Dysphonia, for solo violin, chamber ensemble and live electronics

2015 ◽  
Author(s):  
Jason Andrew Palamara
Keyword(s):  
Chamber Ensemble ◽  
Live Electronics ◽  
Solo Violin

Bernard Stevens

Tempo ◽  
2004 ◽  
Vol 58 (229) ◽  
pp. 57-58 ◽  
Author(s):  
John Pickard
Keyword(s):  
Chamber Ensemble ◽  
Piano Trio ◽  
Violin And Piano ◽  
Solo Violin

BERNARD STEVENS: Piano Trio op.3; Sonata for violin and piano op.1; Trio for horn, violin and piano op.38; Fantasia on a theme of Dowland for violin and piano op.23; Improvisation for solo violin op.48a. The Academy of St. Martin-in-the-Fields Chamber Ensemble – Kenneth Sillito (vln), Stephen Orton (vlc), Hamish Milne (pno), Timothy Brown (hn). Albany Records TROY 572.

scholarly journals Silence As a Hermeneutic Oasis of Music

2007 ◽  
Vol 43 (2) ◽  
pp. 333-357
Author(s):  
Mirjana Veselinović-Hofman
Keyword(s):  
Chamber Ensemble ◽  
Alto Saxophone ◽  
Live Electronics ◽  
Bass Clarinet ◽  
Musical Sound ◽  
Mixed Choir

This text is an attempt to point to the possibility of the moments of musical silence in a music flow and musical sound, being presented as a specific hermeneutic ‘oasis’ of music. Musical silence is considered here primarily as compositionally shaped segments where silence is embodied by means of sound. And where the stillness of the sound state of the musical silence breaks into another space: the space of the unintentional, which actually stimulates associative and cognitive paths. It concerns a specific ‘suspension’ space that offers ‘some more time and place’ for various streams of emotion and thoughts, for their ‘authentication’ and justification; for establishing and ‘specifying’ narratives, and even renouncing them. This thesis is elaborated here on the basis of three compositions which belong to the Serbian music of the 1990s. These are: The Abnormal Beats of Dogon for bass clarinet, piano, mouth harmonica, percussion and live electronics (1991) and I have not spoken for alto saxophone, bass-mouth harmonica, actor-narrator and mixed choir (1995) by Zoran Erić and Nocturne of the Belgrade Spring 1999 AD for chamber ensemble, live electronics and audiotape (1999) by Srđan Hofman.

A Composition for Piano and Chamber Ensemble (Oboe, Clarinet, Bassoon, Violins, Viola, Cello)

Notes ◽  
1990 ◽  
Vol 46 (4) ◽  
pp. 1072
Author(s):  
Joel Sachs ◽  
Henry Cowell ◽  
Yvar Mikhashoff
Keyword(s):  
Chamber Ensemble

Ecocompositional and Performative Strategies for Creative Usage of Everyday Sounds: Creative Semantic Anchoring

Leonardo ◽  
2018 ◽  
Vol 51 (2) ◽  
pp. 195-196
Author(s):  
Damián Keller ◽  
Leonardo Feichas
Keyword(s):  
New Method ◽  
Creative Practice ◽  
Recent Advances ◽  
Solo Violin ◽  
Available Resources

The authors cover recent advances in ecologically grounded creative practice, highlighting performative strategies in instrumental writing. They address techniques adopted in ecocomposition and propose an expansion of the available resources by introducing a new method: creative semantic anchoring. The underlying concepts are presented and a case study—targeting the performative practice of Flausino Valle’s 26 Characteristic and Concert Preludes for Solo Violin—is described.

Elliott Carter's Harvest Home

Tempo ◽  
1988 ◽  
pp. 2-13 ◽  
Author(s):  
David Schiff
Keyword(s):  
Middle Years ◽  
Solo Piano ◽  
Elliott Carter ◽  
Rocky Soil ◽  
Solo Violin ◽  
As If

ApproachingHisEightiethBirthday, Elliott Carter has acquired a new fluency, as if composing had suddenly—finally—become easy. In his middle years Carter felt compelled to exhaust a musical vocabulary with each composition. Since the solo piano Night Fantasies of 1980, however, he has based a series of widely different works on similar premises: after years of ploughing through rocky soil it was now time for the harvest. As an overflow of this bounty Carter has produced a new (for him) genre: short occasional pieces of three to six minutes in duration. Along with the five major works composed since Night Fantasies, there are seven new short works for media ranging from solo violin to large orchestra. The inventiveness and high spirits of his recent music may call to mind those other wonders of a secondyouth, Falstaff and Agon.

Holliger's Violin Concerto

Tempo ◽  
2005 ◽  
Vol 59 (231) ◽  
pp. 70-70 ◽  
Author(s):  
Peter Palmer
Keyword(s):  
Violin Concerto ◽  
Solo Violin

HOLLIGER: Violin Concerto, ‘Hommage à Louis Soutter’. YSAŸE: Sonata op. 27, No. 3, ‘Ballade’ for solo violin. Thomas Zehetmair (vln), SWR Sinfonieorchester c. Heinz Holliger. ECM New Series 476 1941.

scholarly journals Compositional Process and Technique in Happy Rain on a Spring Night (2004)

2020 ◽  
Vol 26 (3) ◽  
Author(s):  
Chen Yi
Keyword(s):  
New York ◽  
Chamber Ensemble ◽  
Musical Training ◽  
Golden Section ◽  
Compositional Style ◽  
Formal Structure ◽  
Columbia University ◽  
Compositional Process ◽  
Musical Heritage

The composer discusses her musical training at the Central Conservatory of Music in Beijing and at Columbia University in New York, and the effect of that musical heritage on her compositional style. She describes the techniques she uses in her chamber ensemble Happy Rain on a Spring Night (2004), including the use of speech tones for the development of her pitch material, and the Golden section for proportional relationships in the formal structure of the work.

scholarly journals Brain Musics: History, Precedents, and Commentary on Whalley, Mavros and Furniss

2015 ◽  
Vol 9 (3-4) ◽  
pp. 277 ◽  
Author(s):  
Miguel Ortiz ◽  
Mick Grierson ◽  
Atau Tanaka
Keyword(s):  
Neural Network ◽  
Artificial Neural Network ◽  
Musical Performance ◽  
Eeg Signals ◽  
Live Electronics ◽  
Broad Area ◽  
Direct Mapping ◽  
Challenges And Opportunities ◽  
History Of ◽  
Small Ensemble

<p>Whalley, Mavros and Furniss (this issue) explore questions of agency, control and interaction, as well as the embodied nature of musical performance in relation to the use of human-computer interaction through the work <em>Clasp Together (beta) </em>for small ensemble and live electronics. The underlying concept of the piece focuses on direct mapping of a human neural network (embodied by a performer within the ensemble) to an artificial neural network running on a computer. With our commentary, we contextualize the work by offering a brief history of music that uses brainwaves. We review the use of EEG signals for musical performance and point at precedents in EEG-based musical practice. We hope to more clearly situate <em>Clasp Together (beta)</em> in the broad area of Brain Computer Musical Interfaces and discuss the challenges and opportunities that these technologies offer for composers.</p>

Sign in / Sign up

Export Citation Format

Share Document