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Journal articles on the topic 'Orchestral music Scores'
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1
Conway, Paul. "John McCabe's Psalm-Cantata St John's, Smith Square." Tempo 68, no. 267 (January 2014): 66–67. http://dx.doi.org/10.1017/s004029821300140x.
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John McCabe is most closely associated with large-scale orchestral statements, notably in concertante and symphonic forms and in ballet scores, yet chamber and instrumental music has recently played an increasingly significant role within his oeuvre. Of his vocal music, unaccompanied choral works such as the carols have attracted most attention, whilst his major contributions to the choral-orchestral repertoire, such as the large-scale cantata, Voyage (1972) and the extended song cycle for soloists, choir and large orchestra, Songs of the Garden (both Three Choirs Festival commissions, for 1972 and 2009, respectively), are considerably less widely known. It was with keen anticipation and no little curiosity, then, that I attended the first performance of McCabe's latest work for chorus and orchestra on 16 March 2013 at St John's, Smith Square.
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Urniežius, Rytis. "Two Orchestral Embodiments of Three Pieces from op. 54 by Edvard Grieg." Musicological Annual 56, no. 1 (June 30, 2020): 101–32. http://dx.doi.org/10.4312/mz.56.1.101-132.
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Lyric Suite is an orchestral version of four movements from Grieg’s Lyric Pieces V, op. 54. Three out of these four movements exist in two orchestral versions. The aim of the current research is to highlight peculiar traits of Grieg’s orchestral style in the late period of composer’s life by comparing scores of two orchestrators.
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Brook, Taylor. "ORCHESTRATION AND PITCH PRECISION IN THE ORCHESTRAL MUSIC OF MARC SABAT." Tempo 75, no. 295 (December 17, 2020): 17–30. http://dx.doi.org/10.1017/s0040298220000650.
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AbstractThis article examines the relationship between orchestration and microtonality in the music of Marc Sabat through a score-based analysis of two recent works, Asking Ocean (2016), for string quartet and large ensemble, and The Luminiferous Aether (2018), for large orchestra. Excerpts from these two compositions are discussed to highlight the challenges of composing for orchestral forces in a musical style that demands a high degree of microtonal pitch precision. Through retuning, alteration, and a sensitivity to the construction, techniques and performance practices of orchestral instruments, Sabat has developed a unique manner of orchestrating that is at once timbrally rich and uncompromising in pitch precision. After a brief introduction to the extended just intonation framework that Sabat employs, his concepts of ‘fixed microtonal pitches’ and ‘tuneable intervals’ are discussed and connected to orchestration in his scores. Drawing upon this analysis, connections are made between the microtonal system with orchestration and musical aesthetics broadly.
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Savchenko, Ganna. "Orchestral composition multifigure as a principle of time and space organization of Ihor F. Stravinsky’s orchestral works (from early ballets to Symphony in C and Symphony in three movements)." Aspects of Historical Musicology 16, no. 16 (September 15, 2019): 242–58. http://dx.doi.org/10.34064/khnum2-16.14.
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Introduction. The early and the top works of the Russian period showed rapid evolution of Ihor F. Stravinsky’s musical thinking and style: there evolved the original musical language, the technique of composition, with the orchestral composition principles being changed. The ballets demonstrated a new sense of time and space, which is shaped by the complex of expressiveness means, with orchestrating being essential. The composer’s style evolution took place within a complex historical and cultural context, marked by a change in the cultural paradigm in the early twentieth century. The scientific and technological progress resulted into transformation of time and space perception in European cultural consciousness, with the music being not conceived as a form of art beyond their limits. (Herasimova-Persydska, 2012a). The means of space-temporal relations objectification is a system of interrelated parameters of a musical composition, covering form, theme, meter and rhythm, composition, music dramaturgy, orchestration with one of the leading functions. The twentieth century composers, who embodied new ideas about time and space while organizing musical composition, are C. Debussy, the New Vienna School composers and Ihor F. Stravinsky. Theoretical Background. Recent research and publications analysis. The problem of time and space is one of the key problems of Ihor F. Stravinsky’s work. The research of space at the micro level of the composer’s musical language is carried out in B. I. Rysin article. (Rysin, 2012: 164–165). I. Vershynina (1967) does not formulate the problem of time directly, but indirectly considers it, using the concept of “dynamic content”, which is inherent in the intonational structure of the composer’s music language. M. Druskin (1982) devotes separate sections to the problem of time and space: “Movement” (Druskin, 1982: 127–137) and “Space” (Druskin, 1982: 137–154). Summarizing, the researcher (1982) states: “… Stravinsky contrasted throughcomposed processual development to the ratio of planes and volumes, a single convergence place to the variety of relatively independent “horizon levels”, a single-center composition to a multi-center one” (149). Accurate observations of the monograph author lead to the aesthetic, artistic and general stylistic level, emerging, if at all, into music texts composition. Taking these ideas as a basis, we consider it appropriate to transfer them onto orchestral thinking and composer’s orchestral style. Let us add our own considerations about the nature of space. The Objective of the article is to consider the features of space-temporal organization of Ihor F. Stravinsky works at the level of orchestration. The objects of research are Symphony in C (1938–1940) and Symphony in Three Movements (1942–1945). The urgency of the work lies in poor research of the orchestral thinking and the composer’s orchestra style regarding the principles of the music composition space-temporal organization. Methods. To achieve the goal, the following research methods are applied: 1) historical one, which allows to comprehend the selected material in the perspective of the evolution of Ihor F. Stravinsky’s orchestral thinking; 2) theoretical one, which reveals the features of the composer’s ensemble style; 3) cultural one, which allows us to formulate an idea on the connection between culture as a type of thinking and composer’s artistic thinking, which is realized in the peculiarities of the space and temporal organization of the music composition. Results and Discussion. In his early ballets, Ihor F. Stravinsky developed various types of orchestral composition based on a key structural idea – the multifigure, which is realized horizontally and vertically within the orchestral composition, at the micro and macro syntactic levels of the music composition. We shall consider the figure in the orchestral composition as a characteristic, formula, distinguished through sound colour and register, which: 1) is repeated accurately (ostinato) or alternative-variationally, and in this case it may not have intonational characteristic, distinctness, bright expressiveness; 2) sounds unique, and may have an individual intonation and rhythmic pattern. The figures can belong to different layers of the orchestral composition, respectively, to act as carriers of different orchestral functions (melody, melodious figuration, pedal, etc.). Multifigure at the macro-syntactic level of a music composition is realized through frequent change of thematic episodes, accompanied by orchestral composition and sound colour altering. This gives rise to eventfulness, density, contrast of symphonious time. Multifigure at the micro-syntactic level is manifested through horizontal combination of figures, conditioned by intonational structure of the theme. A figure may coincide with the intonation if it represents a melody function. Vertically multifigure is manifested in the combination of figures in different layers of composition. They interact on the principle of rhythmic (and melodic) complementarity. This forms a particularly sophisticated space where all the elements interact, having their own unique sound colour, rhythmic, compositional patterns. The multifigure concept is of a double origin. The first source is culture, as a type of thinking. Ihor F. Stravinsky was one of the first composers who, at the level of artistic thinking, became aware of the complex intricacy of the universe and transformed it into orchestral works sound materials. The second source is the aesthetics of the stage (theatrical) space and the stage movements (gesture). Thus, we believe that in Ihor F. Stravinsky’s ballets scores of Russian period, a special orchestra style was developed, with the technique to be used in the symphonies. Conclusions. The analysis of Ihor F. Stravinsky’s Russian ballets and two symphonies scores showed that the orchestral style, invented by the composer in his early works, was based on the multifigure principle, embodying the idea of time and space in the world building, which was radically changed at the beginning of the century. The author formed an idea that the connection between orchestration, composer’s thinking and culture, as a certain type of thinking, needs further elaboration taking other Ihor F. Stravinsky’s works, as well as of the composers who made a breakthrough in orchestral style in the first half of the twentieth century.
5
Newman, George. "Ernst Roth: A Personal Recollection." Tempo, no. 165 (June 1988): 37–40. http://dx.doi.org/10.1017/s0040298200024086.
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FIFTY YEARS AGO, in March 1938, Hitler invaded Austria. I left Vienna and came to London. Now, half a century later, I look back on forty years of music publishing, first of all in the 1950's in the production department of Boosey & Hawkes, and later setting up my own business for the engraving and copying of orchestral full scores and instrumental parts for international music publishing firms.
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Fischer, Manda, Kit Soden, Etienne Thoret, Marcel Montrey, and Stephen McAdams. "Instrument Timbre Enhances Perceptual Segregation in Orchestral Music." Music Perception 38, no. 5 (June 1, 2021): 473–98. http://dx.doi.org/10.1525/mp.2021.38.5.473.
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Timbre perception and auditory grouping principles can provide a theoretical basis for aspects of orchestration. In Experiment 1, 36 excerpts contained two streams and 12 contained one stream as determined by music analysts. Streams—the perceptual connecting of successive events—comprised either single instruments or blended combinations of instruments from the same or different families. Musicians and nonmusicians rated the degree of segregation perceived in the excerpts. Heterogeneous instrument combinations between streams yielded greater segregation than did homogeneous ones. Experiment 2 presented the individual streams from each two-stream excerpt. Blend ratings on isolated individual streams from the two-stream excerpts did not predict global segregation between streams. In Experiment 3, Experiment 1 excerpts were reorchestrated with only string instruments to determine the relative contribution of timbre to segregation beyond other musical cues. Decreasing timbral differences reduced segregation ratings. Acoustic and score-based descriptors were extracted from the recordings and scores, respectively, to statistically quantify the factors involved in these effects. Instrument family, part crossing, consonance, spectral factors related to timbre, and onset synchrony all played a role, providing evidence of how timbral differences enhance segregation in orchestral music.
