The present research aimed the better understanding of the melodic thinking in contemporary music. Through descriptive and comparative analysis of the melodic structure of four important plays of the post-1945 repertoire, it was verified... more
The present research aimed the better understanding of the melodic thinking in contemporary music. Through descriptive and comparative analysis of the melodic structure of four important plays of the post-1945 repertoire, it was verified the hypothesis that they preserve the characteristics of previous periods, as well as present similarities among each other, which allows them to be stylistically related. The chosen works were: Madrigal I, of Henri Pousseur; In Freundschaft, of Karlheinz Stockhausen; Sequenza IXa, of Luciano Berio; and Dialogue de l´ombre double, of Pierre Boulez. They were chosen according to their relevance in the repertoire and because they were composed for solo monodic instrument, a formation which induces the musical speech to focus on melodic aspects. The analytical methods here presented are based mainly on models proposed by Schoenberg (1996), Toch (1994) and De la Motte (1993). The results of the analysis demonstrated that most of the melodic construction of the pieces mentioned above is formed by structures and procedures that were already present in the traditional modal or tonal repertoire. At the same time, the results highlighted enriching creative contributions by the composers in the use of these same procedures and structures.
L’analisi della musica è una disciplina intermedia tra l’estetica musicale e la teoria della composizione. Rispetto a quest’ultima l’analisi è strumento utile per estrapolare i processi compositivi e trarne un possibile algoritmo. Questo... more
L’analisi della musica è una disciplina intermedia tra l’estetica musicale e la teoria della composizione. Rispetto a quest’ultima l’analisi è strumento utile per estrapolare i processi compositivi e trarne un possibile algoritmo. Questo articolo propone, senza pretesa di esaustività, degli esempi applicativi con PWGL, passando in rassegna alcune delle tecniche del Novecento. Le conseguenze e gli ulteriori possibili sviluppi di un lavoro qui appena impostato possono essere molteplici: la conservazione e la trasmissione di un patrimonio storico e musicale che in alcuni casi potrebbe non avere la diffusione che merita o addirittura andare perso; un diverso approccio alla didattica della composizione; una maggiore consapevolezza dell’evoluzione del pensiero e delle tecniche compositive dell’ultimo secolo; un potenziamento del fare compositivo individuale, con maggiore possibilit`a di concentrazione sui processi; l’interazione, attraverso opportune librerie e patch, con altri software.
TABLE OF CONTENTS 1. ENNO POPPE – INTERZONE : LEADER UND BILDER – LIVE PERFORMANCE,CITÉ DE LA MUSIQUE, PARIS, DECEMBER 3, 2009 2. JOHANN STRAUSS – DIE FLEDERMAUS 3. JAN WILLEM DE VRIEND – EVA BUCHMANN – HANDEL – AGRIPPINA 4. ILDEBRANDO... more
TABLE OF CONTENTS 1. ENNO POPPE – INTERZONE : LEADER UND BILDER – LIVE PERFORMANCE,CITÉ DE LA MUSIQUE, PARIS, DECEMBER 3, 2009 2. JOHANN STRAUSS – DIE FLEDERMAUS 3. JAN WILLEM DE VRIEND – EVA BUCHMANN – HANDEL – AGRIPPINA 4. ILDEBRANDO PIZZETTI – ASSASSINIO NELLA CATTEDRALE 5. PAUL MCCREESH – GABRIELI CONSORT – JEPHTE – JUDICIUM SALOMONIS – JONAS 6. SERGEY EISENSTEIN – SERGEY PROKOFIEV – IVAN THE TERRIBLE 7. JANACEK – BOULEZ – CHEREAU – FROM THE HOUSE OF THE DEAD 8. HANDEL – NIKOLAUS HARNONCOURT – JEPHTHA 9. HANDEL - JEPHTHA 10. HANDEL – ISAREL IN EGYPT 11. DELLER CONSORT – PURCELL – KING ARTHUR 12. ALBAN BERG – LULU – PIERRE BOULEZ 13. JEAN-CLAUDE MALGOIRE – PHIIPPE JAROUSSKY – FRIEDRICH HANDEL – AGRIPPINA 14. GEORG FRIEDRICH HANDEL – NICHOLAS MCGEGAN – JUDAS MACCABAEUS 15. VIVALDI – JUDITHA TRIUMPHANS 16. MOZART LA FINTA GIARDINIERA 17. MOZART - MITHRIDATE 18. MENDELSSOHN – A MIDSUMMER NIGHT’S DREAM 19. MOZART – ASCANIO IN ALBA 20. MOZART – LA FINTA SEMPLICE 21. PIZZETTI – KARAJAN – MORD IN DER CATHEDRALE – 1998 22. CLAUDIO MONTEVERDI – L’INCORONARIONE DI POPPEA – GABRIEL GARRIDO 23. HERVÉ NIQUET – HENRY PURCELLE – KING ARTHUR 24. GABRIEL GARRIDO – MONTEVERDI – LA FAVOLA D’ORFEO 25. GEORG FRIEDRICH HANDEL – ARNOLD OSTMAN – AGRIPPINA 26. RICHARD STRAUSS – DER ROSENKAVALIER – PHILIPPE JORDAN – ANNE SCHWANEWLIMS 27. RICHARD STRAUSS – SALOME – SIR GEORG SOLTI 28. GIUSEPPE VERDI – RIGOLETTO STORY 29. RACHMANINOV – ALEKO 30. SHOSTAKOVICH – THE NOSE 31. CLAUDIO MONTEVERDI – IL RITORNO D’ULISSE IN PATRIA – GABRIEL GARRIDO – ENSEMBLE ELYMA 32. PHILIPPE JORDAN – DAVID MCVICAR – RICHARD STRAUSS – SALOME 33. VERDI – OTELLO – PLACIDO DOMINGO 34. JOHN BLOW – VENUS AND ADONIS 35. BENJAMIN BRITTEN – CURLEW RIVER 36. BENJAMIN BRITTEN – PETER GRIMES 37. BENJAMIN BRITTEN – PETER PEARS – BILLY BUDD
This is a website with analytic and critical texts on 20th and 21st century piano music, including performance notes. The site includes a list of solo piano music from c. 1900 to the present. Additions and comments welcome!
Conventional phenomenology in a way has something in common with a traditional understanding of rhythm. But is rhythm at its basis simply a repeating pattern that maintains self-sameness during an extent of time? And is a phenomenon... more
Conventional phenomenology in a way has something in common with a traditional understanding of rhythm. But is rhythm at its basis simply a repeating pattern that maintains self-sameness during an extent of time? And is a phenomenon something that is constituted over an extending period of duration, accomplished by means of enduring similarities that are associatively assimilated into a phenomenal object? Or could it rather be that rhythm and phenomena are fundamentally matters of pure difference alone? A Deleuzean phenomenology of the body involves a logic of differential rhythm. Deleuze articulates this sort of rhythm with the theoretical writings of Messiaen and Boulez. These composers challenge the traditional understanding of musical rhythm by defining it as what does not fit predictable self-same metrical patterns. And Deleuze challenges traditional phenomenology by defining the phenomenon as an instantaneous flash of difference communicated between heterogeneous series of differential terms. A Husserlian or Merleau-Pontian phenomenon requires the flow of time. A Deleuzean phenomenon however can only occur before the passive synthesis of time-consciousness has had the chance to homogenize the immediately given differential phenomenal data. We will explore Deleuze’s and more contemporary musical, cinematic, and painted examples of rhythm to offer not merely an interesting way to experience rhythm in these art forms, but also to suggest an alternate form of phenomenological investigation, based on Deleuze’s notion of phenomenal rhythm.
L'A. décrit une expérience pédagogique qu'il a effectuée dans une classe difficile d'un lycée professionel. L'A. était responsable de l'enseignement de l'anglais et de la musique. Afin de remotiver les élèves, l'A. articule le cours de... more
L'A. décrit une expérience pédagogique qu'il a effectuée dans une classe difficile d'un lycée professionel. L'A. était responsable de l'enseignement de l'anglais et de la musique. Afin de remotiver les élèves, l'A. articule le cours de musique sur le cours d'anglais. Cela dynamise autant la classe de musique, que la classe d'anglais où des ouvertures nouvelles apparaissent pour des élèves qui considéraient que l'anglais est inutile. L'essentiel étant de prendre une approche didactique qui soit centrée sur l'apprenant dans tous les domaines en vue de le décentrer progressivement et l'amener vers des domaines qu'il ignore et vers des difficultés qui le rebuteraient s'il n'y avait pas ce centrage
