,S t ravi n s k y, to m Schönberg för - un g e mannen och hans gen e r ati o n s ka m r ater vill ka s t a s .B a ra We b e r n ,s ä r s k i l t hans sena ver k , fi n n e r vi d a re , in i ett nyt t ,o u t fo r s kat mu s i ka l i s k tl a n d s ka p .
Load more

Recommended publications
  • Developing Sound Spatialization Tools for Musical Applications with Emphasis on Sweet Spot and Off-Center Perception
    Sweet [re]production: Developing sound spatialization tools for musical applications with emphasis on sweet spot and off-center perception Nils Peters Music Technology Area Department of Music Research Schulich School of Music McGill University Montreal, QC, Canada October 2010 A thesis submitted to McGill University in partial fulfillment of the requirements for the degree of Doctor of Philosophy. c 2010 Nils Peters 2010/10/26 i Abstract This dissertation investigates spatial sound production and reproduction technology as a mediator between music creator and listener. Listening experiments investigate the per- ception of spatialized music as a function of the listening position in surround-sound loud- speaker setups. Over the last 50 years, many spatial sound rendering applications have been developed and proposed to artists. Unfortunately, the literature suggests that artists hardly exploit the possibilities offered by novel spatial sound technologies. Another typical drawback of many sound rendering techniques in the context of larger audiences is that most listeners perceive a degraded sound image: spatial sound reproduction is best at a particular listening position, also known as the sweet spot. Structured in three parts, this dissertation systematically investigates both problems with the objective of making spatial audio technology more applicable for artistic purposes and proposing technical solutions for spatial sound reproductions for larger audiences. The first part investigates the relationship between composers and spatial audio tech- nology through a survey on the compositional use of spatialization, seeking to understand how composers use spatialization, what spatial aspects are essential and what functionali- ties spatial audio systems should strive to include. The second part describes the development process of spatializaton tools for musical applications and presents a technical concept.
    [Show full text]
  • 1 Luigi Nono's Transformation, Creation, and Discovery of Musical Space
    Luigi Nono's transformation, creation, and discovery of musical space Hyun Höchsmann [Visiting Professor, East China Normal University, Shanghai] Abstract: It is the inaudible, the unheard that does not fill the space but discovers the space, uncovers the space as if we too have become part of sound and we were sounding ourselves (Luigi Nono). Emphasising the necessity for contemporary music to 'intervene in the sonic reality of our time', Nono strove to expand the conception of musical space in three directions: the transformation of non-musical space with the performance of his music in factories and prisons, the creation of a new musical space for the opera, Prometeo, and the discovery of the inner musical space of sound and silence, 'the inaudible, the unheard', in which we 'become part of sound' and we are 'sounding ourselves'. Nono aimed at 'the composition of music that wants to restore infinite possibilities in listening today, by use of non- geometrical space'. With the conception of opera as 'azione scenica' (stage activity) and a 'theatre of consciousness', Nono's 'musical space' for the performance of Prometeo was realised within a colossal wooden structure (by Renzo Piano) combining the stage, the set, and the orchestra pit into a single element. With the conviction that it is the composer's and the listener's responsibility to recognise how every sound is politically charged by its historical associations, Nono affirmed the simultaneity of musical invention and moral commitment and political action for justice and freedom. _____________________________________________ 'A new way of thinking music' To wake up the ear, the eyes, human thinking, intelligence, the most exposed inwardness.
    [Show full text]
  • Teaching Post-Tonal Music to Twenty-First- Century Students Author(S): Miguel A
    Department of Music Theory, Jacobs School of Music, Indiana University A Pedagogical and Psychological Challenge: Teaching Post-Tonal Music to Twenty-First- Century Students Author(s): Miguel A. Roig-Francolí Source: Indiana Theory Review, Vol. 33, No. 1-2 (Summer 2017), pp. 36-68 Published by: Indiana University Press on behalf of the Department of Music Theory, Jacobs School of Music, Indiana University Stable URL: https://www.jstor.org/stable/10.2979/inditheorevi.33.1-2.02 Accessed: 03-09-2018 01:27 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at https://about.jstor.org/terms Indiana University Press, Department of Music Theory, Jacobs School of Music, Indiana University are collaborating with JSTOR to digitize, preserve and extend access to Indiana Theory Review This content downloaded from 129.74.250.206 on Mon, 03 Sep 2018 01:27:00 UTC All use subject to https://about.jstor.org/terms A Pedagogical and Psychological Challenge: Teaching Post-Tonal Music to Twenty-First-Century Students Miguel A. Roig-Francolí University of Cincinnati ost-tonal music has a pr problem among young musicians, and many not-so-young ones. Anyone who has recently taught a course on the theory and analysis of post-tonal music to a general Pmusic student population mostly made up of performers, be it at the undergraduate or master’s level, will probably immediately understand what the title of this article refers to.