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Miron, Marius, Julio J. Carabias-Orti, Juan J. Bosch, Emilia Gómez, and Jordi Janer. "Score-Informed Source Separation for Multichannel Orchestral Recordings." Journal of Electrical and Computer Engineering 2016 (2016): 1–19. http://dx.doi.org/10.1155/2016/8363507.
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This paper proposes a system for score-informed audio source separation for multichannel orchestral recordings. The orchestral music repertoire relies on the existence of scores. Thus, a reliable separation requires a good alignment of the score with the audio of the performance. To that extent, automatic score alignment methods are reliable when allowing a tolerance window around the actual onset and offset. Moreover, several factors increase the difficulty of our task: a high reverberant image, large ensembles having rich polyphony, and a large variety of instruments recorded within a distant-microphone setup. To solve these problems, we design context-specific methods such as the refinement of score-following output in order to obtain a more precise alignment. Moreover, we extend a close-microphone separation framework to deal with the distant-microphone orchestral recordings. Then, we propose the first open evaluation dataset in this musical context, including annotations of the notes played by multiple instruments from an orchestral ensemble. The evaluation aims at analyzing the interactions of important parts of the separation framework on the quality of separation. Results show that we are able to align the original score with the audio of the performance and separate the sources corresponding to the instrument sections.
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Morein, Ksenia N., and Liudmila N. Shaymukhametova. "Ensemble Music-Making in the Mirror Reflection of 17th and 18th Century Western European Painting." ICONI, no. 1 (2019): 135–40. http://dx.doi.org/10.33779/2658-4824.2019.1.135-140.
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During the Baroque era ensemble music-making was a favorite pastime. For the nobility and the middle class “communication by means of music” was an inherent part of life: the musical language was the means of expressing respect, presenting “musical offerings” and confessions of love. In musical competitions virtuosi demonstrated their exceptional performing skills, and high-society ladies accompanied readings of poetical works with playing the harp or the lute. The desire to make music in the form of solo or ensemble performance was shared by players on various instruments endowed with different levels of preparedness. This “social demand” resulted in the appearance of the two-staff form of notation, endowed with traits of a quasi-score, which it was customary to call the keyboard urtext. However, this music can be termed as being for the keyboard only upon the condition of their performance on the organ or the harpsichord. The structure of the “two-staff scores” from the 17th and 18th centuries possesses immense possibilities, since it presents a universal form of notation for ensemble and orchestral compositions in convolved form. As the result of the traits of the quasi-score, the baroque urtext became a unique phenomenon, a peculiar “mirror of the epoch”, which registered numerous 17th and 18th century musical instrumental clichés, scenes of music-making in duos, trios, and even images of groups of the baroque orchestra — the solo and the continuo. A sort of mirror reflecting pictures of music-making and ensemble groups was provided by the art canvases of 17th and 18th century painters.
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Zharkova, Valeriya, Tymur Ivannikov, Tetiana Filatova, Oleksandr Zharkov, and Olena Antonova. "Choral Music by Samuel Barber: Genre and Style Aspects." Studia Universitatis Babeş-Bolyai Musica 67, Special Issue 1 (July 8, 2022): 63–77. http://dx.doi.org/10.24193/subbmusica.2022.spiss1.05.
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"The article is devoted to the research of choral music by Samuel Barber who was a 20th-century American composer. The research is carried out in terms of its genre and style diversity. It represents the historical stages of turning to choral art. The compositions are differentiated by voice composition into a cappella choirs and choirs with instrumental accompaniment. The orchestral scores are analyzed through the interaction of the poetic text and musical intonation taken into consideration. The figurative and semantic shades of religious and secular origin poems are discovered, the relationship between the music and ancient genres is revealed: Gregorian monodies, antiphons, plain chants, motets, madrigals, Easter hymns. The substantive music aspects are researched as projected on the historical genesis and synthesis of stylistic phenomena of different nature. It is researched how much the elements of medieval, renaissance, baroque, romantic and modern musical vocabulary influence the integral system of choral composition artistic means. Keywords: choral music, Samuel Barber, genre traditions, style aspects, chants, motets, madrigals. "
10
Anderson, Martin. "London, St John's Smith Square: David Matthews's ‘A Vision and a Journey’." Tempo 58, no. 228 (April 2004): 59–61. http://dx.doi.org/10.1017/s0040298204220150.
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A Vision and a Journey is David Matthews's op. 60 – a neat coincidence, then, that the first performance of its revised version should be part of the celebrations of his sixtieth birthday. The work is part of a series of imposing orchestral scores Matthews has been composing over the past two decades, beginning with In the Dark Time in 1983 and continuing with Chaconne in 1985 and The Music of Dawn two years later; this one followed in 1993, when it was premièred by Yan Pascal Tortelier and the BBC Philharmonic, but it underwent a thoroughgoing revision between March 1996 and March 1997. I asked the composer before the concert what the revisions had entailed: ‘I completely rewrote the whole thing. It's more or less a new work’.
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Robinson, Harlow. "The Caucasian Connection: National Identity in the Ballets of Aram Khachaturian." Nationalities Papers 35, no. 3 (July 2007): 429–38. http://dx.doi.org/10.1080/00905990701368670.
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The ballets of Aram Khachaturian (1903-1978) occupy a special place in the history of Soviet ballet and of Soviet music. Considered along with Dmitri Shostakovich and Sergei Prokofiev as one of the leaders of Soviet music, Khachaturian devoted many years to the creation of ballet, although in the end he produced only three ballet scores: Schast'e [Happiness], completed in 1939; Gayane, completed in 1942; and Spartak [Spartacus], completed in 1954. Of these three, Gayane and Spartacus (both repeatedly revised) were notably successful, both immediately acclaimed as important new achievements in the development of an identifiably Soviet ballet style. Taken on tour abroad by the Bolshoi Ballet in a revised version, Spartacus also became one of the most internationally successful ballets written by a Soviet composer, although it never came close to equaling the international recognition eventually achieved by Prokofiev's Soviet ballets Romeo and Juliet or Cinderella. Gayane was not widely staged outside the USSR, but some of the music from the ballet, arranged into three orchestral suites by the composer, became very popular internationally—particularly the “Sabre Dance,” which became the single most recognized piece of Khachaturian, recycled repeatedly in Hollywood film scores.
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Bertagnolli, Paul A. "Amanuensis or Author? The Liszt-Raff Collaboration Revisited." 19th-Century Music 26, no. 1 (2002): 23–51. http://dx.doi.org/10.1525/ncm.2002.26.1.23.
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Liszt's reliance on copyists throughout his career and in every stage of the compositional process aroused controversly only after his death, when published letters impugned his authorship by suggesting others had orchestrated his symphonic works. Thereafter, compelling testimony from three members of the Weimar Hofkapelle during the 1850's——concertmaster Joseph Joachim, prinicipal cellist Bernard Cossmann, and the scribe Joachim Raff——has informed the secondary literature's highly partisan criticism. Suspected scribal influence is constructed as weakness in Liszt's character and music, dismissed as inconsequential, or reluctantly acknowledged as a factor in Liszt's transformation from pianist to symphonist. I propose a more balanced view based on previously univestigated manuscript sources for incidental music to Herder's Der entfesselte Prometheus, produced in 1850. Raff's full scores for an overture and eight choruses, prepared from Liszt's typically detailed short-score, offer unrivaled opportunities to assess scribal influence. An original typology sorts contributions into four categories: minor tasks any competent musician could perform; transcribing unmarked passages in score order; extra doublings; and genuinely autonomus work, including the occasional invention of primary motives. Some of Raff's independent choices reflect astute awareness of Herder's text; others merely betray fascination with orchestral technique. Liszt's revisions eliminated or varied the overwhelming majority of scribal accretions, although Raff deserves credit for several salient features of the choruses. In the overture, however, rejection of Raff's contributions is virtually complete. The revisions also disclose that Liszt adopted more transparent textures, articulated phrases through gradual increases in orchestral density, and exploited instrumental ranges more idiomatically.
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Toropkova, Evgeniya R. "Music education in the context of new information and distance technologies." Vestnik of Saint Petersburg State University of Culture, no. 2 (47) (2021): 127–32. http://dx.doi.org/10.30725/2619-0303-2021-2-127-132.
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The article is dedicated to the analysis of forms and methods of application of information technologies in the educational process of children’s art schools in the implementation of programs in the field of musical performance. The article considers the synthesis of the unconditional preservation of the existing traditions of the primary level of the Russian music school and the methodological expediency of using new technologies in the educational process of children’s art schools. Specific software developments, electronic educational resources are proposed for use, the application effect in the educational process is described. The article shows that the introduction of new musical information technologies provides additional opportunities for musicians when working with musical scores, orchestral parts, when performing creative tasks in subjects of the theoretical cycle. The article also discusses and analyzes the interactive educational programs of the series «Playing with Music».
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LEE, Inho, and Johee LEE. "Analysis of chromatic mediant relationship in film music score with Neo-Riemannian theory." Rast Müzikoloji Dergisi 10, no. 4 (December 30, 2022): 449–61. http://dx.doi.org/10.12975/rastmd.20221041.
