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Roger Smalley: a Case-Study of Post -50S Western Music
Research Report: Roger Smalley: A Case-Study of Post -50s Western Music Christopher Mark When I gave a seminar on Roger Smalley's Concerto for Piano and Orchestra at the University of Melbourne in April 1992, a number of people asked me 'Why Smalley?' I'm still not sure quite how to take this. The general reaction to the work, and to my presentation, was positive (at least, that was the impression I gained), and I don't think the question was of the 'why are you spending your time on this drivel' variety. I think it arose because very few people in the audience of staff and graduate students had heard the work-which is remarkable given its high prominence as winner of the Paris Rostrum, its relatively heathy number of broadcasts and its wide availability on an Australian Music Centre CD (Vox Australis, VAST 003-21988)- and were puzzled as to how I had heard of him. My answer, which I suspect they may have found naive, was simply that I had known of Smalley when he was still in the LJK, and had heard a few of the early Australian pieces (such as the Symphony and the Konzertstiidc for solo violin and orchestra) when they were broadcast on BBC radio. I had liked the music and wanted to get to know it better. I still hold that this is the most important impulse for the academic study of music. It drives all my research. And with Smalley I can be very precise about what drew me to his scores: the expressive range of both the Concerto and the other work on the CD I have mentioned, the Symphony, and the sense that every note has been fully considered. -
Teaching Electronic Music – Journeys Through a Changing Landscape
Revista Vórtex | Vortex Music Journal | ISSN 2317–9937 | http://vortex.unespar.edu.br/ D.O.I.: https://doi.org/10.33871/23179937.2020.8.1.12 Teaching electronic music – journeys through a changing landscape Simon Emmerson De Montfort University | United Kingdom Abstract: In this essay, electronic music composer Simon Emmerson examines the development of electronic music in the UK through his own experience as composer and teacher. Based on his lifetime experiences, Emmerson talks about the changing landscape of teaching electronic music composition: ‘learning by doing’ as a fundamental approach for a composer to find their own expressive voice; the importance of past technologies, such as analogue equipment and synthesizers; the current tendencies of what he calls the ‘age of the home studio’; the awareness of sonic perception, as opposed to the danger of visual distraction; questions of terminology in electronic music and the shift to the digital domain in studios; among other things. [note by editor]. Keywords: electronic music in UK, contemporary music, teaching composition today. Received on: 29/02/2020. Approved on: 05/03/2020. Available online on: 09/03/2020. Editor: Felipe de Almeida Ribeiro. EMMERSON, Simon. Teaching electronic music – journeys throuGh a chanGinG landscape. Revista Vórtex, Curitiba, v.8, n.1, p. 1-8, 2020. arly learning. The remark of Arnold Schoenberg (in the 1911 Preface to his Theory of Harmony) – “This book I have learned from my pupils” – is true for me, too. Teaching is E learning – without my students I would not keep up nearly so well with important changes in approaches to music making, and it would be more difficult to develop new ideas and skills. -
Including Music and the Temporal Arts in Language Documentation. in N
Linda Barwick University of Sydney Barwick, Linda. (2012). Including music and the temporal arts in language documentation. In N. Thieberger (Ed.), The Oxford Handbook of Linguistic Fieldwork (pp. 166-179). Oxford, UK: Oxford University Press. Postprint version, with page numbers edited to match the published version. 