Timbre as a form-building property in the music of Kaija Saariaho
Timbre as a form-building property in the music of Kaija Saariaho Candidate number: 22025865 MUS335 Individual Research Topic MMus Contemporary Music Studies Abstract This essay outlines the evolution of Kaija Saariaho's working methods from the 1980s to the present, with particular reference to her own research on timbre and form. Relatively recent music research began to address the need for new formal possibilities to suit the requirements of avant-garde composition. The main focus of this essay is on timbre as a form-building element in Saariaho's music, and her association with psychoacoustics, which examines the ways in which timbral form can be apprehended. The essay commences with a summary of the historical background to Saariaho's interest in timbre and its relation to "spectral" music. After investigating her work in this field, the essay then examines Saariaho's violin concerto Graal Théâtre (1994) in more detail, to show how the composer's working methods and range of expression have expanded, with a subtle shift of emphasis from timbral concerns towards more linear, melody-led compositions. Throughout the essay, the author locates Saariaho's music in its historical context and circumstances, and looks at her music's relationship to its surroundings, canonic origins and influences. The essay concludes with some critical thoughts on the nature of timbre as
The Works of W. A. Mozart for the Basset horn: An Annotated Bibliography Including a Catalogue Discussion and Review of Mozarts Works Utilizing Basset Horn and Basset Clarinet
THE WORKS OF W. A. MOZART FOR THE BASSET HORN: AN ANNOTATED BIBLIOGRAPHY INCLUDING A CATALOGUE DISCUSSION AND REVIEW OF MOZART'S WORKS UTILIZING BASSET HORN AND BASSET CLARINET. Keith Northover 6211-5955 Professor Mitchell Estrin Honors Research Project University of Florida, November 30, 2009 As an aspiring clarinetist with a fascination for all types of clarinets or auxiliary clarinets, it would be imperative to study and research about the clarinet's history including its close relative, the basset horn. As a relatively young instrument to the orchestra, the clarinet began its development around the later part of the 18th century. Early in its development, instrument makers would create and experiment with different shapes and sizes. As developers wanted bigger instruments, the technological inadequacies of the time influenced the designs of the larger clarinets, then called basset horns. Mozart, an influential and important composer, first heard clarinets most likely during his stay in London in 1764, in Milan in 1771, and Mannheim in 1777, but not in Salzburg because there were none in his home city.1 After hearing and discovering several virtuosi performing on the clarinet, the basset horn, and basset clarinet, Mozart became highly motivated and inspired to write numerous works involving these instruments. This project attempts to discuss and review all of the
Eesti Muusikaakadeemia.
Eesti Muusikaakadeemia Muusikateaduse osakond Maria Mölder Popmuusika plaadiarvustused meil ja mujal III proseminaritöö Juhendaja: Kristel Pappel Tallinn 2002 Abstrakt Seekordses proseminaritöös olen seadnud oma eesmärgiks arutleda popmuusika arvustuste üle Eestis ja mujal maailmas. Selleks võrdlen teatud hulka plaadiarvustusi nädalalehes Eesti Ekspress ja võrguväljaandes music-critic.com. Analüüsides kõrvuti kahe väljaande kriitikat ühe ja sama plaadi kohta, üritan jõuda selgusele plaadi hindamise kriteeriumides ja selles, kuidas on arvamust väljendatud. Mõlemad valitud väljaanded on suunatud keskmisele muusikatarbijale, mitte professionaalile. Portaal music-critic.com on spetsiaalselt retsensioonide jaoks, Eestis aga kahjuks midagi analoogset ei eksisteeri. Seega valin võrreldavaks Eesti Ekspressi - ühe vähestest ja ühe pädevama Eesti väljaande, mis avaldab pidevalt plaadiarvustusi. Sisukord . Sissejuhatus 4 2. Plaadiarvustus 6 2.1. Plaadiarvustus tänapäeval 6 2.2. Plaadiarvustuse eesmärk ja sihtgrupp 7 2.3. Analüüsimeetod plaadiarvustuste uurimiseks 10 3. Analüüsid 12 3.1. Björk - Vespertine 12 3.2. Coldplay - Parachutes 17 3.3. Depeche Mode - Exciter 21 4. Kokkuvõte 25 5. Allikad ja kirjandus 27 5.1. Allikad 27 5.2. Kirjandus 27 6. Lisa 29 .
