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New Complexity
New Complexity is a label principally applied to composers seeking a "complex, multi-layered interplay of evolutionary processes occurring simultaneously within every dimension of the musical material". Origins Though often atonal, highly abstract, and dissonant in sound, New Complexity music is most readily characterized by the use of techniques which require complex musical notation. This includes extended techniques, complex and often unstable textures, microtonality, highly disjunct melodic contour, complex layered rhythms, abrupt changes in texture, and so on. It is also characterized, in contrast to the music of the immediate post–World War II serialists, by the frequent reliance of its composers on poetic conceptions, very often implied in the titles of individual works and work-cycles. The origin of the name ''New Complexity'' is uncertain; amongst the candidates suggested for having coined it are the composer Nigel Osborne, the Belgian musicologist Harry Halbreich, and ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Developing Variation
In musical composition, developing variation is a formal technique in which the concepts of development and variation are united in that variations are produced through the development of existing material. The term was coined by Arnold Schoenberg, twentieth-century composer and inventor of the twelve-tone technique, who believed it was one of the most important compositional principles since around 1750:Haimo, Ethan. 1990. ''Schoenberg's Serial Odyssey: The Evolution of his Twelve-Tone Method, 1914–1928'', p.73n8. Oxford ngland: Clarendon Press ; New York : Oxford University Press . Schoenberg distinguished this from the "unravelling" procedures of contrapuntal tonal music but developing variation may be related to other textures and to Schoenberg's own freely atonal pieces which employ a "method of atonal developing variation each chord, line, and harmony results from the subtle alteration and recombination of musical ideas from earlier in the piece" and Schoenberg desc ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Clarence Barlow
Clarence Barlow (also Klarenz, born 27 December 1945) is a composer of classical and electroacoustic works. Career Barlow was one of the founders of Initiative Musik und Informatik Köln. In 1988 he was the director of music at the International Computer Music Conference in Cologne. From 1990 to 1994, Barlow was the artistic director of the Institute of Sonology, at the Royal Conservatory of The Hague, where he also taught in the composition department. Barlow was the Corwin Endowed Chair and head of composition at University of California, Santa Barbara’s Music Department from 2006 to 2019. Compositional style and techniques Barlow prefers traditional instrumental timbres to electronically synthesized ones because "they sound so much more alive and exciting". Although for this reason most of his works have been written for traditional instruments, he has frequently used the computer to generate the structures of his works. His comprehensive theory of tonality and metrics w ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bludenzer Tage Zeitgemäßer Musik
The Bludenzer Tage zeitgemäßer Musik (Bludenzer Days of Contemporary Music) is an international festival of contemporary music that has been taking place in Bludenz, Vorarlberg (Austria) since 1988. The aim of the festival is "to make contemporary music audible in Bludenz". History In its first 30 years, more than 200 world premieres have taken place as part of the festival. Georg Friedrich Haas Georg Friedrich Haas (born 16 August 1953 in Graz, Austria) is an Austrian composer. In a 2017 ''Classic Voice'' poll of the greatest works of art music since 2000, pieces by Haas received the most votes (49), and his composition ''in vain'' (20 ... was the first artistic director, followed by Wolfram Schurig and Alexander Moosbrugger. The Italian composer has been responsible for the program since 2014. Due to the COVID-19 pandemic, the 2020 edition of the festival had to be cancelled. References External links * * Festivals in Vorarlberg Classical music festiv ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Claus-Steffen Mahnkopf
Claus-Steffen Mahnkopf (born 22 October 1962) is a German composer, editor and author. Career Claus-Steffen Mahnkopf was born in Mannheim, Germany, and studied composition with Brian Ferneyhough, Klaus Huber and Emanuel Nunes and music theory at the music academy in Freiburg where he graduated in 1992. At the same time, he studied musicology, philosophy with Jürgen Habermas and sociology at university. Later he was influenced by Habermas's antagonist Peter Sloterdijk and appropriated the idea of a philosophical explanation of the female orgasm (which lacks biological necessity in terms of procreative function) from an email novel Sloterdijk had published three years earlier. In 1993 Mahnkopf was awarded a doctorate in philosophy for his dissertation on Arnold Schönberg. For his compositions Mahnkopf won numerous international prizes, among them the Gaudeamus International Composers Award in 1990, the composition prize of the city Stuttgart and the Composers Award of the Ernst ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Flute
