New Music in New York

2020 ◽  
Vol 8 (1) ◽  
pp. 200-206
Author(s):  
Timothy Power
Keyword(s):  
New York ◽  
New Music ◽  
Ancient Drama

Abstract The article reviews a production of Euripides’ Herakles mounted by Barnard Columbia Ancient Drama, with an historically informed vocal and aulos score. I discuss aspects of the treatment of music in both the play and the performance, and I assess the production in light of recent approaches to the musical reconstruction of Euripidean tragedy.

Back to Modernism. Back to Futurism. Back to New York (1948–1975)

2018 ◽  
Author(s):  
David Schiff
Keyword(s):  
New York ◽  
Close Association ◽  
New Music ◽  
Charles Ives ◽  
Avant Garde ◽  
Central Figure ◽  
Music Scene ◽  
Spatial Composition ◽  
Three Phases ◽  
Cello Sonata

Carter’s mid-life oeuvre much of it composed in Europe, can be divided into three phases. From the Cello Sonata to the Variations for Orchestra he achieved a synthesis of European modernism, especially as found in the music of Schoenberg, Berg and Bartók, and American ultra-modernism; in all of these works Carter either quoted or alluded to compositions by Charles Ives. The works from the Second Quartet to the Concerto for Orchestra reflect his ambivalent connection with the European avant-garde. While he was particularly impressed with the spatial composition and expansion of percussion found in works of Boulez and Stockhausen, he rejected the algorithmic and aleatoric aspects of their music. After 1968 Carter returned to New York and became a central figure in the “uptown” new music scene. He formed a particularly close association with the new music group, Speculum Musicae.

New Music, New York

1979 ◽  
Vol 2 (2) ◽  
pp. 32-35
Author(s):  
Bérénice Reynaud
Keyword(s):  
New York ◽  
New Music

Electric Circus, Electric Ear and the Intermedia Center in Late-1960s New York

Leonardo ◽  
2012 ◽  
Vol 45 (1) ◽  
pp. 50-56 ◽  
Author(s):  
Robert J. Gluck
Keyword(s):  
New York ◽  
San Francisco ◽  
Electronic Music ◽  
New Music ◽  
New York University ◽  
Monday Evening ◽  
Artistic Values

Composer Morton Subotnick moved to New York in 1966 for a brief but productive stay, establishing a small but notable electronic music studio affiliated with New York University. It was built around an early Buchla system and became Subotnick's personal workspace and a creative home for a cluster of emerging young composers. Subotnick also provided artistic direction for a new multimedia discoteque, the Electric Circus, an outgrowth of ideas he formulated earlier at the San Francisco Tape Music Center. A Monday evening series at the Circus, Electric Ear, helped spawn a cluster of venues for new music and multimedia. While the NYU studio and Electric Ear represent examples of centers operating outside commercial forces, the Electric Circus was entrepreneurial in nature, which ultimately compromised its artistic values.

Music by women composers

Tempo ◽  
2005 ◽  
Vol 59 (234) ◽  
pp. 66-72
Author(s):  
Guy Rickards
Keyword(s):  
New York ◽  
San Francisco ◽  
Women Composers ◽  
New World ◽  
Electronic Computer ◽  
Contemporary Music ◽  
New Music ◽  
Piano Sonata ◽  
Violin Sonata ◽  
Mixed Choir