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Film has influenced the public as an important cultural form since the 20th century, and film music, as an integral part of film, plays an important role in shaping its content. Film music was influenced by late European Romantic music, and the Hollywood film score system was established based on composers of European descent, followed by the fusion of numerous emerging musical styles, such as Jazz, Rock, and EDM, etc. The orchestral music as the main composition of the film score has a sense of aural expectation in the sound expression, which largely comes from the chromaticization of the harmonies. When analyzing Hollywood film music, it is inevitable that chromatic harmony progression cannot be accurately expressed by traditional tonal music analysis. This study analyzes the chromatic harmony progression of chromatic mediant relationship in the film scores of four composers from the perspective of neo-Riemannian theory. And the correlation between the four sets of transformations and chromatically harmonic progression, H transformation, PL transformation, LP transformation, and RP transformation, is derived from the comparative analysis of neo-Riemannian theory and chromatic mediant relationship. These transformations have deepened the negative emotions of angst and fear or the positive emotions of grandeur and sacredness in film narratives. Exploring and expanding the use of neo-Riemannian theory in film music analysis has positive implications for the development of film music by demonstrating the rationality, accuracy, and intuitiveness of neo-Riemannian theory in the process of film musicology.
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Красильников, Игорь Михайлович. "Instrumentation in Condition of Real and Virtual Acoustics Around Music." Музыкальная академия, no. 3(771) (September 30, 2020): 178–84. http://dx.doi.org/10.34690/94.
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Инструментовкой сегодня занимаются не только композиторы, создающие оркестровые партитуры, но и широкий круг музыкантов - профессионалов и любителей, работающих в различных жанрах электронной музыки. Электронная инструментовка имеет много общего с ее традиционным видом, поскольку в обоих случаях решаются одинаковые задачи: реализация колористического потенциала исходного текста, выстраивание композиционной формы с помощью выделения ее разделов, выстраивание фактуры путем заполнения акустического пространства и прорисовки ее пластов. Различия же обусловлены разной природой музыкального материала. В одном случае - это звучание оркестровых инструментов в концертном зале или на открытом воздухе. В другом - это множество синтезированных звуков в условиях виртуальной акустики, которая может быть представлена в самых разных вариантах. Электронная инструментовка, опираясь на сложившиеся в многовековой академической практике приемы, обогащается за счет использования новых звуков и возможностей управления виртуальным пространством их развертывания. Today, not only composers who create orchestral scores are engaged in instrumentation, but also a wide range of musicians-professionals and amateurs working in various genres of electronic music. Electronic instrumentation has a lot in common with its traditional form, since in both cases the same tasks are solved: realizing the color potential of the source text, building a compositional form by highlighting its sections, building a texture by filling the acoustic space and drawing its layers. The differences are due to the different nature of the sound material. In one case, it is the sound of orchestral instruments in a concert hall or in the open air. In the other case, it is a variety of synthesized sounds in a virtual acoustic environment, characterized by diversity and variability. Therefore, electronic instrumentation, based on the techniques developed in centuries-old practice, is enriched by the use of these new sounds and the ability to manage the virtual space of their deployment.
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Chang-Arana, Álvaro M., Dianna T. Kenny, and Andrés A. Burga-León. "Validation of the Kenny Music Performance Anxiety Inventory (K-MPAI): A cross-cultural confirmation of its factorial structure." Psychology of Music 46, no. 4 (July 18, 2017): 551–67. http://dx.doi.org/10.1177/0305735617717618.
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This research investigated whether music performance anxiety (MPA) can be theoretically understood as a unidimensional construct, and whether the factorial structure is robust across different populations of musicians with different levels of expertise. K-MPAI scores were obtained from 455 Peruvian tertiary music students (mean age = 21.19 years, SD = 3.13, range = 18–40 years) and 368 Australian professional orchestral musicians (mean age = 42.07 years, SD = 10.21, range = 18–68 years). A high order exploratory factor analysis with the Schmid-Leiman solution was performed on the K-MPAI items. Unweighted Least Squares extraction method and optimal implementation of parallel analysis revealed one high order factor and two first order factors for both samples. High Cronbach’s and ordinal alpha levels for items belonging to each first order and high order factor in both samples were also obtained. Structural similarities between the two samples and an invariance analysis signified a comparable structure and conceptual interpretation of K-MPAI scores in both populations. The factorial structure obtained supported a unidimensional interpretation of the construct of MPA. First order level interpretations are also possible and have been demonstrated to be clinically useful.
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Keefe, Simon P. "‘We hardly knew what we should pay attention to first’: Mozart the Performer-Composer at Work on the Viennese Piano Concertos." Journal of the Royal Musical Association 134, no. 2 (2009): 185–242. http://dx.doi.org/10.1080/02690400903109067.
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Late eighteenth-century writings bear witness to Mozart's extraordinary skills as a performer-composer. But this dual status has yet to exert a serious influence on our understanding of Mozart's piano concertos. An examination of changes to the autograph scores of his Viennese works catches him in the act of negotiating performance needs as soloist and compositional needs as author. His acute attention to detail and his intense personal involvement and commitment – evident in written testimony and in alterations to the autographs – reveal a performer-composer intent on harnessing very specific musical events (sounds, timbres, instrumental and solo effects) to more general ends that ultimately invite listeners to perceive performance and composition as mutually reinforcing features of a complete musical experience. Modern performers trying to recreate the performer-composer experience – soloists and orchestral instrumentalists alike – are thus encouraged to put sounds, textures and effects centre stage in their own interpretations of Mozart's concertos.
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Shang, Rui. "A Deep Learning-Enabled Composition System Based on Piano Score Recognition." Mobile Information Systems 2022 (July 5, 2022): 1–9. http://dx.doi.org/10.1155/2022/9132697.
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Piano is used for music and comprises a stringed keyboard instrument wherein the strings are tapped by softer-coated wooden hammers. The score providing music for the piano, often a compressed transcription of orchestral music, is referred to as piano score. Presently, the Internet is overflowing with music score resources. Having so many music score resources available, professional learners and amateur music lovers are unable to identify and obtain music score information that matches their needs and wasting valuable time. Due to the rapid development of deep learning algorithms, some individuals utilize these algorithms to detect piano scores and construct composition systems, reducing the need of traditional machine learning algorithms on manual design and music knowledge guidelines. This paper uses the deep learning algorithm to construct piano score recognition framework based on K-Nearest Neighbor (KNN) algorithm and formulates the recognition system into multinote that significantly improves the recognition rate for the system. The self-attention mechanism is then introduced in order to build a composition system based on a deep learning algorithm in which composition training and processes are described. Finally, a comparative experiment is conducted to evaluate the recognition accuracy for the KNN-based piano score recognition system. The results show that highest recognition accuracy of this system is 67.5%. The effect of composition system is evaluated based on prediction accuracy of notes. Three experiments are conducted to train the composition notes. As a result, the prediction accuracy of experiments 1, 2, and 3 is 89.2%, 91.8%, and 92.7%, respectively, indicating that the system has a high prediction accuracy and a perfect composition effect.
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Rupprecht, Philip. "ABOVE AND BEYOND THE BASS: HARMONY AND TEXTURE IN GEORGE BENJAMIN'S ‘VIOLA, VIOLA’." Tempo 59, no. 232 (April 2005): 28–38. http://dx.doi.org/10.1017/s0040298205000136.
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George Benjamin's rich harmonic imagination was apparent from his earliest published works. A distinctive chordal sensibility is already evident in the 1978 Piano Sonata, with its glittering streams of five- or six-pitch clusters; in the hollow bell-chords punctuating the 1979 orchestral score, Ringed by the Flat Horizon; and in the supreme stasis of the A-minor pedal chord (a six-three triad) unveiled by the icy glissandi lines opening A Mind of Winter (1981). All three pieces share a fascination with degrees of chordal resonance – the interplay of upper partials above a fundamental – and a sensitivity to chords as sound objects. True, Benjamin's style, beginning at least with Antara (1987), has shown signs of a more linear-contrapuntal orientation, and less reliance on what one critic terms ‘purely coloristic phenomena’. Yet one could equally claim some continuity between the refined harmonic world of the early scores and the surprising richness of chordal sonority to be heard in a far more recent arrival, the 1997 duo Viola, Viola.
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Iațeșen, Loredana Viorica. "7. Advocating the Poetics of Sound in the Cycle Les Nuits d´Été by Hector Berlioz." Review of Artistic Education 15, no. 1 (March 1, 2018): 59–73. http://dx.doi.org/10.2478/rae-2018-0007.
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Abstract By consulting monographies, musicological studies, specialty articles about the personality of romantic musician Hector Berlioz and implicitly linked to the relevance of his significant opera, one discovers researchers’ constant preoccupation for historical, stylistic, analytical, hermeneutical comments upon aspects related to established scores (the Fantastic, Harold in Italy symphonies, dramatic legend The Damnation of Faust, dramatic symphony Romeo and Juliet, the Requiem, etc.). Out of his compositions, it is remarkable that the cycle Les nuits d´été was rarely approached from a musicological point of view, despite the fact that it is an important opus, which inaugurates the genre of the orchestral lied at the end of the 19th century and the beginning of last century. In this study, we set out to compose as complete as possible an image of this work, both from an analytic-stylistic point of view by stressing the text-sound correspondences and, above all, from the perspective of its reception at a didactic level, by promoting the score in the framework of listening sessions commented upon as part of the discipline of the history of music. In what follows, I shall argue that the cycle of orchestral lieder Les nuits d´été by Hector Berlioz represents a work of equal importance to established opera.
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LEHMAN, FRANK. "Scoring The President: Myth and Politics in John Williams's JFK and Nixon." Journal of the Society for American Music 9, no. 4 (November 2015): 409–44. http://dx.doi.org/10.1017/s1752196315000358.
