Darmstädter Ferienkurse 2021

Tempo ◽  
2021 ◽  
Vol 76 (299) ◽  
pp. 83-87
Author(s):  
Max Erwin
Keyword(s):  
New Music ◽  
Concert Hall ◽  
As If

Darmstadt was a bit different this year. The original 1946 courses had 120 registered participants in situ; I was told that the number this time around was larger (around 140), but only just. As an announcement for the final post-concert wrap stated, these were the COVID-19 courses. So: much smaller, much more concentrated, with almost every performance streamed online, and every other seat in the concert hall marked off with a weird sort of police tape with the Darmstadt logo on it. It's difficult to write about these things without lapsing into world-historical rhetorical posturing, as if the best lens to view the series of overlapping catastrophes we are living through is a biannual summer course for what, for better or worse, continues to be referred to as new music.

A Neo-Assyrian statue from Til Barsib

Iraq ◽  
1996 ◽  
Vol 58 ◽  
pp. 79-87
Author(s):  
Arlette Roobaert
Keyword(s):  
Iron Age ◽  
Lower Portion ◽  
Maximum Height ◽  
Clear Indication ◽  
Large Hole ◽  
Relative Placement ◽  
The Right ◽  
As If ◽  
Medium Texture

During the 1993 season of excavations at Tell Ahmar, three pieces of a life-size basalt statue were found in a pit dug into one of the large walls surrounding an Iron Age vaulted tomb (Fig. 1). The head, the tors o and the lower part fitted together perfectly. When correctly assembled, these three pieces formed the figure of a standing beardless man with clasped hands (Fig. 2a−b). Only the feet were missing. The maximum height of the reconstructed statue is 1.45m. It was clear from the damage to portions of its body that the statue had been deliberately broken in antiquity. Details, such as a large hole on the right side of the chest, a smaller one on the top of the head and, above all, the defacement of the head suggest that the statue may have actually been “killed”.All three pieces of the statue, which was carved out of a blue greyish basalt of medium texture, were found lying on their backs (Fig. 4). The head lay next to the lower part of the statue, but was buried in a slightly deeper position. The relative placement of these fragments seems to be a clear indication that the statue was not knocked down at this particular spot, but was brought to this location in separate pieces, perhaps with the deliberate intention of burying them.The head was cut off as if the statue had been decapitated. The torso was separated from the lower portion of the statue by an oblique cut that divided the figure just below the waist. The cut runs downwards from the back and continues underneath the clasped hands at the front, leaving the hands almost completely undamaged. The lower part of the statue seems to have been separated from the missing feet by a horizontal cut. This may indicate that the base of the statue was left in situ, probably because it was solidly set in the ground.

WHERE ARE WE NOW?

Tempo ◽  
2018 ◽  
Vol 72 (285) ◽  
pp. 70-73 ◽  
Author(s):  
Matthew Shlomowitz
Keyword(s):  
New Music ◽  
Concert Hall ◽  
The Past ◽  
Critical Composition ◽  
Physical Action

AbstractThis article offers generalised reflections on current aesthetic interests and values within the field of new music. Critical composition and postmodernism are considered for the relevance these historic positions might hold today. Then two important trends of the past decade are presented: first, music that draws attention toward the sounding shape and act of listening, reflecting the recent surge of interest in materialism across academic and artistic disciplines; and second, pieces that include aspects such as physical action, lighting and theatrical approaches to expand the possibilities of concert hall work beyond the purely sonic.

After Beethoven

2020 ◽  
pp. 143-168
Author(s):  
Mark Evan Bonds
Keyword(s):  
Instrumental Music ◽  
New Music ◽  
Musical Life ◽  
Concert Hall ◽  
Public Nature

Beethoven’s style, composers and critics agreed, could not be imitated. But his subjectivity—or, more precisely, his perceived attitude of subjectivity—could be emulated quite readily, and it became the new norm soon after his death. Critics, moreover, heard compositional subjectivity not only in new music but also in selected works of the pre-Beethovenian past. In the meantime, the increasingly public nature of musical life created a growing demand for journals, miniature scores, and composer biographies that could help listeners comprehend an instrumental repertoire that was becoming stylistically ever more diverse and technically difficult. Composer biographies, a rarity before 1800, had become commonplace by mid-century. Concert-hall audiences now assumed that the instrumental music they were hearing came from deep within the soul of the composer.

scholarly journals Women, New Music and the Composition of Becomings

1970 ◽  
Vol 16 (2) ◽  
Author(s):  
Sally Macarthur
Keyword(s):  
Women Composers ◽  
New Music ◽  
Concert Hall ◽  
Music Practice ◽  
The Past ◽  
Ways Of Thinking ◽  
Music Centre

This article argues that ‘new’ music continues to replicate itself by being based on a set of outdated, inflexible practices which foster the centrality of the male, entrepreneurial, composing subject. Aesthetic distinctiveness has been muzzled because too many composers are competing for the same recognition and the same small ‘pot of money’, giving rise to musical mediocrity. The article notes that while the number of women composers studying music has increased in tertiary music institutions and points out that their representation by the Australian Music Centre has improved significantly over the past decade, these statistics are not reflected in the concert hall where women continue to be side-lined. It argues that the entrepreneurial performer is focused on the products created out of the already known and out of its masculinity and explores what would happen if music were composed out of its femininity and the unknown. It draws on Deleuze’s concept of ‘becoming’ to disturb the old ways of thinking, and to imagine a transformation of music practice which would make viable that music which has been traditionally silenced.

