Ellen Arkbro and Marcus Pal; Claudia Molitor, Decay, hcmf//, 16 November 2019

Tempo ◽  
2020 ◽  
Vol 74 (292) ◽  
pp. 85-86
Author(s):  
Sam Ridout
Keyword(s):  
New Music ◽  
Harmonic Series ◽  
Just Intonation ◽  
Extended Version ◽  
Music Scenes ◽  
La Monte Young ◽  
Additive Synthesis ◽  
The Uk

Ellen Arkbro has been much fêted in experimental scenes (though not – or not yet – so much in the sort of new music scenes with which hcmf// remains associated) for her two records, For Organ and Brass (2017) and CHORDS (2019). Her performance with Marcus Pal in St Paul's Hall in Huddersfield follows a number of other shows in the UK, including at TUSK festival in Newcastle and at the Barbican in London. The pair are based in Stockholm, where they seem to be part of a burgeoning experimental organ scene. Their just intonation drone music comes with impeccable credentials: both studied with La Monte Young, and Pal also studied with Catherine Christer Hennix. The organ emitted a quiet diminished octave as the audience filed in, a dissonance resolved as soon as Arkbro sat down at the organ manual. What followed appeared to be a reworked and extended version of CHORDS for organ: the organ articulating perfect intervals and single tones, sounding something like a harmonic series and something like the I–IV–V of rock and blues, while Pal's computer-generated additive synthesis, speakers carefully directed upwards parallel to the organ's pipes, combine with the organ's familiar sound to create dense and jagged masses, chords transforming into timbres and back again.

scholarly journals From Microphone to the Wire: Cultural change in 1970s and 1980s music writing

2019 ◽  
Vol 16 (3) ◽  
pp. 531-555
Author(s):  
STEPHEN GRAHAM
Keyword(s):  
United States ◽  
Cultural Change ◽  
White Male ◽  
Experimental Music ◽  
Avant Garde ◽  
Music Scenes ◽  
Independent Music ◽  
Attitude And Practice ◽  
The 1960S ◽  
The Uk

AbstractIn this article I examine localized cultural change that nevertheless serves as an applied instance of broader change. Focusing mostly on British, white male musicians and music writers active in the improvised and experimental music scenes of the UK (and, to a lesser extent, United States and Europe) across the 1970s and early 1980s, I identify clear shifts in taste, attitude, and practice. These shifts arc across what Ben Piekut calls the ‘mixed avant-garde’ of the 1960s to what I describe as the ‘unpop avant-garde’ of the late 1970s and 1980s, in which influences from popular and non-Western music play more significant roles than before and liminal, quasi-popular practices such as noise are in the emergence. I trace the appearance of the unpop avant-garde through independent music publications from the period, most prominently Microphone, Musics, Collusion, Impetus, and Re/Search, using these published scene discourses as barometers of the musical atmosphere of the time.

scholarly journals Dissonant Harmony and “Seed-Tones”

2014 ◽  
Vol 20 (2) ◽  
Author(s):  
Michael K. Trinastic
Keyword(s):  
Twentieth Century ◽  
Piano Music ◽  
New Music ◽  
Harmonic Series ◽  
Spiritual Discipline ◽  
Early Twentieth Century ◽  
American Composer ◽  
Interval Cycles ◽  
Musical Sounds

French-American composer Dane Rudhyar’s (1895–1985) vision of dissonance as a spiritual discipline was profoundly influential upon American ultra-modernist composers in the 1920s and ’30s. Rudhyar’s own compositions manifest his theoretical ideas, which revolve around a mystical conception of Tone as the totality of all possible musical sounds. His prose reveals several interrelated methods of creating Tone: using the piano’s sounding board as a gong, employing dissonant harmony (relating pitches by geometric relationships, which manifest as interval cycles), applying “the new sense of space” (beginning from wholeness, which requires equal divisions of the octave), and creating organic forms by basing each composition on a “seed-tone” (a dissonant tonic sonority). Rudhyar’s theoretical writings suggest two compatible methods of constructing seed-tones: building quintal sonorities (which exemplify dissonant harmony in Rudhyar’s theory) and employing “interpenetrating harmonic series.” These two methods facilitate the identification of seed-tones and their elaborations in Rudhyar’s piano music. Schenkerian-style graphs accompany detailed analyses of two of Rudhyar’s piano pieces: “Stars” and the first movement of Granites. Rudhyar’s seed-tones may suggest new analytic perspectives for other post-tonal repertoire. In addition, Rudhyar’s connection of dissonance with spirituality serves as a reminder that many early-twentieth-century pioneers in atonality and dodecaphony perceived a numinousness in this new music.