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AbstractThroughout his career, John Williams has set the musical tone for the American presidency, most elaborately with his scores for Oliver Stone's controversial films JFK (1991) and Nixon (1995). While invested in capturing the character of these commanders in chief through musical codes, Williams's soundtracks are equally engaged in the act of the evocation and telling of “history.” Specifically, they construct a tragic myth of 1960s America in which the promise represented by JFK is destroyed from without, and Nixon from within, both by the malevolent forces of the military-industrial complex. In considering the thematic and dramatic means by which Williams paints his orchestral portraits, I reveal the extent to which music supports Stone's paranoiac narratives, especially in cases where the director's collage-like visual aesthetic puts pressure on the otherwise nostalgic traits of Williams's default tonal style.I offer a music-analytical approach to JFK and Nixon informed by interviews, studies of political mythology and paranoia, and musicological appraisals of Williams's music. Stone's 1960s-as-lapsarian-metanarrative positions Kennedy as a romanticized absence, an image of the fabular fallen King, and Williams renders him as a public recollection rather than a human being with interiority. Nixon, by contrast, is a tragic antihero, consumed by dark forces of history and an abundance of ambivalent thematic material. Particular attention is paid to the dismantling of Kennedy's noble leitmotif during JFK’s prologue and motorcade sequence and to the near-fascistic musical accompaniment of Nixon's speeches. Having demonstrated the active role these scores play, I conclude that Williams's music constitutes an authoring of history in a strong, albeit postmodern, sense, consistent with but independent from Stone's screenplay.
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Palić-Jelavić, Rozina. "Mise Ferde Wiesnera Livadića - O 220. obljetnici rođenja i 140. obljetnici skladateljeve smrti." Nova prisutnost XVII, no. 2 (July 9, 2019): 285. http://dx.doi.org/10.31192/np.17.2.3.
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Through his compositional contributions, Ferdo Wiesner Livadić enriched the Croatian (sacral) musical creativity of the age of Romanticism, realizing – alongside thirty church/sacral »small form« pieces – also one mass in Latin (Missa in C), and one in Croatian, with the title (Missa croatica pastoralis) as well as the titles of its parts/movements in Latin. By observing the autographical scores of the two Livadić’s masses, certain reflections regarding their similarities and differences had resulted; first of all, in terms of textual and language base, composition structure, performers’ ensamble, composing procedures and use of musical expression elements, their purpose, and finally, their artistic range and significance. Created at the time of predominance of small, chamber music forms, especially solo songs, piano miniatures and reveilles, Livadić’s masses, among a multitude of works of the composers of the time, and especially within the Croatian church musical heritage, mean the continuity of a multi-Century tradition of that music genre. While Missa croatica pastoralis is related to the pastoral (folk) one voice masses with the organ accompaniment (with inserted text/extensions of the Kajkavian dialect), the concerto vocal-orchestral Missa in C, with its musical features and its base on the international music vocabulary, manifests a compound of Classicist simplicity and early Romantic lyricism, representing the essence of Livadić’s creativity in the area of sacral music.
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Patrikov, Gueorgui. "PEDAGOGICAL PROBLEMS OF WORKING ON FOUR SKETCHES FOR A SYMPHONIC ORCHESTRA BY DIMITAR NENOV IN THE CURRICULUM IN ORCHESTRA CONDUCTING BY PIANO." KNOWLEDGE INTERNATIONAL JOURNAL 30, no. 2 (March 20, 2019): 447–52. http://dx.doi.org/10.35120/kij3002447p.
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A simple reason to make Dimitar Nenov’s Four sketches for a symphonic orchestra part of the curriculum is their high artistic value. Even though they are a comparatively early opus, the Sketches were written with respectful professionalism and impress listeners with the impact they make. Another significant consideration that makes working on Four sketches for a symphonic orchestra scores in the orchestra-conducting classes especially valuable and useful, is the opportunity for the trainees to get to know the work better and acquire important conducting skills. The process of analyzing and perceiving a work of music from the viewpoint of its interpretation, in this case – from the point of view of preparing oneself for interpreting it in academic work with the help of a pedagogue and an accompanist, is radically different comparing it to the process of listening to it recorded or in a live performance. A conductor’s approach to this process enables him to delve into making the work from the point of view of the following: - deep consideration of the structure of the cycle; - understanding the inner links between separate parts; - building a unique set of the images in a single sketch. At the same time, the manual work on the composition helps one to develop important conducting skills like a - sense for processional dynamics; - good initial selection of tempos; - clear conveying of even the minutest changes of tempo; - simultaneous manual presentation of contrastive dynamics in various orchestral layers; - clearly differentiated strokes; - sense for artistic measure in order to portion various musical tools of expression in compliance with the inner logics of using them. Solving the overall performer’s and particular manual issues with the help of the teacher contributes for the comprehensive professional development of the students.
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Sprout, Leslie. "Composing Film Music in Theory and Practice: Honegger's Contributions to Les misérables and Rapt." Journal of the American Musicological Society 72, no. 1 (2019): 43–113. http://dx.doi.org/10.1525/jams.2019.72.1.43.
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Arthur Honegger composed his first sound film scores in 1933–34. For Les misérables, Raymond Bernard, who was under contract at Pathé-Natan to direct big-budget theatrical films that would compete with Paramount's French-language productions, expected Honegger to provide intermittent orchestral underscoring for already filmed sequences that privileged dialogue over music. For Rapt, the musically trained Dimitri Kirsanoff used independent financing to collaborate from the start with Honegger and Arthur Hoérée on what the director called “a hybrid form … in which music, image, and dialogue work together.” The innovative electroacoustic and sound editing techniques in the soundtrack for Rapt have, I argue, overshadowed the strikingly reciprocal relationship between the soundtrack's more conventional instrumental underscoring and the images on screen. Honegger theorized in 1931 that, in sound film, music's “autonomy” would free it from the burden of mimesis. Instead, the images on screen would teach listeners about music's abstract “reality.” In practice, however, in Rapt, mimetic music and musicalized sound effects bridge the gap between aesthetic goals of hybridity and practical demands for intelligible dialogue. My analysis of the abduction, washhouse, storm, and dream sequences in Rapt demonstrates that a successful hybrid of sound and image ultimately has the potential not just to use images to pin down music's elusive “reality,” but also to use music's mimetic possibilities to influence our reading of ambiguous imagery. It also shows that music does not need to be in itself groundbreaking in order to contribute to groundbreaking innovations in sound film.
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Slim, H. Colin. "Lessons with Stravinsky: The Notebook of Earnest Andersson (1878–1943)." Journal of the American Musicological Society 62, no. 2 (2009): 323–412. http://dx.doi.org/10.1525/jams.2009.62.2.323.
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In 1978, Robert Craft expressed the hope that some record might be found of the lessons that the virtually unknown American composer Earnest Andersson (1878–1943) took with Stravinsky in Hollywood during 1941–42. Also missing were scores of the symphony Andersson worked on with Stravinsky. These documents have now come to light. A private collection in Pennsylvania houses Andersson's Futurama symphony and the notebook he kept of his lessons, items heretofore unseen except by family members. These sources contribute to our understanding of Stravinsky in at least two unique ways. First, Andersson's notebook is the sole record of any long-term pedagogical commitment by Stravinsky, one that eventually numbered 215 lessons. Second, the manuscripts of both composers for Futurama and for two other large orchestral works establish Stravinsky's only known compositional collaborations (with the exception of a one-month stint with Ravel in 1913), which stretched over almost two years. This article examines Stravinsky's previous sporadic role(s) as pedagogue, outlines the various careers of polymath and composer Andersson, questions Stravinsky's final and self-serving remarks in 1966 about Futurama, offers preliminary analyses of two movements from Futurama upon which both men worked and which are discussed in Andersson's notebook, and suggests how and what Andersson may have learned, as recorded in his 58-page notebook (late February–early October 1941). The notebook is here transcribed in full.
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Filatova, Tetiana. "Guitar Music of Celso Garrido-Lecca: Modern Projections of Peruan Traditions." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 134 (November 17, 2022): 139–54. http://dx.doi.org/10.31318/2522-4190.2022.134.269653.
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The relevance of the article is to deepen the analytical aspect of knowledge about Peruan guitar music of the late 20th – early 21st centuries in the context of the renewal of genre traditions of Andean music on the example of works by Celso Garrido-Lecca. Main objective of the study is to determine the influence of Peruvian traditions on the guitar music of Celso Garrido-Lecca in the conditions of modern creative contexts. The methodology includes methods of historical, comparative, phenomenological, structural and functional analysis for: contextual consideration of the composer's creative activity; study of genre and style elements of Peruvian music traditions of folk, professional and non-academic origin in their interaction with the academic language of new music; comparison of the genealogy of rhythmic structures and their manifestations in the researched works; correlation of associative-figurative series with timbral connotations, specific genres and intonation and chord patterns. Results and conclusions. The study of the guitar music of the contemporary Peruvian composer Celso Garrido-Lecca performed by masters of academic art opens interesting pages of the new South American repertoire. Loyalty to the folklore traditions of his country, the study of timbre specificity and aesthetics of the Andean sound, the organology of ancient aerophones and local analogues of the charango, the collective practice of music making, as well as the ethnic language elements of the music of the coastal regions have affected the author's guitar works. Household traditions of Peruvian culture are identified in the sound atmosphere of the new vocabulary of the European model - polytonal “collage” music layers, constructivist modal octatonic arrangements, in the context of serial elements and polystylistic overlays of “foreign” texts. The genealogy of the rhythms deciphered in the composer's guitar opuses indicates a closeness to specific genre features: the Andean rhythm formulas of the huáyno, the Afro-Peruvian festejo, the ancient figures of the landó, the Creole samacueca, the tondero and the marinera with Iberian roots. The author resorted to quoting folklore sources in "Popular Andean Dances" with their updating with musical means of modern vocabulary; imitated the timbres of Andean flute orchestras in the cycle “Poetics” in the guitar parts; introduced the Andean charango of the Ayacuchan model into the scores of the orchestral versions of his suites; in the part of the instrumental duet of charango and guitar. In Celso Garrido-Lecca's guitar works, syntheses of archaic thinking of folkloric Andean chants, hybrid origins of poetics of local Creole and Afro-Peruvian rhythms with new language and intonation paradigms of academic art are organically embodied. Research perspectives are seen in the study of the influence of Peruvian culture on the modern non-academic traditions.
