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181	An Instructional Guide to Teaching Dan Beaty's Woodsprite and Waterbug Collection for Intermediate Piano Students and Instructors Hung, Sophie (Shuo-Hui) 12 1900 (has links) The purpose of this dissertation is to offer a pedagogical guide to Woodsprite and Waterbug Collection (1977) by Dan Beaty (1937-2002) through an analysis of its pedagogical values and teaching applications. This set consists of twelve short, intermediate-level pieces, featuring various contemporary idioms. Each piece is also pedagogically written to help intermediate students to refine specific pianistic techniques beyond the elementary level. In addition, Beaty's collection expands students' musical vision and musicianship for more advanced studies via the incorporation of contemporary music theory and techniques. These qualities make Woodsprite and Waterbug Collection a valuable tool for intermediate piano students. It is also useful for instructors searching for repertoire to introduce contemporary idioms. The author hopes that this study will encourage performers, teachers and scholars to consider this work and Beaty's other piano compositions. By studying Woodsprite and Waterbug Collection, students will be more appreciative of contemporary repertoire and will welcome learning similar pieces in the future. Dan Beaty Piano music Piano pedagogy Contemporary music Piano music -- Teaching pieces. Piano -- Instruction and study. Piano music -- Analysis, appreciation. Academic theses
182	Compositional Strategies in Contemporary Music from Turkey: Producing Through Hybridity, Mobility and Cultural Policies in the 21st Century Öğüt, Ahmet Utku 21 February 2025 (has links) Der Schwerpunkt dieser Dissertation liegt auf den Komponistinnen aus der Türkei, die in den letzten 30 Jahren in den europäischen und nordamerikanischen Kreisen der zeitgenössischen Musik sichtbar geworden sind und in ihren Werken auf traditionelle musikalische Referenzen aus der Türkei zurückgreifen. Obwohl dieser Ansatz seit den ersten Versuchen, eine verwestlichte Kunstmusik durch die Kulturpolitik der frühen türkisch-republikanischen Ära zu etablieren, verbreitet ist, haben sich die Strategien, Vorgehensweisen und Politiken bis heute verändert. Die ständigen Veränderungen in der internationalen Politik, die sich aus dem Aufstieg des Globalismus ergeben, haben die Kulturpolitik der letzten drei Jahrzehnten auf eine Weise beeinflusst, die eine Vielzahl von künstlerischen Reaktionen auf die Verwendung traditioneller Musikreferenzen hervorgebracht hat. Dadurch ist eine bestehende Diskussionsgrundlage wichtiger geworden, durch die Fragen der institutionellen Netzwerke sowie der künstlerischen Individualisierung, Agency und der Mobilität zu wesentlichen Fragen hinsichtlich der Auswirkungen der Kulturpolitik geworden sind. Ich untersuche diesen Bereich anhand der Biographien, Stellungnahmen und Werke ausgewählter Komponistinnen. Mit diesem transdisziplinären Ansatz konzentriere ich mich auf eine Methodik, die sowohl Archivrecherchen als auch Fallstudien sowie Tiefeninterviews und Analysen umfasst. Mit diesem theoretischen und methodischen Rahmen möchte ich eine kritische Analyse der politischen und kulturellen Positionierung von Komponist*innen entwickeln und den Begriff des „Komponistenseins“ in der Türkei im Hinblick auf sozialen Konnotationen, Selbstkonstruktionen und seine Rolle innerhalb der Kulturagentur hinterfragen. Diese Forschung soll einen Beitrag zur bestehenden Literatur leisten, als Beispiel für eine fallorientierte Analyse, die den transkulturellen Kontext und die Dynamik der zeitgenössischen Musik als kulturpolitische Agenda behandelt. / The focus of this dissertation lies on the composers from Turkey gaining visibility in the European and North American contemporary art music circles during the last 30 years, who make use of traditional musical references from Turkey in their compositions. Although this compositional approach has been increasingly widespread since the initial attempts aiming at establishing Westernized art music through cultural politics of the early Turkish Republican Era, the strategies, procedures, and politics that are parallel to this approach have seen significant shifts until present. The constant fluctuations