Research Report - October 2009. Elaboration of the Module: Definition of the Programme

Alternative innovative didactic methodology is needed to reduce premature school drop out,particularly of young people at risk of exclusion, such as migrants, ethnic groups and children/teenagers from difficult socio-economic background). The key point is to modify the way to deliver learning. Cultural enrichment through young interestas such as music and art, use of technologies, social competencies, problem-solving skills incomputer science, autonomy and sense of purpose may help childhood and adolescence to achieve an improved engagement in school and a sense of educational accomplishmen

Mozart and l'impresario

In May 1856, less than a year after opening, Jacques Offenbach’s Théâtre des Bouffes-Parisiens mounted a production of Mozart’s Der Schauspieldirektor entitled L’Impresario. Originally written in 1786 as a play with music consisting of no more than an overture and four numbers, Der Schauspieldirektor posed problems for would-be performers throughout the nineteenth century. Attempts to turn it into a one-act comic opera included adding numbers from Cimarosa’s L’impresario in angustie (1791), and from operas by Dittersdorf and others (1814). Louis Schneider’s solution for Berlin (1845) lengthened the opera by adding in songs and romances from elsewhere in Mozart’s own output. This served as the basis for Offenbach’s version a decade later, when Léon Battu and Ludovic Halévy wrote a completely new libretto to turn the Singspiel into an opéra bouffe for Offenbach’s troupe. L’Impresario enhanced the status of the Théâtre des Bouffes-Parisiens when previously its activities had barely been considered seriously by the press, and also contributed significantly to the enshrinement of Mozart in Paris in his centenary year. Offenbach’s cast, selected from recent Conservatoire graduates, avoided the comic duo who had ensured the troupe’s earlier success in an attempt to sustain an image of the work to equal that of Don Giovanni or Le nozze di Figaro. In complicating the relationship between composer and entrepreneur both on and off the stage, L’Impresario brought Mozart into Offenbach’s theatrical world and invited operatic collusion between what was emerging as high and low art: the reception of Mozart and operetta

FrameWorks 3D: composition in the third dimension

Music composition on computer is a challenging task, involving a range of data types to be managed within a single software tool. A composition typically comprises a complex arrangement of material, with many internal relationships between data in different locations - repetition, inversion, retrograde, reversal and more sophisticated transformations. The creation of such complex artefacts is labour intensive, and current systems typically place a significant cognitive burden on the composer in terms of maintaining a work as a coherent whole. FrameWorks 3D is an attempt to improve support for composition tasks within a Digital Audio Workstation (DAW) style environment via a novel three-dimensional (3D) user-interface. In addition to the standard paradigm of tracks, regions and tape recording analogy, FrameWorks displays hierarchical and transformational information in a single, fully navigable workspace. The implementation combines Java with Max/MSP to create a cross-platform, user-extensible package and will be used to assess the viability of such a tool and to develop the ideas furthe

Analysing the Creative Process through a Modelling of Tools and Methods for Composition in Hans Tutschku’s Entwurzelt

The analysis of the creative processes involved in electroacoustic music may to a large extent rely on the thorough study of the technological tools used for the realisation of a musical work, both on the composition and on the performance sides. Understanding the behaviour and potential range of aesthetic results of such tools enables the musicologist to approach the studied work much beyond its final form, as presented on tape or as performed on a particular occasion: gaining knowledge on a wider technological context leads to considering the actual artistic decisions in the perspective of the potential outcomes that the composer and performer could face but not necessarily adopt. Hence, analysing an electroacoustic work on the basis of the study of its creative context, technological tools and compositional methods may constitute a useful approach to a better understanding of its related creative processes. However, the implementation of such an approach, mainly based on the hardware or software elements used during the creation of a given work, is not straightforward. First, it implies that the considered technologies are still in use and have not be come irreversibly obsolete. In this matter, new performances of a work are good opportunities for such investigations, as they often provide a technical update and require a deep understanding of the composer’s intentions. The musicologist also needs to have access to the resources, which may not be available without a direct contact with the composer. Assuming these conditions are reached,the musicological and organological studies can encounter another issue, particularly in the digital domain: the sources are not always presented under forms that are directly readable by the analyst, for instance with a specific programming language. Despite all these possible difficulties, many cases of technological tools lean themselves to an in-depth investigation, leading to relevant conclusions on some of the creative processes appearing in the field of electroacoustic music. In the context of a common session of several analytical approaches to a same electroacoustic piece, Hans Tutschku’s Entwurzelt for six singers and electronics (2012), this article focuses on the investigation and modelling of tools and methods of the compositional stage of the realisation of the work. During a performance of Entwurzelt, the electronic materials are simply triggered as events by one of the singers, without further interactivity–thus, the essential part of the research on the electroacoustic realisation aims at exploring the processes used during the compositional stage itself. As the electronics are used as an extension of the live vocal expression by the means of harmonic amplification and complex texturing, the tools for generation and processing of both symbolic representations and audio explored. Since the software tools that constitute the primary sources for our research were not directly designed to be used beyond their creative purposes, this talk presents software modelling implemented by the two authors to demonstrate the technological context in which Tutschku could compose Entwurzelt, emphasizing his creative methods and the decisions he could make upon a wider range of possible materials and processing techniques

Faculty concert: John Daverio, violin, Michalis Economou, violin

This is the concert program of the Faculty Concert: John Daverio, violin, Michalis Economou, violin performance on Tuesday, April 11, 2000 at 8:00 p.m., at the Tsai Performance Center, 685 Commonwealth Avenue. Works performed were Concerto for 2 Violins and Strings in A minor, ("L'estro armonico"), Op. 3, No. 8 by Antonio Vivaldi, Concert for 2 Violins and Strings in A minor (after the Concerto for Violin and Oboe, BWV 1060) by Johann Sebastian Bach, Concerto for 2 Violins and Strings in D minor, Op. 3, No. 11 by A. Vivaldi, and Concerto for 2 Violins and Strings in D minor, BWV 1043 by J.S. Bach. Digitization for Boston University Concert Programs was supported by the Boston University Humanities Library Endowed Fund

Boston University Baroque Orchestra, November 14, 2006

This is the concert program of the Boston University Baroque Orchestra performance on Tuesday, November 14, 2006 at 8:00 p.m., at Marsh Chapel, 735 Commonwealth Avenue, Boston, Massachusetts. Works performed were Symphony in B flat Major, op. 2, no. 1 by William Boyce, Concerto Grosso, op. 6, no. 8 by Arcangelo Corelli, Concerto Grosso in D Major, op. 6, no. 5 by George Frideric Handel, and Cantata, Jauchzet Gott in allen Landen, BWV 51 by Johann Sebastian Bach. Digitization for Boston University Concert Programs was supported by the Boston University Center for the Humanities Library Endowed Fund