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Bengt Hambraeus' Livre D'orgue
ORGAN REGISTRATIONS IN BENGT HAMBRAEUS’ LIVRE D’ORGUE CRITICAL EXPLORATIONS AND REVISIONS Mark Christopher McDonald Organ and Church Music Area Department of Performance Schulich School of Music McGill University, Montreal, Quebec May 2017 A paper submitted to McGill University in partial fulfillment of the requirements of the degree of D.Mus. Performance Studies. © 2017 Mark McDonald CONTENTS Index of Figures ......................................................................................................................... iv Abstract ..................................................................................................................................... vi Résumé ..................................................................................................................................... vii Acknowledgements .................................................................................................................. viii I. Introduction – Opening a Time Capsule .................................................................................. 1 Bengt Hambraeus and the Notion of the “Time Capsule” .................................................... 2 Registration Indications in : Interpretive Challenges......................................... 3 Livre d’orgue Project Overview ................................................................................................................ 4 Methodology ..................................................................................................................... -
1973-Iceland.Pdf
-----=ca=rn=-.....z:-c, wrn=-:- --. n ===N::ll:-cI - .. • ~ en Place I Monday, June 18 I Tuesday, June 19 I Wednesday, Ju'!e 20 I I Thursday, June 21 I Friday, June 22 I Saturday, June 23 1 Sunday, June 24 10.00--12.00 10.00-12.00 10.00-12.00 Hotel General Assembly General Assembly General Assembly Loftleidir (if necessary) 14.00- 16.00 14.00-16.00 General Assembly General Assembly 12.00 Lvric Arts Trio Charpentier: --- The Symphony --- Nordic 17.00 17.00 22.00 House Norwegian Wood- Harpans Kraft Nonvegian jazz Wind Quintet from Sweden Bibalo, Berge, Salmenhaara, W elin, Mortensen, Nordheim - - -·- [_____ - 20.30 20.00 17.00 14.00 14.00 14.00 Miklatun Reception Tenidis, Kopelent TapeMusic Tape Music Tape Music Tape Music T6masson, Hall- Gilboa, Schurink grlmsson, Leifs Lambrecht, 20.00 20.00 17.00 Benhamou, Kim, Lyric Arts Trio German Trio Gaudeamus Tokunaga, Ishii, Doh!, Quartet Thommesen Zender, de Leeuw I Zimmermann, Raxach I Karkoschka, I Lutoslawski Haubenstock- Ramati, Hoffmann I I ---- --- -- - ' Exhibition of scores sent in by sections daily, at Miklatun --- - ISCM --- --- -- Hask6\abi6 21.00 Iceland Symphony Orchestra ThorarinssQn, Mallnes, Stevens, Endres, Gentilucci, Lachenmann, Krauze - - - - - -- -- -- ~ -- - State 17.00 Radio Icelandic Music on Tape - - - --- - --- -- Arnes Recital: Aitken/ Haraldsson I The President of the ISCM The President of the Icelandic Section In whatever way the 1973 Music Day may enter the history of It is a great pleasure for the Icelandic Section of the ISCM the ISCM, surely it will be remembered as the most Northern to receive the delegates of the sister organisations to the General point ever reached by the Society. -
AMRC Journal Volume 21
American Music Research Center Jo urnal Volume 21 • 2012 Thomas L. Riis, Editor-in-Chief American Music Research Center College of Music University of Colorado Boulder The American Music Research Center Thomas L. Riis, Director Laurie J. Sampsel, Curator Eric J. Harbeson, Archivist Sister Dominic Ray, O. P. (1913 –1994), Founder Karl Kroeger, Archivist Emeritus William Kearns, Senior Fellow Daniel Sher, Dean, College of Music Eric Hansen, Editorial Assistant Editorial Board C. F. Alan Cass Portia Maultsby Susan Cook Tom C. Owens Robert Fink Katherine Preston William Kearns Laurie Sampsel Karl Kroeger Ann Sears Paul Laird Jessica Sternfeld Victoria Lindsay Levine Joanne Swenson-Eldridge Kip Lornell Graham Wood The American Music Research Center Journal is published annually. Subscription rate is $25 per issue ($28 outside the U.S. and Canada) Please address all inquiries to Eric Hansen, AMRC, 288 UCB, University of