The Requiem Mass and Sacred Jazz: A Study of catholic Liturgical Forms in the Genre of Sacred Jazz

<p>This exegesis examines the role of religious and spiritual influence on works by jazz composers as related to my composition, Requiem: a Suite of Jazz Orchestra, a jazz suite based on the Requiem Mass. The exegesis details the Catholic origins of the Requiem and the Mass as musical forms and traces their lineages into the twentieth and twenty-first centuries as concert works and memorials not bound by liturgical function. These forms and their lineages frame the development of both religious and religion-inspired musical works in the cultural climate of 1960s America. In particular, I focus on two composers, Mary Lou Williams and Duke Ellington, both of whom composed large-scale sacred works related to the jazz idiom. This project situates religion, primarily Catholicism, and spirituality in the context of jazz composition, and discusses music composed in this vein, including my own work influenced by the Catholic liturgical tradition.</p>

The Requiem Mass and Sacred Jazz: A Study of catholic Liturgical Forms in the Genre of Sacred Jazz

<p>This exegesis examines the role of religious and spiritual influence on works by jazz composers as related to my composition, Requiem: a Suite of Jazz Orchestra, a jazz suite based on the Requiem Mass. The exegesis details the Catholic origins of the Requiem and the Mass as musical forms and traces their lineages into the twentieth and twenty-first centuries as concert works and memorials not bound by liturgical function. These forms and their lineages frame the development of both religious and religion-inspired musical works in the cultural climate of 1960s America. In particular, I focus on two composers, Mary Lou Williams and Duke Ellington, both of whom composed large-scale sacred works related to the jazz idiom. This project situates religion, primarily Catholicism, and spirituality in the context of jazz composition, and discusses music composed in this vein, including my own work influenced by the Catholic liturgical tradition.</p>

On Designing, Composing and Performing Networked Collective Interactions

In this article, we discuss some of our research with Local Area Networks (LAN) in the context of sound installations or musical performances. Our systems, built on top of Web technologies, enable novel possibilities of collective and collaborative interaction, in particular by simplifying public access to the artwork by presenting the work through the web browser of their smartphone/tablet. Additionally, such a technical framework can be extended with so-called nano-computers, microprocessors and sensors. The infrastructure is completely agnostic as to how many clients are attached, or how they connect, which means that if the work is available in a public space, groups of friends, or even informally organised flash mobs, may engage with the work and perform the contents of the work at any time, and if available over the Internet, at any place. More than the technical details, the specific artistic directions or the supposed autonomy of the agents of our systems, this article focuses on how such ‘networks of devices’ interleave with the ‘network of humans’ composed of the people visiting the installation or participating in the concert. Indeed, we postulate that an important point in understanding and describing such proposals is to consider the relation between these two networks, the way they co-exist and entangle themselves through perception and action. To exemplify these ideas, we present a number of case studies, sound installations and concert works, very different in scope and artistic goal, and examine how this interaction is materialised from several standpoints.

Bernard Herrmann

Bernard Herrmann (b. 1911–d. 1975) was a prolific American composer and conductor, known primarily for his work in film. He was also active, however, as a composer for radio and television, had written music for the concert and operatic stage, and had a prodigious conducting career later in his life. The majority of the current research on his oeuvre focuses on his film scoring and his collaborations with film directors such as Alfred Hitchcock, Orson Welles, François Truffaut, Martin Scorsese, and Brian De Palma. He started producing scores for films in 1941, with Welles for the film Citizen Kane, and died just after completing his work for Taxi Driver (dir. Scorsese, 1976). Prior to his experience in cinema, Herrmann wrote music for hundreds of radio dramas starting in the 1930s and continuing until the 1950s, which he credited for his ability to compose so readily for cinema. Herrmann’s most famous collaboration was with Hitchcock, which began with the film The Trouble with Harry (1955) and ended with Marnie (1964). The director-composer duo had a falling out in 1966 over Herrmann’s score to Torn Curtain, which Hitchcock refused to use; the director instead hired John Addison to replace Herrmann. Herrmann went on to compose scores for films by Truffaut, Scorsese, and De Palma in the 1960s and 1970s. While composing for cinema, Herrmann also wrote stock music for television, mainly for CBS, throughout the 1950s and 1960s. Herrmann also conducted concert and film music on several recordings released from 1966 through 1976, including some of his own concert works. In addition to an extraordinary output for film, radio, television, and recording, Herrmann also wrote concert music, some of which he considered most dear. He composed orchestral, ballet, and vocal music throughout his life, starting in his teens and until his death. His opera Wuthering Heights (1951) was especially important to him. In interviews, especially later in life, Herrmann emphasized that he was a composer of music—not one restricted to only film music—and even then, he regarded film music to be equal to that for the concert stage.

