Search

Increased availability of tablets at home and in classrooms provides educators access to a powerful tool for music instruction. Music production lessons on tablets offer alternate approaches to developing music literacies while teaching valuable technology skills. These activities are ideal for general music education because they align with contemporary music practices and are adaptable to a variety of learning environments (in person, remote, and hybrid). This article will present a model for tablet-based music production instruction in the general music classroom that aligns with the National Core Arts Standards and accompanying process components grounded in five essential skills: sequencing, recording, editing, effects processing, and mixing. [ABSTRACT FROM AUTHOR]

The article proposes an analysis of the guitar piece Kurze Schatten II by Brian Ferneyhough. The analysis aims to understand the compositional procedures and aesthetic principles of the composer, revealing an approximation with concepts from the thought of Gilles Deleuze, Felix Guattari and T. Adorno. By understanding the elements that manage the internal logic of the work, it is evident that the composer's serialist heritage, developed in the light of the Adornian concept of informal music, is present in the structural components of Kurze Schatten II and in the processuality of the creative gesture. The rupture with the traditional concept of unity perceived in the analysis originates a music of transformations, passages, approximations and contrasts, realized in a rhizomatic space operated by differences and impermanences. The technical analysis of the work brings to the forefront issues that are better understood in the light of these considerations of aesthetic order. [ABSTRACT FROM AUTHOR]

The subject of the article is the determination and examination of the viola works composed in the 21st century in online database. As known; in the 21st century, the internet has enabled various online databases to source by enabling the publication of historical and current information on the field of music, musical works with notes and sound recordings. In the research, the online database selected as a sample to determine the status of viola works composed and published in the 21st century was limited to the IMSLP (International Musical Notes Library Project) website; the data collection method was based on the general scanning model. As a result of the scanning and examination studies of the research, information about the composer of the viola works, the name of the work, its type, the date of composition was reached and explanations were given. According to the results of the research; it has been determined that in the 21st century, composers mostly preferred the solo form, advanced performance techniques, musical genres used since the 15th century and adopted the eclecticism approach in their viola works; it has been tried to reveal the developments regarding the musical identity of the viola. [ABSTRACT FROM AUTHOR]

The analytical approach to Xenakis's compositions is largely focused on the underlying mathematical operations of the music. More recently; however, some analyses have relativised the relevance of the mathematical basis. Xenakis's own statements can support this relativisation. Taking into account the meaning of the title and recognising Khoaï's distinctly gestural character, an interpretive approach to Khoaï is ventured. The form and performance of the work can be interpreted as storytelling, with the gestures and movements involved in the preparation of a sacrifice to the ancient gods. [ABSTRACT FROM AUTHOR]

In the works of 20th century composers of Upper Silesia (Poland), piano music was a significant but never a mainstream phenomenon. Over the years, many stylistically varied solo and chamber works have been created. Particularly interesting pieces were composed in the 1960s and 1970s, during the intensive assimilation of the avant-garde trends of European music. In these works, Silesian composers experimented with the sound of the piano, incl. using preparation and percussion effects obtained on the keyboard and by hitting the instrumentís casing. In chamber works, they also juxtaposed a piano with a contrasting sound, incl. trombone, human voice, or audio tape. However, in addition to clearly avant-garde pieces, there were also pieces that exposed the traditional sound of the piano, and new elements constituted only a complementary value. The article presents selected works for solo piano and chamber piano with the sound of the piano by composers from Upper Silesia in the 1960s and 1970s. These will be Mutanza per pianoforte (1968) by Witold Szalonek, Sequentia pour saxophone alto et piano (1970) by Aleksander Glinkowski, Capriccio-Fantasia No. 2 for two pianos (1975) by Jan Wincenty Hawel, Musica per Ensemble MW2 for flute, cello and one or two pianos (1970) by Edward Bogusławski, Inspirations for female voice, percussion, piano and two audio tapes (1972) by Ernest Małek and Dialogos for 4 hands (1976) by Aleksander Glinkowski. [ABSTRACT FROM AUTHOR]