in international politics resulting from the rise of globalism have affected cultural policies during the last three-decades in such a way that they generated a diverse range of artistic responses concerning the use of traditional music references. As such, an existing discussion basis has become more crucial, through which the issues of institutional networks along with artistic individualization, agency, and mobility have become substantial issues regarding the impact of cultural policies. Hereby, I analyze this scope with a close examination on the biographies, statements and works of selected composers. Following this transdisciplinary approach, I focus on a method that consists of archival research, as well as case studies along with in-depth interviews and music analysis. With this theoretical and methodological framework, I aim to develop a thorough critical analysis concerning the political and cultural positionings of composers and question the underlying notion of ‘being a composer’ in Turkey to the extent of its social connotations, self-constructions, and its role within the cultural agency. Consequently, my research aims to contribute to the existing literature as an example of a case-oriented analysis, addressing the transcultural context and dynamics of contemporary music as an agenda of cultural policies. zeitgenössische Musik aus der Türkei Kulturpolitik kompositorische Strategien hybride Ästhetik Mobilität contemporary music from Turkey cultural policies compositional strategies hybrid aesthetics mobility 780 Musik 306 Kultur und Institutionen ddc:780 ddc:306
183	Música Contemporânea em Minas Gerais: os Encontros de Compositores Latino-americanos de Belo Horizonte (1986-2002) Lovaglio, Vânia Carvalho 12 March 2010 (has links) The aim of this work is to understand the historic process which achieved the construction of the Latin American contemporary music movement in Belo Horizonte, more specifically, the Latin American Composer s Gatherings of Belo Horizonte, held in the years 1986-1988-1992-2002 sponsored by the Fundação de Educação Artística. It was also possible to get knowledge of their artistic cultural programs (works, composers, performers) in which one can found included the production of Brazilian music and music of Minas Gerais, as well as the theoretical questions presented in form of Thematic Panels. As for their importance not only in local, but national and international levels, the Latin American Composer s Gatherings have had a strong social impact in the city of Belo Horizonte in the decades of 1980-90, mainly through the academic scene, contributing to the musical formation of young composers and performers and for the structure of the musical composition area at the Escola de Música da Universidade Federal de Minas Gerais. As far as the common problems facing Brazil and Latin America on the above decades are concerned, a changing in favor of the Latin American contemporary music passed necessarily by the understanding that the politic and economic aspects were strongly connected with the cultural one. As for their production and musical diffusion, a major participation of all professionals - composers, performers, educators and musicologists - in the sense of interfering in the current teaching musical model practiced in institutions of fundamental, median and college levels. / O objetivo deste trabalho é compreender o processo histórico que levou à construção do movimento de música contemporânea latino-americana em Belo Horizonte, mais especificamente, os Encontros de Compositores Latino-americanos de Belo Horizonte, realizados nos anos 1986-1988-1992-2002, por meio da Fundação de Educação Artística. Buscou-se tomar conhecimento acerca de sua programação artístico-cultural (obras, compositores, intérpretes), na qual se encontram naturalmente incluídas a produção de música brasileira e mineira, bem como as questões teóricas apresentadas em forma de painéis temáticos. Diante da sua importância, não só em nível local, mas nacional e internacional, os Encontros de Compositores Latino-americanos tiveram um forte impacto social na cidade de Belo Horizonte nas décadas de 1980-90, principalmente no meio acadêmico, contribuindo para a formação musical de jovens compositores e intérpretes e para a estruturação