Research Dissertation:how is the live events industry dealing with negative impacts effecting the enviroment?
RUTH GORDON How is the Live Events Industry dealing with Negative Impacts Effecting the Environment? [Type the document subtitle] 05054165 Festivals have long been an important part of the British summer, regardless of the weather, the music or the current state of afairs, people will always make the effort to party in a field for three days and nights. Unfortunately this has its negative impacts; many of those are effecting the environment. This report examines what is being done to combat these issues and who is leading the way towards a 'greener' future. Table of content Abstract This project examines and identifies the main management issues involved when considering the environment and the negative impacts being caused by the live events industry. The issues have been discussed in great detail especially regarding the importance Improving EFP (environmentally friendly practices). Developing these practices and finding out what festival promoters are doing is a major focus in this project. Issues include waste management and the techniques that can be adopted to minimise waste. The importance of reducing Co2 Emissions by tackling important issues such as audience transportation methods and improving public transport's image when festival goers are considering their route to the festival. The range of methodology used to source the argument and create
Depiction of character through music and words
ECA Option 1 Taking as your example a novel, short story or poem which has been set to music, consider how a person's character can be depicted a) through words alone and b) through words and music together. "From novella to Broadway Musical - the transference of character from the page to the stage." This essay builds on my studies of Carmen and Tristan und Isolde, in which I considered how character can be portrayed through words and music. I shall examine Robert Louis Stevenson's short story "Strange Case of Jekyll and Hyde" and one of its many adaptations, from novel to the Broadway musical "Jekyll and Hyde" by Leslie Bricusse and Frank Wildhorn. I shall discuss how the characters are portrayed in the novel through words alone, concentrating mainly on the dual character of Henry Jekyll and Edward Hyde, and then examine the libretto and explore whether the addition of the orchestration and vocal lines of the musical enhance or detract from the portrayal and representation of the character. I shall also explore the depiction of the duality of all the characters within the musical, as I feel that Bricusse and Wildhorn were trying to convey through their adaptation that every person has a dual character and they choose which 'Facade' to present to the world. This was certainly the premise of the original story by Stevenson. As Stevenson says in his essay "Lay Morals": "We
The Haas Effect - Echoes and Location
The Haas Effect - Echoes and Location The aim of this project is to research into Helmut Haas's observations about the way a human brain deals with the sounds it hears in every day life and thus learn how to fool a person into believing something is or isn't as it really is. To begin with its important to realise how the brain finds the location of sounds it hears, once this has been clarified more research can be done into the different discoveries which Haas made and how they can be used in modern life. The actual effects which Haas discovered can be simply written down as three separate findings. These three effects are commonly known as the Haas effect even though they are a plural. The official findings of Haas are as follows:I . Signals which arrive at the same time but from different sources are heard as one sound from a fictitious or phantom source that is localized between the two sources at a place dependent upon the relative intensities of the two sources. This is the basics of volume panning. 2. Signals from the same source arriving at different times are heard essentially as one sound, with the delayed signal adding to the original sound but, when audible, being heard much more weakly. 3. Signals incoherent in both time and direction are heard as not localized, neither from source nor from a large range of angles in space, i.e. as a diffused sound. This
Early Music.
