1857 research outputs found
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Three for two
No full textFor piano quartet (piano, violin, viola, and cello), duration 7 minutes.
This work was premiered on 20 February 2010 at Cité de la musique, Paris by Gidon Kremer (violin), David Aaron Carpenter (viola), Yo-Yo Ma (cello), and Tzimon Barto (piano).
A recording by Chamber Domaine is available on Resonus Classics (RES10106) see https://www.resonusclassics.com/turnage-constant-obsession. Movement III 'Wish Three' from this recording is available (audio only) via YouTube on the video tab below
Air with variations
No full textFor solo guitar, duration 10 minutes. This work was commissioned by Craig Ogden and the Cheltenham Music Festival, funded by Paul Miron, Peter & Veronica Lofthouse, and the Cheltenham Festival Society.
It was premiered by Craig Ogden on 12 July 2008 at the Pittville Pump Rooms, Cheltenham. Following revisions, it has been edited for publication with the composer by Michael McCartney.
A YouTube video (audio only) of a recording by Alberto Mesirca is available on the video tab below
Mambo, blues and tarantella
No full textFor violin and orchestra, duration 20 minutes.
This piece was commissioned by the London Philharmonic Orchestra with support from the Michael Marks Charitable Trust, and by the Royal Stockholm Philharmonic Orchestra and Toronto Symphony Orchestra.
'Mambo, Blues and Tarantella' was premiered on 24 September 2008 by Christian Tetzlaff (violin) and the London Philharmonic Orchestra conducted by Vladimir Jurowski at the Royal Festival Hall, London. A recording of this performance is available on the LPO label, see https://www.lpo.org.uk/recordings-and-gifts/73-cd-turnage-orchestral-works-volume-3.html.
This recording is also available on YouTube: please see the video tab below
Juno
No full textFor orchestra, duration 6 minutes. This piece was premiered on 2 February 2007 by the Bamberg Symphony conducted by Jonathan Nott. This work is one of Three Asteroids (with Ceres and The Torino Scale) and the first full performance of Three Asteroids was given on 5 June 2008 by the San Francisco Symphony conducted by Benjamin Shwartz
A quick blast
No full textFor wind, brass, and percussion, duration 10 minutes. This work was commissioned by the BBC and written for the BBC Symphony Orchestra as Associate Composer. It was premiered on 15 July 2001 at the Cheltenham Festival, conducted by Martyn Brabbins.
This piece is also No. 1 from Etudes and Elegies (see http://researchonline.rcm.ac.uk/id/eprint/1927/), and the set of three pieces was first performed together on 18 January 2003 at the Barbican Hall, London, conducted by Leonard Slatkin. For a recording of the full set by Orchestre Symphonique de la Monnaie conducted by Kazushi Ono see https://www.discogs.com/Turnage-Rihm-George-Benjamin-Etudes-Elegies-Canzona-Per-Sonare-Cuts-And-Dissolves-Olicantus/release/15569289
Waving not drowning
No full textThis piece was first published by BMIC New Voices and remains a part of their collection
Spirit
No full textFor mixed sextet, duration c.6 minutes.
This piece was commissioned by the Kevos Ensemble and premiered by them at the Burrell Theatre, Truro, on 3 March 2018. A YouTube video of this performance is available on the video tab below. It was performed by them again on 2 June 2019, along with its companion piece Orison (see https://researchonline.rcm.ac.uk/id/eprint/2053/)
What are they learning? - exploring the tensions and complexities in a learner-centred approach to early childhood music education
No full textThere is a need to understand and interpret early childhood education approaches for music learning situations. The shift towards a more learner-centred paradigm poses questions
for reflection. This presentation seeks to explore terminology and concepts about learning and music education in early childhood. The aim is to give an overview of this broad topic and to offer a focus for further analysis. The presentation unpicks the pedagogue’s and the learner’s positioning along a continuum from a teacher-centred to a learner-centred approach (see van Langenhove, & Harre ́, 1999). Questions that have guided our dialogue with the literature: What are the tensions, complexities and dilemmas inherent in following the child’s lead in a group music situation? What are the ways in which children’s musical initiatives can be included and valued in a group learning process? Is there a place for pedagogue-led elements in learner-centred
music learning? One-to-one following of a child’s musical initiatives may be easier to understand and incorporate into practice than adopting child-led ideas in a group-learning situation. If we
conceive of the group learning process as collaborative the dialogue and the initiatives, the power and contributions are shared and negotiated within the community of practice (Lave
and Wenger, 1991; Wenger, 1998). The pedagogue facilitates the process by drawing together the threads and ideas to shape the artistic shared moment. Issues of the location of power, authority, control, knowledge and creativity in early childhood music education as well as questions about the characteristics of quality music teaching in this situation will be discussed in the presentation. Our findings include some key issues about how to develop and define quality music practice; assessment of learning and pedagogical attributes in early childhood music education. We hope that the discussions will raise more questions to
further the contribution to knowledge that is needed in our sector
SALTmusic - speech and language therapy & music practice: emerging findings from action research
No full textThis paper presents findings from an on-going action research project with speech and language therapists and early childhood music practitioners and children aged 24 to 36 months with communication difficulties and their parents/carers. This age is critical for increasing vocabulary and word use (Sharma and Cockerill, 2014) and presents a ripe moment for interventions that might improve the outlook for children prior to entering formal
education settings. The informal, community-based, family music group activities offered by the resident music team at a children’s centre provided a means for overstretched speech and language services to engage with young children and their families in ways that had hitherto been less successful for them. There were many shared and similar practices found amongst the two teams that came to light from interdisciplinary practices that characterises
the work of children’s centres. At the mid-point in this project this paper explores the evolution of a community of practice (Lave & Wenger, 1991; Wenger, 1998) through working together on a programme of co-constructed SALTmusic sessions (Speech And Language Therapy and Music).
The data collected for this project are both quantitative and qualitative. Qualitative, tentative findings will be reported here. New models of early childhood music education practice for young children with communication difficulties, as well as some preliminary indications of the benefits for children and families through this innovative collaboration will be outlined. These include: the benefits of music for children’s communication and
expression; the impact of different environments on the children’s expressive behaviours; the community of practice and the growth of the partnership; strategies and activities that are emerging as a result of SALTmusic practice.
Implications from this joint working project include models of work for speech and language therapists to integrate into their working practices with young children. Additionally early childhood music educators extend and deepen their knowledge and understanding of the most effective ways to work with music to improve young children’s communicative skills and self-expression at this critical stage of development. *** The full text of this paper is available open access as part of the conference proceedings at the Official URL given below. **
Drowned out
No full textFor orchestra, duration 22 minutes. This piece was premiered on 20 October 1993 by the City of Birmingham Symphony Orchestra conducted by Simon Rattle, at the Royal Hall, Nottingham. The CBSO and Simon Rattle have also recorded this work (EMI, CDC5550912) see https://cbso.co.uk/listen/turnage-orchestral-works