    [Show full text]
  • The Composition and Performance of Spatial Music
    The Composition and Performance of Spatial Music A dissertation submitted to the University of Dublin for the degree of Doctor of Philosophy Enda Bates Trinity College Dublin, August 2009. Department of Music & Department of Electronic and Electrical Engineering Trinity College Dublin Declaration I hereby declare that this thesis has not been submitted as an exercise for a degree at this or any other University and that it is entirely my own work. I agree that the Library may lend or copy this thesis upon request. Signed, ___________________ Enda Bates ii Summary The use of space as a musical parameter is a complex issue which involves a number of different, yet interrelated factors. The technical means of performance, the sonic material, and the overall musical aesthetic must all work in tandem to produce a spatial impression in the listener which is in some way musically significant. Performances of spatial music typically involve a distributed audience and often take place in an acoustically reverberant space. This situation is quite different from the case of a single listener at home, or the composer in the studio. As a result, spatial strategies which are effective in this context may not be perceived correctly when transferred to a performance venue. This thesis examines these complex issues in terms of both the technical means of spatialization, and the compositional approach to the use of space as a musical parameter. Particular attention will be paid to the effectiveness of different spatialization techniques in a performance context, and what this implies for compositional strategies which use space as a musical parameter.
    [Show full text]
  • 2013-Pressrelease-OKTOPHONIE
    Park Avenue Armory Adds Two Performances for Karlheinz Stockhausen’s electronic masterpiece OKTOPHONIE, presented in a lunar environment created by Rirkrit Tiravanija Due to Overwhelming Demand Additional Performances Added, March 23 & 25 New York, NY—February 28, 2013—Due to overwhelming initial demand stemming from the 2013 artistic season announcement, Park Avenue Armory announced today the addition of two performances of the New York premiere of Karlheinz Stockhausen’s OKTOPHONIE. Part of Stockhausen’s magnum opus “Licht” (or “Light”) OKTOPHONIE is a trailblazing electronic music experience where the audience is surrounded by eight groups of loudspeakers, enveloping them in a sonic environment. OKTOPHONIE, which will be performed by one of his original collaborators Kathinka Pasveer, exemplifies Stockhausen’s work as a compositional pioneer who grappled with spatial music as he bent the rules and redefined the listening experience. Staging the work as the composer originally intended—in outer space—Rirkrit Tiravanija has been commissioned by the Armory to create a ritualized lunar experience, a floating seating installation within the Armory’s soaring drill hall that heightens the listeners’ octophonic experience and transports them to another realm. The audience will don white cloaks for the journey, carried along by the all- encompassing score, itself a meditation on the transformation from plunging darkness into blinding light. The Armory’s 2013 season will also include WS, a monumental installation by Paul McCarthy; The Machine, a play by one of Britain’s fastest rising young playwrights, Matt Charman, that chronicles Garry Kasparov’s 1997 chess game against IBM’s Deep Blue super-computer, a contest that set man against machine; Massive Attack V Adam Curtis, a new kind of imaginative experience conceived by Adam Curtis and Robert Del Naja mixing music, film, politics, and moments of illusion, performed by Massive Attack and special guests; and Robert Wilson’s powerful new staging of The Life and Death of Marina Abramović.
    [Show full text]
  • 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.