1 Including music and the temporal arts in language documentation Linda Barwick This chapter is intended for linguistic researchers preparing to undertake fieldwork, probably documenting one of the world’s many small or endangered languages. Recognising that linguists have their own priorities and methodologies in language documentation and description, I will advance reasons for including in your corpus the song and/or instrumental music that you are almost certain to encounter in the course of your fieldwork. I start by providing an overview of current thinking about the nature and significance of human musical capacities and the commonly encountered types, context and significance of music, especially in relation to language. Since research funding usually precludes having a musicologist tag along in the original fieldwork, I will suggest some topics for discussion that would be of interest to musicologists, and make some suggestions for what is needed on a practical level to make your recordings useful to 166 musicologists at a later date. I comment on the technical and practical requirements for a good musical documentation and how these might differ from language documentation, and also provide some suggestions on a workflow for field production of musical recordings for community use. Examples taken from my own fieldwork are intended to provide food for thought, and not to imply that music and dance traditions in other societies are necessarily structured in comparable ways. -
Theory and Analysis of Melody in Balinese Gamelan
RELATING THE PRESENT TO THE PAST THOUGHTS ON THE STUDY OF MUSICAL CHANGE AND CULTURE CHANGE IN ETHNOMUSICOLOGY Bruno Nettl http://www.muspe.unibo.it/period/MA/index/number1/nettl1/ne1.htm The relationship of past to present is one of the principal issues in all human cultures. It is also perhaps the most important task of many areas of scholarship, and in different ways, of musicology and anthropology. In ethnomusicology and in anthropology, one of the principal ways of associating past to present has been through the concepts of culture change and musical change, the idea that something that a society maintains and shares can change in character or in detail and yet remain essentially the same. I would like to approach the relationship of past and present through this concept. It is an immense subject, and you will understand why I have had problems finding ways to grasp it. To deal with it properly might require that one define culture and music and then change, to say nothing of providing a bibliography. But instead, as a more modest goal, I would like to try to circumscribe the subject by mentioning and discussing a few of the issues that dominate this area of endeavor, phrasing each in terms of a widely accepted generalization and then illustrating each with something from my experience. The ultimate concern of musicology has always been the nature of musical change. The majority of musicologists, who see themselves mainly as music historians, have tried to show that there is a systematic way in which music proceeds from past to present, using, for example, the concept of periods, the significance of biography, the belief that similarity or identity must usually be explained by contact and influence. -
Cimf20201520program20lr.Pdf
CONCERT CALENDAR See page 1 Beethoven I 1 pm Friday May 1 Fitters’ Workshop 6 2 Beethoven II 3.30 pm Friday May 1 Fitters’ Workshop 6 3 Bach’s Universe 8 pm Friday May 1 Fitters’ Workshop 16 4 Beethoven III 10 am Saturday May 2 Fitters’ Workshop 7 5 Beethoven IV 2 pm Saturday May 2 Fitters’ Workshop 7 6 Beethoven V 5.30 pm Saturday May 2 Fitters’ Workshop 8 7 Bach on Sunday 11 am Sunday May 3 Fitters’ Workshop 18 8 Beethoven VI 2 pm Sunday May 3 Fitters’ Workshop 9 9 Beethoven VII 5 pm Sunday May 3 Fitters’ Workshop 9 Sounds on Site I: 10 Midday Monday May 4 Turkish Embassy 20 Lamentations for a Soldier 11 Silver-Garburg Piano Duo 6 pm Monday May 4 Fitters’ Workshop 24 Sounds on Site II: 12 Midday Tuesday May 5 Mt Stromlo 26 Space Exploration 13 Russian Masters 6 pm Tuesday May 5 Fitters’ Workshop 28 Sounds on Site III: 14 Midday Wednesday May 6 Shine Dome 30 String Theory 15 Order of the Virtues 6 pm Wednesday May 6 Fitters’ Workshop 32 Sounds on Site IV: Australian National 16 Midday Thursday May 7 34 Forest Music Botanic Gardens 17 Brahms at Twilight 6 pm Thursday May 7 Fitters’ Workshop 36 Sounds on Site V: NLA – Reconciliation 18 Midday Friday May 8 38 From the Letter to the Law Place – High Court Barbara Blackman’s Festival National Gallery: 19 3.30 pm Friday May 8 40 Blessing: Being and Time Fairfax