da área de composição da Escola de Música da Universidade Federal de Minas Gerais. Considerando os problemas comuns ao Brasil e à América Latina nas referidas décadas, uma mudança no quadro em favor da música contemporânea latino-americana passava necessariamente pela compreensão de que os aspectos político e econômico estavam intimamente relacionados ao cultural. Quanto à sua produção e difusão musical, conclamava-se uma maior participação de todos profissionais compositores, intérpretes, educadores musicais e musicólogos no sentido de interferir no modelo de ensino de música praticado nas instituições de nível fundamental, médio e universitário. / Doutor em História Compositores - Latino-americanos Festivais de música CNPQ::CIENCIAS HUMANAS::HISTORIA
184	Promenade pieces : About graphic scores, connotation and pedestrians Jönsson, Maria January 2018 (has links) <p>Maria Jönsson: Track_4</p><p>Performers: Maria Jönsson - flute, Reuben Fenemore - clarinet, Gustav Broman - electric bass, Albin Vesterberg - electric guitar; Wendy Liao, Artur Musalimov, Naama Freedman, Hue Trinh Luong - pedestrians.</p><p>Video and audio recording of Track_4 with: Maria Jönsson - flute, Reuben Fenemore - clarinet, Gustav Broman - electric bass, Albin Vesterberg - electric guitar; Wendy Liao, Artur Musalimov, Naama Freedman, Hue Trinh Luong - pedestrians.</p> Graphic score animated score pedestrian network programming improvisation interpretation GPS OSC CoPeCo Contemporary Performance and Composition contemporary music connotation association sign symbol Grafiskt partitur animerat partitur fotgängare nätverk programmering improvisation interpretation GPS OSC CoPeCo Contemporary Performance and Composition nutida konstmusik konnotation association tecken symbol Music Musik
185	Processus de composition et inspiration scientifique Camier, Cédric 04 1900 (has links) Mémoire en recherche-création ; Aide financière octroyée : CIRMMT Student Award / Les conditions d'utilisation de théories scientifiques au cours du processus de composition musicale et plus généralement pour l'élaboration de théories esthétiques musicales sont au coeur du travail proposé. Une position critique est tout d'abord avancée relativement aux nombreux écueils historiques relevés. Elle permet d'en dégager quelques pistes d'exploration pour les processus compositionnels que je me suis proposé de suivre au fur et à mesure des pièces électroacoustiques et mixtes présentées. En particulier, des spécificités empruntées aux mécanismes vibratoires non-linéaires, aux modèles sociologiques déterministes ou prédictifs sont injectés au sein même des processus de création des mes oeuvres. Cinq pièces sont présentées. Les thématiques et les contraintes occasionnées par les modèles empruntés sont décrits ainsi que les réalisations techniques qui leur ont servi de support. Chaque pièce présente donc une démarche et des outils technologiques et informatiques particuliers. Ces pistes exploratoires feront intervenir contrainte formelle, limitation du contrôle du compositeur, improvisation, traitement et spatialisation en temps réel et développements originaux implémentés en Max/MSP et en Python. Par ailleurs, un outil d'aide à la composition spatiale proposant une perspective inédite de visualisation du champs de pression produit par les trajectoires et par le système de reproduction virtuel, et développé pendant ma maîtrise est présenté. / The use of science theories during the compositionnal process, especially in a purpose of esthetical properties abstraction is questionned. First, a criticist point-of-vue is adressed, on the basis of several historical examples. A personnal method dedicated to the development of original compositionnal process were deduced. In particular, the specific mecanisms related to nonlinear vibrations and deterministic sociological model could be inserted into the creative processes. Five electroacoustic and contemporay music pieces are presented. Themes and constraints provoked by the model insertion are detailed. They gather form-contraints, control limitations, improvisation, real-time processing and real-time spatialization implemented in Max/MSP and Python. Moreover, a refined sound-field rendering tool dedicated to computer-assisted composition is introduced. Processus de composition Théorie scientifique Modèle sociologique Spatialisation Modèle non-linéaire improvisation Performance Démarche critique Traitement en temps réel Python Max/MSP Compositional process Scientific theories Electroacoustic Contemporary music with electronic Real-time processing Physical modelling Sociological modelling Computer-assisted Composition Spatialization software Python Max/MSP Ableton Live