    [Show full text]
  • Framing Spatial Music: Approaching Spatialisation Through ‘Musical Paintings’
    Framing Spatial Music: Approaching spatialisation through ‘musical paintings’. I. Costabile Postgraduate Researcher at the Department of Music, University of Liverpool Keywords: Spatial music, mixed-media, sound art Abstract. This paper presents an on-going project that is concerned with the development of new formats for the exhibition of mixed-media and spatial music works in art galleries. This project was developed as part of practice-based research in composition that investigates new aesthetic possibilities of sound spatialisation. A variety of unique spaces have been designed to the experience of sound spatialisation in galleries, from Bernhard Leitner’s architectural works in the 1970s to the present, where a variety of multichannel installations continue to be exhibited worldwide. The dimensions of these spaces can be extensive, requiring the use of many loudspeakers, but it can also be minimal. This new project focuses on the latter possibility, taking as a starting point the aesthetics of traditional painting. It attempts to recreate an analogy to the spatialisation of visual objects inside a frame, exchanging visual material for sound. A ‘musical painting’, a term suggested by the author due to its hybrid form, is composed by the spatialisation of sound inside a small area, in which the spectators position themselves in front of the sound field to experience the composition. These pieces are comprised of an array of loudspeakers and a compact multichannel system hidden behind a canvas. This approach offers a range of possibilities to the field of composition and sound art, as it can be representative (e.g. soundscapes), performative, interactive or conceptual.
    [Show full text]
  • History of 3D Sound
    HISTORY OF 3D SOUND BRAXTON BOREN American University Introduction The history of 3D sound is complicated by the fact that, despite how much the concept may appear to be a late-20th century technological buzzword, it is not at all new. Indeed, just as Jens Blauert famously reminded us that “there is no non-spatial hearing” (Blauert, 1997), so too due to the nature of our world all sound is inherently three-dimensional (Begault, 2000). For the majority of human history the listener – the hunter in the field, a singing congregant within a cavernous stone church, or the audience member at a live performance – perceived sound concomitantly with its spatial setting. In this sense it is the late-20th century view that is out of step with historical sound perception. The advent of audio recording in the 19th century led to the development of zero-dimensional (mono) sound, and later one-dimensional (stereo), and two-dimensional (quad and other surround formats) reproduction techniques. Due to the greater sensitivity of the human auditory system along the horizontal plane, early technology understandably focused on this domain. Our capability to mechanically synthesize full 3D auditory environments is relatively recent, compared to our long history of shaping sound content and performance spaces. The effect of physical space is not limited to the perceived physical locations of sounds – different spaces can also affect music in the time domain (e.g. late reflection paths) or frequency 1 domain (by filtering out high-frequency content). Often a listener’s experience of a space’s effect on sound – such as singing in the shower or listening to a choir in a reverberant stone church – is describing primarily non-localized qualities, which could be captured more or less in a monaural recording.
    [Show full text]
  • Into the Deep – Tiefe in Der Musik, Skript Und Musiklaufplan
    „Into The Deep“ Eine Lange Nacht über Tiefe in der Musik Autoren: Olaf Karnik und Volker Zander Redaktion: Dr. Monika Künzel Regie: Philippe Brühl SprecherIn: Nicola Gründel Sprecherin Daniel Berger Voice-Over Laura Sundermann Voice-Over Sendetermin: 13. April 2019 Deutschlandfunk Kultur 13./14. April 2019 Deutschlandfunk ___________________________________________________________________________ Urheberrechtlicher Hinweis: Dieses Manuskript ist urheberrechtlich geschützt und darf vom Empfänger ausschließlich zu rein privaten Zwecken genutzt werden. Jede Vervielfältigung, Verbreitung oder sonstige Nutzung, die über den in den §§ 45 bis 63 Urheberrechtsgesetz geregelten Umfang hinausgeht, ist unzulässig. © Deutschlandradio - unkorrigiertes Exemplar - insofern zutreffend. 1. Stunde Musik Blind Willie Johnson: „Dark Was The Night“ O-Ton Julia Eckhardt: Mit der Frage der Tiefe. Ich würde denken, das ist eigentlich die Tiefe, die nach innen geht. Es hat viel zu tun mit Konzentration. O-Ton Jeff Cascaro: Wie entsteht die Tiefe in der Musik? Das kann man eigentlich nicht beantworten. Ist sie zufällig oder ist es vielleicht: die Musik, die tief ist, die wirklich in einer idealistischen und tief empfundenen Situation gemacht wurde ohne ein Konzept, ohne eine Theorie, ohne eine wirkliche Absicht, sondern wirklich das, was aus dem Herzen in die Feder gegangen ist? Das ist die große Frage. O-Ton Hans Nieswandt: Der Begriff der Tiefe oder das Adjektiv deep wird ja in der Musik inflationär verwendet. Man kann im Prinzip fast jedes musikalische Genre durch die Vorrangstellung des Begriffs deep in ein entsprechend tiefes Genre verwandeln. Musik: Gas „Pop III“ O-Ton Julia Eckhardt: Auch überhaupt für die Klangkunst, dass man das so viel weiter sehen kann, dass man einfach wirklich in die pure Tiefe von Klang selbst gehen kann und gar nicht mehr so erwartet, dass die Musik irgendwas erzählt.