A STUDY OF ENTREPRENEURIAL CAREER CHOICES AMONG MBAS - THE EXTENDED BIRD MODEL

1999 ◽  
Vol 07 (01) ◽  
pp. 1-17 ◽  
Author(s):  
TRULS ERIKSON
Keyword(s):  
Goal Setting ◽  
Self Efficacy ◽  
Goal Commitment ◽  
Extended Model ◽  
Extended Version ◽  
Vicarious Experience ◽  
Exogenous Variables ◽  
Mastery Experience ◽  
Choice Intentions ◽  
The Uk

In this article an extended version of the Bird model is investigated in a prospective approach. The model is tested on a cohort of 62 final semester MBAs in the UK. Boyd and Vozikis' (1994) theoretical propositions represent the base model. Antecedents of the extended model are empirically tested using exogenous variables such as mastery experience, vicarious experience and social influences against entrepreneurial self-efficacy. The present study supports the proposition that social influence affects entrepreneurial self-efficacy and that self-efficacy goal setting and goal commitment affect entrepreneurial career choice intentions.

LCO Soloists + NU:NORD, Roundhouse Dorfman Hub, London; Riot Ensemble, St Leonard's Church, London

Tempo ◽  
2016 ◽  
Vol 70 (278) ◽  
pp. 87-88
Author(s):  
Stephen Graham
Keyword(s):  
New Music ◽  
Wide Range ◽  
Public Money ◽  
The Uk

Despite the ever-dwindling pot of public money available to exploratory musicians in the UK and elsewhere, various ensembles are nonetheless busy making hay whilst at least a little sun still shines. In London in the space of only a week or two in the second half of April, for instance, audiences could catch a series of new music recitals given by the Park Lane Group of young musicians, an evening of premieres with the Workers’ Union Ensemble, and concerts by the Riot Ensemble and by the London Contemporary Orchestra Soloists. Other cities, from Glasgow to Birmingham, enjoy a similarly wide range of activity.

scholarly journals Reception of the Warsaw Autumn Festival in Lithuania: Cultural Discourse and Political Context

2017 ◽  
Vol 14 (1) ◽  
pp. 75-90 ◽  
Author(s):  
Rūta Stanevičiūtė
Keyword(s):  
Cold War ◽  
New Music ◽  
Cultural Discourse ◽  
Comparative Approach ◽  
Mutual Understanding ◽  
Political Factors ◽  
Music Scenes ◽  
The Cold War ◽  
Changing Role

Abstract This article aims to offer a broader understanding of the Lithuanian reception of the Warsaw Autumn festival in relation to the modernisation of national music in Lithuania since the late 1950s – early 1960s. Based on a micro-historical and comparative approach to the network of individuals and events, it is intended to explore the shifts of reception through analysis of musical criticism, composers’ work and discourse, and artistic exchange between the Lithuanian and Polish new music scenes. The author discusses the cultural and political factors which affected the changing role of the Warsaw Autumn festival and its impact on the modernisation processes in Lithuanian music. In addition, the asymmetries of mutual understanding and interests between the Polish and Lithuanian music cultures have been highlighted both during the Cold War and the post-communist transformation periods.

Music We'd Like to Hear II: (UN)PREDICTABLE

Tempo ◽  
2017 ◽  
Vol 72 (283) ◽  
pp. 92-93
Author(s):  
Ben Smith
Keyword(s):  
New Music ◽  
The World ◽  
The Uk ◽  
World Premiere

Now in its thirteenth season, Music We'd Like to Hear is an established presence in London's new music calendar. And true to form, the second concert in this year's triple bill, named (UN)PREDICTABLE, programmed a host of new works, including the UK premieres of Makiko Nishikaze's trio-stella and Alvin Lucier's Twonings, the world premiere of Paul Newland's things that happen again (again), and Tom Johnson's Predictables, all performed by Mira Benjamin (violin), Anton Lukoszevieze (cello), and Philip Thomas (piano).

scholarly journals Make a Silence

2020 ◽  
Vol 4 (02) ◽  
Author(s):  
Barley Norton
Keyword(s):  
Contemporary Music ◽  
New Music ◽  
Sound Art ◽  
Visual Exploration ◽  
Music Festival ◽  
Free Improvisation ◽  
Music Scenes ◽  
Artistic Images ◽  
Underground Music ◽  
Musical Exchange