Theatre 20 Movers and Shakers 3 pm Saturday May 9 Fitters’ Workshop 44 21 Double Quartet 8 pm Saturday May 9 Fitters’ Workshop 46 Sebastian the Fox and Canberra Girls’ Grammar 22 11 am Sunday May 10 48 Other Animals Senior School Hall National Gallery: 23 A World of Glass 1 pm Sunday May 10 50 Gandel Hall 24 Festival Closure 7 pm Sunday May 10 Fitters’ Workshop 52 1 Chief Minister’s message Festival President’s Message Welcome to the 21st There is nothing quite like the Canberra International Music sense of anticipation, before Festival: 10 days, 24 concerts the first note is played, for the and some of the finest music delights and surprises that will Canberrans will hear this unfold over the 10 days of the Festival. -
Bluetongue Australian Guitar Quartets CHARLTON • HOUGHTON KATS-CHERNIN • WESTLAKE Guitar Trek Bluetongue Australian Guitar Quartets
Bluetongue Australian Guitar Quartets CHARLTON • HOUGHTON KATS-CHERNIN • WESTLAKE Guitar Trek Bluetongue Australian Guitar Quartets Nigel WESTLAKE (b. 1958) Six Fish (2003) 15:25 1 I. Guitarfish 2:13 2 II. Sunfish 3:29 3 III. Spangled Emperor 1:16 4 IV. Sling-Jaw Wrasse 1:55 5 V. Leafy Sea Dragon 2:33 6 VI. Flying Fish 3:57 Richard CHARLTON (b. 1955) Five Tails in Cold Blood (Guitar Quartet No. 8) (2017) * 15:02 7 I. Shingleback 3:03 8 II. Lace Monitor 3:17 9 III. Manta Ray Ballet 2:53 0 IV. Water Dragon Dreams 2:57 ! V. Bluetongue 2:44 Phillip HOUGHTON (1954–2017) @ Nocturne (1976) (version for guitar quartet, 2002) 3:19 Opals (1993, rev. 1994) 9:42 # I. Black Opal 2:16 $ II. Water Opal 4:09 % III. White Opal 3:14 8.579060 2 News from Nowhere (1992) 16:39 ^ I. FLUX: Being Lost In Long Grass – TRANCE: Seeing The River 7:57 & II. DRIFT: Slow Boat to Nowhere… Stars on Night Water in the Aqua-Realm 3:02 * III. ROCKS: The Arrival… and the Rocks Hum and Hover 5:40 ( Wave Radiance (2002) (version for guitar quartet, 2004) 6:24 Elena KATS-CHERNIN (b. 1957) ) Bleached Memories (2001) * 10:05 * WORLD PREMIERE RECORDINGS Guitar Trek Timothy Kain, Standard Guitar 1–! #–% (, Treble Guitar @ ^–* ) Minh Le Hoang, Standard Guitar Bradley Kunda, Standard Guitar 7–%, 12 String Guitar 1–6, Treble Guitar (, Baritone Guitar ^–* ) Matt Withers, Standard Guitar #–% (, Bass Guitar 7–@ ^–* ), Dobro 1–6 3 8.579060 Guitar Trek gives special thanks to the late Australian luthier Graham Caldersmith OAM for his original conception and design of the Guitar Family. -
Sydney Conservatorium of Music Postgraduate Handbook
2008 Postgraduate handbook Sydney Conservatorium of Music Postgraduate handbook Set a course for Handbooks online … visit www.usyd.edu.au/handbooks Acknowledgements Acknowledgements The Arms of the University Sidere mens eadem mutato Though the constellation may change the spirit remains the same Copyright Disclaimers This work is copyright. No material anywhere in this work may be 1. The material in this handbook may contain references to persons copied, reproduced or further disseminated ± unless for private use who are deceased. or study ± without the express and written permission of the legal 2. The information in this handbook was as accurate as possible at holder of that copyright. The information in this handbook is not to be the time of printing. The University reserves the right to make used for commercial purposes. changes to the information in this handbook, including prerequisites for units of study, as appropriate. Students should Official course information check with faculties for current, detailed information regarding Faculty handbooks and their respective online updates along with the units of study. University of Sydney Calendar form the official legal source of Price information relating to study at the University of Sydney. Please refer to the following websites: The price of this handbook can be found on the back cover and is in www.usyd.edu.au/handbooks Australian dollars. The price includes GST. www.usyd.edu.au/calendar Handbook purchases Amendments You can purchase handbooks at the Student Centre, or online at -
54 by Paul Griffiths As Is Well Known, Hugo Vernier