Colorado, Boulder, CO 80309-0288. Email: [email protected] The American Music Research Center website address is www.amrccolorado.org ISBN 1058-3572 © 2012 by Board of Regents of the University of Colorado Information for Authors The American Music Research Center Journal is dedicated to publishing arti - cles of general interest about American music, particularly in subject areas relevant to its collections. We welcome submission of articles and proposals from the scholarly community, ranging from 3,000 to 10,000 words (exclud - ing notes). All articles should be addressed to Thomas L. Riis, College of Music, Uni ver - sity of Colorado Boulder, 301 UCB, Boulder, CO 80309-0301. Each separate article should be submitted in two double-spaced, single-sided hard copies. -
Kreuzspiel, Louange À L'éternité De Jésus, and Mashups Three
Kreuzspiel, Louange à l’Éternité de Jésus, and Mashups Three Analytical Essays on Music from the Twentieth and Twenty-First Centuries Thomas Johnson A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts University of Washington 2013 Committee: Jonathan Bernard, Chair Áine Heneghan Program Authorized to Offer Degree: Music ©Copyright 2013 Thomas Johnson Johnson, Kreuzspiel, Louange, and Mashups TABLE OF CONTENTS Page Chapter 1: Stockhausen’s Kreuzspiel and its Connection to his Oeuvre ….….….….….…........1 Chapter 2: Harmonic Development and The Theme of Eternity In Messiaen’s Louange à l’Éternité de Jésus …………………………………….....37 Chapter 3: Meaning and Structure in Mashups ………………………………………………….60 Appendix I: Mashups and Constituent Songs from the Text with Links ……………………....103 Appendix II: List of Ways Charles Ives Used Existing Musical Material ….….….….……...104 Appendix III: DJ Overdub’s “Five Step” with Constituent Samples ……………………….....105 Bibliography …………………………………........……...…………….…………………….106 i Johnson, Kreuzspiel, Louange, and Mashups LIST OF EXAMPLES EXAMPLE 1.1. Phase 1 pitched instruments ……………………………………………....………5 EXAMPLE 1.2. Phase 1 tom-toms …………………………………………………………………5 EXAMPLE 1.3. Registral rotation with linked pitches in measures 14-91 ………………………...6 EXAMPLE 1.4. Tumbas part from measures 7-9, with duration values above …………………....7 EXAMPLE 1.5. Phase 1 tumba series, measures 7-85 ……………………………………………..7 EXAMPLE 1.6. The serial treatment of the tom-toms in Phase 1 …………………………........…9 EXAMPLE 1.7. Phase two pitched mode ………………………………………………....……...11 EXAMPLE 1.8. Phase two percussion mode ………………………………………………....…..11 EXAMPLE 1.9. Pitched instruments section II …………………………………………………...13 EXAMPLE 1.10. Segmental grouping in pitched instruments in section II ………………….......14 EXAMPLE 1.11. -
Messiaen's Influence on Post-War Serialism Thesis
3779 N8! RI. oIo MESSIAEN'S INFLUENCE ON POST-WAR SERIALISM THESIS Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC by Thomas R. Muncy, B.A. Denton, Texas August, 1984 Muncy, Thomas R., Messiaen's Influence on Post-'gar Serialism. Master of Music (Theory), August, 1984, 106 pp., 76 examples, biblio- graphy, 44 titles. The objective of this paper is to show how Olivier Messiaen's Mode de valeurs et d'intensites influenced the development of post- war serialism. Written at Darmstadt in 1949, Mode de valeurs is considered the first European work to organize systematically all the major musical parameters: pitch, duration, dynamics, articulation, and register. This work was a natural step in Messiaen's growth toward complete or nearly complete systemization of musical parameters, which he had begun working towards in earlier works such as Vingt regards sur 1'Enfant-Jesus (1944), Turangalila-symphonie (1946-8), and Cantyodjaya (1949), and which he continued to experiment with in later works such as Ile de Feu II (1951) and Livre d'orgue (1951). The degree of systematic control that Messiaen successfully applied to each of the musical parameters influenced two of the most prominent post-war serial composers, Pierre Boulez and Karlheinz Stockhausen, to further develop systematic procedures in their own works. This paper demonstrates the degree to which both Boulez' Structures Ia (1951) and Stockhausen's Kreuzspiel (1951) used Mode de valeurs as a model for the systematic organization of musical parameters. TABLE OF CONTENTS Page LIST OF EXAMPLES..-.........-... -
