Boston Symphony Orchestra Concert Programs, Season 88, 1968-1969
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9445.01 GCE A2 Music (Part 2) Written Paper (Summer 2015).Indd
ADVANCED General Certificate of Education 2015 Music Assessment Unit A2 2: Part 2 assessing Written Examination [AU222] TUESDAY 2 JUNE, AFTERNOON MARK SCHEME 9445.01 F Context for marking Questions 2, 3 and 4 – Optional Areas of Study Each answer should be marked out of 30 marks distributed between the three criteria as follows: Criterion 1 – content focused Knowledge and understanding of the Area of Study applied to the context of the question. [24] Criterion 2 – structure and presentation of ideas Approach to the question, quality of the argument and ideas. [3] Criterion 3 – quality of written communication Quality of language, spelling, punctuation and grammar and use of appropriate musical vocabulary. [3] MARKING PROCESS Knowledge and Understanding of the Area of Study applied to the Context of the Question Marks should be awarded according to the mark bands stated below. Marks [1]–[6] The answer is limited by insufficient breadth or depth of knowledge. [7]–[12] The answer displays some breadth but limited depth of knowledge of the area of study. There is some attempt to relate the content of the answer to the context of the question but there may be insufficient reference to appropriate musical examples. [13]–[18] The answer displays a competent grasp of the area of study in terms of both breadth and depth of knowledge with appropriate musical examples to support points being made or positions taken. At the lower end of the range there may be an imbalance between breadth and depth of knowledge and understanding. [19]–[24] The answer displays a comprehensive grasp of the area of study in terms of both breadth and depth of knowledge and understanding with detailed musical examples and references to musical, social, cultural or historical contexts as appropriate. -
Two Serial Pieces Written in 1968 by Pierre Boulez and Isang Yun By
A Study of Domaines and Riul: Two Serial Pieces Written in 1968 by Pierre Boulez and Isang Yun by Jinkyu Kim Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University May 2018 Accepted by the faculty of the Indiana University Jacobs School of Music, in partial fulfillment of the requirements for the degree Doctor of Music Doctoral Committee _______________________________________ Julian L. Hook, Research Director _______________________________________ James Campbell, Chair _______________________________________ Eli Eban _______________________________________ Kathryn Lukas April 10, 2018 ii Copyright © 2018 Jinkyu Kim iii To Youn iv Table of Contents Table of Contents ............................................................................................................................. v List of Examples ............................................................................................................................. vi List of Figures ................................................................................................................................. ix List of Tables .................................................................................................................................. xi Chapter 1: MUSICAL LANGUAGES AFTER WORLD WAR II ................................................ 1 Chapter 2: BOULEZ, DOMAINES ................................................................................................ -
Middleground Structure in the Cadenza to Boulez's Éclat
