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| A
new musical grammar: principles and early experiments |
| scena.org
| by Pierre Grondines | "Around 1944, when Pierre Boulez,
then a young student at the Paris Conservatory, asked his teacher which
composer had the ability to lead modern music out of its current impasse,
Olivier Messiaen reportedly answered, "You, Pierre!"" | Wikipedia
Bio | |
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| INTEGRATION
OF ORDERED DURATION AND PITCH-CLASS SETS: A STRUCTURAL MICROCOSM OF BOULEZ'S
SONATINE |
| Sangtae
Chang | "The Sonatine for flute and piano (1946) by Pierre
Boulez holds a unique position among his twelve-tone compositions dating
from the late 1940s, since it receives unusually extensive commentaries
from the composer. While the Sonatine is acknowledged as Boulez's earliest
representative twelve-tone composition, its third part (Tempo Scherzando)
is elected to exemplify the development of "athematicism" " | |
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| Being
Modern Serbian Composer in the 1930's : The Creative Position of Ljubica
Mari |
| Melita
Milin | "Abstract : Ljubica Mari belongs to those rare Serbian
composers who were fully involved in the international developments of
modern music during the thirties. Her output shows that she was able to
take over some dominant ideas of the period and transform them in a personal
way. In the article are investigated all four of her preserved works composed
before the outbreak of World War 2. Among them are two compositions that
were until recently believed to be lost : Longing for the Girl for choir
(1929) and Music for orchestra (1932).
Key-words
: Ljubica Mari, Alois Haba, music of the thirties, atonality, athematicism
" | Wikipedia
Bio | |
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| On
Complexity |
Richard
Toop | "I have a difficult subject to deal with, and as I start
I have only one word to hang it on: "complexity." It's a word which, where
music is concerned, has great scope for being misunderstood, and even more
for being waved around as a polemical weapon, without any desire to grasp
what it might mean. " |
"Why
do composers today want to write complex music?" Looking at the broad history
of Western music I would be tempted to reply, equally simplistically yet
not inappropriately, ?When have the talented ones ever wanted to do anything
else?" | |
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| Finn
Mortensen |
| "Mortensen
introduced serialism and aleatorics to the Norwegian public. He defined
serialism as "Athematic, aperiodical music, organized as series"
| Wikipedia Bio
| |
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| Forum
post: "Purely rhythmic music" |
| recordingchannel.com
| "The piece of music I`m currently working on is *really* a departure.
Others would usually agree it`s atonal and athematic, and the only thing
remotely unifying the piece is an demonstrably unchanging meter of 3/4
and an individually unchanging tempo of 100 BPM |
.
| avant-garde
composer Karlheinz Stockhausen passes away at 79 |
| August
22, 1928 – December 5, 2007 | from New
York Times | "Karlheinz Stockhausen was one of the
most influential avant-garde composers, an early pioneer of electronic
music, and one of the most important figures in modern classical music"
| "treating each note as a separate point of sound" |
Wikipedia
Bio |
Personal
Note: When I was studying composition with Dr. Avram David at
Boston Conservatory of Music ,
I
had the good fortune of being present at a composers workshop by Karlheinz
Stockhausen. I was just getting acquainted with his music.
I had much to learn yet about his creative principles. He reviewed
our compositions and was very encouraging. Suggestions about feeling
the pulse (yes!) despite all the ametric , athematic feel of the music.
Suggestions about feeling larger rhythms or form of the piece. To
some , his music may have seemed a bit severe. In fact , he was all
about creating and feeling the musicality of a piece of music. Whatever
your organizing principles may be , it's always about the MUSIC! |
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| Wikipedia:
Luigi Nono |
| "The
world première of Il canto sospeso (1955–56) for solo voices, chorus,
and orchestra brought Nono international recognition and acknowledgment
as the legitimate successor to Webern. "Reviewers noted with amazement
that Nono's canto sospeso achieved a synthesis—to a degree hardly thought
possible—between an uncompromisingly avant-garde style of composition and
emotional, moral expression" (Flamm 1995):" | |
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| Composing
Musical Time: Some Aspects and Possibilities |
| Erhard
Karkoschka | " The twin-worded concept of "musical time" ("musikalische
Zeit") in the title has two connotations in the German language.
One refers to a historical style period, the other, to the articulation
of the passage of time in a piece of music. The latter usage of the
concept is relatively uncommon, and it is in this context that my discussions
of rhythm and tempo are centered." | |
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| Wikipedia:
Charles Wuorinen |
| "Charles
Wuorinen (b. June 9, 1938 in New York City) is an American composer. Wuorinen
is a prolific composer of primarily serial instrumental music and high
profile proponent of contemporary music. In 1970, Wuorinen became the youngest
composer to win the Pulitzer Prize for Music (for the electronic work Time's
Encomium) while his many other awards include a MacArthur Fellowship."
| |
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| Wikipedia:
Jean Barraqué |
| "Barraqué
was born in Puteaux. He studied in Paris with Jean Langlais and Olivier
Messiaen and, through Messiaen, became interested in serialism."