Copyright of Espacio, Tiempo y Forma. Serie VII, Historia del Arte is the property of Editorial UNED and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of MATRIZes is the property of Universidade de Sao Paulo, Programa de Pos Graduacao em Ciencias da Comunicacao and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Research and practice involving parties from different disciplines is of increasing importance in many fields. In the arts, this has manifested itself in both increasing attention on established collaborative partnerships – composers, for example, collaborating with writers, choreographers and directors – and a move towards more overtly cross-, multi-, inter- and/or trans-disciplinary forms of working – a composer working with a physicist, philosopher or psychologist. Composer-composer partnerships are far less common, meaning intradisciplinary collaboration is little explored in relation to practice research in music. This article takes the collaborative music theatre composition I only know I am (2019) created by the authors – Litha Efthymiou and Martin Scheuregger – as a case study, outlining the issues and opportunities that arise through combining two compositional practices in an effort to create a single artistic output. Ways in which the composers managed this process are detailed in the context of communication, technology, and the issue of tacit knowledge (of both individual compositional process and the working of intradisciplinary collaboration). In particular, reflections on their experience during a week-long residency, in which they collaborated on a single musical work, is discussed in order to understand to what extent two aesthetic approaches can be reconciled to create work satisfactory to both parties. Notions of composition as an inherently collaborative process are used to contextualise the means by which composer-composer collaborations might be understood. The authors reflect on an understanding of intradisciplinarity in the context of their practice as composers in order to draw conclusions that will allow them, and others, to approach composer-composer collaboration in an informed manner.

In the following pages we will link Gesualdo’s work with musical aspects of recent and contemporary composers as Scelsi, Ligeti, Lachenmann, Eötvös, Rihm and Kate Soper. We will explore the music of these last with the aim of understanding axial matters of contemporary culture. With this purpose, we will focus our attention on the link between a tragic and a comical worldview, as well as on the solipsism of the contemporary individual. Finally, we will connect all these aspects with a specific meaning of creation.

This article examines the use of soft sound with reference to late-twentieth and twenty-first century music. My hypothesis is that softness offers a particular type of poetics in contemporary music, thus inviting examination of such poetics in close scrutiny. The article explores the topic through a number of musical examples: each uses soft sound for different effects, yet all demonstrate a similar desire to engage musicians and audience in a new mode of experience for musical sound. I suggest that the use of electronics has played a significant role in this development, accelerating the shift of emphasis from composition to performance and listening, and expanding poetics along the way. I argue further that the recent popularity of quiet music has brought about the emergence of a new sonic sensibility, and I discuss it in the context of current thoughts on inter-subjectivity in musical performance. New sonic sensibility questions the practice of sonic articulation: I examine challenges facing the performer in this issue and identify the process and expertise necessary to find appropriate strategies as research. The article concludes that the poetics of soft sound has brought about a shift in the musical discourse for this genre, permitting a willing and creative engagement for both the musician and listener to participate in the act of listening.

Annually, in Kalv is organized one of Sweden’s most innovative festivals for Contemporary Music. For the first time, on 8-11 August 2019 took place a workshop in Music Journalism field. In this study we intend to show working methods used in Western Journalism and the impact of current music on the cultural level Kalv’s rural population. Together with the mentor Andreas Engström from Berlin, we attended concerts, seminars, we interviewed more artists and musicians across the globe, also we wrote different texts, essays and chronicles for publication. To conclude, organising a Musical Journalism Workshop during a festival of contemporary music is a commendable initiative which plays a major role in getting acquainted and gaining a better understanding of the compositional intentions of present-day creators. We will be happy to come back here, in a world at once picturesque and post-modern owing to these unforgettable musical encounters.

In this essay, electronic music composer Simon Emmerson examines the development of electronic music in the UK through his own experience as composer and teacher. Based on his lifetime experiences, Emmerson talks about the changing landscape of teaching electronic music composition: ‘learning by doing’ as a fundamental approach for a composer to find their own expressive voice; the importance of past technologies, such as analogue equipment and synthesizers; the current tendencies of what he calls the ‘age of the home studio’; the awareness of sonic perception, as opposed to the danger of visual distraction; questions of terminology in electronic music and the shift to the digital domain in studios; among other things. [note by editor].