Middleground Structure in the Cadenza to Boulez’s Éclat C. Catherine Losada NOTE: The examples for the (text-only) PDF version of this item are available online at: hp://www.mtosmt.org/issues/mto.19.25.1/mto.19.25.1.losada.php KEYWORDS: Boulez, Éclat, multiplication, middleground, transformational theory ABSTRACT: Through a transformational analysis of Boulez’s Éclat, this article extends previous understanding of Boulez’s compositional techniques by addressing issues of middleground structure and perception. Presenting a new perspective on this pivotal work, it also sheds light on the development of Boulez’s compositional style. Volume 25, Number 1, May 2019 Copyright © 2019 Society for Music Theory [1] Incorporating both elements of performer’s choice (mainly for the conductor) and an approach to temporality that subverts traditional notions of continuity by invoking the importance of the “moment,”(1) Boulez’s Éclat (1965) is a landmark work from the mid-1960s. It stems from a pivotal period within Boulez’s compositional career, following a time of intense application of novel serial techniques in works that cemented his reputation as a major figure of European modernism (such as Pli selon pli (1957–1962) and the Troisième Sonate (1955–63),(2) but preceding the marked simplification of the musical language that followed Rituel (1974).(3) Piencikowski (1993) has discussed the reliance of much of the central section of Éclat on material from the first version of Don (1960) which in turn is derived from the flute piece Strophes (1957) and from Orestie (1955), and has also thoroughly explained the pitch content of that central section.(4) The material from the framing cadenzas of Éclat, however, has received lile scholarly aention in published form, although Olivier Meston (2001) provides a description of abstract serial processes that could explain the pitch content.(5) One of Meston’s main claims is that the serial processes he presents are not perceptible (10, 16). -
Selected Vocal Repertoire
Selected Vocal Repertoire * = premiered by Barbara Hannigan van der Aa Here (to be found) * Here (in circles) * One * Abrahamsen let me tell you* Andriessen Four Beatles Songs Writing to Vermeer (Saskia) * Aperghis de la nature de la gravité de la nature de l’eau * Ayres In the Alps* J.S. Bach B minor mass Coffee Cantata (Lieschen) Hunt Cantata (Diana) Jauchzet Gott in allen Landen (Cantata 51) Johannes Passion Lutheran Mass Magnificat Matthäus Passion Peasant Cantata C.P.E. Bach Passion de Lezten Leidens Barry Karlheinz Stockhausen * La Plus Forte (Madame X) * The Bitter Tears of Petra von Kant (Gabrielle) The Importance of Being Earnest (Cecily Cardew) Beckwith Synthetic Trios Benjamin Written on Skin (Agnes)* Berg Der Wein Lulu (title role) Sieben Frühe Lieder Wozzeck fragments for soprano and orchestra Berio Sequenza 3 Sinfonia Binsbergen Sidenote: Howard Report* Boccherini Stabat Mater Boulez Le visage nuptial Pli selon pli Britten Les Illuminations The Rape of Lucretia (Lucia) Carissimi Jephtha (Jephtha’s daughter) Castiglione Cantus Planus Cavalli Giasone (Amore, Alinda) Charpentier Actéon (Arethuze) Chin Le silence des sirènes * Clerambault L’amour piqué par une abeille Crumb Apparition Dallapiccola Cinque frammenti di Saffo Debussy La Damoiselle Elue Defoort House of the Sleeping Beauties (The Women) * Dusapin Passion (Lei)* To God Dutilleux Correspondances Eötvös Octet Plus * Snatches of a Conversation Foss Time Cycle Francesconi Etymo Gluck Orfeo ed Eurydice (Amor) Grisey Quatre chants pour franchir le seuil Gubaidulina Hommage -
Pierre Boulez Exposition Du 17 Mars Au 28 Juin 2015
CITÉ DE LA MUSIQUE (PHILHARMONIE 2) Pierre Boulez Exposition du 17 mars au 28 juin 2015 Pierre Boulez DOSSIER DE PRESSE En 2015, la Philharmonie de Paris rend hommage Afin d’appréhender toutes les facettes de l’action de à Pierre Boulez, à l’occasion de son quatre-vingt- ce créateur hors-norme, un temps « autre » était dixième anniversaire : si un important cycle de nécessaire, en-dehors du concert ou de l’explication concerts dédiés à son œuvre fait partie de la saison pédagogique. L’exposition « Pierre Boulez » veut d’ouverture du nouvel établissement, notre volonté rendre compte d’un enchevêtrement de courants et a été de marquer cette date par un évènement de pratiques artistiques qu’il a lui-même impulsés plus ambitieux, destiné à transmettre au public la ou dont il s’est inspiré : s’intéressant très tôt à la complexité et la diversité du parcours de l’artiste. Car peinture ou la littérature, il n’a eu de cesse de Boulez ne s’est pas contenté d’être le compositeur convoquer ces arts dans son œuvre ; homme de que l’on connaît, mais a tout de suite perçu combien scène, il a toujours maintenu un lien étroit avec le le travail d’interprétation et de transmission terrain du concert ou de l’opéra, par la direction répondait à une nécessité : celle d’inscrire l’œuvre d’orchestre et la proximité avec des musiciens ou musicale dans l’histoire, en donnant à entendre au metteurs en scène ; pédagogue hors-pair, il n’a public aussi bien les chefs d’œuvre de la modernité pas formé de disciple mais suscité l’appétence que la toute jeune création. -
