1857 research outputs found
Sort by
Alice’s Alices
No full textFor amplified oboe, duration 7 minutes.
This piece was written for Paul Goodey and first performed on 9 August 2004, at Dartington International Festival
Aenaa [version for 2 soprano and 2 tenor saxophones]
No full textFor saxophone quartet (2 sopranos and 2 tenors), duration 12 minutes. This piece was first performed on 4 June 2014, Konzertsaal HfMT Köln (Wuppertal).
A version of this piece for 2 alto and 2 baritone saxophones is also available, see http://researchonline.rcm.ac.uk/id/eprint/498/
Mystis
No full textFor piano quartet (strings), duration 6 minutes.
This piece was first performed on 24 March 2000 by the Vicentic Piano Quartet, Barbirolli Lecture Hall, Trinity College of Music, London
Singing with strangers: the social significance of music
No full textWhen people sing together, they are likely to experience a sense of enhanced closeness. This study explores the extent to which that feeling of closeness is affected by how in tune singers are with each other. Pairs of same-sex strangers (N=162) with a broad spread of backgrounds and singing abilities either sang a familiar song together (Happy Birthday) on first encounter or played a cooperative card memory game. Both activities resulted in an enhanced sense of connection between participants even though the singing bout (at ca 30 s) was significantly shorter than the card game. The quality of joint singing (in terms of fit between participants' tuning) did not significantly influence its bonding effects, suggesting that the social effects of singing can be independent of its quality. Singing together may be of more significance as a social act than as an appealing sound. ***** The appendices and dataset for this article are available on this repository at https://researchonline.rcm.ac.uk/id/eprint/2683/ and https://doi.org/10.24379/RCM.00002683 ****
Cracked whispers
No full textFor violin and piano, duration 21 minutes. Collaboration with choreographer Eva Recacha Garcia. First performance given by Joanna Archard (violin) and Jonathan Cole (piano) at The Place Theatre, London, December 1999
Heartland
No full textFor percussion and orchestra, duration c.24 minutes.
This work was commissioned by the BBC as part of the composer’s residency at the BBC National Orchestra of Wales. The composition of Heartland was supported by a residency at the Visby International Centre for Composers in Sweden. The premiere was given by Julian Warburton and the BBC National Orchestra of Wales conducted by Richard Baker at Wales Millennium Centre, Cardiff on 15 May 2013 at the Vale of Glamorgan Festival.
This work is available on NMC recordings here: https://nmc-recordings.myshopify.com/products/mark-bowden-sudden-ligh
The materiality of Early Modern ensemble music making
Get PDFAt one point in the iconic ‘Artusi-Monteverdi Controversy’ – a ‘dialogue of the deaf’ between music theorist and composer conducted in print around 1600 – Artusi argues that however well performers of a madrigal might nuance ‘illegal’ dissonances “with the greatest discretion and judgement”, they “always are and always will be grating, crude, harsh and insupportable to the ear. And when this song is taken from the hands of these singers, it will inevitably still be insupportable and will remain thus.” Artusi’s throwaway remark about the song being ‘taken from the hands’ of the singers once their performance is finished is an arresting image of a literal separation between the notated ‘material’ and its anonymous executors, who, as it were, leave the part books behind on the table and exit the room. Evoking Roger Chartier’s dictum that “Reading is not uniquely an abstract operation of the intellect: it brings the body into play, it is inscribed in a space and a relationship with oneself and with others” we might extrapolate this and say that performances of notated ensemble music are, in fact, collective ‘readings aloud’ of a particularly spectacular and physiologically dynamic variety, involving what the New Materialist, Jane Bennett, describes as “assemblages … ad hoc groupings of diverse elements, of vibrant materials of all sorts”, that include both human bodies, inanimate objects and the actions and forces that connect them. This paper will present a range of evidence of early modern collective music-making, focussed on reconstituting both the physical, and the relational materialities that they bring into play
Fanfare (from all sides)
No full textFor eight trumpets, duration 3 minutes. This work was premiered on 24 February 2006 at the Royal College of Music, London by
Hans Gansch, Florian Klingler, Ryan Anthony, Andrew Crowley, Paul Archibald and RCM students
From all sides
No full textDance score, for orchestra, duration 19 minutes. Choreography by Jorma Elo.
This work was premiered on 25 January 2007 at the Symphony Center, Chicago by Hubbard Street Dance Chicago with the Chicago Symphony Orchestra conducted by Esa-Pekka Salonen