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Contemporary Composition Seminar Fall 2012

Contemporary Composition Seminar Fall 2012. Instructor: Prof. SIGMAN Thursday 14:00-16:00 Lecture VIII. 0. Exam Return. [go over Midterm]. 0.1 Important Dates. 11/29: NO CLASS 12/13: FINAL PRESENTATIONS 12/20: FINAL EXAM ( 시험 ). 0.2 Final Project Description. [see handout].

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Contemporary Composition Seminar Fall 2012

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  1. Contemporary Composition SeminarFall 2012 Instructor: Prof. SIGMAN Thursday 14:00-16:00 Lecture VIII

  2. 0. Exam Return • [go over Midterm]

  3. 0.1 Important Dates • 11/29: NO CLASS • 12/13: FINAL PRESENTATIONS • 12/20: FINAL EXAM (시험)

  4. 0.2 Final Project Description • [see handout]

  5. 0.3. Elliott Carter (1908-2012) • Died on Tuesday @ age 103 Assignment: • A) Read about Carter (e.g., in Modern Music and After) • B) Listen to 1 piece by Carter composed after 1948

  6. Recommended Pieces • 1) any String Quartet • 2) Penthode • 3) A Mirror on Which to Dwell • 4) Double Concerto • 5) Night Fantasies • 6) Oboe Concerto

  7. Written Assignment (due 11/15inclass) • Write 1 paragraph (4-5 sentences) about the Carter piece that you listened to 질문: • What did you find interesting? • Was there anything similar to the pieces discussed in class? • Anything similar to other pieces that you know?

  8. 0.8: Contact Info • Do NOT send email to my Keimyung address! (Nothing personal: the system is just limited.) • ALWAYS use: lx.sigman@gmail.com

  9. I. Spectralism

  10. A. Spectral Composers: The Itineraire Group

  11. 0. The Paris “Scene,” early 1970s • Messiaen (already old!) • Boulez and serialism • Musique concrète/electronic music • Xenakis • a new “voice”/”way” was necessary for the young generation!

  12. 1. Background • French composers in the late 1960s/early 1970s—all students of Messiaen • Studied at IRCAM • Common musical interests • New compositional techniques • Rejection of serialism/Darmstadt school (Stockhausen/Boulez/Nono etc.)

  13. 2. Common Aesthetic Goals • Explore physicality (신제성) of sound, using new technologies • Use of psychoacoustic/perception research • Sounds and processes from nature • Unite timbre, harmony, rhythm, orchestration, and form • Focus on harmony • Focus on clear, linear process • New sounds!

  14. [Spectrum]

  15. Basic Musical Parameters • Sound • Time

  16. 3. Ensemble L’Itinéraire • Ensemble founded in 1973 in Paris (파리) by spectral composers • Dedicated to performing theirmusic • Still active !

  17. 4. Spectral Composers, Generation I • Gérard GRISEY • Tristan MURAIL • Hugues DUFOURT • Roger TESSIER • Michaël LEVINAS • [Jean-Claude RISSET] • All invited to Darmstadt in the 1980s

  18. 5. Spectral Composers, Generation II • [students of Grisey] • [born in the 1960s] • Philippe HUREL • Marc-André DALBAVIE • Philippe LEROUX • [François PARIS]

  19. 6. Spectral Composers, Generation III • [born in the 1970s] • Franck BEDROSSIAN • Raphaël CENDO • Yan ROBIN

  20. 7. Influences • Ligeti (process and spectral harmony; e.g., Lux aeterna; Atmosphères) • Scelsi (process and unifying “third dimension”of sound) • Messiaen (bell and bird song transcription; spectral harmony; orchestration) • Xenakis (sound physicality; use of electronics/ technology) • Later Stockhausen (e.g., Stimmung)

  21. II. Gérard Grisey

  22. A. Bio • (1946-1998) • studied with Messiaen • Studied in Darmstadt with Ligeti, Stockhausen, and Xenakis • Taught at the CNSM (Conservatoire Nationale Supérieure) in Paris • Died of a stroke (뇌일혈)

  23. B. Les Espaces acoustiques (1974-85) • Literally “acoustic spaces” • Cycle of 6 pieces, expanding in instrumentation • Derive all material from trombone spectrum • Slow, extended processes • All pieces connected (played attacca)

  24. 1. Espaces acoustiques, Part I • Prologue (viola solo) • Périodes (flute, clarinet, trombone, violin, viola, cello, contrabass) • Partiels (chamber orchestra of 18 musicians)

  25. 2. Espaces Acoustiques, Part II • Modulations (for orchestra of 33 musicians) • Transitoires (for large orchestra of 84 musicians) • Epilogue (for large orchestra of 80 musicians + 4 horn soloists)

  26. B. Partiels (1975) • Title = “partials” (overtones) • Clear “orchestration” of trombone spectrum • Extended playing techniques for instruments

  27. 1. Harmonicity and Periodicity • Harmony: Harmonicity-> Inharmonicity-> Noise • E.g.: http://www.youtube.com/watch?v=ET_nT_55mVo • Rhythm: Periodic-> Aperiodic-> Statistical Rhythm

  28. 2. Trombone Spectrum

  29. 3. Spectral Analysis: Orchestrated

  30. 4. Form and Process

  31. Formal Proportions • Durations = intervals of trombone spectrum * a constant • Sections decrease in duration

  32. Process: 3 States • 1) “Inhalation” : harmonicity (stability) -> noise (instability) • 2) “Exhalation”: Noise-> Harmonicity • 3) “Repose” (rest):

  33. 5. Partiels: Score/Recording • http://www.youtube.com/watch?v=Sk0S_MYm748

  34. III. Tristan Murail

  35. A. Bio • (b. 1947) • Studied with Messiaen • Also studied Arabic (아랍이) and Political Science • Worked at IRCAM • Taught in Paris, Columbia University (New York), and the Salzburg Mozarteum (Salzburg)

  36. B. Treize Couleurs du Soleil Couchant (1978) • Title = “13 colours of the setting sun” • For flute, clarinet, violin, cello, piano and electronics

  37. 1. Electroacoustic Technique: Ring Modulation • -> harmony: 13 “colours” = 13 harmonic structures • Generating interval: 1 Carrier + 1 Modulator • Ring modulation = Carrier X Modulator • +/- (sum/difference) tones: produced by adding and subtracting fundamental frequencies and pairs of partials from each other

  38. 2. Electronics • Reverb: (increase ensemble sound) • Echo: (short delay on piano) • Ring modulation: (flute and clarinet)

  39. 3. 13 Coleurs: Score/Recording • http://www.youtube.com/watch?v=wEW6rfj7DLk

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