3. Note on the Occurrence of Drifted Trees in Beds of Sand and Gravel at Musselburgh

1884 ◽  
Vol 12 ◽  
pp. 745-755
Author(s):  
James Geikie
Keyword(s):  
The Subject ◽  
Sand And Gravel ◽  
As If

I am indebted to Mr William Eobertson for calling my attention to the interesting phenomena which form the subject of this communication. Some months ago he showed me at his works, Haymarket, the trunk of a large oak which had been obtained from beds of sand and gravel in his property at Olive Bank, Musselburgh. The wood was very dark in colour, and in a fine state of preservation. It was, in fact, in process of being sawn into planks, from which a number of useful and ornamental articles have since been made. The trunk was perfectly straight, showing no appearance of branches, and when first uncovered measured 31 feet in length, having a diameter of 2 feet at the butt end close to the roots, from which it tapered upwards very gradually. The portion seen by me iu Mr Robertson's premises had been more or less scraped by his workmen, and the bark was almost entirely wanting; but I was informed that very little bark appeared when the tree was disinterred. The roots were somewhat rounded, and looked as if they had been rubbed and abraded. Shortly afterwards I visited the sand-pit, and saw the trunk of another large oak in situ.

Los Angeles: the Walt Disney Concert Hall and New Music

Tempo ◽  
2004 ◽  
Vol 58 (229) ◽  
pp. 78-79
Author(s):  
Gil French
Keyword(s):  
Los Angeles ◽  
New Music ◽  
Concert Hall ◽  
Walt Disney

What better event to proclaim the potential of Los Angeles's new Walt Disney Concert Hall than a bicentennial celebration of the birth of Berlioz with Simon McBurney's Theatre de Complicité of London and Esa-Pekka Salonen's Los Angeles Philharmonic?

Partner telomeres during anaphase in crane-fly spermatocytes are connected by an elastic tether that exerts a backward force and resists poleward motion

2002 ◽  
Vol 115 (7) ◽  
pp. 1541-1549 ◽  
Author(s):  
James R. LaFountain ◽  
Richard W. Cole ◽  
Conly L. Rieder
Keyword(s):  
Cell Culture ◽  
Strong Evidence ◽  
Laser Microbeam ◽  
In Vitro Cell Culture ◽  
Pulling Forces ◽  
As If

As chromosomes move polewards during anaphase in crane-fly spermatocytes,trailing arms commonly stretch backwards for a brief time, as if tethered to their partners. To test that notion, a laser microbeam was used to sever trailing arms and thereby release telomere-containing arm segments (called acentric fragments because they lack kinetochores) from segregating chromosomes. Analysis of the movement of acentric fragments after their release provided clear evidence that previously conjoined partners were indeed tethered at their telomeres and that tethers exerted backward forces that were sufficient to move the fragment across the equator and into the opposite half-spindle. To address concerns that tethers might be artifacts of in vitro cell culture, spermatocytes were fixed in situ, and stretched arms within fixed cells provided strong evidence for tethers in vivo. The substantial resistance that tethers impose on the poleward movement of chromosomes must normally be over-ridden by the poleward `pulling' forces exerted at kinetochores. In spermatocytes, poleward forces are supplied primarily by the`traction fibers' that are firmly attached to kinetochores through end-on attachments to the plus ends of kinetochore microtubules.

The News: a video-opera by Jacob ter Veldhuis; Nederlands Blazers Ensemble, two singers and film UrWald: new music-theatre by Arnoud Noordegraaf; Niewe Amsterdams Peil Ensemble, actor and film Muziekgebow aan 't IJ, Amsterdam (October 2013)

Tempo ◽  
2014 ◽  
Vol 68 (268) ◽  
pp. 89-91
Author(s):  
Sarah Jeffery
Keyword(s):  
Classical Music ◽  
Contemporary Music ◽  
Petri Dish ◽  
New Music ◽  
First Century ◽  
Concert Hall ◽  
Very Old ◽  
Music Scene ◽  
Twenty First Century ◽  
Piano Playing

The Amsterdam contemporary music scene has long been known for its open-mindedness and willingness to explore, and any given evening can be a toss-up between electronic clog dance (served with soup) or piano-playing dogs. A petri dish of creativity, this is given a podium and a voice by the Muziekgebouw aan 't IJ. This edifice of concrete and glass, moored like an industrial spaceship on the banks of the river IJ, is branded in English as the ‘Concert Hall of the twenty-first century’, and indeed their flavourful mix of programming celebrates the more unusual sides of classical music, from the very old to the very new, from Gesualdo consorts to dirty electronics.

New Music Biennial, Glasgow Royal Concert Hall

Tempo ◽  
2015 ◽  
Vol 69 (271) ◽  
pp. 79-81
Author(s):  
David Lee
Keyword(s):  
New Music ◽  
Concert Hall ◽  
Wide Range ◽  
Concert Halls ◽  
New City ◽  
Commonwealth Games ◽  
Selection Of

Amidst the wide range of events staged as part of Glasgow's 2014 Cultural Programme in celebration of the Commonwealth Games, the New Music Biennial Showcase occupied the closing weekend of the Games. Hosted at the Glasgow Royal Concert Hall on 1 and 2 August, it made use of three separate performances spaces: the main hall, the newly redeveloped Strathclyde Suite and the more intimate brand new City of Music Studio. As at its London partner event, which took place between 4 and 6 July at the Southbank Centre, audiences were provided with an opportunity to hear 20 new commissions from a diverse selection of composers from across Britain, each of which had already been performed across the country in a variety of locations, ranging from skate parks to concert halls.

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