186	Från tomt notblad till klingande toner : Att medverka i komponerandet av och studera in ett nytt stycke för blockflöjt Alex, Gullberg January 2024 (has links) I detta arbete beskrivs samarbetet mellan en blockflöjtist och en kompositör i kompositionsprocessen av ett solostycke för blockflöjt. Studien tog sin bakgrund i en vilja att bidra till blockflöjtens utveckling inom samtida musik. Studien åsyftade att undersöka tidigare nämnda samarbetsprocess samt instuderingsprocessen av det resulterande stycket för instrumenttypen voiceflute, i synnerhet hur instuderingsprocessen påverkades av att stycket aldrig tidigare tolkats eller uppförts. För att uppnå detta hölls frekventa möten mellan musiker och kompositör och både samarbetsprocess och instuderingsprocess dokumenterades genom loggföring. Denna metod resulterade i ett tätt samarbete där både musiker och kompositör tillförde värdefulla kunskaper till både kompositions- och instuderingsprocessen. Samarbetet ledde till ett solostycke för voiceflute, Väntan i Nattavaara. Stycket är väl lämpat till voiceflutens egenskaper och utnyttjar många av blockflöjtens unika uttrycksmöjligheter och alternativa tekniker. Genom studien genererades således ett värdefullt tillskott till den moderna blockflöjtsrepertoaren. Särskilt värde ligger i att stycket skrevs till voiceflute, en sällan förekommande blockflöjtstyp i nutida musik. Studien har även lett till personlig och konstnärlig utveckling för kompositör såväl som musiker. Det finns dessutom vidare forskningsmöjligheter inom området. / This thesis describes the collaboration between a recorder player and a composer in the process of composing a solo piece for recorder. The study was born of a desire to contribute to the development of the recorder in contemporary music. The study aimed to investigate the previously mentioned collaboration process as well as the process of interpreting the resulting piece written for the instrument type voice flute, in particular how the interpretation process was affected by the piece never having been interpreted or performed before. To achieve this, frequent meetings were held between composer and musician, and both the collaboration process and the study process were documented through journaling. This method resulted in a close collaboration where both musician and composer contributed valuable knowledge to the composition and interpretation processes. The collaboration led to a solo piece for voice flute, Väntan i Nattavaara. The piece is well suited to the characteristics of the voice flute and utilizes many of the recorder’s unique methods of expression and extended techniques. The study thus generated a valuable addition to the modern recorder repertoire. Particular value lies in the fact that the piece was written for the voice flute, a type of recorder rarely found in contemporary music. The study has also led to personal and artistic development for both composer and musician. Additionally, there are further research opportunities in the area. recorder voice flute composition collaboration with composer music classical music Western classical music Väntan i Nattavaara contemporary music modern music Siri Eigard blockflöjt voiceflute komposition samarbete med kompositör musik klassisk musik konstmusik västerländsk konstmusik Väntan i Nattavaara nutida musik modern musik Siri Eigard Music Musik
