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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. -
Chapter Three Minimal Music
72 Chapter Three Minimal music This chapter begins with a brief outline of minimal music in the United States, Europe and Australia. Focusing on composers and stylistic characteristics of their music, plus aspects of minimal music pertinent to this study, it helps the reader situate the compositions, composers and events referred to throughout the thesis. The chapter then outlines reasons for engaging students aged 9 to 18 years in composing activities drawn from projects with minimalist characteristics, reasons often related to compositional or historical aspects of minimal music since the late 1960s. A number of these reasons are educational, concerned with minimalism as an accessible teaching resource that draws on students’ current musical knowledge and offers a bridge from which to explore musics of other cultures and other contemporary art musics. Other reasons are concerned with the performance capabilities of students, with the opportunity to introduce students to a contemporary aesthetic, to different structural possibilities and collaboration and subject integration opportunities. There is also an educational need for a study investigating student composing activities to focus on these activities in relation to contemporary art music. There are social reasons for engaging students in minimalist projects concerned with introducing students to contemporary arts practice through ‘the new tonality’, involving students with a contemporary music which is often controversial, and engaging students with minimalism at a time of particular activity and expansion in the United States and in Australia. 3.1 Minimalism Minimalism is an aesthetic found across a number of different art forms – architecture, dance, visual art, theatre, design and music - and at the beginning of the twenty-first century, it is still strongly influential on many contemporary artists. -
Minimalism: Towards a Definition Adrian Smith
Minimalism: towards a definition Adrian Smith It is somewhat ironic that the Minimalist movement, which has been hailed by many as a welcome return to simplicity, has arguably provoked more terminological confusion than any other musical movement in the twentieth century. What is Minimalism when applied to music? Is it an adequate term to describe this movement or does it have misleading connotations? Does it show parallels with its counterpart in the visual arts? In what context did it arise? These are all frequently asked questions which this chapter will attempt to answer. Many of the attempts to define Minimalism thus far have only focused on obvious surface features without probing deeper into its musical core. The result of all this is that after thirty years of Minimalist scholarship we have a widespread acceptance of a term which is still not fully understood. In order to address this situation comprehensively, this chapter will be divided into two distinct but nonetheless intrinsically linked sections. The first section will focus on the inadequacy of ‘Minimalism' as a descriptive term when applied to music. Ultimately, however, it must be conceded that it is too late for a name change and we must accept what is now a common currency in musicological terms. Since this is the case and we are dealing with an accepted term, an understanding of the generic essence of the music itself and an awareness of the term’s limitations is necessary. This is the argument which will comprise the second half of this chapter. I will examine the nucleus of this music and put forward a definition which will adequately describe the music of La Monte Young, Terry Riley, Steve Reich and Philip Glass, the four composers most associated with the movement. -
Clever Children: the Sons and Daughters of Experimental Music?
Clever Children: The Sons and Daughters of Experimental Music Author Carter, David Published 2009 Thesis Type Thesis (PhD Doctorate) School Queensland Conservatorium DOI https://doi.org/10.25904/1912/1356 Copyright Statement The author owns the copyright in this thesis, unless stated otherwise. Downloaded from http://hdl.handle.net/10072/367632 Griffith Research Online https://research-repository.griffith.edu.au Clever Children: The Sons and Daughters of Experimental Music? David Carter B.Music / Music Technology (Honours, First Class) Queensland Conservatorium Griffith University A dissertation submitted in fulfilment of the requirements for the award of the degree Doctor of Philosophy 19 June 2008 Keywords