Rainfall thresholds of the debris flows based on various rainfall intensity types in Beijing

Empirical rainfall thresholds derived from various types of rainfall intensities have widely used in characterizing rainfall conditions that cause debris flows and landslides. However, few works have studied the differences among these various thresholds, due to limited information on the instantaneous intensity triggering debris flows. The detail records of the storms on 21 July, 2012, 20 July, 2016, and 16 July, 2018, together with the occurrence time of debris flows, provide an opportunity to evaluate the thresholds based on various rainfall intensities. Based these data, a new rainfall threshold of debris flows is derived from the instantaneous rainfall intensity in Beijing. At the same time, the thresholds based on average rainfall intensities as used in most previous studies, including the average over the periods from the beginnings of rainfall to the occurrences of the debris flows and over the whole period of the rainstorms, are reconstructed. The result shows that the instantaneous rainfall threshold has a higher ability in separating the rainstorms inducing from those without reducing debris flows than those derived from average intensities, indicating a high accurate of the instantaneous threshold. Our data also indicate that the debris flows in Beijing should be triggered by the concert works of rainfall intensity and cumulative precipitation. Only when enough water to infiltrate, saturate, mobilize the debris sediments, and sufficient high water flows and surges caused by intensive storms to incorporate and retain the mobilized sediments, are satisfied simultaneously do the debris flows occur.

CREATIVE PATH OF THE OUTSTANDING ARTIST ANATOLIY HAIDENKO

Anatoliy Haidenko’s creative path lasts for about sixty years, during which this outstanding musician has been working fruitfully as a composer, performer, teacher, scientist, methodologist, music and public figure. The versatility of his personality, the diversity of talents, the relentless search for new ideas or means of expression, interest in a wide range of current issues of today are fully manifested in each of these areas. The desire to keep up, not to miss any opportunity to do something for people and at the same time to find time to «create» music in the silence of the cabinet led to a fair recognition of the achievements of Anatoliy Haidenko, currently an honored artist of Ukraine, professor, winner of numerous prestigious awards, permanent member of the jury of national and international festivals and competitions. Background. The figure and work of Anatoly Haidenko often attracts the attention of music scholars. In the field of view of researchers there were, above all, the issues of biographical and aesthetic nature, which are the necessary foundation for a thorough study of the artist’s work. Genre searches and stylistic principles of creativity are another important vector of research, based on analytical observations of Anatoliy Haidenko’s music. However, unfortunately, there are few special works dedicated to the creative work of the Kharkiv composer. Separate pieces of information about some of his opuses, as a rule, are contained in works aimed at highlighting certain trends in modern Ukrainian, especially accordion music. Thus, in order to establish the worldview of the composer, his creative and aesthetic principles, it is necessary to review the available in domestic musicology knowledge about Anatoliy Haidenko and his music. The purpose of the article is to highlight the figure of the artist and his contribution to the Ukrainian academic music art. The material of this research. Analyzing the scientific sources that cover the figure of the outstanding artist A. Haidenko, it is necessary to single out the meaningful work of the monographic type by A. Semeshko (2010) from the series “Portraits of modern Ukrainian composers” about the life and career of A. Haidenko. T. Bolshakova’s textbook (2007) “Concert works for accordion by A. Haidenko” is, in fact, a detailed preface to the publication of musical texts of accordion works of the composer, which had not been published before. The scholar focuses on the artist’s inherent synthesis of modern compositional writing and Ukrainian folk music tradition, emphasizing their subordination to the symphonic thinking of the master. T. Bolshakova’s opinion is also important regarding the “neo-pantheistic concept of existence”, the manifestos of which in A. Haidenko’s works are “the figurative content and semantics of the musical language of his works” (Bolshakova, 2007). The author of the candidate’s dissertation on the topic: “Bayan creativity of Anatoliy Haidenko: aesthetic and genre-style aspects” (Yeromenko, 2019) of Sumy, defended in 2019, thoroughly researches the creative way and accordion work of A. Haidenko. Tracing the evolution of the artist’s compositional path, the researcher A. Stashevsky (2013) identifies the most significant works from his point of view, briefly characterizing them. This opinion is asserted by A. Stashevsky in fundamental work “Modern Ukrainian music for accordion: means of expression, compositional technologies, instrumental style” (2013). In this work, the composer’s work is considered in the section devoted to one of the main vectors of development of modern accordion music – folklore and neo-folklore. Conclusions. During the sixty years of his creative path A. Haidenko has been fruitfully working in various spheres of activity: composition, performance, pedagogical, scientific, methodical, musical and public ones. Performing activities began with a trip as part of a student concert. The activity, which began with travels as part of concert student brigades and continued during the work in Sumy, demonstrated the talent of A. Haidenko as a bayan soloist and ensemble player. However, later the leading role was played by the compositional and pedagogical areas of activity. As a composer, A. Haidenko went through a difficult path from the status of “amateur author” to a recognized master of large forms and exquisite miniatures. Four works, submitted by him before joining the Union of Composers of Ukraine, identified the main directions of his further creative activity: symphonic music, music for folk instruments, choral and chamber and vocal music. A. Haidenko’s teaching activity – ten years of work at the Sumy Music School, four years at the Kharkiv Institute of Culture and more than forty years of hard work at the Department of Folk Instruments at the Kotlyarevsky Kharkiv National University of Arts – contributed to the formation of their own pedagogical principles, proved by the students of A. Haidenko: Y. Alzhnev, V. Geiko, A. Zhukov, E. Ivanov, S. Kolodyazhny. A. Haidenko’s research interests are connected with the history of the Kharkiv school of composition and instrument science. The textbook “Instrumentology and Fundamentals of Instrumentation Theory”, published in 2010 and addressed to teachers and students of folk instruments departments of higher musical educational institutions, is the result of many years of experience teaching the relevant course at KhNUA named after I. P. Kotlyarevsky. A significant place in the life of A. Haidenko is occupied by musical and public activities. In the National Union of Composers of Ukraine, he has served as Deputy Chairman and Executive Secretary of the Kharkiv Organization, a member of the UWC Board and Audit Committee, and Chairman of the Music Fund. Anatoliy Pavlovych Haidenko is also a member of the National All-Ukrainian Music Union, the Supervisory Board of the Ukrainian Cultural Foundation, and regularly participates in the jury of various competitions and festivals.

