scholarly journals Une harmonie sans fausses notes ? Les questions de contrôle, d’autonomie et de pouvoir entre l’École de musique Vincent-d’Indy et les Universités de Montréal et de Sherbrooke (1933–1978)

2009 ◽  
pp. 85-102
Author(s):  
Dominique Laperle
Keyword(s):  
School Of Music ◽  
Pedagogical Relations ◽  
The University ◽  
Vincent D'indy

This text seeks to understand the administrative and pedagogical relations between the School of Music Vincent-d’Indy, owned by the Sisters of the Holy Names of Jesus and Mary, the University of Montreal and the University of Sherbrooke, from 1933 to 1978. The nature of the affiliation has been a major concern, particularly for the syllabus content and the diplomas.

Extension and Contraction

1994 ◽  
Vol 44 (2) ◽  
pp. 46-48
Author(s):  
David Starkweather ◽  
Helga U. Winold
Keyword(s):  
New York ◽  
San Francisco ◽  
The State ◽  
State University ◽  
National Public Radio ◽  
University Of Georgia ◽  
School Of Music ◽  
Eastman School Of Music ◽  
The University ◽  
Intensive Work

David Starkweather is the cellist on the faculty of the University of Georgia. He grew up near San Francisco, then attended the Eastman School of Music. This was followed by four years of graduate work at the State University of New York at Stony Brook, where he studied cello with Bernard Greenhouse. In 1985, Starkweather spent half a year in Switzerland for intensive work with Pierre Fournier, earning the famous French cellist's accolade as “one of the best cellists of his generation.” He was awarded a certificate of merit as a semi-finalist in the 1986 Tchaikovsky Competition. Starkweather has been featured on the National Public Radio show Performance Today and in. a PBS one-hour recital program televised nationwide. A review in the Atlanta Constitution praised his “sensitive phrasing and Starkweather's obvious technical facility.” His previous articles for AST were “Methods of Shifting” (Winter 1988) and “Choice of Fingerings” (Summer 1990).

MY WORLD AS I REMEMBER IT: AN INTERVIEW WITH CHRISTOPHER BUTTERFIELD

Tempo ◽  
2017 ◽  
Vol 71 (282) ◽  
pp. 6-17 ◽  
Author(s):  
Anna Höstman
Keyword(s):  
New York ◽  
Fine Arts ◽  
Assistant Professor ◽  
The State ◽  
State University ◽  
School Of Music ◽  
The University ◽  
A Performance

AbstractChristopher Butterfield is a composer and composition teacher. His music has been performed across Canada and in Europe, with recordings on the CBC, Artifact, and Collection QB labels. He is currently the Director of the School of Music in the Faculty of Fine Arts at the University of Victoria. Christopher was born in 1952 in Vancouver, BC. He studied composition at the University of Victoria with Rudolf Komorous and at the State University of New York at Stony Brook with Bülent Arel. He was a performance artist, rock guitar player and composer while living in Toronto between 1977 and 1992, after which he returned to the University of Victoria as Assistant Professor of Composition.I studied composition with Christopher between 2000 and 2005. Earlier this year, I had the opportunity to sit down with him in Victoria. During our interview, I asked him about his life and work, and for his thoughts on how Czech-Canadian composer Rudolf Komorous has influenced composition in Canada over the last few decades.

scholarly journals Lecture about Electronic Microtonal Music at the Theremin Center Electronic Studio of the Moscow Conservatory in March 2004

ICONI ◽  
2019 ◽  
pp. 149-158
Author(s):  
Joseph Pehrson ◽  
Keyword(s):  
New York ◽  
Contemporary Music ◽  
University Of Michigan ◽  
Avant Garde ◽  
School Of Music ◽  
Microtonal Music ◽  
Eastman School Of Music ◽  
Written Compositions ◽  
The University

Joseph Pehrson is a well-known New York-based composer. He studied at the Eastman School of Music and the University of Michigan. He has been active in promoting contemporary music in New York, having been a co-director of the “Composers’ Concordance” concert organization from 1984 to 2011. Pehrson has written music in various styles, including neoclassical and avant-garde, microtonal music. The latter includes electronic compositions with and without solo instruments, which he wrote in the decade of the 2000s. He has delved very deeply into microtonal theory and has written compositions for various unusual and non-standard microtonal scales, such as the 21-note to the octave scale. The following is a transcript of Joseph Pehrson’s presentation at the Theremin Center, which was the Moscow Conservatory’s electronic studio in the 1990s and 2000s.

scholarly journals The Art of Music Between Image and Word: An Interview with Orit Hilewicz

2021 ◽  
Vol 20 (36) ◽  
pp. 25-59
Author(s):  
Orit Hilewicz ◽  
Gibran Araújo De Souza ◽  
Lais Alves ◽  
Thayane Verçosa
Keyword(s):  
School Of Music ◽  
Eastman School Of Music ◽  
The University

Entrevista com a Orit Hilewicz, professora adjunta de Teoria Musical na Eastman School of Music (the University of Rochester).

scholarly journals INTO THE LION'S DEN: HELMUT LACHENMANN AT 75

Tempo ◽  
2011 ◽  
Vol 65 (257) ◽  
pp. 52-61
Author(s):  
Christopher Swithinbank
Keyword(s):  
String Quartet ◽  
Contemporary Music ◽  
Symphony Orchestra ◽  
String Orchestra ◽  
School Of Music ◽  
English Music ◽  
Keynote Speech ◽  
The University ◽  
University Of Manchester ◽  
German Composer

