2,581,564 research outputs found
Portfolio of recorded performances and exegesis: Messiaen’s musical language for the jazz pianist - an exploration through performance.
Full text linkMoving beyond Gunther Schuller’s Third Stream amalgamation of classical and jazz, this study explores whether the musical language of Olivier Messiaen can make a valid contribution to jazz piano performance. Initially, my project sought to answer such questions as: What elements of the musical language of Messiaen already exist in the jazz vocabulary? Am I able to extend this further? What are the timbral structures and pianistic effects within Messiaen’s musical language? What will be the most effective application of Messiaen’s musical language to jazz piano performance? Endeavouring to answer the final question led me to consider such aspects as whether the project should be limited to quoting Messiaen motifs, arranging Messiaen melodies, replacing jazz harmonic structures on standards with examples from Messiaen’s musical language or whether it would be better to approach the research conceptually. The work of Hubert Nuss provided encouraging reassurance that this was not an impossible task. In order to articulate this conception, the initial challenge was to decide how the classical and jazz worlds might meet in a ‘Messiaen’ technique. The approach adopted was similar to that used for undergraduate jazz study, namely, immersion in the piano scores and recordings of Messiaen’s music as well as by live performances. This was followed by the development and assessment of a contrived approach when specific techniques, such as tonal colourings or harmonic structures, were developed through prepared exercises and consciously included in my performance. It was then compared with an intuitive approach when no such precise parameters were established. This submission consists of CD recordings of two public recitals and an exegesis. It documents the development of this Messiaen technique and discusses its application in my performances. It also demonstrates the ways that Messiaen’s musical language can be used within jazz piano performance to provide a colour that distinguishes jazz piano performance in a competitive field.Thesis (M.Mus.) -- University of Adelaide, Elder Conservatorium of Music, 201
Organizing digital music for use: an examination of personal music collections
No full textCurrent research on music information retrieval and music digital libraries focuses on providing access to huge, public music collections. In this paper we consider a different, but related, problem: supporting an individual in maintaining and using a personal music collection. We
analyze organization and access techniques used to manage personal music collections (primarily CDs and MP3 files), and from these behaviors, to suggest user behaviors that should be supported in a personal music digital library (that is, a digital library of an individual's personal music collection)
Audiomobiles, Sculptures and Conundrums
No full textRoberto Gerhard was a pioneer of electronic music in England creating a number of substantial concert, theatre and radio works from as early as 1954. Gerhard’s electronic music is one of the richest repositories for understanding the development of the composer’s late compositional technique. Apart from the Symphony no.3, ‘Collages’, none of Gerhard’s electronic music is published. This paper will discuss aspects of Gerhard’s electronic music, focusing on Audiomobiles (1958-59) and Sculptures (1963)
Music for classical guitar by South African composers : a historical survey, notes on selected works and a general catalogue
No full textIncludes abstract.Includes bibliographical references (leaves 296-309).This is the first comprehensive investigation of music for, or including, the classical guitar by South African composers. The focus of this research has been, firstly, to uncover as much of the repertoire as possible, and, secondly, to collate, study, catalogue and report on the information. A brief historical survey of the guitar in South Africa provides the context within which this study was conducted. The primary sources of quantitative data collection were through the archival catalogues of the South African Music Rights Organisation and through personal contact with guitarists, composers and guitar teachers. Other sources consulted were publishers, broadcasting corporations, recording companies, libraries and the internet. The body of the dissertation comprises biographical sketches, background notes, analyses and technical notes on 17 selected solo and chamber works dating from 1947 to 2007 by some of South Africa's most prominent composers and guitaristcomposers. The repertoire ranges in style from the traditional and ethnically inspired to the experimental and abstract. As this is an empirical survey, each selected entry includes details on instrumentation, duration, level of difficulty, number of pages, scordatura, commissions or requests, sources or publishers, premières and recordings. A biography of each composer is provided as well as background notes which offer an overview of the selected work. The notes discuss historical, cultural, musical and extra-musical influences, and frequently include references to interview material. The commentaries on the selected works, with musical examples, include an analytical component describing structure, form, stylistic and compositional elements, while the technical observations include performance suggestions and a grading for each work
Resonant Spaces: Electroacoustic Music and Ritual: A commentary on my recent music.
No full textThe following portfolio and commentary concerns music and performance works created between 2008 and 2012, and an exposition of the research, ideas, aesthetics and techniques that connect
these works. I will discuss in detail the role that archaeoacoustics has played in my composition of fixed and mixed media works and how it has influenced me aesthetically in my approach to live performance. I will also explain in each instance any actual data used from various research sources, and my metaphorical interpretation of various archaeological sites and acoustic phenomena. Similarly, I will discuss the concepts of shamanism, ritual and transcendence that have influenced me, and how these concepts are expressed in my instrumental works, fixed media and live performance pieces
Beyond pitch/duration scoring: Towards a system dynamics model of electroacoustic music
No full textBased on a hierarchy of discrete pitches and metrically sub-divisible duration, Western tonal art music is usually modelled through printed music scores. Scoring acoustic musical events beyond this paradigm has resulted in non-standard graphs in two dimensions. New digitally generated ‘soundscape’ forms are often not conceived or understandable within traditional musical paradigms or notation models, and often explore attributes of music such as spatial processing that fall outside two- dimensional graphic scoring. To date there is not a commonly accepted model that approximates the structural dynamics of electroacoustic music; providing a conceptual framework independent of the music to the degree of standard music notation. Based on recent work in spectro-morphology as a way of explaining sound shapes, a systems dynamics model is proposed through mapping a dynamic taxonomy for structural listening as an aid to composition. This approach captures formal but not semiotic discourse
Challenges in cross-cultural/multilingual music information seeking
No full textUnderstanding and meeting the needs of a broad range of music users across different cultures and languages are central in designing a global music digital library. This exploratory study examines cross-cultural/multilingual music information seeking behaviors and reveals
some important characteristics of these behaviors by analyzing 107 authentic music information queries from a Korean knowledge search portal Naver (knowledge) iN and 150 queries from Google Answers website. We conclude that new sets of access points must be developed to accommodate music queries that cross cultural or language boundaries
Social music in cars
No full textThis paper builds an understanding of how music is currently experienced by a social group travelling together in a car - how songs are chosen for playing, how music both reflects and influences the group’s mood and social interaction, who supplies the music, the hardware/software that supports song selection and presentation. This fine-grained context emerges from a qualitative analysis of a rich set of ethnographic data (participant observations and interviews) focusing primarily on the experience of in-car music on moderate length and long trips. We suggest features and functionality for music software to enhance the social experience when travelling in cars, and prototype and test a user interface based on design suggestions drawn from the data
Constructing music culture
No full textThis essay explores the creative possibilities of worldbuilding applied to music. It presents anthropological approaches to analysing music culture, and settles upon four main factors (meaning – situation – performance – content) as a basis for a creation of a fictional culture. Through the course of the essay, an example culture will be created, with very brief musical examples, as a demonstration of possible end results and uses of this method of composition.
It is simultaneously a response to a lack of authenticity in fantasy music, and a study of how to apply anthropological conclusions to a compositional process
Sheet music for "My Yiddishe Momme," 1925
No full textSheet music for "My Yiddishe Momme," 1925. Music by Jack Yellen and Lew Pollack, lyrics by Jack Yellen, published by the Crawford Music Corporation, New York City. The song was popularized by Sophie Tucker. A Yiddish version was also published.Digital imageItem is part of an online exhibition "Jews in America: Our Story," maintained by the Center for Jewish History at http://www.jewsinamerica.org
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