Bengt Hambraeus Was One of the Ics
News the American Society for Cybernet- Bengt Hambraeus was one of the ics. Much of his instrumental and leading experimental composers of electroacoustic music has been re- the 1950s and a participant in the leased on CD. His electroacoustic entire modern era of electronic mu- works include: Anepigraphe (1958), sic. His oeuvre covers a range of Klange unterwegs (1962), Futility genres and his music is widely (1964), Sonoriferous Loops (1964), known through the broadcast media Downloaded from http://direct.mit.edu/comj/article-pdf/25/2/9/1853246/014892601750302543.pdf by guest on 25 September 2021 Infraudibles (1968/1984), Piece of and in numerous recordings. Author Prose (1972), Dust (1976) (SAWDUST of many articles, essays, and books No. 1), More Dust (1977) (SAWDUST on musicological topics from the No. 2), Dustiny (1978) (SAWDUST 16th to the 20th century, his most No. 3), A Mere Ripple (1979) (SAW- recent book is Aspects of Twenti- DUST No. 4), U-TURN-TO (1980) eth-Century Performance Practice: (SAWDUST No. 5), I toLD YOU so! Memories and Reflections (1997). (1981) (SAWDUST No. 6), and on stilts among ducks (1996). “The Space of Sound” and “Metamorphoses” 2000 Bengt Hambraeus (1928–2000) Figure 1. Herbert Brün. Composition and Spatialization Bengt Hambraeus, composer, organ- Competition Prize-winners Herbert Brün (1918–2000) ist, scholar, and educator, died in Apple Hill, Ontario, Canada on The seventh international Herbert Brün, pianist, teacher, and Thursday 21 September 2000. Born in acousmatic festival “The Space of composer of many pieces of elec- Stockholm, he received his early edu- Sound” was held in Brussels, Bel- tronic and computer music over cation in Sweden and was granted his gium, 13–22 October 2000. -
GÖTEBORG INTERNATIONAL ORGAN FESTIVAL October 11-20, 2019 the Organ As a Mechanical Musical Marvel a Tribute to Sven-Eric Johanson (1919-1997)
GÖTEBORG INTERNATIONAL ORGAN FESTIVAL October 11-20, 2019 The Organ as a Mechanical Musical Marvel A tribute to Sven-Eric Johanson (1919-1997) CONCERTS FOR EVERYONE Göteborg Baroque´s Claviorganum Early music | Workshops | New music Conferences | The Pop Up Museum The Organ as Cultural Heritage A New Concert Hall Organ The Youth Organ Festival Live Streaming ORGEL-TV A World of Tactile Passion and New Sounds CELEBRATING 25YEARS CELEBRATING 25 YEARS We welcome you to the 2019 Göteborg International Organ Festival! The main theme of the festival is “The Organ as a Mechanical Musical Marvel”. The organ is the biggest musical instrument of all, enclosed in an organ case, a “body” with its own architecture and a mechanical “nervous system”, through which the organist gives impulses that make the instrument sound. From the bellows, the organ’s lungs, air streams through wind channels to be stored in windchests and then led further up to the sounding parts, the pipes, which are constructed in various ways and made of different wooden and metal materials, in order to produce as varied sounds as possible. The organ pipes are grouped in ranks or stops similar to the instruments of an orchestra: singing principals, soft-toned flutes, colorful shawms, trumpets and trombones, in addition to brilliant mixtures; all of them contributing to the organ’s unique timbral and dynamic scope, with sounds ranging from poetic and ethereal to fanfare-like and powerful. During the first weekend, the focal point of the festival is early music and the experimental mechanical world of organs and related keyboard instruments, epitomized in Göteborg Baroque’s unique claviorganum, inaugurated in February 2019, and funded by the Stena Foundation. -
Ana Rebrina Relation of Structure, Form and Perception in Post-Tonal
