John Adams | Shaker Loops for string septet (1978) Shaker Loops was composed in the fall of 1978 using fragments from a string quartet, Wavemaker, written earlier in that year. First performance: December, 1978 in Hellman Hall, San Francisco by the New Music Ensemble of the San Francisco Conservatory, conducted by the composer. The version for string orchestra was made in 1983 and first performed in April of that year at Tully Hall, New York, by the American Composers Orchestra conducted by Michael Tilson Thomas. The original "modular" score, published by Associated Music Publisher, has since been withdrawn and replaced by the 1983 "string orchestra" version. The "string orchestra" version can be played either by a septet of soloists or by a string orchestra of any size. 3 violins, 1 viola, 2 celli, 1 contrabass I. Duration: 24 minutes John Adams on Shaker Loops: Shaker Loops began as a string quartet with the title Wavemaker. Shaker Loops continues to be one of my most performed pieces. ↑ Return to top of page
John Cage Not to be confused with John Cale. John Cage Cage is perhaps best known for his 1952 composition 4′33″, which is performed in the absence of deliberate sound; musicians who present the work do nothing aside from being present for the duration specified by the title. The content of the composition is not "four minutes and 33 seconds of silence," as is sometimes assumed, but rather the sounds of the environment heard by the audience during performance.[7][8] The work's challenge to assumed definitions about musicianship and musical experience made it a popular and controversial topic both in musicology and the broader aesthetics of art and performance. Cage was also a pioneer of the prepared piano (a piano with its sound altered by objects placed between or on its strings or hammers), for which he wrote numerous dance-related works and a few concert pieces. Life[edit] 1912–31: Early years[edit] Cage enrolled at Pomona College in Claremont as a theology major in 1928.
John Dewey et l’expérience artistique : épisode 4/5 du podcast Avoir raison avec... John Dewey Avec nos partenaires, nous traitons vos données pour les finalités suivantes : le fonctionnement du site, la mesure d'audience et web analyse, la personnalisation, la publicité et le ciblage, les publicités et contenus personnalisés, la mesure de performance des publicités et du contenu, le développement de produit, l'activation des fonctionnalités des réseaux sociaux. Vos préférences seront conservées pendant une durée de 6 mois. Justin Rubin Aleatoric Music When the intention is to present a traditional score based on procedures involving chance, the composer needs to decide which musical parameters are to be determined through some method of indeterminacy, and what the method itself will entail. The aforementioned American composer, John Cage, employed a variety of methods, including using characters of the I Ching (an ancient text featuring a series of symbols that relate to Chinese cosmology and philosophy), while the Greek composer Iannis Xenakis (1922-2001) used scientific data compiled by a computer in some of his earlier compositions to provide him with a body of source material (pitches, rhythms, and other parameters) from which he made conscious decisions as to what would go into the final score. One composer/artist, Dick Higgins (1938-1998), even used a machine gun to puncture holes into score paper that he then distributed for performance. 3. Final Score. 1. 4.
The world’s slowest and longest piece of music: John Cage’s As S As Slow As Possible was composed by John Cage, arguably the most influential American composer of the 20th century. It was originally a 20-minute piece for piano, but later expanded by some crazy group of theologians, musicologists, philosophers, composers and organists to an unbelieveable 639 years. Yes, that means the song will take 639 years from start to finish. It was first played sometime in 2003, on a church organ in Halberstadt, Germany. The first 3 notes will last for more than a year! Needless to say, it won’t be of much interest if you’d actually sit down and listen to it. In fact, for the first 17 months, all that was heard was the sound of “the organ’s bellows being inflated”. Question: But why 639? SourceThe BBC, Feb 2003
Déroulé du cours Justin Rubin Aleatoric Music The central question that the composer must ask in terms of live aleatoric music is what parameters of the music need to be defined and to what degree are the materials to be controlled. We will create two original chamber works to explore some ways that this can be answered. 1. Defining Structure Without Specific Materials. One method developed by the American composer Morton Feldman (1926-1987) is to define only the number of notes to be played in a specified duration. The score is presented as a grid that reads in units of time from left to right, similarly to a standard score, with a numerical value placed within the grid squares to provide the performer the specified number of pitches. In this mode of thought, we will create a quasi-Feldman piece. 2. 1. Based on these instructions, the performers can choose to interact with one another - echoing each other's chosen fragments - or choose to go one's own way. 3.
"El violador eres tú" | Sciences Po Programme PRESAGE Delphine Grouès décrypte la performance du collectif Las Tesis El violador eres tú : le violeur c'est toi. Depuis novembre 2019, la performance d’un collectif féministe chilien, Las Tesis, est reprise dans le monde entier. Ce poème chanté et dansé, intitulé “Un violador en tu camino” [Un violeur sur ton chemin] dénonce les violences faites aux femmes en retranscrivant des travaux de recherche, notamment ceux de l’anthropologue argentino-brésilienne Rita Laura Segato. Dans quel contexte cette performance a-t-elle vu le jour ? Cette performance a vu le jour au Chili, en plein cœur d’une révolte sociale ; par les réseaux sociaux, elle s’est ensuite diffusée de manière massive à l’international. Ce collectif de jeunes femmes, Las Tesis, a été créé avant ces événements. Ce collectif s’appelle Las Tesis pour sa volonté de simplifier les thèses féministes. Plus que de simplifier les thèses féministes, je pense que leur volonté est de les retranscrire sous une autre forme. En savoir plus
library.music.indiana.edu/tech_s/mla/wgt2cm.txt Working Group on Terminology in 20th-Century Music Final Report, submitted by Michael Colby March 17, 1998 Introduction Members: Dan Cherubin, Michael Colby (chair), Ralph Hartsock, David Lesniaski, Brian Newhouse, Deta Davis (LC Liaison) The working group was appointed after the 1993 MLA meeting in San Francisco. Our charge was to identify and define key concepts in 20th-century music and to compile a list of terms derived from these concepts. We would then decide which of these terms sho uld be sent to the Library of Congress as proposals for new subject headings.