Formulae and Spectra The Quiet Pioneering of Jonathan Harvey, 1967-73 by Paul Griffiths As is well known, Hugo Vernier, in his poetry collection Le Voyage d’hiver (1864), anticipated celebrated works by Stéphane Mallarmé, Arthur Rim- baud, Paul Verlaine, and many more.1 Readers may therefore need to be assured that, in making similar claims for Jonathan Harvey, this essay is dealing with a composer who had a real existence. Happily, the Jonathan Harvey Collection held by the Paul Sacher Stiftung contains abundant evidence of that existence, including, besides scores and sketches, a hardback notebook (henceforth HN) the composer seems to have kept by him throughout his adult life, in order to catalogue his works, at one end of the book, and, at the other, inverted, to jot down notes on his reading and creative ideas. Dates appear infrequently among those notes, though of course the succession is some indication of chronology. We can thus be sure it was before July 5, 1967, that Harvey proposed venturing into a domain that would be of lasting importance to him, that of electronic music. This first potential step involved the foundation instru- ment of Stockhausen’s Momente – one of two Stockhausen works he had witnessed at Darmstadt the previous summer in the films by Luc Ferrari, the other being Mikrophonie I. His project now was his Cantata II, and the note in question asks “Electronic organ?” The answer was to be in the negative, but the impression left by those Stockhausen experiences remained, as revealed in the note of the later date just mentioned, which has to be quoted in full: 5.7.67 Noh Play setting. -
2017 CMS INTERNATIONAL CONFERENCE July 9–13, 2017 Sydney, Australia
2017 CMS INTERNATIONAL CONFERENCE July 9–13, 2017 Sydney, Australia ABSTRACTS & PROGRAM NOTES updated June 19, 2017 Adams, Daniel C. Composition: Congruent Verses The Latin origin of congruent is “congruere,” to fit together. In modern usage the term means in a general context “to be in agreement” and in a geometrical context figures that coincide exactly when superimposed, even if they exist at different angles The “verses” in this solo refer to groupings of short irregular phrase-like structures with no apparent antecedent or consequent relationships. They are “congruent” however, in both contexts of the term. First, they are unified by a common basis of continually varied thematic materials. Second, most of the melodic passages are based on similar or identical structures, continually shifting and placed in contrasting orientations such as different part of a measure, different rhythmic subdivisions, and different times signatures. Congruent Verses is held together by a succession of asymmetrical but interrelated musical statements. The piece begins with a slow, contemplative section, which is interrupted midway by a very brief and rapid passage that is later developed in a subsequent section. A more rhythmically active section follows, as short motives are repeated with slight variation. Tongue slaps and key clicks are introduced as the piece builds to a climax. A contrasting slow section played in the highest register follows, and includes harmonics. The piece closes with a rapid coda based on materials from the first fast section. Albonetti, Viara S. Paper: Instrument of Song – Klezmer in Australia Klezmer, kle (instrument), and zemer (song), Instrument of Song, a musical heritage of the Ashkenazi Jews of Eastern Europe, has a history of more than four centuries. -
1996-1997 Annual Report (Complete Report)
Australian Broadcasting Corporation annual report 1996–97 oneABC charter The functions and duties which Parliament contents has given to the ABC are set out in the Charter of the Corporation (ss6(1) and (2) of Corporate Profile the Australian Broadcasting Corporation Act 1983). ABC Charter inside cover 6(1) The functions of the Corporation are — One ABC 1 (a) to provide within Australia innovative and comprehensive Significant events 2 broadcasting services of a high standard as part of the ABC Services 4 Australian broadcasting system consisting of national, commercial and community sectors and, without limiting the Financial Summary 5 generality of the foregoing, to provide— ABC Board Members 7 (i) broadcasting programs that contribute to a sense of One ABC Structure 8 national identity and inform and entertain, and reflect the cultural diversity