Ana Rebrina Relation of Structure, Form and Perception in Post-Tonal Music Analysis of Compositions by Pierre Boulez, Jean Barraqué, Karel Goeyvaerts and Michel Fano Exposé for a Doctoral Dissertation Department of Historical Musicology, Music Theory and Church Music Studies Kunstuniversität Graz February 2019 Abstract This research explores the relation between the score, performance, and perception of post- tonal music. The focus is on performer’s actions and on perceptual consequences of these actions for the listener. The corpus of the study includes compositions associated with the Darmstadt Summer Course, all composed at a similar time and in comparable circumstances: three piano sonatas by Pierre Boulez, Piano Sonata by Jean Barraqué, Sonata for Two Pianos by Karel Goeyvaerts and Sonata for Two Pianos by Michel Fano. Since the serial organization of material is hardly manifested in sound realization in these complex post-tonal compositions, surface details are important for the perception. One of the objectives of this research is to determine auditory detectable details of musical surface and compare them in different performances. Since post-tonal music is often presented as inaccessible, speaking to only a narrow circle of listeners, the aim is to find possible approaches to comprehensive listening of post-tonal music through the perception of auditory details and their connection with formal sections. In addition, the aim is to discover whether performance analysis can assist music pedagogy in the deeper understanding of post-tonal music. For this purpose, the selected repertoire will be analyzed on several levels: traditional analysis of material organization and serial procedures based on sketches and pre-existing studies, historical background of compositions and recordings, structural analysis and performance analysis based on a comparison of selected parameters in different recordings, morphosyntactic analysis as an attempt to capture the details on the musical surface. -
Editing Method for the Bulletin of the Transilvania
Bulletin of the Transilvania University of Braşov Series VIII: Performing Arts • Vol. 13 (62) No. 1 – 2020 https://doi.org/10.31926/but.pa.2020.13.62.1.20 Electronics in Music: Preliminary Stages Roman VLAD1 Abstract: With a first recorded appearance dating around the 1950s, electronic music – the fruit of rigorous and tenacious labour by acoustician-researchers and composers who tried and succeeded in imposing a new sound-universe – channelled the evolution of the art of sounds as nothing before it. Prominent composers of the orientation – Pierre Schaeffer, Pierre Henry, Edgar Varèse, Herbert Eimert, Karlheinz Stockhausen, Vladimir Ussachevsky, Luigi Nono – had a determinant role in the way music expanded. The literature mentions as early as the beginning of the 20th century the existence of creators with a true calling for identifying original solutions to permanently transform music, breaking its barriers and thus allowing it to develop, expression-wise, in a variety of directions. Key-words: electronic music, Ondes Martenot, electronic instruments, composers 1. The Search for new Timbres Francis Bacon (1561-1626) anticipated in his 1624 New Atlantis the existence of sounds with new timbres and their transmission via “tubes” over a distance, as well as Jean-Baptiste Delaborde (1730-1777), the inventor of the clavecin électrique (1761) and of many musical devices functioning on the basis of springs, weights, pneumatic pressure etc., such as the panharmonicon, a mechanical orchestra for which Beethoven would write his 1813 Wellington’s Victory (Schwartz 1993, 107). Electricity and sound once connected, that is, Graham Bell inventing the telephone and Thomas Edison, the phonograph, the literature mentions a series of appliances designed to transmit, record, and reproduce sound material on the spot or at a later time. -
Karel Goeyvaerts – Karlheinz Stockhausen
Karel Goeyvaerts – Karlheinz Stockhausen Briefwechsel / Correspondence 1951 –1958 zweisprachige Ausgabe / bilingual edition (Deutsch / English) Im Auftrag der Stockhausen-Stiftung für Musik herausgegeben von Imke Misch und Mark Delaere Stockhausen-Stiftung für Musik 2017 First edition 2017 Published by Stockhausen-Verlag 51515 Kürten, Germany Alle Rechte vorbehalten / All rights reserved. Kopieren gesetzlich verboten / Copying prohibited by law. Photo auf de m Umschla g / Photograph on the front cover: Karel Goeyvaerts & Karlheinz Stockhausen, Darmstadt 1951 © Copyright Stockhausen-Stiftung für Musik Kürten und Goeyvaerts-Archiv KU Leuven Layout: Kathinka Pasveer; translation: Jayne Obst ISBN: 978-3-9815317-9-4 Inhaltsverzeichnis / Table of Contents Vorwort von Imke Misch und Mark Delaere ................................................ V–VII Preface by Imke Misch and Mark Delaere ................................................... IX –XI Chronik ........................................................................................................ XII –XVII Chronology ................................................................................................... XVIII –XXIII Übersicht der Korrespondenz / Overview of the correspondence ................ XXIV –XXVIII Briefwechsel ................................................................................................. 1–207 Correspondence ............................................................................................ 209 –405 Anhang / Appendix ...................................................................................... -
Stony Brook University
SSStttooonnnyyy BBBrrrooooookkk UUUnnniiivvveeerrrsssiiitttyyy The official electronic file of this thesis or dissertation is maintained by the University Libraries on behalf of The Graduate School at Stony Brook University. ©©© AAAllllll RRRiiiggghhhtttsss RRReeessseeerrrvvveeeddd bbbyyy AAAuuuttthhhooorrr... Discourses on Time in the European Avant-Garde A Dissertation Presented by Aaron Allen Hayes to The Graduate School in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in Music (Music History and Theory) Stony Brook University May 2016 Stony Brook University The Graduate School Aaron Allen Hayes We, the dissertation committee for the above candidate for the Doctor of Philosophy degree, hereby recommend acceptance of this dissertation. Judith Lochhead – Dissertation Advisor Professor, Department of Music, Stony Brook University Stephen Decatur Smith – Chairperson of Defense Assistant Professor, Department of Music, Stony Brook University Edward Casey Professor, Department of Philosophy, Stony Brook University Benjamin Steege Assistant Professor, Department of Music, Columbia University Brian Hulse – Outside Member Associate Professor, Department of Music, College of William and Mary This dissertation is accepted by the Graduate School Charles Taber Dean of the Graduate School ii Abstract of the Dissertation Discourses on Time in the European Avant-Garde by Aaron Allen Hayes Doctor of Philosophy in Music (Music History and Theory) Stony Brook University 2016 In the 1950s and 1960s, European composers, especially those interested in the development of serialism and electronic music, framed many of their aesthetic and compositional challenges as problems of time. This dissertation examines the writings and music of five notable composers from this era, and reconstructs the philosophical discourses that implicitly and explicitly provide the intellectual horizons for these temporal problems. -
Still SELF-UPDATING
GE THE ORIGINS OF SYNTHETIC TIMBRE SERIALISM AND THE PARISIAN CONFLUENCE, 1949–52 by John-Philipp Gather October 2003 A dissertation submitted to the Faculty of the Graduate School of State University of New York at Buffalo in partial fulfillment of the requirements for the degree of Doctor of Philosophy Department of Music COPYRIGHT NOTE The first fifty copies were published by the author. Berlin: John-Philipp Gather, 2003. Printed by Blasko Copy, Hilden, Germany. On-demand copies are available from UMI Dissertation Services, U.S.A. Copyright by John-Philipp Gather 2003 ii ACKNOWLEDGEMENTS Many persons have contributed to the present work. I would like to name first and foremost my major advisor Christopher Howard Gibbs for his unfailing support and trust throughout the five-year writing period, guiding and accompanying me on my pathways from the initial project to the present study. At the State University of New York at Buffalo, my gratitude goes to Michael Burke, Carole June Bradley, Jim Coover, John Clough, David Randall Fuller, Martha Hyde, Cort Lippe, and Jeffrey Stadelman. Among former graduate music student colleagues, I would like to express my deep appreciation for the help from Laurie Ousley, Barry Moon, Erik Oña, Michael Rozendal, and Matthew Sheehy. A special thanks to Eliav Brand for the many discussion and the new ideas we shared. At the Philips Exeter Academy in New Hampshire, I am grateful to Jacquelyn Thomas, Peter Schulz, and Rohan Smith, who helped this project through a critical juncture. I also extend my warm thanks to Karlheinz Stockhausen, who composed the music at the center of my musicological research.