Contemporary Music; Dance Music; Disco; DJ; DJ Spooky; Dub; Eight Lines; Electronica; Electronic Music; Errata Erratum; Experimental Music; Hip Hop; House; IDM; Influence; Techno; John Cage; Minimalism; Music History; Musicology; Rave; Reich Remixed; Scanner; Surface Noise. i Abstract In the late 1990s critics, journalists and music scholars began referring to a loosely associated group of artists within Electronica who, it was claimed, represented a new breed of experimentalism predicated on the work of composers such as John Cage, Karlheinz Stockhausen and Steve Reich. Though anecdotal evidence exists, such claims by, or about, these ‘Clever Children’ have not been adequately substantiated and are indicative of a loss of history in relation to electronic music forms (referred to hereafter as Electronica) in popular culture. With the emergence of the Clever Children there is a pressing need to redress this loss of history through academic scholarship that seeks to document and critically reflect on the rhizomatic developments of Electronica and its place within the history of twentieth century music. -
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. -
MUSIC and the ECLIPSE of MODERNISM By
SIGNAL TO NOISE: MUSIC AND THE ECLIPSE OF MODERNISM By MATTHEW FRIEDMAN A Dissertation submitted to the Graduate School-New Brunswick Rutgers, The State University of New Jersey in partial fulfillment of the requirements for the degree of Doctor of Philosophy Graduate Program in History written under the direction of T.J. Jackson Lears and approved by ________________________ ________________________ ________________________ ________________________ New Brunswick, New Jersey May 2013 ABSTRACT OF THE DISSERTATION Signal to Noise: Music and the Eclipse of Modernism By MATTHEW FRIEDMAN Dissertation Director: T.J. Jackson Lears There was danger in the modern American soundscape; the danger of interruption and disorder. The rhetoric of postwar aural culture was preoccupied with containing sounds and keeping them in their appropriate places. The management and domestication of noise was a critical political and social issue in the quarter century following the Second World War. It was also an aesthetic issue. Although technological noise was celebrated in modern American literature, music and popular culture as a signal of technological sublime and the promise of modern rationality in the US, after 1945 noise that had been exceptional and sublime became mundane. Technological noise was resignified as "pollution" and narrated as the aural detritus of modernity. Modern music reinforced this project through the production of hegemonic fields of representation that legitimized the discursive boundaries of modernity and delegitimized that which lay outside of them. Postwar American modernist composers, reconfigured as technical specialists, developed a hyper-rational idiom of "total control" which sought to discipline aural disorder and police the boundaries between aesthetically- acceptable music and sound and disruptive noise. -
Echoes of the Avant-Garde in American Minimalist Opera
ECHOES OF THE AVANT-GARDE IN AMERICAN MINIMALIST OPERA Ryan Scott Ebright A dissertation submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music. Chapel Hill 2014 Approved by: Mark Katz Tim Carter Brigid Cohen Annegret Fauser Philip Rupprecht © 2014 Ryan Scott Ebright ALL RIGHTS RESERVED ii ABSTRACT Ryan Scott Ebright: Echoes of the Avant-garde in American Minimalist Opera (Under the direction of Mark Katz) The closing decades of the twentieth century witnessed a resurgence of American opera, led in large part by the popular and critical success of minimalism. Based on repetitive musical structures, minimalism emerged out of the fervid artistic intermingling of mid twentieth- century American avant-garde communities, where music, film, dance, theater, technology, and the visual arts converged. Within opera, minimalism has been transformational, bringing a new, accessible musical language and an avant-garde aesthetic of experimentation and politicization. Thus, minimalism’s influence invites a reappraisal of how opera has been and continues to be defined and experienced at the turn of the twenty-first century. “Echoes of the Avant-garde in American Minimalist Opera” offers a critical history of this subgenre through case studies of Philip Glass’s Satyagraha (1980), Steve Reich’s The Cave (1993), and John Adams’s Doctor Atomic (2005). This project employs oral history and archival research as well as musical, dramatic, and dramaturgical analyses to investigate three interconnected lines of inquiry. The first traces the roots of these operas to the aesthetics and practices of the American avant-garde communities with which these composers collaborated early in their careers. -