187	Echtzeitmusik / the social and discursive contexts of a contemporary music scene Blazanovic, Marta 03 June 2014 (has links) Die Echtzeitmusikszene ist eine zeitgenössische Musikszene, die Mitte der 1990er in Berlin entstanden ist. Seitdem entwickelte sie sich in eine umfangreiche, musikalisch vielfältige, lokale, aber auch extrem internationale Musiker-Community, mit dem Schwerpunkt auf improvisierter und experimenteller Musik. Der Begriff ‚Echtzeitmusik‘ markierte zunächst die Abgrenzung der jungen von der älteren Generation der Berliner Improvisatoren. Die jüngeren Musiker entwickelten bald eine besondere Klangästhetik sowie die Praxis des Improvisierens, was oft als ‚Berlin Reductionism‘ bezeichnet wird. Sich selbst identifizierten sie vor allem mit dem Begriff ‚Composer-Performer‘. Die musikalischen Entwicklungen in der Echtzeitmusik Szene lassen sich innerhalb der Traditionen der Freien Improvisation einerseits und der Cageschen Kompositionstheorie andererseits kontextualisieren. Ausserdem wurden die Entstehung der Szene, ihre Entwicklung und Existenz stark von den einzigartigen räumlichen, sozialen und ökonomischen Bedingungen in Berlin nach der Wende beeinflusst und bestimmt. Die Echtzeitmusik Szene ist ein Beispiel für ein hoch autonomes Feld der Kulturproduktion, in dem das sogenannte symbolische Kapital (Reputation) die wichtigste Kapitalart und ein Machtmittel darstellt. Die Verteilung des symbolischen Kapitals in der Szene manifestiert sich in einer auf den ersten Blick versteckten Hierarchie. Die Mitglieder der Szene teilen eine gemeinsame symbolische Ebene und nehmen an einem klar strukturierten und organisierten Szeneleben teil. Sowohl soziale als auch musikalische Handlungen der Szeneakteure zeigen gewisse Gemeinsamkeiten und Regularitäten, die mit Bourdieu’s Habitus-Begriff erklärt werden. Der Szenediskurs spielt eine wichtige Rolle in den Prozessen der Identifikation, Distinktion und Gemeinschaftsbildung, als auch in der Regulierung der Praxis in der Szene dadurch, dass es als ein Orientierungspunkt für die Insider, aber auch für die Aussenstehenden dient. / The Echtzeitmusik scene is a contemporary music scene that emerged in Berlin in the mid-1990s and evolved into an extensive and musically diverse local, yet extremely international community of musicians, who are involved in improvised and experimental music. The term ‘Echtzeitmusik’, literally meaning ‘real-time music’, marked the distinction between the younger and older generation of Berlin improvisers. The younger musicians had soon developed a specific sound aesthetic and approach to improvising, often labeled as ‘Berlin Reductionism’, and identified themselves as ‘composer-performers’. The musical developments in the Echtzeitmusik scene can be contextualized within the traditions of both Free Improvisation and John Cage’s compositional theory; on the other hand, the scene’s emergence, development and existence have been strongly influenced by the unique spatial, social and economic context of the post-wall Berlin from the early 1990s until today. The Echtzeitmusik scene is an example of a highly autonomous field of cultural production, in which the most important type of capital and means of “power” is the so-called symbolic capital (reputation), based on the musicians’ cultural capital (e.g. musical skill and individuality) and even more on their social capital (social relations). The distribution of symbolic capital within the scene is manifested in its, at first sight hidden, hierarchy. The members of the scene share a common symbolic level and take part in a clearly structured and organized scene-life. Both social and musical actions of the scene’s members show commonalities and regularities, which are explained by Bourdieu’s concept of habitus. The scene’s discourse plays an essential role in the processes of identification, distinction and community-making, as well as regulating the practice within the scene, by serving as a point of orientation on the inside and towards the outside. Berlin Diskurs Stille Autonomie Reduktionismus Foucault Reduktion zeitgenössische Musik Echtzeit Echtzeitmusik Szene Musikszene Improvisation experimentelle Musik Composer-Performer John Cage Geräusch Bourdieu Kapital symbolisches Kapital Habitus künstlerisches Feld Kulturproduktion Distinktion Abgrenzung Diskursfeld Interdiskursraum Berlin noise silence autonomy Reductionism discourse reduction contemporary music Echtzeit Echtzeitmusik real-time music scene improvisation experimental music composer-performer John Cage Bourdieu Foucault capital symbolic capital symbolic power habitus artistic field community of practice cultural production distinction difference discursive fields interdiscursive space 780 Musik 48 Musik CB 5100 ddc:780

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