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Serov, Iurii Eduardovich. "Requiem for Akhmatova." PHILHARMONICA. International Music Journal, no. 1 (January 2021): 1–13. http://dx.doi.org/10.7256/2453-613x.2021.1.34978.
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The research subject is a monumental semi-orchestral composition created by an outstanding Russian composer of the late 20th century Boris Tischenko “Requiem” with lyrics by A. Akhmatova. A funeral service over Akhmatova was read at the church of St. Nicholas Naval Cathedral in Leningrad on March 10, 1966. The score of the “Requiem” was finished on August 16, 1966. Thus, the composition with the lyrics by Akhmatova has become a tribute to her, a musical offering, and even the first monument not built with hands. The author gives special attention to the symphonic form of the “Requiem”, differences in the interpretations of the poetic theme in the works of Tischenko and Akhmatova, the role of the symphonic orchestra and the leading singers; the author also considers an important issue of a high-quality performance of the hardest scores created by Tischenko. The main conclusion of the research is the fact that Tischenko’s “Requiem” has become an important element in the process of renovation of Russian symphonic style of the 1960s - the 1970s. As a composition, written in a modern language, it has become one of the drivers of this renovation. As such, the composition is a vocal symphony, and the composer develops the symphonic form step-by-step. The scientific novelty of the research consists in the fact that it is the first work in Russian musicology to consider Tischenko’s “Requiem” in detail, to reveal the contensive aspect of the composition, and to analyze the difficulties of performing the composition. The author reasonably reckons the symphonic composition by Tischenko among the most significant pieces in the history of Russian music.
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Molchanova, Tetiana. "MYKOLA LYSENKO’S ACCOMPANIST AND ENSEMBLE ACTIVITIES IN THE CONTEXT OF THE FOUNDATIONS OF HIS PERFORMING WORK." CULTURE AND ARTS IN THE MODERN WORLD, no. 23 (June 30, 2022): 111–21. http://dx.doi.org/10.31866/2410-1915.23.2022.260985.
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The purpose of the article is to explore the little-known areas of performing work of the famous Ukrainian composer Mykola Lysenko — his accompanist and ensemble activities. Research methodology. A system analysis, which combined analytical, culturological, and observational methods, was applied. Scientific novelty. The research is the first experience of a special analysis of Lysenko’s performing practice as an accompanist and ensemble player in domestic musicology. Conclusions. It is proved that Mykola Lysenko paid considerable attention to the types of chamber music. He was both an excellent ensemble player and accompanist in various fields (working with the choir, reading and performing orchestral scores translated for the piano, performing with instrumentalists, vocalists, opera accompaniment, four-hand piano playing). From the point of view of a thorough analysis of the outlined performing varieties, two more facets of the artist’s talent are highlighted. The article examines the accompanist and ensemble practice of M. Lysenko based on the epistolary heritage and memories of contemporaries (colleagues of the Leipzig Conservatory, choir members, witnesses, and co-performers at private parties, concerts of the Literary and Artistic Society, the Ukrainian club, those he taught at the Music and Drama School and privately), and preserving the authenticity of the texts. The issue is being addressed in the context of postulates of these types of performance and awareness of the importance of familiarising Ukrainian researchers and performers with the work of Lysenko as an accompanist and ensemble player, filling in the existing gap in the history of domestic musicology and performance, expanding the worldview of piano accompanists and ensembles.
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Abdokov, Yuri B. "The film music by Boris Tchaikovsky: “Timbral optics” and “Visual acoustics”." ТЕАТР. ЖИВОПИСЬ. КИНО. МУЗЫКА, no. 2 (2022): 104–39. http://dx.doi.org/10.35852/2588-0144-2022-2-104-139.
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There is something inexplicable in the fact that the film music of the greatest Russian composer of the 20th century, Boris Alexandrovich Tchaikovsky (1925–1996), hasn’t yet been seriously analyzed – not only as a part of his multifaceted legacy, but also as one of the very meaningful pages in the history of music and cinematography. The entire “literature” about the film music of the artist is limited with several synoptical essays (sometimes with gross factual errors and incredible contextual comparisons). But after all he, together with S. Prokofiev, D. Shostakovich, G. Popov, definitively changed the status of music in the Russian cinematography. It is unlikely that this gap, incomprehensible to any professional, aesthetic and moral logic, can be explained only by the fact that the composer imposed a strict ban on the making the studies devoted to his life and work during his lifetime. He was the only composer in the country awarded with the title of People’s Artist of the USSR and the USSR State Prize, who refused official appraisal, although supposed chroniclers and various interviewers always surrounded him. The need for a phenomenological understanding of musical and cinematographic logic of Boris Tchaikovsky became evident after the completion by the article’s author the first monographic study of all the orchestral scores of the composer. B. Tchaikovsky knew cinema very well, he appreciated the unique features of the cinematography, used its expressive possibilities in his symphonic and chamber music in his original way. The composer created a gallery of vivid images in the film music beloved by millions, although many don’t realize its authorship. The poetics of B. Tchaikovsky’s film music raises a number of issues primary to the holistic understanding of the composer’s style: the role of music and the sound-timbre palette in the process of film-making; the “optical” properties of musical timbres, acoustic images as visual projections; the typology of timbral extension and cinematographic chronos; the linking of musical and visual plasticity, and others. For the first time are published the judgments of B. Tchaikovsky revealing some of his views on the essence of music in cinematography and the peculiarities of the interaction between the composer and the director. As the main analytical material are used such outstanding films like “Seryozha” by G. Danelia, “Burn, O Burn, my Star” by A. Mitta, “French Lessons” and “A Raw Youth” by E. Tashkov, “Aibolit-66” by R. Bykov, “The Marriage of Balzaminov” by K. Voinov and others.
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Савкина, Н. П. "More About Gorchakov, Prokofiev’s Secretary." OPERA MUSICOLOGICA, no. 2 (May 1, 2021): 70–89. http://dx.doi.org/10.26156/om.2021.13.2.004.
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Цель статьи — представить новые сведения о секретаре Сергея Прокофьева Георгии Николаевиче Горчакове (1902–1995), сосредоточенные в неизвестных документальных материалах. Это был музыкант, который расшифровывал музыкальные и литературные рукописи Прокофьева, писал под его диктовку, в течение нескольких лет был проводником литературной и музыкальной мысли композитора, довел до стадии завершения несколько крупных прокофьевских партитур. Их связывало и общее вероучение, которому оба были привержены: Христианская наука. Письма Горчакова — его рассказы Прокофьеву о себе — обновляют знание о повседневном существовании обычных людей русской эмиграции. Они затрагивают не только мир музыкальный, но и непарадную сторону жизни Лазурного берега, «мореходную» тему, неизвестный прежде мотив скаутского движения: оно, оказывается, интересовало Прокофьева, у которого подрастали сыновья. Конечно, картинки общения Прокофьева и Горчакова не могли обойтись без зарисовок каждодневной прозаической жизни музыкального издательства, волнений по поводу грядущего концерта, для которого прислали не все оркестровые партии, других колоритных подробностей. Событием в прокофьевской историографии можно считать уточнение сроков выхода в свет «Вещей в себе». The aim of the article is to present a new information about Prokofiev’s secretary — Georgiy Nikolaevich Gorchakov in the analysis of previously unknown documentary materials. He was the musician, who deciphered Prokofiev’s sheet music and literary manuscripts, and who took his dictation. For years he was an agent of the composer’s musical and literary ideas and he brought to completion some large-scale Prokofiev’s scores. Besides, they were bound by the same belief — Christian Science. Gorchakov’s letters — his narrations to Prokofiev about himself — update the knowl edge about ordinary Russian people’s immigration experience. They tackle not only the world of music, but also Côte d’Azur’s everyday life: navigation and scouting, in which Prokofiev — a father of growing boys — appeared to be interested. Certainly the descrip tion of Prokofiev and Gorchakov’s communication wouldn’t be complete without outlining the mundane everyday life of the music publishing house and nerve-wracking preparations for the coming concert which was missing some orchestral parts, and other colorful details. A more accurate date for the publication of Things in Themselves could be considered a significant discovery in Prokofiev’s historiography.
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Andriy, Strilets. "The formation of the original repertory for the Folk Instruments Orchestra of Kharkiv I. P. Kotlyarevsky National University of Arts as a historical mission of Kharkiv composers (1950–1960)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 60, no. 60 (October 3, 2021): 216–38. http://dx.doi.org/10.34064/khnum1-60.12.