The flute is a family of classical music instrument in the woodwind group. Like all woodwinds, flutes are aerophones, meaning they make sound by vibrating a column of air. However, unlike woodwind instruments with reeds, a flute is a reedless wind instrument that produces its sound from the flow of air across an opening. According to the instrument classification of Hornbostel–Sachs, flutes are categorized as edge-blown aerophones. A musician who plays the flute is called a flautist or flutist. Flutes are the earliest known identifiable musical instruments, as paleolithic examples with hand-bored holes have been found. A number of flutes dating to about 53,000 to 45,000 years ago have been found in the Swabian Jura region of present-day Germany. These flutes demonstrate that a developed musical tradition existed from the earliest period of modern human presence in Europe.. Citation on p. 248. * While the oldest flutes currently known were found in Europe, Asia, too, has ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Multiphonic
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] |
Tuplet
In music, a tuplet (also irrational rhythm or groupings, artificial division or groupings, abnormal divisions, irregular rhythm, gruppetto, extra-metric groupings, or, rarely, contrametric rhythm) is "any rhythm that involves dividing the beat into a different number of equal subdivisions from that usually permitted by the time-signature (e.g., triplets, duplets, etc.)" This is indicated by a number, or sometimes two indicating the fraction involved. The notes involved are also often grouped with a bracket or (in older notation) a slur. The most common type of tuplet is the triplet. Terminology The modern term 'tuplet' comes from a rebracketing of compound words like quintu(s)-(u)plet and sextu(s)-(u)plet, and from related mathematical terms such as "tuple", "-uplet" and "-plet", which are used to form terms denoting multiplets (''Oxford English Dictionary'', entries "multiplet", "-plet, ''comb. form''", "-let, ''suffix''", and "-et, ''suffix''1"). An alternative modern term, ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Quarter Tone
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 1823 Julian 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, K ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Equal Temperament
An equal temperament is a musical temperament or tuning system, which approximates just intervals by dividing an octave (or other interval) into equal steps. This means the ratio of the frequencies of any adjacent pair of notes is the same, which gives an equal perceived step size as pitch is perceived roughly as the logarithm of frequency. In classical music and Western music in general, the most common tuning system since the 18th century has been twelve-tone equal temperament (also known as 12 equal temperament, 12-TET or 12-ET; informally abbreviated to twelve equal), which divides the octave into 12 parts, all of which are equal on a logarithmic scale, with a ratio equal to the 12th root of 2 ( ≈ 1.05946). That resulting smallest interval, the width of an octave, is called a semitone or half step. In Western countries the term ''equal temperament'', without qualification, generally means 12-TET. In modern times, 12-TET is usually tuned relative to a standard pit ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Song Cycle
A song cycle (german: Liederkreis or Liederzyklus) is a group, or cycle, of individually complete songs designed to be performed in a sequence as a unit.Susan Youens, ''Grove online'' The songs are either for solo voice or an ensemble, or rarely a combination of solo songs mingled with choral pieces. The number of songs in a song cycle may be as brief as two songs or as long as 30 or more songs. The term "song cycle" did not enter lexicography until 1865, in Arrey von Dommer's edition of ''Koch’s Musikalisches Lexikon'', but works definable in retrospect as song cycles existed long before then. One of the earliest examples may be the set of seven Cantigas de amigo by the 13th-century Galician jongleur Martin Codax. Jeffrey Mark identified the group of dialect songs 'Hodge und Malkyn' from Thomas Ravenscroft's ''The Briefe Discourse'' (1614) as the first of a number of early 17th Century examples in England. A song cycle is similar to a song collection, and the two can b ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Darmstädter Ferienkurse
Darmstädter Ferienkurse ("Darmstadt Summer Course") is a regular summer event of contemporary classical music in Darmstadt, Hesse, Germany. It was founded in 1946, under the name "Ferienkurse für Internationale Neue Musik Darmstadt" (Vacation Courses of International New Music in Darmstadt), as a gathering with lectures and concerts over several summer weeks. Composers, performers, theorists and philosophers of contemporary music met first annually until 1970, and then biannually. The event was organised by the Kranichsteiner Musikinstitut, which was renamed Internationales Musikinstitut Darmstadt (IMD). It is regarded as a leading international forum of contemporary and experimental music with a focus on composition. The festival awards the for performers and young composers. History Overview The Ferienkurse were initiated in 1946 by Wolfgang Steinecke, then responsible for culture in the municipal government of Darmstadt. He directed them until his death in 1961, succeeded b ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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