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Some interesting search results:
RealTime Arts - Magazine - issue 61 - Celebration
and renewal
http://www.realtimearts.net/article/61/7481
At the core of the ensemble is a dedication to bringing out new
material. A continual mission has been providing a platform, an outlet,
for the aspirations of numerous young composers. This entails embracing
risk in programming—the potential for failure is high but so too are
the potential rewards, and some of these have been astounding.
Since 1995 Sydney-based Ensemble Offspring have been performing and
commissioning new musical works. These new works are often presented in
themed concerts alongside pieces written up to 80 years ago,
highlighting some of the broad themes in recent music. Partch’s
Bastards, for example, took up instrument building and alternative
tunings, and other projects have centred on movements such as Parisian
Spectralism and Polish Sonorism. This contextualising has an enriching
effect, both in bringing out recent currents and ideas, and fostering
new interpretative pathways within individual works. Offspring
writer-in-residence Rachel Campbell talked to artistic director Damien
Ricketson about the ensemble’s work.
Thoughts on Spectralism and (Bonus) My Love/Hate
Relationship with Computers | Jacob Sudol
http://www.sequenza21.com/sudol/?p=135
Jacob Sudol has written music for domestic and international
performances by many prestigious ensembles and performers including the
Nouvel Ensemble Moderne, the Contemporary Keyboard Society, Canadian
pianist Xenia Pestova, Taiwanese pianist and composer Chen-Hui Jen,
Brazilian percussionist Fernando Rocha, and the McGill Contemporary
Music Ensemble in collaboration with the McGill Digital Composition
Studio. He also frequently performs his own works for instruments
and electronics in diverse settings such as the Atlantic Center for the
Arts, the International Computer Music Conference, the University of
California San Diego, the wulf in Los Angeles, the MATA Festival, and
the Issue Project Room in New York City.
Chicago Classical Review ; dal niente closes season
with memorable program of modern French music
http://chicagoclassicalreview.com/2010/06/dal-niente-closes-season-with-memorable-program-of-modern-french-music/
Dal niente’s concert was an exhilarating crash course in so-called
Spectralism, the music of a later generation of French composers
besotted by the colors and timbres inherent in specific instruments and
the way those colors blend in ensemble works. The pieces, written
between 1975 and 2006, included composers Tristan Murail and Gerard
Grisey, pioneers in the field; and younger composers Philippe Hurel,
Philippe Leroux and Fabien Levy. Two works--Hurel’s Tombeau in
memoriam Gerard Grisey and Leroux’s Un lieu
verdoyant—Hommage a Gerard Grisey --were tributes to Grisey, who died
in 1998 at age 52. Grisey’s monumental Partiels,
written in 1975 for 18 instruments, closed the concert.
RealTime Arts - Magazine - issue 61 - Celebration
and renewal
http://www.realtimearts.net/article/61/7481
Over the years, as Minimalism has become more style than concept, the
term has become something of a conservative war-cry. In this concert we
hope to recapture the bold experimental aesthetic that underpins the
music’s origins. This is music stripped to its bare essentials,
mechanical patterns repeated again and again. It will either irritate
the hell out of people or induce a wonderful hypnotic state of
listening. Philip Glass has authorised us to perform these works
usually reserved for his own ensemble. We find ourselves in the curious
position of being the first band outside the Philip Glass Ensemble to
perform works such as Music In Fifths.
Spectralism Explores Physiology | Arts | The Harvard
Crimson
http://www.thecrimson.com/article/2010/11/2/music-sound-timbre-sheldon/
Emily Dolan, Assistant Professor of Music at the University of
Pennsylvania, describes Spectralism as a renaissance. “[Spectral music]
is the rebirth of musical aesthetics—the return of music to human
perception and sensation,” says Dolan, who was a panelist for
“Sensations of Tone.” Held in the exhibition space of the Collection of
Historical Scientific Instruments on October 27 and 28, this event
showcased the movement of Spectralism, which uses the spectrum of sound
to influence musical compositions. Covering an array of topics from the
history of Spectralism to its various components, “Sensations of Tone”
also featured vocalist Jane Sheldon and the Firebird Ensemble. The
musicians performed pieces by prominent Spectralists.
Reference for Contemporary classical music - Search.com
http://phx1-ss-vorlon-lb.cnet.com/reference/Contemporary_classical_music
Composers often obtain unusual sounds or instrumental timbres through
the use of non-traditional (or unconventional) instrumental techniques.
Examples of extended techniques include bowing under the bridge of a
string instrument, using key clicks on a wind instrument, blowing into
a wind instrument without a mouthpiece, or inserting object on top of
the strings of a piano. Composers’ use of extended techniques is not
specific to contemporary music (for instance, Berlioz’s use of
col legno in his Symphonie Fantastique is an extended
technique) and it transcends compositional schools and styles.
New Music reBlog: Principles of Spectralism
http://netnewmusic.net/reblog/archives/2009/05/principles_of_s.html
Grisey's emphasis on spectralism being a form of thought rather than a
system of composition would seem like a relatively new concept for the
20th and 21st centuries. Much of the recently composed music stems from
Schoenberg's system and undergoes other systematic modifications, and
to have a composer reject any system in order to "rediscover the
hierarchy," has a certain originality to it. However, it is not new and
Grisey acknowledges this, but the main focus and inspiration for the
spectral movement is to extend time in all directions and experiment
with psycho-acoustics. This attitude also brings the audience back into
the picture because the extended form of this type of writing has a
transparency about it that allows the listener to follow closely and
hear the intentions of the composer.
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Mehmet Okonsar is a
pianist-composer-conductor and musicologist. Besides his international
concert carrier he is a prolific writer. He is the founder of the
first classical music-musicology dedicated blog site: "inventor-musicae"
as well as the first classical-music video portal : http://www.classicalvideos.net.
Mehmet Okonsar's official site: http://www.okonsar.com |
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Inspiration By
Tzvi Freeman
The Jewish sages called it da'at--roughly translated as "knowledge" or
"consciousness". Knowledge usually means knowledge about things outside
of oneself. But this da'at is the knowledge of the one who is knowing.
The "I."
Nothing is more frightening than this knowledge [read more...]
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Committee Rules:
(1) Never arrive on time, or you will be stamped a
beginner.
(2) Don't say anything until the meeting is half
over; this stamps you as being wise.
(3) Be as vague as possible; this prevents
irritating the others.
(4) When in doubt, suggest that a subcommittee be
appointed.
(5) Be the first to move for adjournment; this will
make you popular -- it's what everyone is waiting for. |
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This email is sent by me, Mehmet Okonsar (mehmet@okonsar.com)
The company Streamsend
is in charge of delivering my emails.
My street address is: Mesnevi S. 46/15 TR-06690 Ankara - Turkey
Phone: + 90 312 438 0917 - GSM: + 90 533 767 1899
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image from Wikimedia
image from Wikimedia
image from Wikimedia
image from Wikimedia