Early Music The Early Music ages consisted of several eras that took place hundreds of years ago. The eras throughout this time were Medieval, Renaissance, and the Baroque period. During this course in history a various amount of composers were in their prime and devoted to inspiring the world with their music. Just to name a few dedicated composers to galvanize this chapter in time are Hildegard, Leoninus, Dufay, Josquin Desprez and Palestrina. I will discuss the works of the previous composers as well as there background in each ones field of study. Hildegard of Bingen has been called by her admirers "one of the most important figures in the history of the Middle Ages," and "the greatest woman of her time." Her time was the 1100's, she was born in 1098. She was the daughter of a knight, and when she was eight years old she went to the Benedictine monastery at Mount St Disibode to be educated. The monastery was in the Celtic tradition, and housed both men and women in separate quarters. When Hildegard was eighteen, she became a nun. Twenty years later, she was made the head of the female community at the monastery. Within the next four years, she had a series of visions, and devoted the ten years from 1140 to 1150 to writing them down, describing them which included drawing pictures of what she had seen, and commenting on their interpretation and significance.
If you want to know about the Sixties, play the music of The Beatles (Aaron Copland) How accurate is this statement in relation to the development of popular music in Britain?
'If you want to know about the Sixties, play the music of The Beatles' (Aaron Copland) How accurate is this statement in relation to the development of popular music in Britain? The Beatles were a phenomenal success throughout the 1960s as they began a new era of music that changed the state of play in the music industry. Their simple chord structures, epitomised on 'Love Me Do', and intricate vocal harmonies led them to being a huge success in Britain, as well as the rest of the world. There was a "charge emitted by their music" (p1, MacDonald, 1998) and the new genre of music undeniably inspired other bands to write and perform in a similar style. However not all credit can be given to The Beatles for the development of popular music in Britain. Popular music from America was the initial influence as it "found its way into the UK via the ports" (BBC - h2g2) and as Liverpool was the main port into the UK from America, inevitably the music initially had an effect on musicians in the Merseyside area. This particularly had an effect on a four-piece skiffle group formed in 1956 by John Lennon, The Quarry Men, who over time developed and formed The Beatles in 1960 (MacDonald, 2002). They were young and brought a new image that was idolised by teenagers. The "four young men behind the music" amazed people and their image resonated "with a youthful and halcyon ideal of those
Ontology of Music
Introduction: Recently, the central questions to the ontology of music may like these: What sort of entities are works of music; are they physical objects, ideal kinds, imaginary entities, or something else; how are the various works of music related to the mental states of artists or viewers, to physical objects, or to abstract visual, auditory or linguistic structures and under what conditions do works come into existence, survive, or cease to exist. It seems that only a few people may have a ready answer to the question of the ontological status of the work of music, some relevant considerations are built into our common sense understanding of works of music and practices in dealing with them. Normally, some scholars may think of works of music as things created at a certain time, in a particular cultural and historical circumstance, through the imaginative and creative acts of a artist, composer, or author. Once created, it can be reasonable to think that of works of music as relatively stable and enduring public entities that may be seen, heard, or read by a number of different people who may enter legitimate arguments about at least some of the work's features. While these features characterize our understanding of all sorts of works of music, our understanding and treatment of works of different sorts diverges regarding other features. In this paper, I shall analyze
Historical Methods and the Issues relating to Popular Music
Historical Methods and the Issues relating to Popular Music This essay focuses on how the history of music became, and the historical methods used to preserve it. It looks into such methods as journalism, media, canons and museums and uses musical examples such as the Summer of Love, Beatles and the Rock 'n' Roll era. History is defined as a study of the past, "a chronological record of events, as of the life or development of a people or institution, often including an explanation of or commentary on those events," (Author Unknown, www.thefreedictionary.com). In most cases the sources of historical knowledge can be split into three categories which are, what is written, what is said, and what is physically preserved. To be a historian or philosopher of music one needs to be well educated in different fields such as languages, geography, and the histories of many cultures, as music dates back as far as one can think. This essay will be focusing on Popular Music where most of its history is preserved in English, and its cultural, social and geographic background is Western. Music has always been present, what has not always been around is the recognition of the fact that it has been a large part of our lives. "Music ceased to be seen as a craft, in the middle of the eighteenth century" (Kivy, Peter. 2002. p 10) it then gradually became one of the fine arts. The interest in