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Forms of opposition at the “Politiek‐Demonstratief Experimenteel” concert
No full textThis chapter focuses on a singular event in the musical life of late‐1960s Amsterdam: a “political‐demonstrative experimental concert”, which brought together many of the leading lights of the Dutch musical avant‐garde, including Louis Andriessen and Peter Schat. At the time of the concert, its organisers—like many other avant‐garde musicians of the period—were newly in thrall to the social and cultural model of Castro's Cuba. Yet coexistent with this commitment was an equally strongly held belief in the apolitical nature of music itself. Closer investigation of the works performed at the concert reveals, however, that their musical processes were significantly shaped by the composers' earlier interest in anarchism. The resulting “forms of opposition” were not easily reconciled with their creators' new passion for communism
Introduction: avant-garde music and the sixties
No full textThe artistic avant‐garde, many of its theorists seem to agree, is a culture of subversion. Yet recent Anglo‐American musicology has tended to emphasise avant‐garde music's disavowal of issues of social and political concern. This volume assesses the intense engagement of many avant‐garde musicians in the tumultuous cultural and political developments of the 1960s, and the complex and often ambivalent status of their efforts when viewed in the wider social context. These musicians' conviction that aesthetic experiment and social progressiveness made natural bedfellows inevitably threw up some sharp dilemmas. Each chapter is briefly summarized
Per Sofia
No full textMusic for the film 'Per Sofia' directed by Ilaria Paganelli and starring Giordano Petri, Nadia Kibout, and Stephanie Capetanides
Now well may we merthis make
No full textFor SATB choir and orchestra, or SATB choir and organ, duration 4 minutes.
This setting of a medieval macaronic carol was written for Simon Halsey and the City of Birmingham Symphony Orchestra and Chorus.
It was premiered on 18 December 2010 at Birmingham Symphony Hall, UK.
A recorded excerpt from the choir and organ version is available on the audio tab below
Liutai, chitarrai e violinai nella Firenze del Cinque-Seicento [Luthiers, guitar makers, and violin makers in sixteenth- to seventeenth-century Florence]
No full textSound commitments: avant-garde music and the sixties
No full textDuring the 1960s many avant‐garde musicians were intensely involved in the era's social and political upheavals, and often sought to reflect this engagement in their music. This volume examines the encounter of avant‐garde music and ‘the sixties’, across a range of genres, aesthetic positions, and geographical locations. Rather than providing a comprehensive survey, the intention is to give an indication of the richness of avant‐garde musicians' response to the decade's defining cultural shifts. Many of these musicians were convinced that aesthetic experiment and social progressiveness made natural bedfellows. Yet this stance threw up some sharp dilemmas. For instance, how could institutional and governmental subsidy for recondite music continue to be justified in the context of demands for democratised decision‐making in cultural affairs? How was the cultural baggage of established performance institutions (such as concert halls, symphony orchestras, and broadcasting organizations) to be reconciled with a radical critique of bourgeois values? Most fundamentally, how could avant‐garde musicians make a meaningful contribution to social change if their music remained the preserve of a tiny, initiated clique? The contributors address music for the concert hall, tape and electronic music, jazz and improvisation, participatory ‘events’, performance art, and experimental popular music, and explore developments in the United States, France, West Germany, Italy, the Netherlands, the Soviet Union, Japan, and parts of the so‐called ‘Third World’. Each chapter draws on new archival research and/or interviews with significant figures of the period
Practicing perfection: how concert soloists prepare for performance
No full textMusical performances by concert soloists in the Western classical tradition are normally memorized but there is little agreement between musicians about how this is done. To find out, we have studied concert soloists preparing new works for public performance. The musicians’ reports about their musical decisions provide the key to understanding what they are doing in practice. Practice, in turn, provides a window into the musicians’ problem solving strategies. Combining musicians’ subjective reports with the objective record of what they do in practice and performance provides insight into how they memorize. Performers have a mental map of the piece in mind as they perform that tells them where they are and what comes next — a series of landmarks, hierarchically organized by the sections and subsections of the music. The musician attends to these performance cues in order
to ensure that the performance unfolds as planned. Performance cues are established by thinking about a particular feature of the music during practice so that it later comes to mind automatically. Performance cues help the soloist consciously monitor and control the rapid, automatic actions of playing, while adjusting to the needs of the moment
Il sistema di catalogazione e documentazione degli strumenti musicali del Dipartimento degli Strumenti Musicali della Galleria dell’Accademia di Firenze con alcune considerazioni sull’elaborazione di una scheda di censimento nazionale [The cataloguing and documentation system of the Musical Instruments Department of the Galleria dell’Accademia in Florence; including comments on datasheet format development for the national census]
No full textIl Dipartimento degli Strumenti Musicali della Galleria dell’Accademia è stato istituito nel 2001 e custodisce circa quattrocento strumenti apparte-nenti alla collezione del Conservatorio di Musica “Luigi Cherubini” di Firenze. La documentazione della collezione è sviluppata secondo tre modelli con contenuti e finalità differenti: un database gestionale, una serie di cataloghi scientifici a stampa, la schedatura per il Catalogo Nazionale per la quale è utilizzato il tracciato della scheda OA senza modifiche, ma corredato da un manuale operativo specifico per questo tipo di oggetti. Alla luce dell’esperienza acquisita si ritiene opportuno elaborare un tracciato specifico di scheda per gli strumenti musicali che sia compatibile anche con le esperienze internazionali attualmente in corso.*******The Musical Instrument Department of the Accademia Gallery – established in 2001 – is the custodian of about 400 instruments that belong to the “Luigi Cherubini” Conservatory collection in Florence. The instrument documentation has been developed according to three different lines, with different objectives: one is meant to serve as an administrative database, the second is a series of printed scientific catalogues, and the third is a record system for the National Catalogue. The latter is based on an unmodified OA format, but uses an operating manual specifically added to deal with musical instruments. Also, actual experience has shown that it is important to develop a specific musical instrument datasheet format that is compatible with current international operating practices
La città nel cielo [The city in the sky]
No full textMusic for the short film La città nel cielo [The city in the sky] directed by Giacomo Cimini and starring Massimo Triggiani, Stefano Fresi, Valentina Izumi, and Taiyo Yamanouchi