|
Sequenza VII
''Sequenza VII'' (composed 1969) is a composition for solo oboe by Luciano Berio, the seventh of his fourteen '' Sequenze''. The sequenza calls for extended technique. In 1975, Berio used ''Sequenza VII'' as part of ''Chemins IV'', which included an orchestra of eleven string instruments. In 1993, Claude Delangle adapted the work for soprano saxophone, naming the revised work ''Sequenza VIIb''. ''Sequenza VII'' was written for Heinz Holliger. Background ''Sequenza VII'' was written in 1969, just after Berio composed his ''Sinfonia''. At that time, Berio tended to reject traditional musical notation in a manner similar to Earle Brown or Christian Wolff. Like his other sequenzas, Berio meant for ''Sequenza VII'' to be played by a virtuoso who was not only proficient technically but who had a "virtuosity of the intellect" as well. Structure and analysis The piece is built around a drone played on a B natural, which typically comes from an offstage source. In his instructions o ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Luciano Berio
Luciano Berio (24 October 1925 – 27 May 2003) was an Italian composer noted for his experimental work (in particular his 1968 composition ''Sinfonia'' and his series of virtuosic solo pieces titled ''Sequenza''), and for his pioneering work in electronic music. His early work was influenced by Igor Stravinsky and experiments with serial and electronic techniques, while his later works explore indeterminacy and the use of spoken texts as the basic material for composition. Biography Berio was born in Oneglia (now part of Imperia), on the Ligurian coast of Italy. He was taught piano by his father and grandfather, who were both organists. During World War II, he was conscripted into the army, but on his first day, he injured his hand while learning how a gun worked and spent time in a military hospital. Following the war, Berio studied at the Milan Conservatory under Giulio Cesare Paribeni and Giorgio Federico Ghedini. He was unable to continue studying the piano because of ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
International Double Reed Society
The International Double Reed Society (IDRS), is an organization that promotes the interests of double reed players, instrument manufacturers and enthusiasts. Services provided by the IDRS include an international oboe and bassoon competition, an annual conference, member directory, a library, information about grants, and publications, such as the society's own journal, ''The Double Reed''. The IDRS Fernand Gillet-Hugo Fox International Competition for oboists and bassoonists takes place every year during the society's annual conference. History The IDRS grew out of a 1969 newsletter for bassoonists compiled by Gerald Corey. Professor Lewis Hugh Cooper at the University of Michigan and Alan Fox, president of bassoon manufacturer Fox Products, founded a “double reed club” to promote opportunities for double reed players. Together with Corey, they organized a meeting during the December 1971 meeting of the Mid-Western Band Masters convention, and the first annual conference of ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Universal Edition
Universal Edition (UE) is a classical music publishing firm. Founded in 1901 in Vienna, they originally intended to provide the core classical works and educational works to the Austrian market (which had until then been dominated by Leipzig-based publishers). The firm soon expanded to become one of the most important publishers of modern music. History In 1904, UE acquired Aibl publishers, and so acquired the rights to works by Richard Strauss, Max Reger, and other composers, but it was the arrival of Emil Hertzka as managing director in 1907 (who remained until his death in 1932) which really pushed the firm towards new music. Under Hertzka, UE signed contracts with a number of important contemporary composers, including Béla Bartók and Frederick Delius in 1908; Gustav Mahler and Arnold Schoenberg in 1909 (Mahler's '' Symphony No. 8'' was the first work UE acquired an original copyright to); Anton Webern and Alexander von Zemlinsky in 1910; Karol Szymanowski in 1912; Leoš J ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Conservatoire De Strasbourg
The Conservatoire de Strasbourg is a music conservatory located in Strasbourg, France. The school was created using funds given to the city of Strasbourg by arts patron Louis Apffel in 1839. The conservatoire's first day of classes began on 3 January 1855. History of the Conservatory of Strasbourg It is indeed this considerable amount of the legacy Apffel which allowed the municipality to establish a conservatory which also emanated a symphonic orchestra, historically born the second in France after Paris. In 1922 the Conservatory moved into the building now occupied by the National Theatre of Strasbourg. It shared the building with the TNS until 1995, when it moved into two temporary accommodations in the ''Laiterie'' (:fr:La Laiterie) and at 4, rue Brûlée, until a custom-built centre was completed in the new Rivétoile development, the Cité de la Musique et de la danse, which was inaugurated in 2006. After the direction of Franz Stockhausen (1871 to 1908) the composer Hans ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Oboe Concerto
A number of concertos (as well as non-concerto works) have been written for the oboe, both as a solo instrument as well as in conjunction with other solo instrument(s), and accompanied by string orchestra, chamber orchestra, full orchestra, concert band, or similar large ensemble. These include concertos by the following composers: Baroque *Tomaso Albinoni *Johann Sebastian Bach (reconstruction from harpsichord concerto) *Johann Friedrich Fasch *Christoph Förster *Carl Heinrich Graun *Christoph Graupner *George Frideric Handel *Johann Adolph Hasse *Alessandro Marcello *Johann Joachim Quantz *Alessandro Scarlatti *Giovanni Battista Sammartini *Giuseppe Sammartini *Georg Philipp Telemann *Antonio Vivaldi Classical *Carl Philipp Emanuel Bach *Johann Christian Bach *Ludwig van Beethoven * Carlo Besozzi *Domenico Cimarosa *Carl Ditters von Dittersdorf *Josef Fiala *Joseph Haydn (doubtful) *William Herschel *Franz Anton Hoffmeister *Ignaz Holzbauer *Jan Antonín Koželuh *Franz K ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Microtonal Music