HOWELL: Violin Sonata in F minor; Rosalind for violin & piano; Piano Sonata in E minor; Humoresque for piano; 5 Studies for piano. Lorraine McAslan (vln), Sophia Rahman (pno). Dutton Epoch CDLX 7144.BACEWICZ: Violin Sonatas Nos. 4–5; Oberek No. 1; Sonata No. 2 for violin solo; Partita; Capriccio; Polish Capriccio. Joanna Kurkowicz (v;n), Gloria Chien (pno). Chandos CHAN 10250.MARIC: Byzantine Concerto1; Cantata: Threshold of Dream2,3,6; Ostinato Super Thema Octoïcha4–6; Cantata: Song of Space7. 1Olga Jovanovic (pno), Belgrade PO c. Oskar Danon, 2Dragoslava Nikolic (sop, alto), 3Jovan Milicevic (narr), 4Ljubica Maric (pno), 5Josip Pikelj (hp), 6Radio-TV Belgrade CO c. Oskar Danon, 7Radio-TV Belgrade Mixed Choir & SO c. Mladen Jagušt. Chandos Historical 10267H.MUSGRAVE: For the Time Being: Advent1; Black Tambourine2–3; John Cook; On the Underground Sets1–3. 1Michael York (narr), 2Walter Hirse (pno), 3Richard Fitz, Rex Benincasa (perc),New York Virtuoso Singers c. Harold Rosenbaum. Bridge 9161.KUI DONG: Earth, Water, Wood, Metal, Fire1; Pangu's Song2; Blue Melody3; Crossing (electronic/computer tape music); Three Voices4. 1Sarah Cahill (pno), 2Tod Brody (fl), Daniel Kennedy (perc), 3San Francisco Contemporary Music Players c. Olly Wilson, 4Hong Wang (Chinese fiddle), Ann Yao (Chinese zither), Chen Tao (bamboo fl). New World 80620-2.FIRSOVA: The Mandelstam Cantatas: Forest Walks, op. 36; Earthly Life, op. 31; Before the Thunderstorm, op. 70. Ekaterina Kichigina (sop), Studio for New Music Moscow c. Igor Dronov. Megadisc MDC 7816.KATS-CHERNIN: Ragtime & Blues. Sarah Nicholls (pno). Nicola Sweeney (vln). Signum SIGCD058.CHAMBERS: A Mass for Mass Trombones. Thomas Hutchinson (trb), Ensemble of 76 trombones c. David Gilbert. Centaur CRC 2263.

Introduction

Industry ◽  
2021 ◽  
pp. 1-17
Author(s):  
William Robin
Keyword(s):  
New York ◽  
Large Scale ◽  
Contemporary Music ◽  
New Music ◽  
Institutional Practices ◽  
Starting Point ◽  
Bang On A Can ◽  
History Of

This introduction outlines the starting point for this study: the rise of Bang on a Can, a large-scale contemporary music organization that started as a marathon concert in downtown New York overseen by composers David Lang, Michael Gordon, and Julia Wolfe in 1987. Bang on a Can’s success in the 1980s and 1990s was a product not only of their individual ingenuity, but also a broader marketplace turn in new music: an ideological project, driven by institutions and musicians who contended that in order for contemporary composition to survive and flourish, it must reach a broad, non-specialist audience. This chapter surveys the postwar history of American composition through the lenses of uptown academicism and downtown experimentalism, describes how this book grapples with Bang on a Can’s institutional practices, and briefly outlines subsequent contents.

I COULDN'T MAKE A PIECE AS BEAUTIFUL AS THAT: A CONVERSATION WITH ALLISON CAMERON

Tempo ◽  
2018 ◽  
Vol 72 (286) ◽  
pp. 17-30
Author(s):  
Anna Höstman
Keyword(s):  
New York ◽  
San Diego ◽  
Experimental Music ◽  
New Music ◽  
Bang On A Can ◽  
Artistic Director

AbstractThe composer Allison Cameron (b. 1963) lives in Toronto. Her music has been widely performed at festivals such as Emerging Voices in San Diego, Evenings of New Music in Bratislava, Festival SuperMicMac in Montréal, Newfoundland Sound Symposium, New Music across America, Bang on a Can Marathon in New York, New York, and Rumori Dagen in Amsterdam. A dedicated performer of experimental music in Toronto, Allison co-founded the Drystone Orchestra (1989) and the Arcana Ensemble (1992). She has been improvising since 2000 on banjo, ukulele, cassette tapes, radios, miscellaneous objects, mini amplifiers, crackle boxes, toys and keyboards, in collaboration with Éric Chenaux, the Draperies, Ryan Driver, Dan Friedman, Mike Gennaro, Kurt Newman, John Oswald, Stephen Parkinson and Mauro Savo, among other musicians. In that same year she became Artistic Director of Toronto's experimental ensemble Arraymusic, a position she held for five years. In 2007, she founded the Allison Cameron Band with Eric Chenaux and Stephen Parkinson, and in 2009, the trio c_RL with Nicole Rampersaud (trumpet) and Germaine Liu (drums). Allison has experimented with graphic and notational scores that will soon be gathered and published as a collection. Additionally, she is the winner of the 2018 KM Hunter Award for music in Ontario.

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