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Charisma (Xenakis)
''Charisma'' is a composition for clarinet and cello by Iannis Xenakis. Background ''Charisma'' for clarinet and cello was composed in 1971, and has a duration of about four minutes. It is dedicated to the memory of composer Jean-Pierre Guézec, who had been a student of Xenakis at Tanglewood in 1963, and who died at the age of 36. At the top of the score is a quote from the Iliad: "then the soul like smoke moved into the earth, grinding." According to Xenakis, the quote describes "the death of Patroclos and how his young soul entered the earth weeping for the fatal issue and for the loss of youth and power." The composer noted that the music is not a mere illustration of the text, commenting: "Poetry and music form a sort of epitaph to the memory of the young composer..." ''Charisma'' was published by Éditions Salabert in 1971, and was premiered at the Festival de Royan in Royan, France on April 6, 1971, roughly one month after Guézec's death, by clarinetist Guy Deplus and ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Iannis Xenakis
Giannis Klearchou Xenakis (also spelled for professional purposes as Yannis or Iannis Xenakis; el, Γιάννης "Ιωάννης" Κλέαρχου Ξενάκης, ; 29 May 1922 – 4 February 2001) was a Romanian-born Greek-French avant-garde composer, music theorist, architect, performance director and engineer. After 1947, he fled Greece, becoming a naturalised citizen of France eighteen years later. Xenakis pioneered the use of mathematical models in music such as applications of set theory, stochastic processes and game theory and was also an important influence on the development of electronic and computer music. He integrated music with architecture, designing music for pre-existing spaces, and designing spaces to be integrated with specific music compositions and performances. Among his most important works are '' Metastaseis'' (1953–54) for orchestra, which introduced independent parts for every musician of the orchestra; percussion works such as '' Psappha'' (197 ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Multiphonics
A multiphonic is an extended technique on a monophonic musical instrument (one that generally produces only one note at a time) in which several notes are produced at once. This includes wind, reed, and brass instruments, as well as the human voice. Multiphonic-like sounds on string instruments, both bowed and hammered, have also been called multiphonics, for lack of better terminology and scarcity of research. Multiphonics on wind instruments are primarily a 20th-century technique, though the brass technique of singing while playing has been known since the 18th century and used by composers such as Carl Maria von Weber. Commonly, no more than four notes will be produced at once, though for some chords on some instruments it is possible to get several more. Technique Woodwind instruments On woodwind instruments—e.g., saxophone, clarinet, oboe, bassoon, flute, and recorder—multiphonics can be produced either with new fingerings, by using different embouchures, or voicing t ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
1971 Compositions
* The year 1971 had three partial solar eclipses (February 25, July 22 and August 20) and two total lunar eclipses (February 10, and August 6). The world population increased by 2.1% this year, the highest increase in history. Events January * January 2 – 66 people are killed and over 200 injured during a crush in Glasgow, Scotland. * January 5 – The first ever One Day International cricket match is played between Australia and England at the Melbourne Cricket Ground. * January 8 – Tupamaros kidnap Geoffrey Jackson, British ambassador to Uruguay, in Montevideo, keeping him captive until September. * January 9 – Uruguayan president Jorge Pacheco Areco demands emergency powers for 90 days due to kidnappings, and receives them the next day. * January 12 – The landmark United States television sitcom ''All in the Family'', starring Carroll O'Connor as Archie Bunker, debuts on CBS. * January 14 – Seventy Brazilian political prisoners are release ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Compositions By Iannis Xenakis
Composition or Compositions may refer to: Arts and literature *Composition (dance), practice and teaching of choreography *Composition (language), in literature and rhetoric, producing a work in spoken tradition and written discourse, to include visuals and digital space *Composition (music), an original piece of music and its creation *Composition (visual arts), the plan, placement or arrangement of the elements of art in a work * ''Composition'' (Peeters), a 1921 painting by Jozef Peeters *Composition studies, the professional field of writing instruction * ''Compositions'' (album), an album by Anita Baker *Digital compositing, the practice of digitally piecing together a video Computer science *Function composition (computer science), an act or mechanism to combine simple functions to build more complicated ones *Object composition, combining simpler data types into more complex data types, or function calls into calling functions History *Composition of 1867, Austro-Hungarian/ ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Alain Damiens
Alain Damiens (born 1950 in Calais) is a French classical clarinetist. Life After studying clarinet at the Conservatoire de Calais, Alain Damiens studied with Ulysse Delécluse at the Conservatoire de Paris and obtained his first prizes (clarinet, chamber music). He received a scholarship to the National Music Camp Michigan in the United States, where he studied clarinet, chamber music and orchestra. He was solo clarinet at the Orchestre philharmonique de Strasbourg and at « Pupitre 14 » (Amiens). In 1976, by artistic choice, he joined the IRCAM (clarinet in B flat, small clarinet in E flat, basset horn, bass clarinet) conducted by Pierre Boulez. He was the performer of pieces by contemporary composers, notably Philippe Fénelon, Franco Donatoni, Karlheinz Stockhausen and Vinko Globokar. His mastery of the clarinet designated him for the premieres of numerous reference works in contemporary music: Boulez' ''Dialogue de l'ombre double'' (1985), Carter's '' Concerto pour clari ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Beat (acoustics)