In this essay, composer Ming Tsao presents a critical overview of today's new music scene, with a special emphasis on the task of teaching music composition today and the culture of new music festivals. Tsao's main critique delves into the current tendency towards entertainment predominantly displayed in some German new music festivals, commonly advertised as experimental music. Alongside this critique, Tsao presents Steven Takasugi's musical theater work “Side Show” (2009-15) as an example of today's music composition that resists this emerging commercialism in concert music. In this text, Tsao makes reference to the writings and ideas of German composer Helmut Lachenmann, mainly on his concepts of Geräuschmusik, Kadenzklänge, Texturklänge, and the language-like aspects of music, as well as to the writings of poet J. H. Prynne [note by editor].

In this essay, composer Dániel Péter Biró reveals his methodology and trajectory as a professor of music composition in the last 16 years. Biró explains how can one teaches a creative artistic process nowadays, in a globalized musical culture, which is full of possibilities for development of cultural diversity while simultaneously providing students distractions driven by capitalist paradigms. How can one help each student to develop his/her own musical language? For this task, Biró talks about how composition today is creative process highly grounded in intellectual and interdisciplinary approaches, sharing similarities with other areas of research such as philosophy and history. For this task, the composer relies on musical analysis in his seminars and individual lessons as one of the strongest methodologies to learn composition, alongside integrating music technology and contemporary performance practice research. [note by editor].

The Flame in my Hands I am a composer and improvisor with an unusual background: my father was György Ligeti. My last name, while only six letters long, tends to lead people to a complicated multitude of preconceived notions and assumptions about my upbringing, advantages, challenges, and even about what my music might actually sound like. These assumptions are almost invariably false. I am not a music theorist or historian and do not intend to give a musicological analysis of my father’s work. But I can illuminate his thinking and interests from the perspective of someone who knew him in a way no musicologist did, and try to trace the experiences and events that triggered some of his unique thoughts and ideas. I will also elaborate on what I hope to have learned from my father, how he has influenced me, and how our interests as musicians are similar and how they differ. I am an independent artist, not a “professional son”. Nonetheless, apart from creating my own music, it is important to me that my father’s work continues to be appreciated and that it is understood and contextualised in ways he wanted it to be. That sometimes makes me ask myself what my father would do were he alive and active today. The hypothetical, extrapolative answers I arrive at are not necessarily identical with my own views, and once again, I will try to explain how I see these similarities and differences and in what ways they are cultural, generational, etc. My father was always a passionate defender of freedom, democracy, and individual creativity. This is one aspect of his legacy I am committed to cultivating and carrying on in my own work. I will share some of my ideas for how music might move forward and what artistic and other challenges lie ahead for me personally, and for new music in general.

This essay explores the meanings of logos, that is, the logical aspects of music. The discussion is divided into three main categories: the definition of music, the definition of musical discourse, and the definition of musical mean ing. The combination of the three results in the general definition of what we understand as contemporary musical logos, fitting, therefore, the current status of the concept in philosophy (represented by philosophers such as Gilles Deleuze, Nicholas Wolterstorff, and Michael Polanyi) and music (especially musicology and musical composition). The main conclusion is that the logical aspect of music cannot be known today without an indepth analysis of its consequences in performance, as an intrinsic component of its concept. [ABSTRACT FROM AUTHOR]

The present article is a reworking of a lecture that was performed live and with visual and sound examples at the CoFestival. In selected examples, the author tries to articulate various vocal practices through contemporary and experimental music, performative practices and sound poetry, in which the voice escapes gender, meaning, turns into noise, and emerges through the utterances of silence. [ABSTRACT FROM AUTHOR]

In more than a few respects, the cultural scenes of this country's neighbours may serve as inspiration, but also as a source of certain lessons or even warning signals. Guided by the premise, "To know your own country's culture, you should be able to observe it from the outside and in the broadest possible context," this study about Polish opera comes as one of the first internationally oriented probes concerned with a comparatively recent history. The final text is centered around the quantitative exploration of the repertoire of ten Polish opera houses in the course of the first fifteen years of the 21st century, i.e., the seasons 1999/2000 through 2014/2105. The survey proceeds from the general evaluation of this repertoire, cursorily also taking into account the genres of operetta, musical and ballet, before getting to opera as such. The process, based on the thoroughgoing collection of data, involved analysis of the percentual distribution of the majority of relevant parameters, the elaboration of a chart of the most frequently performed titles, and a brief outline of the impact of economic factors on opera productions. Interesting findings were obtained concerning the output of operas for children's audiences, as well as the gender distribution of opera composers. A separate chapter deals with the Czech operas staged in Poland. Of course, the subject which is treated in greatest detail, is the presence on the repertoire of contemporary operas which are dealt with individually as presented by each theatre, the individual stagings being described in a fairly detailed manner, with emphasis on their key characteristics. The bracketing of contemporary operas comprises works written after 1950, with several exceptions of operas dating from the first half of the twentieth-century. The aim of this study was to draw up a preliminary chart of the overall situation, and provide a basic survey which may subsequently inspire further scholarly endeavours, as well as material for comparative study of context reaching beyond the borders of the Czech Republic. [ABSTRACT FROM AUTHOR]

