Benedict Drew: Archive Tape from the Suffolk Concrete Music Centre 1972

2013 ◽  
Vol 23 ◽  
pp. 97-98
Author(s):  
Benedict Drew
Keyword(s):  
Music Centre ◽  
Concrete Music

Jerusalem, Music Centre: Andre Hajdu

Tempo ◽  
2013 ◽  
Vol 67 (264) ◽  
pp. 78-78
Author(s):  
Malcolm Miller
Keyword(s):  
80Th Birthday ◽  
Solo Piano ◽  
Jam Session ◽  
The 1950S ◽  
Music Centre

An 80th birthday concert full of the spirit of youthful exploration reflected the innovative interactive aesthetic of Andre Hajdu, the Hungarian-Israeli composer, whose oeuvre is gradually gaining wider international exposure. Presented by the Jerusalem Music Centre on 29 March 2012, the programme featured works from the last quarter of a century for chamber duo and solo piano, including two premières, culminating in an improvisational interactive jam session by an array of students and colleagues, joined by the composer himself at the piano. To begin was Hajdu's Sonatine for Flute and Cello (1990) ‘in the French style’ performed with panache by the flautist Yossi Arnheim and cellist Amir Eldan. It is an elegantly written work radiating the spirit of Hajdu's teachers Milhaud and (less overtly) Messiaen, with whom he studied in Paris in the 1950s and 60s. Beneath the light-hearted veneer of polyphonic textures is a serious, plangent expressiveness. The first movement, libre et gai, moves from the chirpy, Poulenc-like delicacy of a cat-and-mouse imitative chase, building tension towards a final stretto. In the second movement, molto moderato, Arnheim wove a lyrical cantilena for flute over gentle cello accompaniments, giving way to rarified high cello registers shadowed by eloquent lower lines of the flute. An exuberant dance-like finale, Libre mais un peu rythmé, increased in drama before receding to a tranquil conclusion.

Watford Music Centre

2008 ◽  
Vol 78 (3) ◽  
pp. 102-105
Author(s):  
David Littlefield
Keyword(s):  
Music Centre

Advances in Australian music documentation at the Australia music centre

1979 ◽  
Vol 5 (1) ◽  
pp. 234-236
Author(s):  
Philip J. Drummond
Keyword(s):  
Music Centre

scholarly journals Making music in divided cities: Transforming the ethnoscape

2019 ◽  
Vol 12 (3) ◽  
pp. 331-348 ◽  
Author(s):  
Gillian Howell ◽  
Lesley Pruitt ◽  
Laura Hassler
Keyword(s):  
Northern Ireland ◽  
State Level ◽  
Urban Environments ◽  
Community Music ◽  
Social Dimensions ◽  
Local Constraints ◽  
Music Making ◽  
Promising Strategy ◽  
Music Centre ◽  
Context Specific

In the phenomenon of the divided city – urban environments partitioned along ethno-religious lines as a result of war or conflict – projects seeking to bring segregated people together through community music activities face many operational and psychological obstacles. Divided cities are politically sustained, institutionally consolidated, and relentlessly territorialized by competing ethno-nationalist actors. They are highly resistant to peacebuilding efforts at the state level. This article uses an urban peacebuilding lens (peacebuilding reconceptualized at the urban scale that encompasses the spatial and social dimensions of ethno-nationalist division) to examine the work of community music projects in three divided cities. Through the examples of the Pavarotti Music Centre in Mostar, Bosnia-Herzegovina, the Mitrovica Rock School in Mitrovica, Kosovo, and Breaking Barriers (a pseudonym) in Belfast, Northern Ireland, we consider the context-specific practices and discourses that are deployed to navigate the local constraints on inter-communal cooperation, but that also contribute to the broader goal of building peace. We find that music-making is a promising strategy of peacebuilding at the urban scale, with both functional and symbolic contributions to make to the task of transforming an ethnoscape into a peacescape.

A Conversation on Concrete Music and Kinetic Art

Leonardo ◽  
1972 ◽  
Vol 5 (3) ◽  
pp. 255 ◽  
Author(s):  
Frank J. Malina ◽  
Pierre Schaeffer
Keyword(s):  
Kinetic Art ◽  
Concrete Music

Helsinki Music Centre Concert Hall

2020 ◽  
pp. 79-86
Author(s):  
Yasuhisa Toyota ◽  
Motoo Komoda ◽  
Daniel Beckmann ◽  
Marc Quiquerez ◽  
Erik Bergal
Keyword(s):  
Concert Hall ◽  
Music Centre

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.

scholarly journals Violet Archer's Formative Years: A Bibliographical Catalogue of Her Compositions, 1932–43

2013 ◽  
Vol 16 (1) ◽  
pp. 145-195
Author(s):  
James Whittle
Keyword(s):  
Supporting Evidence ◽  
University Of Alberta ◽  
University Of Calgary ◽  
Canadian Music ◽  
Music Centre ◽  
The University ◽  
Formative Years

This chronological catalogue of Violet Archer's earliest completed compositions, including works written from 1932 to 1943, is based on manuscripts in her possession and on deposit at the University of Calgary Library, as well as published scores and reproductions of manuscripts in the University of Alberta Library and the libraries of the Canadian Music Centre. It provides the date of composition for each work and summarizes the supporting evidence, including dates found on manuscripts, the types of paper used, entries on lists of works compiled by the composer, and dates of first and early performances. Also included are the medium of performance of each work, a list of movements, the source of any text, and the location of scores and recordings.

Acoustical design of the new concert hall at Helsinki Music Centre, Helsinki, Finland

2012 ◽  
Vol 131 (4) ◽  
pp. 3359-3359
Author(s):  
Keiji Oguchi ◽  
Motoo Komoda ◽  
Ayako Hakozaki ◽  
Marc Quiquerez ◽  
Yasuhisa Toyota
Keyword(s):  
Concert Hall ◽  
Music Centre
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