In acoustics, a beat is an interference pattern between two sounds of slightly different frequencies, ''perceived'' as a periodic variation in volume whose rate is the difference of the two frequencies. With tuning instruments that can produce sustained tones, beats can be readily recognized. Tuning two tones to a unison will present a peculiar effect: when the two tones are close in pitch but not identical, the difference in frequency generates the beating. The volume varies like in a tremolo as the sounds alternately interfere constructively and destructively. As the two tones gradually approach unison, the beating slows down and may become so slow as to be imperceptible. As the two tones get further apart, their beat frequency starts to approach the range of human pitch perception, the beating starts to sound like a note, and a combination tone is produced. This combination tone can also be referred to as a missing fundamental, as the beat frequency of any two tones is equivalen ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Unison
In music, unison is two or more musical parts that sound either the same pitch or pitches separated by intervals of one or more octaves, usually at the same time. ''Rhythmic unison'' is another term for homorhythm. Definition Unison or perfect unison (also called a prime, or perfect prime)Benward & Saker (2003), p. 53. may refer to the (pseudo-) interval formed by a tone and its duplication (in German, ''Unisono'', ''Einklang'', or ''Prime''), for example C–C, as differentiated from the second, C–D, etc. In the unison the two pitches have the ratio of 1:1 or 0 half steps and zero cents. Although two tones in unison are considered to be the same pitch, they are still perceivable as coming from separate sources, whether played on instruments of a different type: ; or of the same type: . This is because a pair of tones in unison come from different locations or can have different "colors" (timbres), i.e. come from different musical instruments or human voices. Voices wit ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Glissandi
In music, a glissando (; plural: ''glissandi'', abbreviated ''gliss.'') is a glide from one pitch to another (). It is an Italianized musical term derived from the French ''glisser'', "to glide". In some contexts, it is distinguished from the continuous portamento. Some colloquial equivalents are slide, sweep (referring to the "discrete glissando" effects on guitar and harp, respectively), bend, smear, rip (for a loud, violent gliss to the beginning of a note), lip (in jazz terminology, when executed by changing one's embouchure on a wind instrument), plop, or falling hail (a glissando on a harp using the back of the fingernails). On wind instruments, a scoop is a glissando ascending to the onset of a note achieved entirely with the embouchure. Portamento Prescriptive attempts to distinguish the glissando from the portamento by limiting the former to the filling in of discrete intermediate pitches on instruments like the piano, harp, and fretted stringed instruments have run u ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Artificial Harmonic
Playing a string harmonic (a flageolet) is a string instrument technique that uses the nodes of natural harmonics of a musical string to isolate overtones. Playing string harmonics produces high pitched tones, often compared in timbre to a whistle or flute. Overtones can be isolated "by lightly touching the string with the finger instead of pressing it down" against the fingerboard (without stopping). For some instruments this is a fundamental technique, such as the Chinese guqin, where it is known as ''fan yin'' ( 泛音, lit. "floating sound"), and the Vietnamese đàn bầu. Overtones When a string is plucked or bowed normally, the ear hears the fundamental frequency most prominently, but the overall sound is also colored by the presence of various overtones (frequencies greater than the fundamental frequency). The fundamental frequency and its overtones are perceived by the listener as a single note; however, different combinations of overtones give rise to noticeably dif ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Embouchure
Embouchure () or lipping is the use of the lips, facial muscles, tongue, and teeth in playing a wind instrument. This includes shaping the lips to the mouthpiece of a woodwind instrument or the mouthpiece of a brass instrument. The word is of French origin and is related to the root ', 'mouth'. Proper embouchure allows instrumentalists to play their instrument at its full range with a full, clear tone and without strain or damage to their muscles. Brass embouchure While performing on a brass instrument, the sound is produced by the player buzzing their lips into a mouthpiece. Pitches are changed in part through altering the amount of muscular contraction in the lip formation. The performer's use of the air, tightening of cheek and jaw muscles, as well as tongue manipulation can affect how the embouchure works. Maintaining an effective embouchure is an essential skill for any brass instrumentalist, but its personal and particular characteristics mean that different pedagogues ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Quarter Tones
A quarter tone is a pitch halfway between the usual notes of a chromatic scale or an interval about half as wide (aurally, or logarithmically) as a semitone, which itself is half a whole tone. Quarter tones divide the octave by 50 cents each, and have 24 different pitches. Quarter tone has its roots in the music of the Middle East and more specifically in Persian traditional music. However, the first evidenced proposal of quarter tones, or the quarter-tone scale (24 equal temperament), was made by 19th-century music theorists Heinrich Richter in 1823Julian Rushton, "Quarter-Tone", ''The New Grove Dictionary of Music and Musicians'', second edition, edited by Stanley Sadie and John Tyrrell (London: Macmillan, 2001). and Mikhail Mishaqa about 1840. Composers who have written music using this scale include: Pierre Boulez, Julián Carrillo, Mildred Couper, George Enescu, Alberto Ginastera, Gérard Grisey, Alois Hába, Ljubica Marić, Charles Ives, Tristan Murail, Krzysztof Penderec ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Jean-Pierre Guézec
Jean-Pierre Guézec (19 August 1934 – 9 March 1971) was a French composer. Life Born in Dijon, Guézec studied music at the Conservatoire de Paris with Darius Milhaud, Jean Rivier and Olivier Messiaen. He also worked with Iannis Xenakis. His very personal language is influenced by the techniques of modern painting, in particular those of Mondrian and Vasarely. His research led him to compose works in which the contrasts of sound materials and a very original sense of colour dominate, as evidenced by the title of his works. From 1969 to 1971, he held an analysis class at the Conservatoire de Paris until his early death at the age of 36 in Paris. Xenakis dedicated his 1971 composition ''Charisma'' to Guézec. Awards * Musical composition prize of the 1963 Tanglewood Music Center. * Grand Prix for the symphonic promotion of the SACEM in 1968 Principal compositions * Concert for main violin and 14 instruments (1960) * ''Concert en 3 parties'', for percussion and 10 musicia ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