Sofia Gubaidulina's work introduces new sounds and an incessant search for spirituality through sound. De Profundis, Et Expecto, Silenzio, Last seven Words, Fachwerk, Under the sign of Scorpio are some of the composer's works inspired by the orthodox chants that insert the Bayan (accordion) as a scholarly instrument and essential vehicle for metamorphosis in musical language. The article is presented in three sections: general notions about the composer and work, interpretive analysis and the interpreter's point of view (interpretive practice). [ABSTRACT FROM AUTHOR]

Copyright of Epistemus. Journal of Music, Cognition & Culture Research is the property of Facultad de Psicologia Universidad Autonoma de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article draws a picture of György Ligeti as an organ composer and it shows the means, which he came up with to produce a new kind of sound on an old, traditional instrument. The aim here is to talk about the relationship between tradition and reformation in terms of playing techniques in Ligeti’s organ music. Because Ligeti didn’t have much experience with traditional organ playing techniques, as far as articulation in all its dimensions goes, with different approaches through historical performance practice, he could begin his work from a clean table. However, he did use all manner of touch, developed new playing skills and invented new ways of registration, which gave his music new wonderful colours and timbres. Ligeti composed three different pieces for organ: an early Ricercare, the massive Volumina and two spectacular études. The article will focus here merely on the last two: the Volumina and the Zwei Etüden. They are both revolutionary in a way because they don’t respect tradition. They are also exceptional compositions, because they are both analogous with either orchestra or instrumental pieces, which Ligeti was writing at the same time. Furthermore, they both need professional organ registrants. The registrant actually has a more important role in the performance than the organist him or herself. If we don’t count his early piece, Ricercare, he was quite revolutionary. In Volumina there is not even a single note, which should be played in a normal way, but Ligeti’s organ playing in it is for instance the use of palms of the hands in gliding across keys and the manuals. By using graphic notation he could best achieve freedom for the player, and the result of the integration of a new playing technique with a new kind of notation made the organ like a timbre-machine. The practice of registration also found a new level in the inventions of Ligeti. György Ligeti’s heritage in organ composition is enormous. After the massive revolution of Volumina and Zwei Etüden organ playing as a whole and especially the way of composing for organ took a new direction. One could not imagine many contemporary pieces without Ligeti’s example.

György Ligeti’s Piano Étude No. 8, Fém, is governed by two simultaneous and continuously repeated rhythmic patterns, one of which is for the right hand, the other for the left one. The patterns evoke the medieval concept of Talea, a constant configuration of durations whose repetitions introduce a recognizable element to the piece it is used in. The two Fém taleae are of different lengths, meaning that their starting points coincide only after several cycles. As far as pitch organisation is concerned, Fém contains an element that is as dominant as the Talea patterns are in the realm of rhythm, namely, parallel fifths. It is the purpose of this study to examine how the fifths, and harmonic materials derived from them, govern the pitch organisation of the piece. It is suggested that the fifths form two distinct “harmonic families”. The first one contains collections of notes where the elements can be arranged so that there is a perfect fifth between all pairs of consecutive elements. "Family members" can contain from 2 to 12 elements. The second family contains collections of notes where the elements can be arranged so that in the succession of intervals between pairs of consecutive notes, tritones and fifths alternate. Family members can contain from 3 to 12 elements. Furthermore, the ordering and registral positioning of the elements is free: the family membership of the collection is preserved even if the elements are not in a "pure" interval stack order – the collections are not defined to be chords or other pitch-space objects, but pitch-class sets. It is then examined how the two harmonic families can be utilised in articulating elements of the pitch organization. Among the viewpoints are the relations between the Taleae and the harmonic families, the transpositional relations between family members in controlling the level of dissonance, harmonic-family saturation, completion strategies of incomplete family members, and simultaneous linear instances of family members. The study uses both traditional and pcset-theoretical terminology.

