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It's Just Intonation! : Att praktiskt arbeta med renstämd vokalmusikElinder, Viktor January 2024 (has links)
I det här arbetet har jag analyserat två verk för kör i ren stämning (just intonation) av tonsättaren Ben Johnston. Min analys är fokuserad på praktiskt intonationsarbete och strategier för att kunna instuderaverken med kör. Jag har även repeterat ett av verken med kör, och reflekterat över de erfarenheter dessa repetitionstillfällen gav mig. / In this text I've analyzed two works for choir in just intonation by the composer Ben Johnston. My analysis has been focused on practical ways of working with the intonation and strategies for rehearsing them with a choir. I’ve also rehearsed one of the pieces with a choir, and reflected upon theresults of these rehearsals. / <p>Ljudfilen är från min examenskonsert tillsammans med dirigent Rasmus Krigström och KMH Vokalensemble. Medverkade gjorde även dirigenterna Anton Alexis Hallgren, Benedikt Kantert och Danny Xie, samt manskören Voces8.</p><p>Här nedan kommer en kort sammanfattning av programmet, med de stycken jag dirigerar i fet stil:</p><p>Genesis ur Die Schöpfung - Joseph Haydn (arr Gottwald)</p><p><strong>I'm Going Away - Ben Johnston</strong></p><p>Kyrie Eleison (Åses död) - Edvard Grieg (arr Krigström)</p><p><strong>L'aura che'l verde lauro et l'aureo crine - Nicola Vicentino</strong></p><p>(Zero8 sjunger Gesualdo & kort bulgarisk trad)</p><p>Agnus Dei (Adagio for strings) - Samuel Barber (arr tonsättaren)</p><p><strong>Half-timers - Viktor Elinder (Uruppförande)</strong></p><p>Ich bin der Welt - Gustav Mahler (arr Gottwald/Morgan)</p><p>Lux Aeterna (Nimrod) - Edward Elgar (arr Cameron)</p><p>(Zero8 sjunger en dubbelkör)</p><p>Going Home (Symfoni 9, sats 2)- Antonín Dvořák (arr Wright/Krigström)</p>
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Composing in Just IntonationSpoormaker, Gustav January 2024 (has links)
This thesis deals with the development of methods for composition in Just Intonation (JI). The author (Gustav Spoormaker) has composed a three movement String Trio in Just Intonation largely based on the theoretical ideas of Harry Partch, Marc Sabat and Kristofer Svensson which incorporates influences from contemporary microtonal music, early western classical music, jazz, and various types of world and folk music. Established core concepts of Just Intonation are explained for the author to then present their own theoretical and aesthetic ideas based on their artistic work. These ideas mostly center around practical aspects of JI composition, through presenting tangible approaches to modality, harmony, and counterpoint with the goal of ensuring an artistic result that enables both performability (tuneability) and stylistic flexibility. Concrete examples from the author’s artistic work are brought up to illustrate these ideas. The artistic results of these methods are discussed as well as their practical implications for performance.
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