Lygia Clark - Archives of Women Artists, Research and Exhibitions Brazilian painter, sculptor and psychotherapist. Married at the age of eighteen, Lygia Clark led a normal middle-class life until her divorce in 1947, then moved to Rio de Janeiro to take up art. Her training in painting began under Roberto Burle Marx (1909–1994), a famous landscape architect, and continued in Paris between 1950 and 1952 alongside Fernand Léger (1881–1955) and Árpád Szenes (1897–1985). When concrete art – an abstractionist movement strongly derived from Russian constructivism – dominated the visual arts in South America, her painting concerned itself with the concretist exploration of the elements in the pictorial space, paying particular attention to the interstices between planes, especially the interphase between the canvas and the frame, which Clark would treat as a plastic element in its own right. In 1959 a group of artists based in Rio de Janeiro signed the Neo-Concrete Manifesto in response to the formalist and rationalist intransigence of concretism.
HISTORY 204 - THE REACTION AGAINST SERIALISM 1. Ascendancy of serialism in 1950's -- It was the only show in town - i.e. it was the dominant form of "new music" (except for Cage and a few American crazies) - everything else was "old hat" - Even successful composers like Copland, Britten and Stravinsky gave it a try Reaction against serialism took at least 4 forms: 1. Texture music - Ligeti, Penderecki 2. 3. 4. These styles have other motivations besides reaction to serialism, and serialism persists vigorously today, especially in the USA -- However, the issue was perceived at time (c.1960) as serialism vs. all comers, and several well-known (or later well-known) composers abandoned serialism during 1970s – e.g. 2. NB - This is not an official definition - It's based on the work of my student Randy Foy -- No one else uses the term, and many would probably reject it WHY would "texture music" be perceived as alternative to serialism? Examples of composers in this style: Ligeti, Penderecki, Xenakis 3. PLAY beginning as example of notation
Getting Started With Algorithmic Composition | Algorithmic Composer This page is a quick how to guide to get you started with Algorithmic Composition. Step One: Choose your software Max/MSP You can buy Max/MSP from www.cycling74.com Max is a graphical dataflow language where you connect objects together in a similar manner to a studio patchbay. Price: $399 Platforms: OSX and Windows PureData Puredata (or Pd) is a free open-source alternative to Max and is a similar visual programming language. Price: Free Platforms: OSX, Windows and Linux OpenMusic Open Music is a visual programming language for algorithmic composition that is written in LISP. CommonMusic Common Music (CM) is another Lisp based algorithmic composition environment. Slippery Chickenslippery chicken is an open-source algorithmic composition system written in Common Lisp which enables a top-down approach to music composition. Symbolic Composer SCOM is rich on generative functions, which enable to quickly create source material for your scores. Step Two
George Crumb Biography[edit] Crumb was born in Charleston, West Virginia, and began to compose at an early age. He studied music first at the Mason College of Music in Charleston where he received his Bachelor's degree in 1950. He obtained his Master's degree at the University of Illinois at Urbana-Champaign, and then briefly studied in Berlin before returning to the United States to study at the University of Michigan, from which he received his D.M.A. in 1959. Crumb retired from teaching in 1997, though in early 2002 was appointed with David Burge to a joint residency at Arizona State University. Crumb has been the recipient of a number of awards, including the Pulitzer Prize for Music in 1968 for his orchestral work Echoes of Time and the River and a Grammy Award for Best Contemporary Composition in 2001 for his work Star-Child . Crumb's son, David Crumb, is a successful composer and, since 1997, assistant professor at the University of Oregon. Crumb's music[edit] Works[edit] Orchestral[edit]
Georg Friedrich Haas’s Works Are Rooted in Microtonality Photo “Is the idea that this is the right world, and this is the destroyed world?” the Austrian composer Georg Friedrich Haas asked recently, after playing and comparing the same chord on the three upright Yamaha pianos — each tuned differently — that form a triangle in his small studio at Columbia University. “This is not the wrong piano and the right piano,” Mr. Haas added during the lesson with Stylianos Dimou, a doctoral composition student, referring to the startling harmonies that sounded after he played the chord on the piano not tuned to the conventional Western scale. Alternate tunings and the alluring sonorities they produce have long fascinated Mr. Mr. In Mr. Classical musicians are usually not taught how to perform quarter-tone music at conservatories, and alternate tunings and harmonics can prove challenging for performers. John Pickford Richards, the JACK Quartet’s violist, said that Mr. “I would be interested in how someone who cannot see could perceive it,” he said. Mr.