The subject of this article falls within my previous musicological research on contemporary era and is focused on the exploration of the methods which György Ligeti applied on a number of his chamber, orchestral and solo works, to generate various, previously unheard, interactive textures. Although Ligeti’s aesthetic trajectory is differentiated from his contemporaries “pure” sonoristic composers (Penderecki, Lachenmann, Sciarrino and others), his polyphonically constructed textures often create diversiform sonoristic environments, based more on melodic and rhythmic material and less on timbral extension for each particular musical instrument. In addition to Ligeti’s orchestral masterpieces, the works Ramifications (1968–69), Chamber Concerto (1969–70), Melodien (1971), and Piano Etudes No. 3 and No. 4 from the first book (1985) are some representative examples of the above aesthetic direction. Through analysis of particular extracts from the above-mentioned works, this paper will attempt to demonstrate a number of applied compositional principles, in order to explore both the micro- and macro-structure of “Ligetian” micropolyphonic textures. In addition, innovative, sophisticated techniques, such as the blocked keys in Etude No. 3 and the repetition of pitches combined with sfz-p subito dynamics in the Chamber Concerto’s second movement, have been proved to be strong tools in the attempt to achieve rhythmical complexity, characterised by ultimate levels of rhythmic accuracy. Various pitch (or pitch-class) sets and intervallic ratios are often used as starting points for the generation of multi-layer canonic textures and imitative passages. Both the horizontal (melodic) and the vertical (harmonic) organisation of the pitch material form structures of linear sonic events, which in turn consist of multiple interactive, polyrhythmic gestures. Ligeti’s distinguishable polyrhythmical, sonoristic, effect often occurs from several types of linear and non-linear arithmetic series and sets which will be analysed and examined. In summary, based on particular extracts of the works mentioned above, this paper will focus on: • How Ligeti’s micropolyphonic techniques create a variety of sonoristic textures and • How Ligeti’s micropolyphony forms sophisticated macro-polyphonic structures • Arithmetic series which dominate the rhythmical construction of these works and on ways they affect the overall textural plan of each work.

The article is a discussion on tempo markings and performance notes in the first volume of the piano études by György Ligeti. It draws attention to certain differences between the manuscript, the preliminary facsimile editions and the final edition by Schott. It also highlights various post-publication corrections, comments and notes written by Ligeti on the sheet music in his possession. According to the sources, Ligeti changed his mind about the tempo several times and attached great importance to the nuances in the written performance notes. It remains open whether he had intended more corrections and comments to be published than are seen nowadays in the available editions. The information is based on unpublished material and archive sources at the Paul Sacher Foundation in Basle.

The essay presents an attempt at characterizing contemporary music’s culture by identifying a dialectical tension between “modern” and “postmodern” currents in it. After initial considerations on the manifold usages of the term “postmodernism,” five composers’ approaches will be analyzed: John Cage, Philip Glass (and other minimalists), Bernhard Lang, Mauricio Kagel and Johannes Kreidler. However different they may be from one another, all these composers are being interpreted as undermining, in various ways, the practice and theoretical background of modernist avant-garde music.

The study deals with the relationship between myth and music of the 20th century. Myth is a structuring principle affecting music by remythologisation. The author analyses time models in mythological thinking in confrontation with new models of time in music. Myth and music contain a vertical and non-linear dimension with specific manifestation.

Jutarnji koncerti (Morning Concerts) and Intimne muzičke večeri (Intimate Musical Evenings) were concert series of the Hrvatski glazbeni zavod (Croatian Music Institute) in Zagreb, organized by the institute's secretary, art historian, and music amateur Artur Schneider in the 1920s. From 1921 to 1928 there were 148 concerts, with works by 143 contemporary composers, from the most famous ones, like Béla Bartók and Arnold Schoenberg, to the youngest generation of Croatian composers, like Boris Papandopulo. The most common performers were Croatian soprano Maja Strozzi-Pečić and pianist Bela Pečić, who especially promoted music through their friend Igor Stravinsky. These concert series were outstanding also with regard to the high quality of performers and programs as well as the carefully prepared program booklets.