Published Mark Schemes for GCE A2 Music January 2010
Published Mark Schemes for GCE A2 Music January 2010 Issued: April 2010 NORTHERN IRELAND GENERAL CERTIFICATE OF SECONDARY EDUCATION (GCSE) AND NORTHERN IRELAND GENERAL CERTIFICATE OF EDUCATION (GCE) MARK SCHEMES (2010) Foreword Introduction Mark Schemes are published to assist teachers and students in their preparation for examinations. Through the mark schemes teachers and students will be able to see what examiners are looking for in response to questions and exactly where the marks have been awarded. The publishing of the mark schemes may help to show that examiners are not concerned about finding out what a student does not know but rather with rewarding students for what they do know. The Purpose of Mark Schemes Examination papers are set and revised by teams of examiners and revisers appointed by the Council. The teams of examiners and revisers include experienced teachers who are familiar with the level and standards expected of 16- and 18-year-old students in schools and colleges. The job of the examiners is to set the questions and the mark schemes; and the job of the revisers is to review the questions and mark schemes commenting on a large range of issues about which they must be satisfied before the question papers and mark schemes are finalised. The questions and the mark schemes are developed in association with each other so that the issues of differentiation and positive achievement can be addressed right from the start. Mark schemes therefore are regarded as a part of an integral process which begins with the setting of questions and ends with the marking of the examination. -
Ensemble Intercontemporain Matthias Pintscher, Music Director
Friday, November 6, 2015, 8pm Hertz Hall Ensemble intercontemporain Matthias Pintscher, Music Director PROGRAM Marco Stroppa (b. 1959) gla-dya. Études sur les rayonnements jumeaux (2006–2007) 1. Languido, lascivo (langoureux, lascif) 2. Vispo (guilleret) 3. Come una tenzone (comme un combat) 4. Lunare, umido (lunaire, humide) 5. Scottante (brûlant) Jens McManama, horn Jean-Christophe Vervoitte, horn Frank Bedrossian (b. 1971) We met as Sparks (2015) United States première Emmanuelle Ophèle, bass flute Alain Billard, contrabass clarinet Odile Auboin, viola Éric-Maria Couturier, cello 19 PROGRAM Beat Furrer (b. 1954) linea dell’orizzonte (2012) INTERMISSION Kurt Hentschläger (b. 1960)* Cluster.X (2015) Edmund Campion (b. 1957) United States première Kurt Hentschläger, electronic surround soundtrack and video Edmund Campion, instrumental score and live processing Jeff Lubow, software (CNMAT) * Audiovisual artist Kurt Hentschläger in collaboration with composer Edmund Campion. Ensemble intercontemporain’s U.S. tour is sponsored by the City of Paris and the French Institute. Additional support is provided by the FACE Foundation Contemporary Music Fund. This performance is made possible, in part, by Patron Sponsor Ross Armstrong, in memory of Jonas (Jay) Stern. Hamburg Steinway piano provided by Steinway & Sons of San Francisco. Cal Performances’ – season is sponsored by Wells Fargo. PLAYBILL ORCHESTRA ROSTER ENSEMBLE INTERCONTEMPORAIN Emmanuelle Ophèle flute, bass flute Didier Pateau oboe Philippe Grauvogel oboe Jérôme Comte clarinet Alain -
Pli Selon Pli Kuulonvaraisesti