CAPRICCIOʼS GENRE IN MANDOLIN MUSIC AT THE END OF THE 19th – THE EARLY OF THE 20th CENTURIES (for example of the concert pieces by С. Munier)

The purpose of this article is process of analyzing in reference to concert capriccio by C. Munier for mandolin with piano («Bizzarria», op. 201, Spanish сapriccio, op. 276) from the point of view of their genre specificity. Methodology. The research is based on the historical approach, which determines the specifics of the genre of Capriccio in the music of the late 19th and early 20th centuries and in the work of C. Munier; the computational and analytical methods used to identify the peculiarities of the formulation and the performing interpretation of the original concert pianos for mandolins with piano that, according to the genre orientation (according to the composerʼs remarks), are defined as capriccio. Scientific novelty. The creation of Florentine composer,61mandolinist-vertuoso and pedagog C. Munier, which made about 300 compositions, is exponential for represented scientific vector. Concert works by C. Munier for mandolin and piano, created in the capriccio genre, were not yet considered in the art of the outdoors, as the creativity and composer’s style of the famous mandolinist. Conclusions. Thus, appealing to capriccio by С. Munier, which created only two works, embodied in them virtually all the evolutionary stages of the development of genre. In his opus of this genre there are a vocal, inherent in capriccio of the 17th century solo presentation, virtuosity, originality, which were embodied in the works of 17th – 18th centuries and the national color of the 19th century is clearly expressed. Thus, the Spanish capriccio is a kind of «musical encyclopedia» of national dance, which features are characteristic features of bolero, tarantella, habanera, and so forth. The originality of opus number 201 – «Bizzarria», is embodied in the parameters of shaping (expanded cadence of the soloist in the beginning) and emphasized virtuosity, which is realized in a wide register range, a variety of technical elements.

REPRESENTATIONS OF DECAY IN THE WORKS OF CAT HOPE

This article considers the ‘representation of decay’ in selected concert works by the Australian composer Cat Hope. It draws on a mixed-method research methodology, comparing the conceptual aspects of Hope's oeuvre with analyses of studio and live recordings of Hope's work and discussing how such ideas of ‘decay’ may play out in the sonic world. Two forms of spectral analysis are employed: firstly the analysis of spectral parameters roughness, noisiness, brightness, pitch, and centroid, and secondly a visualisation of the music as a spectrogram. The data for the spectral analyses are derived from Alexander Harker's spectral descriptor tools for MaxMSP which record a value for each parameter every 25 milliseconds. At times, values are normalised within a range of 0 and 1, as representative of how listeners experience parametrical changes (i.e. dynamics, in relative terms rather than absolutes in relation to other sounds in the work). Importantly, perception of noisiness is more acute at frequencies in which the auditory critical bands are wider, below 250 Hz (roughly below middle C), precisely the upper range specified by Hope to define instruments suitable for the Australian Bass Orchestra.

The Revolution Was Danced

This chapter examines previously undocumented intersections between Argentine contemporary dance and leftist political militancy in the early 1970s. It first explores how the dance archive revealed stories of two women, Silvia Hodgers and Alicia Sanguinetti, who led separate lives as artists and political militants. These artists’ account of their incarceration at the Rawson Penitentiary in 1972 reveals how dance created community among incarcerated political prisoners. The chapter also analyzes the role of dance in the escape plot that prisoners planned and executed that year, which ended tragically with the military’s execution of sixteen prisoners, an event known as the Trelew Massacre. Finally, the chapter demonstrates how two 1973 concert works, Cuca Taburelli’s Preludio para un final (Prelude for an Ending) and Estela Maris’s Juana Azurduy, might be productively considered “militant.” I argue that these cases of militants dancing and dances about militancy reconfigure the normative choreographies of both repertoires.