In June 1995 Musgrave received a conferment of Honorary Degree of Doctor of Music from Glasgow University.
Interested in Dramatic and spatial elements, also a noted opera writer
Internationally acclaimed
http://dmoz.org/Arts/Music/Composition/Composers/M/Musgrave,_Thea/
developed “heterophony” – a new style of dissonance that won her acclaim as a prophetic composer
joined the proletarian music movement in New York during the great depression and started doing folk songs instead of avate gaurde
returned to dissonance shortly before her death
Her masterpeice is String Quartet (1931)
Pioneered the use of folk songs in Children’s music education
Critics said she could “sling dissonances like a man”
http://dmoz.org/Arts/Music/Composition/Composers/S/Seeger,_Ruth_Crawford/
Started composing at age 4
virtuoso pianist
did not play piano publically, but continued to compose, from her marriage in in 1885 to her husband’s death in 1910.
composed during the summer and toured during the winter, playing and accompanying her own works
http://dmoz.org/Arts/Music/Composition/Composers/B/Beach,_Amy/
i am so absolutely and completely not making this up. it’s from scott’s
“webster’s new world dictionary” AND “onelookup.com” AND
http://education.yahoo.com/reference/dictionary/entries/73/c0727300.html !crapulence
SYLLABICATION: crap-u-lence
PRONUNCIATION: AUDIO: krpy-lns
NOUN: 1. Sickness caused by excessive eating or drinking.
2. Excessive indulgence; intemperance.
ETYMOLOGY: From crapulent, sick from gluttony, from Late Latin
crapulentus, very drunk, from Latin crapula, intoxication, from Greek
kraipal.
OTHER FORMS: crapulent ADJECTIVE
crapulous ADJECTIVE
— mail from Danica
It’s a small step from equal temperment to total dissonance. Have you ever noticed how all the melodic composers are in to alternate tunings? This because equal temperment is just out of tune. It doesn’t sound that way to me and maybe you, because we’re used to it. But consonant folks can hear it. So they experiment with just intonation, new tunings, historical tunings, anything to fix the out-of-tuneness of the equally tempered system.
Tuning ought to be built on fractions. This note vibrates three times, during the time this other note vibrates two times. Equal temperment has no fractions. It’s based on the twelfth root of two. An octave, from any note, is excatly twice the frequency of the octave below. A chromatic step from a note whose frequency is N, the frequency of the next higher note is N+N*2^^(1/12). Got that? This is not a fraction.
So everyone used to equal temperment is used to tuning that is not fraction based. Every other tuning in the world, as far as I know, is fraction-based. Our tuning is weird and artifical. It always sounds somwhat out of tune, so as to avoid ever sounding completely out of tune. The charecter of older pieces of music suffers for this. But furthermore, we lose a reference point for consonance. A fifth should sound completely consonant. But in equal tempermant, it’s not because the fractions are off. It should be a fraction of 3/2, but it’s something different. If you graph the frequencies, they don’t cross at Y=0, even though they should. Since everything is out of tune, everything is in tune. You lose track of consonance completely. After a while, it sounds just dandy to put a tritone in the bass line. Can’t decide on a fourth or a fifth? Go in between! It does sound fine and dandy, because the tuning is encouraging it.
All notes are equally valid, you know, like 12-tone rows, because it’s just the obvious direction for equal temerment to go. Tritones are great. minor seconds are great. Sitting in the bass on a minor 6th in a major chord is just as good as anything else.
If you see my band-mates, please pass this along….
today. It’s a boy. A big one too. Not yet named.
I was suppossed to have dinner with her last night, which ws her due date. She cancelled. This is good, since it would be awkward to have dinner with someone and she went into labor. Also, Berkeley is along way from Stanford hospital. I guess we could have gotten food in the Palo Alto area.
Did you know the new apple airport is faster than the old one (provided you also get new network cards) and is blue-tooth ready (whatever that means) and you can attach a USB printer to it, so you can print acorss the network (provided you are running 10.2 or better). Pretty cool, eh? I was saying that if I didn’t already have an ariport bass station, I’d want to get one, you know, if all my ‘puters were on 10.2 and I didn’t already have older network cards.
I’d been having some problems where my airport network was going down intermittantly. Then, this morning, it started having it’s red LEDS blink on and off while it made buzzing sounds. Not good. Resetting did not help. So I sold it for parts to Elite Computing and got the brand new one, which has many features that I can’t use. yay. they don’t make the old ones anymore and I’m not sure buying a used one would be very smart, given the sad, slow burn mine went through.
