Multicursal Labyrinths in the Work of Brian Ferneyhough

Multicursal Labyrinths in the Work of Brian Ferneyhough

Author: Ross Feller

Publisher:

Published: 1994

Total Pages: 222

ISBN-13:

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The labyrinth is a symbol which has at one time or another occupied most of the world's cultures. As a sign of complexity and difficult process, the excessive and meandering path of the labyrinth emphasizes the need for perseverance in spite of an ever-changing terrain. Of the two primary structural types--unicursal and multicursal--only the latter embraces error and failure through its employment of retracing, multiple paths and dead-ends. In this dissertation the importance of the labyrinthine in Brian Ferneyhough's notational and compositional practice is explored through a detailed analysis of Terrain, a recent chamber piece for nine instruments. Ferneyhough's music is characterized by a high level of difficulty, due in large part to his utilization of notational and compositional complexity. His works are also distinguished in regards to their ability to comment on themselves. Ferneyhough often uses non-musical sources which function as metaphorical and structural models for his compositions. In Terrain he utilized the writings of Robert Smithson and a poem by A. R. Ammons. The multicursal complexity inherent in Ferneyhough's notational practice suggests various ways for the performer to interpret the music in non-habitual ways which are particular to the given work. The interpretation required is one which partakes in meaningful, context-specific, and necessarily partial solutions to the various problems raised by each piece. The performer's interpretive gesture is both 'heroic' in the sense of having to struggle, and 'anti-heroic' because of the inevitability of failure.


A Handbook to Twentieth-Century Musical Sketches

A Handbook to Twentieth-Century Musical Sketches

Author: Patricia Hall

Publisher: Cambridge University Press

Published: 2004-12-02

Total Pages: 276

ISBN-13: 9780521808606

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This indispensable handbook explains how scholars and students should work with and think about the composer's working manuscripts.


The Oxford Handbook of Music Performance, Volume 1

The Oxford Handbook of Music Performance, Volume 1

Author: Gary McPherson

Publisher: Oxford University Press

Published: 2021-12-24

Total Pages: 737

ISBN-13: 0190056304

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The two-volume Oxford Handbook of Music Performance provides a resource that musicians, scholars and educators will use as the most important and authoritative overview of work within the areas of music psychology and performance science. The 80 experts from 13 countries who prepared the 53 chapters in this handbook are leaders in the fields of music psychology, performance science, musicology, psychology, education and music education. Chapters in the Handbook provide a broad coverage of the area with considerable expansion of the topics that are normally covered in a resource of this type. Designed around eight distinct sections - Development and Learning, Proficiencies, Performance Practices, Psychology, Enhancements, Health & Wellbeing, Science, and Innovations - the range and scope of The Oxford Handbook of Music Performance is much wider than other publications through the inclusion of chapters from related disciplines such as performance science (e.g., optimizing performance, mental techniques, talent development in non-music areas), and education (e.g., human development, motivation, learning and teaching styles) as well as the attention given to emerging critical issues in the field (e.g., wellbeing, technology, gender, diversity, inclusion, identity, resilience and buoyancy, diseases, and physical and mental disabilities). Within each chapter, authors have selected what they consider to be the most important scientific and artistic material relevant to their topic. They begin their chapters by surveying theoretical views on each topic and then, in the final part of the chapter, highlight practical implications of the literature that performers will be able to apply within their daily musical lives.


Settling New Scores

Settling New Scores

Author: Paul Sacher Stiftung (Basel, Switzerland)

Publisher:

Published: 1998

Total Pages: 312

ISBN-13:

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Betr. u.a. Paul Sacher, den Basler Kammerchor und dessen Erwähnung in Thomas Manns Roman "Doktor Faustus" (S. 12-17).


Circular Breathing for the Flutist

Circular Breathing for the Flutist

Author: Robert Dick

Publisher: Lauren Keiser Music Publishing

Published: 1987

Total Pages: 60

ISBN-13:

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"Circular Breathing allows the performer to sustain tone while inhailing, a tremendously valuable tool. For the first time, a method is available specifically for the Flutist, covering developments of the embouchure and breathing coordinations needed to master Circular Breathing. Examples include orchestral passages, selections of solo literature from Bach to Varese and contemporary repertoire." From author's website.