of, the Australian community; and Executive Members 9 (ii) broadcasting programs of an educational nature; Statement by Directors 10 (b) to transmit to countries outside Australia broadcasting Review of Operations 15 programs of news, current affairs, entertainment and cultural enrichment that will— News and Current Affairs 15 (i) encourage awareness of Australia and an international Regional Services 18 understanding of Australian attitudes on world affairs; and Feature (ii) enable Australian citizens living or travelling outside Radio and Television Audiences 24 Australia to obtain information about Australian affairs and National Networks 27 Australian attitudes on world affairs; and Program -
Music Business and the Experience Economy the Australasian Case Music Business and the Experience Economy
Peter Tschmuck Philip L. Pearce Steven Campbell Editors Music Business and the Experience Economy The Australasian Case Music Business and the Experience Economy . Peter Tschmuck • Philip L. Pearce • Steven Campbell Editors Music Business and the Experience Economy The Australasian Case Editors Peter Tschmuck Philip L. Pearce Institute for Cultural Management and School of Business Cultural Studies James Cook University Townsville University of Music and Townsville, Queensland Performing Arts Vienna Australia Vienna, Austria Steven Campbell School of Creative Arts James Cook University Townsville Townsville, Queensland Australia ISBN 978-3-642-27897-6 ISBN 978-3-642-27898-3 (eBook) DOI 10.1007/978-3-642-27898-3 Springer Heidelberg New York Dordrecht London Library of Congress Control Number: 2013936544 # Springer-Verlag Berlin Heidelberg 2013 This work is subject to copyright. All rights are reserved by the Publisher, whether the whole or part of the material is concerned, specifically the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfilms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. Exempted from this legal reservation are brief excerpts in connection with reviews or scholarly analysis or material supplied specifically for the purpose of being entered and executed on a computer system, for exclusive use by the purchaser of the work. Duplication of this publication or parts thereof is permitted only under the provisions of the Copyright Law of the Publisher’s location, in its current version, and permission for use must always be obtained from Springer. -
Contact: a Journal for Contemporary Music (1971-1988) Citation
Contact: A Journal for Contemporary Music (1971-1988) http://contactjournal.gold.ac.uk Citation Souster, Tim. 1977. ‘Intermodulation: A Short History’. Contact, 17. pp. 3-6. ISSN 0308-5066. ! [!] TIM SOUSTER 17 Intermodulation: A Short History ON THE EVENING of Saturday July 26, 1969, in a plastic geodesic dome on Tower Hill, a concert was given by four players who were subsequently to become the initial members of the live-electronics group Intermodulation: Andrew Powell (guitars, keyboards), Roger Smalley (keyboards, electronics), Tim Souster (viola, keyboards, electronics) and Robin Thompson (soprano sax, bassoon, keyboards and guitar). ( Andrew Powell was succeeded in 1970 by Peter Britton (percussion, electronics, key boards).) The concert was characterised by the rough and ready technology typical of electronic ventures at that time. Borrowed amplifiers failed to assert themselves. The dial of an ex-army sine-tone oscillator was nimbly controlled by Robin Thompson with his foot. A Hugh Davies-built ring-modulator nestled in its cardboard box on the floor. The 'visuals' (in the original version of my Triple Music I, written specially for this concert) consisted of coloured slides of food, footballers and political events, most of which failed to appear or did so upside-down. The whole occasion was dominated by a PA system lent and personally installed by Pete Townshend of The Who, who could be glimpsed lowering behind the loudspeaker columns throughout the show. Those lucky enough to be connected to this (for those days) mighty array of WEM equipment were able to play very loud indeed: I can remember little else. TECHNICAL PRE-CONDITIONS In 1968 Roger Smalley became composer-in-residence at King's College, Cambridge; I followed suit in 1969.