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Statement of the problem. The Folk Instruments Orchestra of Kharkiv I. P. Kotlyarevsky National University of Arts has been performing for more than 90 years. However, the original works composed for this orchestra have never been the subject of serious scientific interest. The relevance of the problem is determined by the necessity to generalize the previous generations of composers’, performers’ and teachers’ experience in the field of folk instrumental art, in particular, the training in the orchestra of folk instruments as a concert unit. Analysis of recent publications shows, that the study on folk instruments orchestral performance has not been reflected in national scientific journals for a long while, but currently this is considered as an up-to-date issue. The articles by N. Bashmakova and V. Kikas and Yu. Fedotov (2018), Z. Stelmashchuk (2014), K. Maidenberg-Todorova (2019), I. Fedun (2020) are confirming this statement. The main purpose of the article is to find basic principles of the original repertoire formation for the Folk Instruments Orchestra of Kharkiv I. P. Kotlyarevsky National University of Arts related to the creative activities of Kharkiv composers in the 1950–1960s. For the first time, the historical mission played by Kharkiv composers in the original repertoire formation of the Folk Instruments Orchestra of Kharkiv I. P. Kotlyarevsky National University of Arts is determined. The concept of the article is based on the interdisciplinary interaction of historiographical, holistic, genre-stylistic and performing methods of researching, as well as a phenomenological approach to the analysis of the individual style of a composer based on the example of the particular works. Results and conclusions. The selected works by O. Steblyanko, D. Klebanov, V. Borisov, B. Alekseev, I. Kovach, P. Haydamaka and V. Podgorny included in the concert program of the creative project of 2021 have been analyzed due to their compositional, intonation and dramaturgical structure. The compositions that have been arranged for the folk instruments orchestra from the scores of symphony orchestra or ones instrumented from the compositions for accordion, domra ensemble, domra accompanied by piano were identified. According to the results of analysis, the creative approach of the composers of Slobozhanshchina in the 1950s–1960s was based on the thematic development of folklore material (song and dance prototypes) or the creation of the original themes, which are as close as possible to the folk samples. Having created large forms for domra and balalaika, Kharkiv composers fulfilled a historical mission in the formation of the original repertoire and, correspondingly, genre and stylistic priorities of the Folk Instruments Orchestra of KhNUA named after I. P. Kotlyarevsky. Due to the arrangements of these works for the folk instruments orchestra, a high academic status of playing folk instruments was demonstrated. It is necessary to emphasize the genre and stylistic orientation of these works on the Western European tradition. Along with the traditional forms of processing and arrangement, the folk instrumental art received the entire genre palette of European music, from miniatures to suites and concerts (in terms of timbre and texture capabilities of the folk instruments). On this way we see the keys to the academic status of the folk instruments orchestra. The prospects for further development of the theme. On the basis of the formed original repertoire at a certain historical moment it is possible to substantiate other leading principles of the orchestra as a concert and educational unit: the combination of an orchestra performer’s training, the formation of his professional skills with the ensemble’s concert activity; the introduction of academic approaches in the training of the folk instruments performers, conductors etc.
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Ricketts, Matthew. "Texts—Textures—Intertexts: Brian Cherney’s Transfiguration (1990)." Intersections 37, no. 1 (May 17, 2019): 181–200. http://dx.doi.org/10.7202/1059894ar.
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Transfiguration ([1990] 1991) is one of Brian Cherney’s most ambitious compositions. Scored for large orchestra, the piece explores how memories transfigure reality and what that process might sound like. Cherney weaves together a dizzying mise en abyme of quotations—from the canonic repertoire, simulacra of European folk tunes, and his own earlier music (including most prominently Shekhinah for solo viola from [1988] 1992). Orchestral textures alternatively obscure and reveal material both directly and indirectly related to and inspired by the Holocaust, including the photograph of a Hungarian Jewish woman at Auschwitz who haunts the work. The fleeting figure of this unknown woman is represented in the way that material is transfigured—lost, re-emerging, and lost again—throughout. This article focuses on Transfiguration as an apotheosis of Cherney’s interest in the relationship between orchestral texture and intertextuality.
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Du, Ling. "Clémence de Grandval in the French artistic culture of the XIX century." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 63, no. 63 (January 23, 2023): 144–58. http://dx.doi.org/10.34064/khnum1-63.08.
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Statement of the problem. One of the main issues of the humanities has always been to study urgent problems due to the proceses of economic and social life, changes of artistic guidelines, one of which is to comprehend the specifics of the functioning of contemporary art. Nevertheless, the direction of music scholarship that explores the culture of previous eras and the work of little-known «second-rate» artists remains no less important. In this aspect, the XIX century, namely the era of Romanticism, attracts attention with the flourishing of salon culture, the interest in the work of the Musician-Creator, which led to the formation of a significant layer of educated amateurs and many composers, whose works have been forgotten. The purpose of this article is to present Clémence de Grandval’s creativity as an important component of the development of artistic culture of France in the XIX century. Results and conclusion. The centers of salon culture, where composers and performers, poets and publicists, artists and theater figures gathered in the epoch of blossom of the European Romanticism influenced on shaping of personality and individual artistic style of Clémence de Grandval (1828–1907), born as Marie Félicie Clémence de Reiset (and also known as Vicomtesse de Grandval and Marie Grandval). Unlike of many women of that time, she was lucky to study from a young age. She took lessons from a family friend, the German composer F. Flotow, and later – from F.Chopin and C. Saint-Saëns. In the artistic environment of France in the XIX century Clémence de Grandval was not only well-known, but also a highly respected composer. For many years she held an honorable place in the National Musical Society of France, where she was also involved in patronage, helping young talented composers to promote their works. Both, the significant art prizes of that period, which Clémence de Grandval received through her musical talant and professional knowledge, as well as the respectful attitude of her contemporaries, indicate that during her lifetime she achieved great recognition. Clémence de Grandval’s creative heritage includes several operas, choral and instrumental works that were actively publishing in the XIX century, but later the scores of her orchestral compositions were lost. As of today, the interest to Clémence de Grandval’s creativity is reviving, though performers focus mainly on her chamber works, where orientation on home music is obvious. Thus, the legacy of this remarcable French women composer deserves a deeper investigation.
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Hancock, Carl B. "Aesthetic Responses of Music and Non-Music Majors to Gradual Pitch Center Changes." Bulletin of the Council for Research in Music Education, no. 178 (October 1, 2008): 85–94. http://dx.doi.org/10.2307/40319341.
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Abstract The purpose of this study was to determine if music and non-music majors’ aesthetic responses are differentiated by gradually changing pitch center conditions. One hundred and forty-four university students listened to a professional recording of the second movement of Samuel Barbers Concerto for Violin and Orchestra, Op. 14 altered to have a gradually rising (sharper) or lowering (flatter) pitch center changing at a rate of 1/100 of a semitone (1 cent) per second. Participants recorded their aesthetic responses using a Continuous Response Digital Interface (CRDI). Results of a two-way ANOVA indicated a significant main effect for pitch condition and an interaction effect for major and pitch condition. Mean aesthetic response scores for music and non-music majors hearing the gradually flatter performance were lower than those for the unaltered condition. There was little difference in the scores of non-music majors between the gradually sharper and unaltered conditions, however, music majors’ mean scores were lower under the gradually sharper condition.
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Ogborn, David. "Composing for a Networked, Pulse-Based, Laptop Orchestra." Organised Sound 17, no. 1 (February 14, 2012): 56–61. http://dx.doi.org/10.1017/s1355771811000513.
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Guided by the idea of participatory culture, networked pulse synchronisation and live coding have been core approaches in the activity of the Cybernetic Orchestra, an electronic performance ensemble at McMaster University in Hamilton, Canada. Following general discussion of the way in which networked pulse-based music and live coding work within this orchestra, there is specific discussion of a number of compositional models and practices that have been found effective, including code-sharing, instruction-scores, code as material, and physical performance.
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Miura, Takefumi, Ayumu Akabane, Makoto Sato, Takao Tsuda, Seiki Inoue, and Setsu Komiyama. "Score-Following System for Orchestra Music Using Audio-Signal Amplitude." Journal of The Institute of Image Information and Television Engineers 61, no. 7 (2007): 997–1005. http://dx.doi.org/10.3169/itej.61.997.
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Alegrado, Alenamie, and Adam Winsler. "Predictors of Taking Elective Music Courses in Middle School Among Low-SES, Ethnically Diverse Students in Miami." Journal of Research in Music Education 68, no. 1 (March 13, 2020): 5–30. http://dx.doi.org/10.1177/0022429420908282.
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Researchers attempting to show that music has positive effects on children need to understand and control for preexisting differences between those who do and do not select into musical participation in the first place. Within a large-scale, communitywide, prospective, longitudinal study of predominantly low-income, ethnically diverse students ( N = 31,332), we examined characteristics of students who did and did not enroll in music elective courses (band, choir, orchestra, guitar, other) in public middle schools (sixth, seventh, and eighth grades) in Miami. Predictor variables included gender, ethnicity, poverty, special education, English language learner status, fifth-grade English proficiency, prior academic performance (fifth-grade grade point average [GPA], standardized math and reading test scores), and initial school readiness skills (social, behavioral, cognitive, language, and motor skills) at age 4. Only 23% of middle school students enrolled in a music class in sixth, seventh, or eighth grade, with band having the highest enrollment, followed by choir, orchestra, and guitar. Being male and having greater cognitive skills at age 4 and higher fifth-grade GPA and reading skills were related to later music participation. Black students, students in special education, and those not proficient in English were less likely to participate in middle school music classes. Results varied somewhat by type of music.
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Kelley, Jamey, and Steven M. Demorest. "Music Programs in Charter and Traditional Schools." Journal of Research in Music Education 64, no. 1 (February 19, 2016): 88–107. http://dx.doi.org/10.1177/0022429416630282.
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Since the arrival of the first charter school in Minnesota in 1991, charter schools have become one of the largest movements in educational reform. In recent years, research has emerged that has compared the effectiveness of charter schools with their traditional school counterparts. The purpose of this study was to compare the extent of music offerings between charter schools and traditional public schools in the same urban district and geographic location within the city. Results indicated that while all schools in the sample offered significantly less music than national averages, significantly more charter schools offered music during the school day. Charter schools were more likely to offer traditional music (band, choir, orchestra) as electives. Schools with music programs, regardless of school type, had higher test scores and higher attendance rates even when controlling for differences in socioeconomic status between music and non music schools. Results are discussed in terms of their implications for the charter school movement, arts education policy, and suggestions for future research.
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Solyanyk, M. "TheThirdString Quartet by B. Britten as a phenomenof the late composer style." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 55, no. 55 (November 20, 2019): 50–60. http://dx.doi.org/10.34064/khnum1-55.04.