Anyway, I took the old one apart, looking for an obvious indicator of something wrong, like a loose connector or a smoking chip. I found nothing. But there’s a lucent card inside. It’s not apple technology. It’s apple re-marketting Lucent technology. The super drive isn’t apple either, it’s panasonic. And motorolla akes apple processor chips. I guess Apple is a software company and a hardware reseller, that’s not bargain friendly. I wonder if people still have “Hackentoshes.” Those were home-brew ‘puters mixing apple-type and Intel-type technology. They were rumored to be fast, upgradable and able to speak both apple and PC in the time when that didn’t happen.
after [posting the preceeding, i decided to start a seperate blog for calls for scores. http://call4scores.blogspot.com
(this one might have an Esperanto angle)
Greetings from Singapore! ICMC2003 will take place in this Lion City from
September 29 to October 4, 2003. The deadline for music and paper
submissions is March 1, 2003.
While in the last century we had experienced the benefits of the narrowing
of gaps in worldwide communication and the bringing together of world
cultures, one of the unexpected results of the process was the creation of
barriers. For some, the rapidly changing landscape presented too fast a
change in well-established traditions and cultures, and they who live in
these societies set up boundaries to stem the erosion of their way of
life. Though there are valid reasons to believe so, it need not be the
case, especially in music.
This year’s conference theme, Boundaryless Music, celebrates music without
barriers of cultures or genres, without the prejudices of the traditional
or the contemporary perspective, without discrimination against the old or
the young. We cannot totally remove all barriers, but we can make them
more permeable to the flow of information, ideas, resources and energy.
Celebrate an open and sharing environment, experiment with new processes
and technologies, and cultivate new approaches to learning and teaching;
all of which involve interconnected processes instead of isolated ideals.
Boundaryless Music invites all to celebrate a common vision and an
encompassing human spirit in music making.
ICMC 2003 invites music submissions of digital audio, interactive,
multimedia and installation works for presentation in Singapore. Works
related to the conference theme of Boundaryless Music are particularly
encouraged, which might include multi-cultural interfaces, performance
interfaces, spatial strategies or aesthetic approaches.
Performance forces include a piano/violin duo, chorus (SATB), and
percussion ensemble as well as Chinese, Indian, and Gamelan ensembles.
Visit http://www.nus.edu.sg/cfa/UCC/index.html for more on the performance
halls.
The spaces available include the Theatre for afternoon concerts and the
Hall for evening concerts. Installation works may reside in the foyers
(2nd and 3rd floors).
For Audio: CD, DVD, ADAT, DAT
Electronic submission of digital audio files (44.1 KHz 16bit format; aiff
or wav) will be available. Please visit www.icmc2003.org after January 26,
2003 for submission procedure.
For Audio/Video: VHS, SVHS, DVD
If the work is for instruments and digital audio, please include a score
of the instrumental part, a recording of the electronics, and/or, a
recording of a performance. For works involving live electronics, you may
include documentation such as a software patch or description.
Music Papers: A music paper demonstration proposal about the ideas and
techniques behind the composition may be submitted accompanying a music
submission.
Send materials to:
ICMC2003 Music
Singapore Conservatory of Music
National University of Singapore
Blk ADM, Level 3
10 Kent Ridge Crescent
Singapore
ICMC 2003 invites paper, poster and demo submissions on artistic,
musicological, scientific, educational and technological aspects of
computer music. Submissions related to the conference theme, Boundaryless
Music, are most welcomed. Also related to the conference theme is a
special paper session titled, Education on Music and Technology, which
welcomes contributions from all.
Electronic submission of papers will be available. Please visit
http://www.icmc2003.org after January 26, 2003 for submission procedure.
IMPORTANT: Please note that all submissions to this years conference
should be photo-ready for publication. All papers should be submitted as
postscript or pdf files. The names of authors should be reflected on the
paper.
Send materials to:
ICMC2003 Papers
Singapore Conservatory of Music
National University of Singapore
Blk ADM, Level 3
10 Kent Ridge Crescent
Singapore 119260
Deadline (postmark) March 1, 2003
All materials MUST be received by March 7, 2003.
Website will be available at http://www.icmc2003.org after January 26, 2003.
Please send enquiries to enquiries@icmc2003.org.
la la la la la la
I love doing work that doesn’t get used. That’s why I loved working at AOL.
I don’t mind so much writing a piece of music that never gets played. If it’s tape, then someone might stumble across it and hear it. or I can put it on a CD. If it’s notated, then I can save it for future calls for scores. Anyway, I like it (usually) and maybe I learned something. It can live in my portfolio until such time as it is needed. you own music, poetry, novel, whatever can take up all of your time and you don’t begrudge that time. No, you just begrudge the world for failing to recognize your genious. such it is when you work for your self.