As syntactic typologies, monody and heterophony are detectable in modern and contemporary music as states and manifestations of primordial impulses of sound communication, detectable in the ancient folklore of all peoples. Their filtering through the sieve of contemporary cerebralism cannot elude their force of penetration into the sphere of affect and of the archetypal representations. The paper proposes to fathom and bring to light some principles and ways of archetypal discursive organization in Hetero(sym)phony, by Cornel Țăranu. [ABSTRACT FROM AUTHOR]

Copyright of Revista Musical Chilena is the property of Universidad de Chile and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

When we think of that in Flute literature the most played modern pieces are mostly playable by the advanced level flutist because of technical complexity, Eric Ledeuil's "Ghost" is a piece that can be played by beginner level flutist which is very important. The reason behind "Ghost" is having place in concert repertoire more often is that the characteristic foundation of the piece and also the opportunity that the piece offers for new flute technics. In the first part of the study, personality of Eric Ledeuil's as a composer, flutist and a teacher, with the biography and the interest of Herve Hotiers which the piece is dedicated, in the second part, instructions to play will took place in order to point out the difficulties and technical problems while reading the signs and terms of Ghost. This study has been developed according to the literature researches and reviews with the composer himself. Main purpose of this study is to guide for the technical difficulties that can be observed and to understand the contemporary music for the flutists that will play the piece with the mindset that knows the importance of the difference in the performance of knowing the life of the composer, composition style, and reason behind the piece. [ABSTRACT FROM AUTHOR]

Is the ubiquity of contemporary popular music akin to a deliberate aggression to the hearing, making the listening experience devoid of any sense? If so, is there any strategy to morph this supposed confusion into meaningful stimuli? Relying on epistemology, we attempt at promoting the act of listening as a proper way of world-making and refer to Mark Reybrouck, Bruno Nettl, Steven Brown and Joseph Jordania—among others—to gather appropriate heuristic tools. In the last part of the essay, we advance the concept of timbral quotation as an additional means to grasp meaningful cues in the timbrical richness of contemporary popular compositions. We shall sustain the particular fitness of this tool especially with regard to nowadays’ Western popular music, more and more timbre-centered rather than harmony-centered.

This study aimed to uncover potential effects on and meanings experienced by audience members who participated in performances ('participants') of intentional efforts to integrate participatory elements in art music practice. We document a recent project in which two contemporary composers were commissioned to write new pieces including parts for audience participants. We analysed observational and questionnaire data from three concerts that interrogated the experiences of participants at three participatory performances in different countries (n = 273), and identified key emergent themes from participant responses: special group experience, interactive musical experience, experiencing shifting power relationships as well as an evaluative theme about the consequences of participatory elements. These categories connected substantially to concepts of active/passive, empowerment and community prevalent in discourses about participatory theatre. Quantitative analysis of participants' ratings showed high levels of affective and cognitive engagement, moderated most by prior attendance at a preparatory workshop, and least by demographics or levels of prior musical engagement/experience. [ABSTRACT FROM AUTHOR]

the present interview is about the preservation and the compositional process of Convivium (1986), by the composer Harry Crowl. The piece was composed on magnetic tape, which is a factor that makes its preservation difficult. The composer reveals aspects of the process of preserving a musical work as an individual, taking into account the relations between the compositional process, the socio-political context in which it was created and the media that was used to record it. Based on these relations, it becomes possible to digitize the original piece on an updated media in order to preserve it. In addition, the interview deals in some details about the working conditions of most composers of electroacoustic music in Brazil in the 1980s, therefore this interview has a musicological relevance. [ABSTRACT FROM AUTHOR]

In this interview, Marion Coste discusses the issues related to her position as “dramaturg” and researcher during Aliénor Dauchez’s stageing of the opera Votre Faust (music: Henri Pousseur, text: Michel Butor). The questions address the work with the contemporary music ensemble TM+, the way in which Marion Coste’s dramaturgical role affects her position as a researcher and the mutual influences between performance and research. [ABSTRACT FROM AUTHOR]