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The paper is devoted to theproblematics of the late style in composer creativity. The typologies of the late style described in the musical science works of recent years (including the thesesby E. Nazaikinsky and N. Savitskaya) are systematized. The characteristic of B. Britten’s chamberheritage is given in the context of the achievements of the English composer’s school of аnew musical renaissance of the twentieth century. The purpose of the research is to reveal the specificity of the last opus phenomenon. Achieving the goal of the research involves using the following methods: genre approach, historical approach and stylistic approach. The specificity of the last opus phenomenon is revealed by the example of the Third String Quartet by B. Britten, which is recognized as the composer’s last opus. The late style of the composer is characterized in terms of orchestration, techniques, genre preferences and stylistic unity. Exposition of the main material of the study includes compositional and stylistic analysis of the Third String Quartet by B. Britten. In the paperheritage of B. Britten is considered as an example of a creative composer process which has an explicit division into several periods. The name of B. Britten is associated with the highest achievements of the English composer school of a new renaissance in the twentieth century. The researchers distinguish three periodsof B. Britten’s creativity. The first period is characterized by the interest in chamber music and various chamber compositions, the variation as a principle of development as well as the genre certainty. The individual style of the composer is formed in vocal musicearlier and more intensively. The second period is characterized by expressive orchestral writing, figurative concreteness and clarity of structures. The late period of B. Britten’s creativity is characterized by the desire to find the most flexible form of the modern performance. The stylistic synthesis reveals a reliance on ancient types and forms of playing music: Gregorian chant, heterophony, anemitonicpenta-tonic system and church modes. Most of his works are marked by the asceticism of expressive means. The scores are written in a stingy, honed manner, the composer uses instrumental compositions with vivid coloristic capabilities, but implements them with a subtle sense of proportion. The paper deals with the specifics of the B. Britten’s late style. According to the concept of N. Savitskaya the late style is the final evolutionary stage which includes stylistic elements of the early and mature stages of the composer’s creative formation in an in-depth and concentrated form. The researcher identifies the following types of late style: prognostic, consolidating and reduced. B. Britten’s late style can be classified as consolidating one. The paper isconcerned with the phenomenon of the last opus. B. Britten created three string quartets. The appearance of the first two was connected with the two hundred and fiftieth anniversary of the death of H. Purcell. The Third Quartet was written thirty years later, in 1975, in Venice, and was first performed after the death of B. Britten in 1976. This work was the last instrumental composition the authorcompleted. The structure of the Third Quartetdeparts from the traditional form. It consists of five relatively short movements which form a kind of symmetrical arch. B. Britten originally used the term divertimento as a working description of the quartet. Each movement of the cycle has its own subtitle: Duets, Ostinato, Solo, Burlesque, Recitative and Passacalia (La Serenissima). All movements are written in three-part form (ABA). The slow lyrical movements of the quartet form a kind of arches inside the composition. The first movement, Duets, is in a sense the most abstract of all five parts. The beginning resembles a “double spiral” (two voices are closely intertwined and are an exact copy of each other). In the second movement, Ostinato, the idea of an ostinato, where a musical pattern is repeated over and over in the background, takes on a somewhat intrusive form. In the third movement, Solo, the lone violin line, moving through wide intervals, is accompanied mostly by only one other voice at a time. In the fourth movement, Burlesque, the world of parody entertainment, clowning, buffoonery is presented. The fifth movement is entitled La Serenissima, a reference to Venice. In this movement B. Britten quoted his own last opera, Death in Venice. The results of the research support the idea that B. Britten’s late style refers to consolidated type of late style. This conclusion is reached based ona specific analysis of the Third String Quartet by B. Britten. The Third Quartet accumulates as features of B. Britten’s late style as the asceticism of expressive means in writing, reliance on the frets of folk music and the rigor of writing. B. Britten’s enthusiasm for the traditions of folk music resulted in a desire for the texture of all the voices in his instrumental scores. The composer’s chamber music is characterized by detailed instrumentation. Despite all the possibilities of using modernist techniques in the creative process B. Britten can be traced to an academic style. It is worth noting the amazing unity of B. Britten’s style throughout his life. Individual composer style is constantly being refined, remaining homogeneous at the same time (there are not style shifts and differences). In addition, B. Britten had always been aimed at performers and often wrote instrumental works on order. Although B. Britten’s heritage is widely represented in Ukrainian and foreign musical science, the specifics of the composer’s late style is still a field for study and comprehension. The paper opens up prospects for the study of the last opus in the late period of the work of composers.
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Abadzhian, Harrii. "The charming horn of Kumayri, conductor-researcher Shaliko‑dzhian (creative portrait of Shaliko Paltadzhian)." Aspects of Historical Musicology 23, no. 23 (March 26, 2021): 143–59. http://dx.doi.org/10.34064/khnum2-23.09.
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Background. Topicality, objectives, methodology and novelty of the research. The creative achievements of the Honored Art Worker of Ukraine, Professor Shaliko Harehinovych Paltadzhian (1941–2020) are a significant contribution to the history of the development of Ukrainian musical culture and, of course, deserve special attention and thorough in-depth research. However, there is not still any fundamental work about this talented musician, brilliant French horn player and wonderful conductor. The author of this article was lucky to study together with Sh. Paltadzhyan at the Kharkov Conservatory and to work with him until the end of life of this outstanding artist. This essay aims to capture some of the features of the creative portrait of Shaliko Paltadzhian, relying on the few existing reference sources and self-own memories about the artist, and also to emphasize his, in a sense, a unique role in the educational process at the Kharkiv National University of Arts and at Ukraine in general. Accordingly, touching upon the educational, methodological and sociological spheres, the study as a whole adheres to the chronological method of presenting events inherent in the genres of historical and biographical essays and portraits. The main results of the research. We traced the creative path of Shaliko Paltadzhian from his very appearance in Kharkiv in 1959 as an entrant at the Kharkiv Conservatory, where, despite the almost complete impossibility of communication due to the language barrier (the musician was born in Armenian city Gyumri, which was known as Kumayri from the period of the Kingdom of Urartu), he, nevertheless, charmed the examiners with the extra-ordinal expressive sound of his French horn, and until the last decade of fruitful work of this wonderful musician at Kharkiv National University of Arts and the “Slobozhansky” Youth Academic Symphony Orchestra . We consider Sh. Paltadzhian’s working with this orchestra as a new special stage in his conducting activities. Being, at the same time, the leader of the Student orchestra of the Kharkiv National University of Arts and the professional team of the “Slobozhansky” Orchestra, Sh. Paltadzhian, thus, makes the first in Ukrainian musical education sphere practical step in the implementation of a modern project on the introduction of so named “dual form” of vocational training, which joints the instructive process in an educational institution with the practice at the workplace. In addition, he does it long before the official directives (“Slobozhansky” Orchestra already exists 28 years). The example of the “Slobozhansky” Orchestra testifies that the organization of the educational process in a dual form gives a positive result and fully corresponds to modern educational methods: after graduating from the University, the musicians come to new teams as the very well prepared professionals, because they were passing through a “double” school as orchestra students. Shaliko Paltadzhian as a conductor proved this in practice. Conclusions. In perspective, the method of dual form of education can be adapted to any specialization. In our case, the practical bases for this are orchestras (symphony, wind), children’s music schools, music colleges, art faculties at other universities, and so on. “Slobozhansky” Orchestra partially solves the problem of mass moving abroad of the best domestic youth. The orchestra has an interesting creative atmosphere. World-famous conductors, soloists work with him; the collective tours in Denmark, Spain and Italy. Some graduates have already turned down foreign offers and stayed at home in Ukraine. Thus, Shaliko Paltadzhian played a key role in a landmark scientificeducation experiment conducted at the Kharkiv National University of Arts named after I. P. Kotlyarevsky. The weird and wonderful, versatile talent of this bright, charismatic musician is striking. As a Professor at the University, Sh. Paltadzhian taught various educational disciplines in the last decade of his life: opera and symphony conducting, musical instruments studies, arrangements, reading scores. He is also the author of scientific papers and manuals. His brilliant talent and clear human soul will forever remain in our memory.
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Knobling, Birte, Gefion Franke, Lisa Beike, Timo Dickhuth, and Johannes K. Knobloch. "Reading the Score of the Air—Change in Airborne Microbial Load in Contrast to Particulate Matter during Music Making." International Journal of Environmental Research and Public Health 19, no. 16 (August 12, 2022): 9939. http://dx.doi.org/10.3390/ijerph19169939.
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The potential impact of music-making on air quality around musicians was inferred at the outset of the SARS-CoV-2 pandemic from measurements on individual musical instruments and from theoretical considerations. However, it is unclear to what extent playing together in an orchestra under optimal ventilation conditions really increases infection risks for individual musicians. In this study, changes in indoor air quality were assessed by measuring common parameters, i.e., temperature, relative humidity, and carbon dioxide, along with particle counting and determining the presence of airborne pharyngeal bacteria under different seating arrangements. The study was conducted in cooperation with a professional orchestra on a stage ventilated by high volume displacement ventilation. Even with a full line-up, the particle load was only slightly influenced by the presence of the musicians on stage. At the same time, however, a clear increase in pharyngeal flora could be measured in front of individual instrument groups, but independent of seat spacing. Simultaneous measurement of various air parameters and, above all, the determination of relevant indicator bacteria in the air, enables site-specific risk assessment and safe music-making even during a pandemic.
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Dunnett, Roderic. "Schwetzingen: Adriana Hölszky's ‘Der gute Gott von Manhattan’." Tempo 59, no. 231 (January 2005): 37. http://dx.doi.org/10.1017/s0040298205210057.