In April 2010, the Guildhall School of Music recognized German composer Helmut Lachenmann's expertise in extended instrumental techniques, inviting him to give the keynote speech at a research day dedicated to contemporary performance practice; in May, he had a Fellowship of the Royal College of Music conferred upon him for his achievements as a composer; in June, the London Symphony Orchestra performed Lachenmann's Double (Grido II) for string orchestra, in doing so becoming the first non-BBC British orchestra to have performed his music; and in October, the Southbank Centre presented two days of Lachenmann's music including performances by the Arditti String Quartet and a much expanded London Sinfonietta, the latter broadcast on Radio 3. Outside London, Birmingham Contemporary Music Group gave a performance of his most recent work, Got Lost for soprano and piano, and the University of Manchester presented a mini-festival dedicated to his music. This roll call of events might be seen then as the celebration to be expected as a noted composer passes a milestone, but Lachenmann is a composer who – despite his age – could until recently have escaped such attention in Britain. In 1995, Elke Hockings wrote in these pages that, while enjoying ‘an exalted reputation among a small circle of English contemporary music enthusiasts, […] to the wider English music public he [Lachenmann] is little known’ and critical reception has been mixed, often extremely negative. Introducing Lachenmann to an audience at the Southbank Centre in October, Ivan Hewett described him as ‘a composer we don't know well in this country, an omission we are gradually repairing’.

Bangor New Music Festival and INTER/actions Festival and Symposium, 2014

Tempo ◽  
2014 ◽  
Vol 68 (269) ◽  
pp. 72-74
Author(s):  
Stephanie Power
Keyword(s):  
Electroacoustic Music ◽  
New Music ◽  
Diverse Range ◽  
Music Festival ◽  
School Of Music ◽  
North Wales ◽  
The Creation ◽  
The University

The Bangor New Music Festival has taken place annually at Bangor University School of Music since its inception in 2000. It is the only festival dedicated to new music in North Wales, and its programme typically encompasses a diverse range of styles and types of performance, including events curated by Electroacoustic Wales, an organisation that ‘exists to promote and encourage the creation and dissemination of electroacoustic music within Wales and beyond’, and which is also based at the University.

scholarly journals “CRAZY ZOOM MAKES EVERYONE TO FIND HIMSELF IN A DOUBLE ROLE OF A SPECTATOR AND AN ACTOR”

2021 ◽  
Vol 6 (3) ◽  
pp. 7-21
Author(s):  
O Bulgakova ◽  
E.S. Maksimova
Keyword(s):  
Publishing House ◽  
Sergei Eisenstein ◽  
Cultural Phenomenon ◽  
School Of Music ◽  
University Of Berlin ◽  
Arts And Culture ◽  
Humboldt University ◽  
The University ◽  
The Voice

Oksana Bulgakowa is a researcher of visual culture, a film critic, a screenwriter, a director, and a professor at the Johannes Gutenberg University Mainz. She has taught at the Humboldt University of Berlin, the Leipzig Graduate School of Music and Theater, the Free University of Berlin, Stanford University and the University of California Berkeley. Author of the books “FEKS: Die Fabrik des exzentrischen Schauspielers” (1996), “Sergei Eisenstein – drei Utopien. Architekturentwürfe zur Filmtheorie” (1996), “Sergej Eisenstein. Eine Biographie” (1998), “The Gesture Factory” (2005, a renewed edition to be published by NLO publishing house in 2021), “The Soviet hearing eye: cinema and its sensory organs” (2010), “The Voice as a cultural phenomenon”(2015), “SINNFABRIK/FABRIK DER SINNE” (2015), “The Fate of the Battleship: The Biography of Sergei Eisenstein” (2017). Author of the network projects “The Visual Universe of Sergei Eisenstein” (2005), “Sergei Eisenstein: My Art in Life. Google Arts and Culture” (in collaboration with Dietmar Hochmuth, 2017–2018), and the films “Stalin – eine Mosfilmproduktion” (in collaboration with Enno Patalas, 1993), “Different Faces of Sergei Eisenstein” (in collaboration with Dietmar Hochmuth, 1997). In this issue of P&I, Oksana Bulgakowa talks about medial giants and midgets, obscene gestures of Elvis Presley, “voice-over discourse” of TV presenters, and the birth of Eisenstein’s “Method” from psychosis and neurosis. Interview by Ekaterina Maksimova. Photo by Dietmar Hochmuth.

Reconsidering the Composer-Educator in Postwar America

2017 ◽  
Vol 40 (2) ◽  
pp. 170-192
Author(s):  
Anoosua Mukherjee
Keyword(s):  
Classical Music ◽  
Music Educators ◽  
Civic Leaders ◽  
Postwar America ◽  
Secondary Sources ◽  
Princeton University ◽  
School Of Music ◽  
The Arts ◽  
Academic Records ◽  
The University

By the middle of the twentieth century, American universities had evolved into powerful institutions with aggressive cultural agendas. Renewed interest in the arts provided a platform for composers employed by these universities to grow into powerful civic leaders. This article investigates the contributions of four modernist composers—Walter Piston, Roger Sessions, William Schuman, and David Diamond,—who held academic and administrative posts at Harvard University, Princeton University, the University of California at Berkeley, and the Juilliard School of Music. During this period, these four composers used their academic positions to shape American classical music culture—not through their compositions—but by overhauling music departments, authoring textbooks, and extending the reach of universities and conservatories far beyond the campus walls. This project relies on primary and secondary sources, weaving together academic records, administrative reports, and composer correspondence into a narrative of educational reform, cultural patronage, and even urban renewal. This article endeavors to widen the historiographic focus on postwar composers like the Four to reconsider their relevance as music educators, cultural authorities, and practitioners of modernism outside of the concert hall.

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