In 1991, the journal Circuit devoted its double issue of volume 2 to the composer Claude Vivier (1948-1983), most of which is made up of his writings, some of which dating back to his adolescence. But while the composer openly identified himself as gay, the theme is virtually absent from the selected categories of writing. This article first examines the editorial choices that presided over the publication of his writings, and their consequences on the perception of Claude Vivier's persona and musical style, wishing to draw attention to other public and private discourses of the composer in which these aspects are put forward, such as his correspondence and sketches, which are available in the archives. By offering links to the queer studies and the treatment of Tchaikovsky's homosexuality, Vivier's personality and style will be informed by a broader range of his discourses. [ABSTRACT FROM AUTHOR]

Copyright of ouvirOUver is the property of ouvirOUver and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Laocoonte is the property of Sociedad Espanola de Estetica y Teoria de las Artes and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

While it has extensively been argued that aesthetic categories such as beauty have a direct relationship to emotion, there has only been limited psychological research on the relationship between aesthetic judgments and emotional responses to art. Music is recognized to be an art form that elicits strong emotional responses in listeners and it is therefore pertinent to study empirically how aesthetic judgments relate to emotional responses to music listening. The aim of the presented study is to test for the impact of aesthetic judgment on various psychophysiological response measures of emotion that were assessed in parallel in two contemporary music concerts, each with a different audience and program. In order to induce different levels of aesthetic judgments in participants, we assigned them randomly to one of two groups in a between-subjects design in both concerts: One group attended a talk on the music presented, illustrating its aesthetic value, while the other group attended an unrelated talk on a non-musical topic. During the concerts, we assessed, from 41 participants in Concert 1 (10 males; mean age 23 years) and 53 in Concert 2 (14 males; mean age 24 years), different emotional response components: (a) retrospective rating of emotion; (b) activation of the peripheral nervous system (skin conductance and heart rate); (c) the activity of two facial muscles associated with emotional valence (only Concert 1). Participants listened to live performances of a selection of contemporary music pieces. After each piece, participants rated the music according to a list of commonly discussed aesthetic judgment criteria, all thought to contribute to the perceived aesthetic value of art. While preconcert talks did not significantly impact value judgment ratings, through factor analyses it was found that aesthetic judgments could be grouped into several underlying dimensions representing analytical, semantic, traditional aesthetic, and typicality values. All dimensions where then subsequently shown to be related to subjective and physiological responses to music. The findings reported in this study contribute to understanding the relationship between aesthetic judgment processes and emotional responses to music. The results give further evidence that cognitive-affective interactions have a significant role in processing music stimuli.

BackgroundThis study concerns the perception of musical segmentation during listening to live contemporary classical music. Little is known about how listeners form judgments of musical segments, particularly when typical section markers, such as cadences and fermatas, are absent [e.g., Sears et al. (2014)] or when the music is non-tonal (e.g., in much contemporary classical music).AimsThe current study aimed to examine the listeners’ segmentation decisions in a piece of contemporary music, Ligeti’s “Fanfares”?MethodsData were gathered using a smartphone application [Practice & Research in Science & Music (PRiSM) Perception App] designed for this study by the Royal Northern College of Music (RNCM) Centre for PRiSM and the Oxford e-Research Centre. A total of 259 audience participants were asked to “tap” when they felt that a section had ended. Subjective responses were captured, as well as contextual data about the participants.ResultsThe audience members demonstrated high levels of agreement regarding segmentation, mostly at places in the music involving breaks in the musical texture (one piano hand resting), changes in dynamic (volume), and changes in register/pitch. A sense of familiarity with contemporary repertoire did seem to influence the responses—the participants who self-reported being familiar with contemporary music used a wider range of cues to make their segmentation decisions. The self-report data analysis suggested that the listeners were not always aware of how they made decisions regarding segmentation. The factors which may influence their judgment of musical segmentation are, to some extent, similar to those identified by music analysis (Steinitz, 2011) but different in other ways. The effect of musical training was found to be quite small.ConclusionWhether musically trained and/or familiar with contemporary classical music or not, the listeners demonstrate commonalities in segmentation, which they are not always aware of. This study has implications for contemporary composers, performers, and audiences and how they engage with new music in particular.