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Adriana Hölszky – Romanian-born, but Stuttgart-based since 1976 – scored a deserved, significant hit when her first opera, Bremer Freiheit, based on Rainer Maria Faessbinder, was staged at the 1988 Munich Biennale. Two other operas – one based on Jean Genet – had their premières in Vienna and Bonn, before Stuttgart's ever-pioneering Württembergisches Landestheater commissioned Giuseppe e Silvia, based on Hans Neuenfels, in 2000. A sheaf of chamber and orchestral works have seen premières at festivals such as Styria and Vienna, and (even more aptly) at Donaueschingen.
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Yellin, Victor Fell. "Rayner Taylor's Music for The AEthiop: Part 2, The Keyboard Score (The Ethiop) and Its Orchestral Restoration." American Music 5, no. 1 (1987): 20. http://dx.doi.org/10.2307/3051857.
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Aydın, Bahar. "An examination of high school students’ social skill levels according to participation in musical activities." Cypriot Journal of Educational Sciences 14, no. 4 (December 31, 2019): 618–29. http://dx.doi.org/10.18844/cjes.v11i4.4446.
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The aim of this study is to determine the social skill levels of high school students according to their participation in musical activities. Social skills are important in all stages of an individual’s development, but due to physical and mental changes in high school years when adolescence is intensely experienced, the individual may have problems in adapting to the environment and expressing herself/himself. This study group consisted of 258 students from different types of high schools. In this research, the screening model, which is one of the quantitative research methods, was used. In this study, Social Skills Inventory, which was developed by Riggio (1986) and adapted to Turkish by Yuksel (1997), is used. According to the results of this research; female students’ emotional sensitivity, emotional expressivity and social control scores were significantly higher than that of male students, and male students' emotional control scores were significantly higher than that of female students; it was also found that the total social skill scores, social sensitivity scores, emotional sensitivity and social expressivity scores of the students playing instruments were significantly higher than those who did not play; it was also observed that emotional expressivity scores of the choir group were significantly higher than the students singing solo or taking part in an orchestra. According to these results, it can be found that music contributed positively to the increase of social skills of high school students who are exposed to some problems due to adolescence during high school.
Keywords: Adolescents, music, music education, social skills.
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Crist, Elizabeth Bergman. "Aaron Copland's Third Symphony from Sketch to Score." Journal of Musicology 18, no. 3 (2001): 377–405. http://dx.doi.org/10.1525/jm.2001.18.3.377.
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Aaron Copland's Third Symphony, commissioned by Serge Koussevitzky and premiered by the Boston Symphony Orchestra in 1946, stands as the single true achievement of the composer's symphonic career. As befits such a weighty composition invested with personal and professional artistic aspirations, the genesis and evolution of the Third Symphony from sketch to score was unusually complex. The present study relies heavily on archival materials in the Copland Collection at the Library of Congress——including sketches and scores, historical recordings, and personal correspondence——to document the work's compositional history in detail. In sum, the textual history of the symphony involves nearly 20 manuscripts spanning as many years. Copland began composing the symphony earlier than previously thought and found thematic material for the Third in numerous other works dating back to 1940, four years before the actual commission. Variant autograph full scores embody contributions by Serge Koussevitzky and Leonard Bernstein made after the symphony's premiere in 1946 and publication in 1947; Copland's own copy of the 1966 revised edition contains additional changes and corrections. Such insights place the symphony in a new historical and musical context relating to his work during the Great Depression and the Second World War and reveal an unexpected collaborative dimension to Copland's compositional process.
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Elpus, Kenneth, and Carlos R. Abril. "High School Music Ensemble Students in the United States." Journal of Research in Music Education 59, no. 2 (May 11, 2011): 128–45. http://dx.doi.org/10.1177/0022429411405207.
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The purpose of this study is to construct a national demographic profile of high school band, choir, and orchestra students in the United States using evidence from the 2004 follow-up wave of the Education Longitudinal Study of 2002. Results indicate that 21% of seniors in the United States’ class of 2004 participated in school music ensembles. Significant associations were found between music ensemble participation and variables including gender, race/ethnicity, socioeconomic status (SES), native language, parents’ education, standardized test scores, and GPA. Certain groups of students, including those who are male, English language learners, Hispanic, children of parents holding a high school diploma or less, and in the lowest SES quartile, were significantly underrepresented in music programs across the United States. In contrast, white students were significantly overrepresented among music students, as were students from higher SES backgrounds, native English speakers, students in the highest standardized test score quartiles, children of parents holding advanced postsecondary degrees, and students with GPAs ranging from 3.01 to 4.0. Findings indicate that music students are not a representative subset of the population of U.S. high school students.
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Rehding, Alexander. "Music Theory's Other Nature: Reflections on Gaia, Humans, and Music in the Anthropocene." 19th-Century Music 45, no. 1 (2021): 7–22. http://dx.doi.org/10.1525/ncm.2021.45.1.7.
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The new historical paradigm ushered in by the Anthropocene offers a timely and urgent opportunity to rethink the relationship of humans and nature. Bruno Latour's take on the Gaia hypothesis, which rejects the traditional subject/object divide, shows how the human can be inscribed into the work of music theory. This turn toward Latour's Actor-Network Theory, which erases the categorical difference between human and nonhuman agents, now dressed up in cosmic garb under the banner of the Gaia hypothesis, appears to be distant from traditional music-theoretical concerns, but the connection is in fact less far-fetched than it seems. J. G. Kastner's music theory, taking its cue from the sound of the Aeolian harp, serves as a test case here: the Aeolian harp, played by wind directly, had long served as a Romantic image of the superhuman forces of nature, but Kastner argues that the Aeolian network only becomes complete in human ears. By unraveling the various instances and agencies of Kastner's theory, this article charts a novel approach to music and sound that sidesteps the conceptual problems in which the nineteenth-century mainstream habitually gets entangled. Kastner's work is based on a fundamental crisis in the conception of sound, after the invention of the mechanical siren (1819) tore down any certainties about the categorical distinction between noise and musical sound. Seeking to rebuild the understanding of sound from the ground up, Kastner leaves no stone unturned, from the obsolete Pythagorean tradition of musica mundana to travelers’ reports about curious sonic environmental phenomena from distant parts of the world. Where the old mechanistic paradigm was built on a “physical music” (and a static “sound of nature” based on the harmonic series), Kastner proposes a new “chemical music” that is based on the dynamic, ever-changing sonority of the Aeolian harp. This chemical music does not (yet) exist, but Kastner gives us some clues about its features, especially in his transcription/simulation of the sound of the Aeolian harp scored for double symphony orchestra. Kastner's “chemical music” finally closes the music-theoretical network that he builds around his new conception of the supernatural sound of the Aeolian harp and its human and nonhuman agents.
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Matsubara, Masaki, Masaki Suwa, and Hiroaki Saito. "An Interactive Learning-aid System for Analytical Comprehension of Music by Highlighting Orchestral Score in Colors." Transactions of the Japanese Society for Artificial Intelligence 27, no. 5 (2012): 281–95. http://dx.doi.org/10.1527/tjsai.27.281.
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Höstman, Anna. "I COULDN'T MAKE A PIECE AS BEAUTIFUL AS THAT: A CONVERSATION WITH ALLISON CAMERON." Tempo 72, no. 286 (September 6, 2018): 17–30. http://dx.doi.org/10.1017/s0040298218000323.
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AbstractThe composer Allison Cameron (b. 1963) lives in Toronto. Her music has been widely performed at festivals such as Emerging Voices in San Diego, Evenings of New Music in Bratislava, Festival SuperMicMac in Montréal, Newfoundland Sound Symposium, New Music across America, Bang on a Can Marathon in New York, New York, and Rumori Dagen in Amsterdam. A dedicated performer of experimental music in Toronto, Allison co-founded the Drystone Orchestra (1989) and the Arcana Ensemble (1992). She has been improvising since 2000 on banjo, ukulele, cassette tapes, radios, miscellaneous objects, mini amplifiers, crackle boxes, toys and keyboards, in collaboration with Éric Chenaux, the Draperies, Ryan Driver, Dan Friedman, Mike Gennaro, Kurt Newman, John Oswald, Stephen Parkinson and Mauro Savo, among other musicians. In that same year she became Artistic Director of Toronto's experimental ensemble Arraymusic, a position she held for five years. In 2007, she founded the Allison Cameron Band with Eric Chenaux and Stephen Parkinson, and in 2009, the trio c_RL with Nicole Rampersaud (trumpet) and Germaine Liu (drums). Allison has experimented with graphic and notational scores that will soon be gathered and published as a collection. Additionally, she is the winner of the 2018 KM Hunter Award for music in Ontario.
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Napoles, Jessica. "The Effects of Score Use on Musicians’ Ratings of Choral Performances." Journal of Research in Music Education 57, no. 3 (September 30, 2009): 267–79. http://dx.doi.org/10.1177/0022429409343423.
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The purpose of this study was to determine whether viewing a musical score while listening (as opposed to not viewing the score) would affect musicians’ ratings of choral performance excerpts. University musicians ( N = 240) listened to four excerpts of choral music (from Vivaldi’s Gloria) and rated them on a 10-point Likert-type scale for overall impression. Some of the participants heard a professional chorus and orchestra recording, and others heard a high school group recording. For both of the recordings, participants were divided into four groups in a counterbalanced design, with one group viewing the score for all four excerpts, another group never viewing the score,and the other two groups viewing the score for two of the excerpts but not the other two. Results of a three-way ANOVA with repeated measures indicated significant differences among groups. The group that never saw the scores gave significantly lower ratings than the group that saw all of the scores.The excerpts performed by the professional group were rated significantly higher than the excerpts performed by the high school group.