Microtonal music or microtonality is the use in music of microtones—intervals smaller than a semitone, also called "microintervals". It may also be extended to include any music using intervals not found in the customary Western tuning of twelve equal intervals per octave. In other words, a microtone may be thought of as a note that falls between the keys of a piano tuned in equal temperament. In ''Revising the musical equal temperament,'' Haye Hinrichsen defines equal temperament as “the frequency ratios of all intervals are invariant under transposition (translational shifts along the keyboard), i.e., to be constant. The standard twelve-tone ''equal temperament'' (ET), which was originally invented in ancient China and rediscovered in Europe in the 16th century, is determined by two additional conditions. Firstly the octave is divided into twelve semitones. Secondly the octave, the most fundamental of all intervals, is postulated to be pure (beatless), as described by the ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Harmonics
A harmonic is a wave with a frequency that is a positive integer multiple of the ''fundamental frequency'', the frequency of the original periodic signal, such as a sinusoidal wave. The original signal is also called the ''1st harmonic'', the other harmonics are known as ''higher harmonics''. As all harmonics are periodic at the fundamental frequency, the sum of harmonics is also periodic at that frequency. The set of harmonics forms a '' harmonic series''. The term is employed in various disciplines, including music, physics, acoustics, electronic power transmission, radio technology, and other fields. For example, if the fundamental frequency is 50 Hz, a common AC power supply frequency, the frequencies of the first three higher harmonics are 100 Hz (2nd harmonic), 150 Hz (3rd harmonic), 200 Hz (4th harmonic) and any addition of waves with these frequencies is periodic at 50 Hz. In music, harmonics are used on string instruments and wind instrum ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Flutter-tonguing
Flutter-tonguing is a wind instrument tonguing technique in which performers flutter their tongue to make a characteristic "FrrrrrFrrrrr" sound. The effect varies according to the instrument and at what volume it is played, ranging from cooing sounds on a recorder to an effect similar to the growls used by jazz musicians. Notation In sheet music, the technique is usually indicated with the standard tremolo markings on a note alongside a text instruction to flutter the note. The German marking "Flatterzunge" is often abbreviated to "Flz." or "Flt.". The Italian "frullato" is sometimes abbreviated to "frull". In English, the most common indication is "f.t." Other markings that composers have used to indicate flutter tonguing include: coupe de lange roulé, en roulant la langue, tremolo dental, tremolo avec la langue, tremolo roulé, vibrata linguale, vibrando, and colpo di lingua among others. However, simply writing (3-line) tremolo marks on all rhythmic values without other ind ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Overblowing
Overblowing is the manipulation of supplied air through a wind instrument that causes the sounded pitch to jump to a higher one without a fingering change or the operation of a slide. Overblowing may involve a change in the air pressure, in the point at which the air is directed, or in the resonance characteristics of the chamber formed by the mouth and throat of the player. (The latter is a feature of embouchure.) In some instruments, overblowing involves the direct manipulation of the vibrating reed(s), and/or the pushing of a register key while otherwise leaving fingering unaltered. With the exception of harmonica overblowing, the pitch jump is from one vibratory mode of the reed or air column, e.g., its fundamental, to an overtone. Overblowing can be done deliberately in order to get a higher pitch, or inadvertently, resulting in the production of a note other than intended. Characteristics In simple woodwind instruments, overblowing can cause the pitch to change into a ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Trill (music)
The trill (or shake, as it was known from the 16th until the early 20th century) is a musical ornament consisting of a rapid alternation between two adjacent notes, usually a semitone or tone apart, which can be identified with the context of the trillTaylor, Eric. ''The AB Guide to Music Theory: Part I'', p. 92. (compare mordent and tremolo). It is sometimes referred to by the German Triller, the Italian trillo, the French trille or the Spanish trino. A cadential trill is a trill associated with each cadence. A trill provides rhythmic interest, melodic interest, and—through dissonance—harmonic interest. Sometimes it is expected that the trill will end with a turn (by sounding the note below rather than the note above the principal note, immediately before the last sounding of the principal note), or some other variation. Such variations are often marked with a few appoggiaturas following the note bearing the trill indication. Notation In most modern musical notatio ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tonguing
Tonguing is a technique used with wind instruments to enunciate notes using the tongue on the palate or the reed or mouthpiece. A silent "tee" is made when the tongue strikes the reed or roof of the mouth causing a slight breach in the air flow through the instrument. If a more soft tone is desired, the syllable "da" (as in ''dou''ble) is preferred. The technique also works for whistling. Tonguing also refers to articulation, which is how a musician begins the note (punchy, legato, or a breath attack) and how the note is released (air release, tongued release, etc.) For wind players, articulation is commonly spoken of in terms of tonguing because the tongue is used to stop and allow air to flow in the mouth. Tonguing does not apply to non wind instruments, but articulation does apply to all instruments. An alteration called "double-tonguing" or "double-articulation" is used when the music being performed has many rapid notes in succession too fast for regular articulation. I ... [...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] |