Ambient Music the Complete Guide
Ambient music The Complete Guide PDF generated using the open source mwlib toolkit. See http://code.pediapress.com/ for more information. PDF generated at: Mon, 05 Dec 2011 00:43:32 UTC Contents Articles Ambient music 1 Stylistic origins 9 20th-century classical music 9 Electronic music 17 Minimal music 39 Psychedelic rock 48 Krautrock 59 Space rock 64 New Age music 67 Typical instruments 71 Electronic musical instrument 71 Electroacoustic music 84 Folk instrument 90 Derivative forms 93 Ambient house 93 Lounge music 96 Chill-out music 99 Downtempo 101 Subgenres 103 Dark ambient 103 Drone music 105 Lowercase 115 Detroit techno 116 Fusion genres 122 Illbient 122 Psybient 124 Space music 128 Related topics and lists 138 List of ambient artists 138 List of electronic music genres 147 Furniture music 153 References Article Sources and Contributors 156 Image Sources, Licenses and Contributors 160 Article Licenses License 162 Ambient music 1 Ambient music Ambient music Stylistic origins Electronic art music Minimalist music [1] Drone music Psychedelic rock Krautrock Space rock Frippertronics Cultural origins Early 1970s, United Kingdom Typical instruments Electronic musical instruments, electroacoustic music instruments, and any other instruments or sounds (including world instruments) with electronic processing Mainstream Low popularity Derivative forms Ambient house – Ambient techno – Chillout – Downtempo – Trance – Intelligent dance Subgenres [1] Dark ambient – Drone music – Lowercase – Black ambient – Detroit techno – Shoegaze Fusion genres Ambient dub – Illbient – Psybient – Ambient industrial – Ambient house – Space music – Post-rock Other topics Ambient music artists – List of electronic music genres – Furniture music Ambient music is a musical genre that focuses largely on the timbral characteristics of sounds, often organized or performed to evoke an "atmospheric",[2] "visual"[3] or "unobtrusive" quality. -
X Press Release
Bio information: SCHNELLERTOLLERMEIER Title: X (Cuneiform Rune 402) Format: CD / DIGITAL Cuneiform promotion dept: (301) 589-8894 / fax (301) 589-1819 email: joyce [-at-] cuneiformrecords.com (Press & world radio); radio [-at-] cuneiformrecords.com (North American & world radio) www.cuneiformrecords.com FILE UNDER: ROCK / EXPERMENTAL / BRUTAL JAZZ / MINIMALIST ROCK On X, Switzerland’s Underground-Rock Emerging Stars, Schnellertollermeier, Sharpen their Edge, Intensify their Vision & Carve Out a Spot on the Global Stage Brutal jazz /minimalist rock power trio Schnellertollermeier don’t screw around. Their uncompromising attitude is even apparent before you hear a note of their music -- it's right there in that deliberate tongue-twister of a name. On X, their Cuneiform Records debut, Schnellertollermeier boldly emerge from their key position in Switzerland’s underground rock scene with sharpened sonic knives, dialed up intensity, and laser-edged tunes to carve out a spot for themselves on the international stage. X is the young trio’s third recording, and in it they don't merely redefine their sound, they reinvent it. The tunes the band came up with -- after cloistering themselves away in a house in the Swiss mountains that served as their musical mad-scientist's laboratory -- recast the traditional function of the guitar-bass-drums lineup, expanding it into new territory and combining the brute force of Schnellertollermeier's 2008 debut with the conceptualism of their second album for something that's ultimately beyond the scope of either one. The Alps had given the trio space to let their imaginations soar. Against the sublime mountain backdrop, they perfected stark, powerful compositions and expanded their ideas. -
Krótki Wykład O Muzyce XX Wieku. Kompendium Dydaktyczne