The Hanoi New Music Festival 2018 was an historic event. It was the largest festival of exploratory forms of new music that has ever been held in Vietnam, and artists from countries across Southeast Asia and Japan came to Hanoi to participate. The film Make a Silence - Musical Dialogues in Asia showcases the diverse, multimedia performances that took place at the Festival, including sound art for theatre and video, underground music and free improvisation. Like the Festival itself, Make a Silence is a sensory feast of musical and visual exploration. Combining vivid artistic images, conversations with musicians and footage of concerts, the film meditates on transnational dialogue in the contemporary music scene in Asia. Artists featured in the film include Otomo Yoshihide (Japan), Trần Thị Kim Ngọc (Vietnam), Jiradej Setabundhu (Thailand), Red Slumber (Vietnam), Siew-Wai Kok (Malaysia), Otto Sidharta (Indonesia) and Yii Kah Hoe (Malaysia). The film is based on long-term ethnographic research in Vietnam by the director. It examines how transnational circuits of musical exchange in the new music scenes in Asia intersect with postcolonial politics, thereby challenging the often-presumed hegemony of Euro-American lineages of contemporary music.

FIRST IMPRESSIONS: ON THE PROGRAMMING AND CONCERT PRESENTATION OF NEW MUSIC TODAY

Tempo ◽  
2014 ◽  
Vol 68 (267) ◽  
pp. 42-50
Author(s):  
Mark Gotham
Keyword(s):  
Current Practice ◽  
New Music ◽  
First Impressions ◽  
History Of ◽  
Music Programming ◽  
The Uk ◽  
Industry Professionals

AbstractThis article explores recent, radical developments in the ways in which new music is programmed and presented. It is contextualised by a brief survey of new music programming across the history of public concert-giving, and by several new interviews with industry professionals in the UK. These illustrate various rationales behind current practice including the dissatisfaction with traditional modes of concert-giving where appropriate. They also inform the author's conviction that different branches of new music benefit from different forms of presentation, acknowledging the importance of innovative forms to certain new styles.

Huddersfield Contemporary Music Festival 1: 15–21 November 2013

Tempo ◽  
2014 ◽  
Vol 68 (268) ◽  
pp. 75-77
Author(s):  
Sara Mohr-Pietsch
Keyword(s):  
Contemporary Music ◽  
New Music ◽  
New Work ◽  
Music Festival ◽  
Multi Media ◽  
The Uk ◽  
Artistic Director

The Huddersfield Contemporary Music Festival has, for many years, been the date in the UK new music calendar. Every November, friends and enemies gather under the heavy skies of a Yorkshire micro-climate to listen to, perform and discuss new work. When Graham McKenzie took over as Artistic Director six years ago, there were murmurings that it might change out of all recognition. He certainly made a few bold decisions, introducing more multi-media, cross-disciplinary elements, installations and audio walks, and moving beyond St Paul's Hall to more contemporary spaces like the blending shed at Bates Mill. He also gave the festival's branding the once-over, so that HCMF now always appears as hcmf// (perhaps a nod to the trendy Wire magazine-reading audience he was trying to attract). Little of what he instigated at the start of his tenure has changed, but if there were fears that it would spell the end of ‘proper concerts’, one needn't have worried.

INTRODUCTION: TOWARDS GENDER DIVERSITY IN NEW MUSIC PRACTICE

Tempo ◽  
2020 ◽  
Vol 74 (292) ◽  
pp. 6-9
Author(s):  
Louise Devenish
Keyword(s):  
Music Education ◽  
Gender Diversity ◽  
Academic Research ◽  
New Music ◽  
Performance Practices ◽  
For Profit ◽  
Music Practice ◽  
Free Improvisation ◽  
Wide Range ◽  
The Uk

AbstractThe collection of articles in TEMPO 292 provides the opportunity to examine recent research and approaches towards gender diversity in new music from an Australian perspective. The otherwise under-recognised contributions to the development of music by women and gender-diverse artists is spotlighted through academic research, industry strategies and creative approaches to music-making. Topics explored include artistic research in free improvisation, performance analysis and performativity, presented together with research findings drawn from mentorship programmes for female composers, gender diversity strategies in tertiary music education and the positive impacts of content targets in programming. Together these articles offer a wide range of perspectives on changing creation and performance practices, listening practices and audience attitudes to music in the twenty-first century. Contributors include leading scholar-performers active at the forefront of contemporary music in Australia, artists from the UK and USA, as well as national radio programmers and not-for-profit arts organisations.

Sign in / Sign up

Export Citation Format

Share Document