Pli selon pli kuulonvaraisesti Analyysi spektrimorfologian näkökulmasta Timo Kittilä Opinnäytetyö Joulukuu 2016 Musiikin koulutusohjelma Säveltäjän suuntautumisvaihtoehto TIIVISTELMÄ Tampereen ammattikorkeakoulu Musiikin koulutusohjelma Säveltäjän suuntautumisvaihtoehto KITTILÄ, TIMO: Pli selon pli kuulonvaraisesti Analyysi spektrimorfologian näkökulmasta Opinnäytetyö 42 sivua, joista liitteitä 1 sivua Joulukuu 2016 Opinnäytetyön päämääränä oli tehdä kuulonvarainen analyysi Pierre Boulezin sävellyk- sen Pli selon pli kolmannesta osasta käyttäen apuna Denis Smalleyn spektrimorfologista metodia. Analyysityön alkuvaiheessa teosta kuunneltiin ja kirjoitettiin muistiin huomioita kuulo- havainnoista. Seuraava vaihe oli graafisen partituurin piirtäminen kiinteään ajalliseen mittakaavaan. Lopuksi teosta kuunneltiin lyhyemmissä osissa tehden tarkempia havain- toja spektrimorfologian käsitteitä hyödyntäen. Teoksen kuulonvaraisesti havainnoiduista musiikillisista tapahtumista tärkeimmät saa- tiin onnistuneesti kuvailtua spektrimorfologian käsittein. Graafisen partituurin piirtämi- nen jo analyysin varhaisessa vaiheessa havaittiin hyödylliseksi kokonaiskuvan saami- seksi teoksesta ja sen jakautumisesta taitteiksi. Kuitenkin säveltasorakenteiden analy- sointi jäi analyysin ulkopuolelle, sillä spektrimorfologia ei anna tarkkoja työkaluja sen kuvaamiseen ja säveltasorakenteiden analyysi kuulonvaraisesti näin monimutkaisen musiikin yhteydessä on myös hyvin vaikea tehtävä. Mahdollisia kehittämisehdotuksia ovat spektrimorfologiaan kuuluvien ajallisten -
Programme De Salle
Document de communication du Festival d'Automne à Paris - tous droits réservés CE PROGRAMME A ETE REALISE POUR LE FESTIVAL D'AUTOMNE PAR L'AVANT-SCENE OPERA. PIERRE BOULEZ Directeur général Michel Guy Les dieux vivants ont leur parfum. Kouros. Direction artistiqueNicholas Snowman CoordinationMireille Achino AdministrationJean Ruaud Parfums Relations avec le PublicJeanine Mahé WE.41 N11AURJNf KOUROS. NOU \ ELLE LIGNE MASCULINE. ASSOCIATION SUBVENTIONNEE PAR LE MINISTERE DE LA CULTURE, LE MINISTERE DES RELATIONS EXTERIEURES ET LA VILLE DE PARIS 3 Document de communication du Festival d'Automne à Paris - tous droits réservés PARTICIPANTS AUX PROGRAMMES GILBERT AMY MI JEAN BARRAQUE U BELA BARTOK III LUDWIG VAN BEETHOVEN II ALBAN BERG ANDRE ORCHESTRES BBC SYMPHONY ORCHESTRA BOUCOURECHLIEV PIERRE BOULEZ I CLAUDE ORCHESTRE DE PARIS ORCHESTRE NATIONAL DE FRANCE DEBUSSY U HUGUES DUFOURT II PHILIPPE FENELON ENSEMBLES ENSEMBLE INTERCONTEMPORAIN JACQUES GUYONNET IM HEINZ HOLL1GER U MAURICIO QUATUOR INTERCONTEMPORAIN CHOEURS CHOEURS DE L'ORCHESTRE DE PARIS/ARTHUR OLDHAM KAGEL II FRANZ LISZT II MAURICE RAVEL U ARNOLD CHOEURS DE RADIO FRANCE/JACQUES JOUINNEAU GROUPE VOCAL DE FRANCE/JOHN ALLDIS SCHONBERG II RICHARD WAGNER MI ANTON WEBERN CHEFS D'ORCHESTRE JOHN ALLDIS DANIEL BARENBOIM PIERRE BOULEZ PETER EOTVOS Note sur la programmation HUBERT SOUDANT SOLISTES Nicholas Snowman PIANO MAURIZIO POLLINI VIOLON GHIDON KREMER SOPRANOS PHYLLIS BRYN-JULSON HEATHER HARPER Le schéma de programmation concernant les Pierre Boulez de compositeurs aussi repré- JANE MANNING oeuvres de Pierre Boulez proposé au Festival sentatifs que ceux que l'on vient de nommer, FLUTE ISTVAN MATUZ d'Automne est très simple. Comme pour la mais moins fréquemment joués en concert à présentation Stravinsky de l'année dernière, le Paris. -
A Roundtable Discussion with Pierre Boulez
Poetry and Music: A Roundtable Discussion with Pierre Boulez Recorded by Paul Merrill. Transcribed by David Eadington, Uiura Leavitt, Leakthina Oilier, Amy Pitsker and Alicia Tolbert. In the fall of 1992, the French Department of UCLA was privileged to host a roundtable discussion on the complex relationship between poetry and music as experienced through the work of Pierre Boulez. What follows are excerpts from the discussion, featuring the words of three of the participants: Pierre Boulez, Mary Ann Caws and Nancy Perloff. Andrea Loselle, Assistant Professor of French at UCLA, moderated the roundtable and introduced the participants. Introduction by Andrea Loselle Pierre Boulez is generally acknowledged as one of the most important figures in music since the Second World War. He is active not only as a composer but also as