10.1515/umcsart-2015-0002 ANNALES UNIVERSITATIS MARIAE CURIE-SKã ODOWSKA LUBLIN – POLONIA VOL. XII, 2 SECTIO L 2014 Instytut Muzyki Uniwersytetu Marii Curie-Skäodowskiej TOMASZ JASIýSKI Krótki wykäad o muzyce XX wieku. Kompendium dydaktyczne A Short Lecture on Twentieth-Century Music. A Teaching Compendium U schyáku XIX stulecia Debussy wystąpiá z formuáą muzycznego impresjo- nizmu, a na początku nastĊpnego wieku zabrzmiaáy ekspresjonistyczne dzieáa Schönberga i neoklasyczne kompozycje StrawiĔskiego, wówczas to staáo siĊ ja- sne, Īe Ğwiat muzyki wkroczyá w zupeánie nową epokĊ. Mówienie w tym wy- padku jedynie o narodzinach kolejnej fazy stylistycznej nie oddaje ani skali, ani powagi zjawiska. W ciągu owych kilkunastu lat dokonaá siĊ bowiem w muzyce prawdziwie ekstremalny i bezprecedensowy przeáom, nieporównywalny z Īadną inną cezurą w dziejach sztuki dĨwiĊkowej. Ówczesne dziaáania twórcze dopro- wadziáy do zerwania wiĊzi z jĊzykiem muzycznym i estetyką póĨnego romanty- zmu, zarazem – co jeszcze istotniejsze – zachwiaáy podstawami wielowiekowej tradycji kompozytorskiej. Rozbrat z przeszáoĞcią, tak jaskrawo widoczny w od- rzuceniu systemu tonalnego, oznaczaá równoczeĞnie ostentacyjne wejĞcie w sferĊ rozwiązaĔ na tyle nowatorskich i Ğmiaáych, ryzykownych i szokujących, Īe juĪ po krótkim czasie zmianie ulegáo samo pojmowanie rudymentarnych wyznacz- ników muzyki: jej elementów, formy i stylu, sposobów ksztaátowania, ekspresji, piĊkna i wartoĞci. ĝrodki konstytuujące nowy jĊzyk dĨwiĊkowy otworzyáy przed poetyką muzyczną zupeánie nowe horyzonty, -
1-4 Września 2016 INNY WYMIAR MUZYKI Koncert
Wschód Kultury/Inny Wymiar – 1-4 września 2016 INNY WYMIAR MUZYKI Koncert: ASIAN DUB FOUNDATION, Neozbiljni Pesimisti org. Białostocki Ośrodek Kultury – 2 września, godz. 20.00 – Rynek Kościuszki w Białymstoku, wstęp wolny Asian Dub Foundation Brytyjska grupa muzyczna, która łączy w swojej twórczości elementy stylów: drum & bass, reggae, jungle i dub z tradycyjnymi hinduskimi brzmieniami. W swoich tekstach podejmuje przede wszystkim tematy społeczno-polityczne, związane z rasizmem, emigracją, kryzysem gospodarczym, uzależnieniem od mediów i internetu, czy konfliktami na tle religijnym. Zespół powstał w 1993 roku w Londynie, ma na koncie dziewięć płyt: „Facts and Fictions” (1995), „R.A.F.I.” (1997), „Rafi`s Revenge” (1998), „Community Music” (2000), „Enemy Of The Enemy” (2003), „Tank” (2005), „Punkara” (2008), „A History Of Now” (2011), „More Signal More Noise” (2015). Neozbiljni pesimisti Niepoważni Pesymiści (czyli de facto Optymiści) powstali w 2001 roku, grają energetyczny anti global etno punk! W 2011 zespół odbył swoją pierwszą trasę koncertową poza krajami byłej Jugosławii, zagrał udaną serię koncertów we Francji i Szwajcarii. Rok później po raz pierwszy wystąpił w Polsce, na Łemkowskiej Watrze na Obczyźnie w Michałowie (k. Lubina). Następnie była świetnie przyjęta trasa koncertowa we Wrocławiu, Poznaniu, Gdyni, Warszawie i Krakowie. W 2013 r. Neozbiljni Pesimisti ponownie odwiedzili Polskę. Zagrali koncerty klubowe w Krakowie i Warszawie, a we Wrocławiu na Festiwalu Panorama Kultur. Zagrali też swój największy w Polsce koncert – na Przystanku Woodstock w Kostrzynie wystąpili jako jedna z gwiazd. Koncert: Dagadana i Przyjaciele org. Białostocki Ośrodek Kultury – 4 września, godz. 20.00 – Kino Forum, ul. Legionowa 5 (bezpłatne wejściówki) Dagadana i zaproszeni muzycy z Chin, Ukrainy i Polski wystąpią we wspólnym projekcie premierowym „Miejsce Spotkania Meridan 68” przygotowanym specjalnie na festiwal. -
The Functions of the Minimalist Technique in Film Scores
Copyright by Rebecca Marie Doran Eaton 2008 The Dissertation Committee for Rebecca Marie Doran Eaton certifies that this is the approved version of the following dissertation: Unheard Minimalisms: The Functions of the Minimalist Technique in Film Scores Committee: ____________________________________ Eric Drott, Supervisor ____________________________________ Byron Almén ____________________________________ James Buhler ____________________________________ Edward Pearsall ____________________________________ Charles Ramírez Berg Unheard Minimalisms: The Functions of the Minimalist Technique in Film Scores by Rebecca Marie Doran Eaton, B.A.; M.M. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin May 2008 ACKNOWLEDGMENTS First, I would like to thank my committee, whose insightful comments have helped me shape this work. Special recognition goes to Dr. Almén, whose copyediting expertise has kept me from committing several grammatical gaffes, and Dr. Buhler, whose approach to film music has informed my own. I owe a deep debt of gratitude to my supervisor, Dr. Eric Drott, whose keen—and always timely—critiques have steered my dissertation toward one with both breadth and analytical depth. I would also like to thank the entire theory department at UT Austin. Its support though T.A. and A.I. positions has helped me hone my pedagogical craft, while the Kent Kennan fellowship has allowed me to finish my dissertation in a timely manner. Thanks must also be given for the collegial atmosphere—especially amongst my fellow students—which made attending UT a delight. My family, of course, has been the basis for my success.