| |
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| Wikipedia:
Darmstadt School |
| "Coined
by Luigi Nono in his 1958 lecture "Die Entwicklung der Reihentechnik" (Nono
1975, 30; Fox 1999), "Darmstadt School" describes the uncompromisingly
serial music written by composers such as Pierre Boulez, Bruno Maderna,
Karlheinz Stockhausen (the three composers Nono specifically names in his
lecture, along with himself), Franco Evangelisti, Luciano Berio, and Henri
Pousseur" | |
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| Wikipedia:
Henri Pousseur |
| "Pousseur
studied at the Academies of Music in Liège and in Brussels from
1947 to 1953. He was closely associated with Pierre Froidebise and André
Souris. He encountered Pierre Boulez, Karlheinz Stockhausen and Luciano
Berio and thereafter devoted himself to avant-garde research." | |
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| Wikipedia:
Karel Goeyvaerts |
| "In
1951, Goeyvaerts attended the famous Darmstadt New Music Summer School
where he met Karlheinz Stockhausen who was five years younger. Both were
devout Catholics and found ways of integrating religious numerology into
their serial compositions." | |
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| Wikipedia:
Punctualism |
| "Punctualism
(commonly also called "pointillism" or "point music") is a style of musical
composition prevalent in Europe between 1949 and 1955 "whose structures
are predominantly effected from tone to tone, without superordinate formal
conceptions coming to bear" (Essl 1989, 93). In simpler terms: "music that
consists of separately formed particles—however complexly these may be
composed—[is called] punctual music, as opposed to linear, or group-formed,
or mass-formed music" (Stockhausen 1998, 452)" | |
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| Wikipedia:
Iannis Xenakis |
| "his
early statements about "looking at music statistically" were a response
to what he saw as the mistake of placing too much emphasis on the likely
benefits of applying methodology too rigorously.[verification needed] It
is also important to note, however, that this does not constitute any true
dichotomy between Xenakis and his peers - the application of single-minded
rigour to composition in post-war music was relative and momentary, and
as with his own work, the poetic and aesthetic significance of the gesture
as a modern equivalent to programme-music, as well as the vital role played
by musicality and music-editing/shaping has been widely undervalued in
favour of simplistic characterisations of such music as purely intellectual."
| |
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| Wikipedia:
Milton Babbitt |
| "Milton
Byron Babbitt (born May 10, 1916) is an American composer. He is particularly
noted for his pioneering serial, and electronic music" | |
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| Wikipedia:
Set theory (music) |
| "In
music, musical set theory provides concepts for categorizing musical objects
and describing their relationships." |
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| Wikipedia:
Cognitive Constraints on Compositional Systems |
| "Fred
Lerdahl's "Cognitive Constraints on Compositional Systems" cites Pierre
Boulez's Le Marteau sans Maître (1954) as an example of "a huge gap
between compositional system and cognized result," though he "could have
illustrated just as well with works by Milton Babbitt, Elliott Carter,
Luigi Nono, Karlheinz Stockhausen, or Iannis Xenakis" | |
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| Wikipedia:
Set theory (music) |
| "In
music, musical set theory provides concepts for categorizing musical objects
and describing their relationships. Many of the notions were first elaborated
by Howard Hanson in connection with tonal music, and then mostly developed
in connection with atonal music; the concepts of set theory are very general
and can be applied to tonal and atonal styles in any equally-tempered tuning
system, and to some extent more generally than that. Musical set theory
deals with collections of pitches and pitch classes, which may be ordered
or unordered, and which can be related by musical operations such as transposition,
inversion, and complementation. The methods of musical set theory are sometimes
applied to the analysis of rhythm as well." | |
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| Wikipedia:
Emancipation of the dissonance |
| "The
emancipation of the dissonance was a concept or goal put forth by Arnold
Schoenberg (composer of atonal music and the inventor of the twelve tone
technique) and others, including his pupil Anton Webern. It may be described
as a metanarrative to justify atonality. Jim Samson (1977, 146–47) describes:
"As the ear becomes acclimatized to a sonority within a particular context,
the sonority will gradually become 'emancipated' from that context and
seek a new one" | |
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| Wikipedia:
Permutation (music) |
| "In
music, a permutation of a set is a transformation of its prime form by
applying zero or more of certain operations, specifically transposition,
inversion, and retrograde." | |
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| Wikipedia:
History of serial music |
| "The
serialization of rhythm, dynamics, and other elements of music developed
after the Second World War by arguing that the twelve-tone music of Arnold
Schoenberg and his followers of the Second Viennese School had serialized
pitch, and was partly fostered by the work of Olivier Messiaen and his
analysis students, including Karel Goeyvaerts and Boulez, in post-war Paris."
| |
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| Wikipedia:
Allen Forte |
| "Allen
Forte (born December 23, 1926) is a music theorist and musicologist. He
was born in Portland, Oregon and fought in the Navy at the close of World
War II before moving to the East Coast. He is now Battell Professor of
Music, Emeritus at Yale University. Forte is arguably best known for his
book The Structure of Atonal Music, in which he extrapolates from the serial
theory of Milton Babbitt, proposing a musical "set theory" of pitch-class-set
analysis analogous to mathematical set theory with the avowed intention
of providing a method for the analysis of pre-serial atonal music."
| |
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| Wikipedia:
George Perle |
| "George
Perle (born May 6, 1915 in Bayonne, New Jersey) is a composer and music
theorist. A student of Ernst Krenek, Perle composes with a technique of
his own devising called "twelve-tone tonality," which is different from,
but related to, twelve-tone technique " | |
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