a conductor and as founder, director and now honorary director of the famous Paris- based music research institute IRCAM {Instiliit de Rechcrches et de Coordination Acoustiqiw/Mnsique). In addition to his instrumental works, Mr. Boulez composed, earlier in his career, several major vocal works with poems by Rene Char, Stephane Mallarme, e. e. cummings and Henri Michaux. Composed mainly in the late 1940s, 50s and early 60s, these works' titles are: Lc visage nuptial, Soldi des eaux, Le marteau sans maitrc, Poesie pour pouvoir, Pli selon pli, and finally Cummings ist der Dichtcr. Of these works Visage nuptial, Soleil des eaux, Le marteau sans maitre and Pli selon pli have undergone numerous revisions. They represent instead works in progress and, in a couple of cases, a long span of years spent reworking, reinterrogating music, its organization, structure.. -
BRO Plate Bells 2020-08.Indd
PLATE BELLS Oh, from out the sounding cells, What a gush of euphony voluminously wells! How it swells! How it dwells On the Future! how it tells Of the rapture that impels To the swinging and the ringing Of the bells, bells, bells. Edgar Allen Poe, from The Bells At the ringing of bells To wonder at beauty, stand guard over truth Look up to the noble, resolve in the good This leadeth us truly, to purpose in living To might in our doing, to peace in our feeling To light in our thinking, and teaches us trust in the working of God, in all that there is in the width of the world, in the depth of the soul. Rudolph Steiner HISTORIC AND resonators were also tried out. Many of these experi- ments took place in Bayreuth (for Richard Wagner’s SOUND DESCRIPTION Parsifal) and the Royal Opera House, Covent Garden. OF PLATE BELLS These efforts had as their aim the combination of two aspects: on the one hand the most accurate imitation Asian Beginnings possible of the bell sound with its high proportion of Musical plates made of metal originated in Asia, overtones and, on the other, a sound with a definite mainly in China, around 3500 years ago, where they pitch. have been used from time immemorial and are still hugely important today. In India the ancient temple bell plates are used till this day in preparing for ceremonies, dispersing unwanted elements and in- voking the helping forces and godheads addressed. A popular variation of the bell plate is the Burma bell, a distinctively shaped bell plate that is often mounted using a single hole, allowing it to spin when struck, producing doppler effects. -
6.5 X 11 Double Line.P65
Cambridge University Press 978-0-521-78968-4 - The Cambridge Companion to John Cage Edited by David Nicholls Index More information Index Abstract Expressionism, 110 Barron, Bebe, 209 Adams, John, 245 Barron, Louis, 209 John’s Book of Alleged Dances, 245 Basho, 52 Adams, John Luther, 244, 247, 258 Baudelaire, Charles, 19 Clouds of Forgetting. Clouds of Unknowing, Bauhaus, 22, 23, 24, 25, 26, 261 247 Bayer, Herbert, 23 Dream in White on White, 247 Beauvais cathedral, 21 Earth and the Great Weather, 247 Beckett, Samuel, 266 In the White Silence, 247 Beethoven, Ludwig van, 21, 22, 26, 28, 46, 52, Strange and Sacred Noise, 247 70, 76, 107, 108, 164, 187, 210, 215, 237, Aeschylus, 262 249 Africa, 78 Piano Sonata in f minor, op. 57 Alaska, 96 “Appassionata”, 164 Albers, Anni, 25 Symphony No. 3 “Eroica”, 107 Albers, Josef, 22, 25 Symphony No. 7, 249 America, United States of, ix, 3, 4, 5, 8, 9, 13, Behrman, David, 162, 265 15, 17, 18, 19, 20, 21, 23, 24, 26, 33, 39, Bell Laboratories, 160, 161, 164 40, 42, 66, 90, 92, 106, 128, 134, 137, Bennington School, VT, 44, 267 146, 162, 184, 215, 216, 217, 218, 228, Benton, Thomas Hart, 21 239, 243, 252, 258 Berg, Alban, 34 Bicentennial, 137 Berio, Luciano, 106, 249 Civil War, 5 Sinfonia, 249 NASA, 164 Berlin, Germany, 22 National Institute of Arts and Letters, 26, Bernstein, David, 262 101 Beyer, Johanna, 69 U. S. Navy, 11 Bird, Bonnie, 152, 153, 157, 265 Amirkhanian, Charles, 215 Black Mountain College, NC, 25, 26, 55, 105, Amsterdam, Holland, 40 151, 161, 174, 208, 265 Anderson, Beth, 249, 254–255