    [Show full text]
  • Exploring Compositional Relationships Between Acousmatic Music and Electronica
    Exploring compositional relationships between acousmatic music and electronica Ben Ramsay Submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy De Montfort University Leicester 2 Table of Contents Abstract ................................................................................................................................. 4 Acknowledgements ............................................................................................................... 5 DVD contents ........................................................................................................................ 6 CHAPTER 1 ......................................................................................................................... 8 1.0 Introduction ................................................................................................................ 8 1.0.1 Research imperatives .......................................................................................... 11 1.0.2 High art vs. popular art ........................................................................................ 14 1.0.3 The emergence of electronica ............................................................................. 16 1.1 Literature Review ......................................................................................................... 18 1.1.1 Materials .............................................................................................................. 18 1.1.2 Spaces .................................................................................................................
    [Show full text]
  • 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.
    [Show full text]
  • Komponieren Mit Skulpturalen Klangphänomenen in Der Computermusik Dissertation
    Komponieren mit skulpturalen Klangphänomenen in der Computermusik Dissertation Gerriet K. Sharma Matrikel Nummer: S0773304 Universität für Musik und Darstellende Kunst Graz Künstlerisch-wissenschaftliches Doktoratsstudium Komposition und Musiktheorie ID-V795500 Betreut durch: Professor Marko Ciciliani (Universität für Musik und Darstellende Kunst Graz) Professor Robert Höldrich (Universität für Musik und Darstellende Kunst Graz) Professor Marco Stroppa (Hochschule für Musik und Darstellende Kunst Stuttgart) Professorin Elena Ungeheuer (Universität Würzburg) vorgelegt bei der künstlerisch-wissenschaftlichen Doktoratsschule am 6. September 2016 Dank Ich bedanke mich bei meinen Doktoratssbetreuern Marko Ciciliani, Robert Höldrich und Marco Stroppa und meiner Doktoratsbetreuerin Elena Unge- heuer für die besondere Unterstützung in den letzten drei Jahren. In jedem Einzelverhältnis ist ein besonderer Austausch entstanden, der auf jeweils sei- ne Art zum Teil sehr konkrete Probleme lösen konnte, aber auch häufig An- stoß gab, langfristige und komplexe Fragen zu verstehen und diesen künstle- risch forschend nachzugehen. Weiter möchte ich mich beim Institut für Elektronische Musik und Akustik der Kunstuniversität Graz bedanken. Beides, die Kollegialität und der fachliche Anspruch haben ein Umfeld geschaffen, in dem diese Arbeit langsam und be- ständig wachsen konnte, an dem sich ihr Anspruch messen musste und in dem Ideen ihren Raum hatten. Mein Dank gilt auch der künstlerisch-wissenschaftlichen Doktoratschule der Kunstuniversität Graz, die meine Vortrags- und Konzertaktivitäten in den letz- ten Jahren gefördert und unterstützt hat und in deren Programmen ich ent- scheidende Denkanstöße für die Entwicklung dieser Arbeit bekommen habe. Ich bedanke mich auch bei Gerhard Eckel, Martin Rumori und David Pirrò, de- ren Unterstützung in den Jahren vor Beginn dieser Arbeit mich überhaupt erst in die Lage versetzt hat, meine Forschungsfragen aus der künstlerischen Praxis heraus zu formulieren und später zu verfolgen.
    [Show full text]