Pierre Boulez et le Théâtre de la Cruauté d’Antonin Artaud : De Pelléas à Rituel, in memoriam Bruno Maderna

Dans un texte de 1948, Pierre Boulez exprime son aspiration à investir sa musique d’un souffle rituel comparable à celui de la poétique d’Antonin Artaud. Ces propos soulèvent de nombreuses questions quant à l’influence artaldienne, touchant à la fois les activités de chef d’orchestre de Boulez et la conception de ses oeuvres. Cet article s’attarde d’abord aux considérations de Boulez sur Pelléas et Mélisande dans ses écrits publics, et aux liens qu’il établit entre Debussy et Artaud dans ses écrits privés. Une seconde partie se concentre sur les liens sous-jacents qui relient l’oeuvre d’Artaud et celle de Boulez, plus particulièrement dans Rituel, in memoriam Bruno Maderna.In a 1948 text, Pierre Boulez expresses his desire to infuse his music with a ritualistic undertone comparable to that of Antonin Artaud’s poetic. This remark raises questions about Artaud’s influence, concerning both Boulez’s conducting activities and the conception of his works. The first part of this article deals with Boulez’s public writings on Pelléas et Mélisande and on the links he establishes between Debussy and Artaud in his private writings. The second part concentrates on the connections that relate Artaud’s works to those of Boulez, particularly in Rituel, in memoriam Bruno Maderna

Functionality and history of electronics in regards to the performance practice of the following works: Temazcal (1984), Javier Álvarez, and Memory Palace (2012), Christopher Cerrone

Master's Project (M.Mu.) University of Alaska Fairbanks, 2016The Electroacoustic pieces; Temazcal (1984), by Javier Alvarez (b.1956), and Memory Palace (2012) by Christopher Cerrone (b.1984), each employ different types of electronic technologies in their realization through performance. This paper will discuss the origin and history of the technology applied respectively in the works. I will examine the role of percussion within the works, specifically in regards to learning and problem solving through technological challenges in order to effectively perform the compositions. By looking at Temazcal and Memory Palace through the context of their historical significance as electroacoustic works, the inherent functionality of the technology employed in each, and the resultant performance practices that have subsequently developed, a greater musical appreciation and understanding of electroacoustic works, in general, is possible

Applications of DFT to the theory of twentieth-century harmony

Music theorists have only recently, following groundbreaking work by Quinn, recognized the potential for the DFT on pcsets, initially proposed by Lewin, to serve as the foundation of a theory of harmony for the twentieth century. This paper investigates pcset “arithmetic” – subset structure, transpositional combination, and interval content – through the lens of the DFT. It discusses relationships between interval classes and DFT magnitudes, considers special properties of dyads, pcset products, and generated collections, and suggest methods of using the DFT in analysis, including interpreting DFT magnitudes, using phase spaces to understand subset structure, and interpreting the DFT of Lewin’s interval function. Webern’s op. 5/4 and Bartok’s String Quartet 4, iv, are discussed.Accepted manuscrip

L'Octuor De Violoncelles, Tuesday, March 30, 1999

This is the concert program of the L'Octuor De Violoncelles performance on Tuesday, March 30, 1999 at 6:00 p.m., at the Boston University Concert Hall, 855 Commonwealth Avenue, Boston, Massachusetts. Works performed were Totem by Georges Aperghis, Sonate a Huit by Betsy Jolas, Loop by Pascal Dusapin, Messagesquisse by Pierre Boulez, Korot by Luciano Berio, and Bachianas Brasilieras No. 5 by Heitor Villa-Lobos. Digitization for Boston University Concert Programs was supported by the Boston University Humanities Library Endowed Fund

Guest Artist Series: Mario Caroli, flute, February 24, 2015

This is the concert program of the Guest Artist Series: Mario Caroli, flute performance on Tuesday, February 24, 2015 at 8:00 p.m., at the Concert Hall, 855 Commonwealth Avenue. Works performed were Syrinx by Claude Debussy, L'Orizzonte luminoso di Aton by Salvatore Sciarrino, Laconisme de l'aile by Kaija Saariaho, Verical Song I by Toshio Hosokawa, Suite Francese nr. 4 (Dedica, Epitaffio, Apostrofe) by Ivan Fedele, "Dor" for Altoflute by Doina Rotaru, "Cinque cori notturni sotto la costa" for Alto Flute by Federico Gardella, and Morte tamburo by S. Sciarrino. Digitization for Boston University Concert Programs was supported by the Boston University Humanities Library Endowed Fund

A Return to the Future or Forward to the Past?

This article traces the literary origins of the 1945 'zero hour' concept and explores its relation and importance to post-war avant-garde music, as well as the power of its concomitant polemics. The apparent hegemony of the resulting total serialist music and its associated ideas of newness and history are questioned and then compared to the reaction against it in the 1960s, when radical ideas about man's relationship with, and understanding of, time and history grew. It is suggested that the real break with the past began then rather than in the immediate post-war period

Weltmusik and the globalization of new music

The chapter investigates the impact of globalisation on new music on the basis of the concept of _Weltmusik_, introduced in Germany in the 1970s. Particular attention is paid to the nfluence of Marshall McLuhan on Karlheinz Stockhausen. The essay is framed by a discussion of some of Deleuze and Guattari’s ideas, such as ‘rhizome’ and 'territorialization’, which might help to conceptualize the globalized nature of new music and bridge the gap between historical and geographical approaches in musicological and ethnomusicological

The Advocate

Fordham Five Chosen for Jessup Metropolitan Moot Around the Corner; 20 Vie for Jessup Spot; FLS to Host Metro Moot; Grade Curve Stir Debate; Hanlon Meets with 1st Year; Minority Enrollment; Here Comes the Judge; Wallach Debuts in N.Y. Prac.https://ir.lawnet.fordham.edu/student_the_advocate/1065/thumbnail.jp

[sound icon], March 17, 2014

This is the concert program of the [sound icon] performance on Monday, March 17, 2014 at 8:00 p.m., at the Boston University Concert Hall, 855 Commonwealth Avenue, Boston, Massachusetts. Works performed were Bois Sombre - Dans le jour vacant by Jérôme Combier, Recousse (marginalia) by Gérard Pesson, and sur Incises by Pierre Boulez. Digitization for Boston University Concert Programs was supported by the Boston University Humanities Library Endowed Fund