30 DtD Tambourin. Detail work.
30 Dtd Prelude 4. Wrote ideal for piece. Ran out of steam 2/3rds through detail work.
Saturday, September 24, 2016
Friday, September 23, 2016
I forgot to practice today. I guess my brain decided all the research this morning was practice. And as soon as I went outside for a walk, I started yawning like Pez dispenser. I guess I will be practicing tomorrow, if I remember, and spending the rest of the evening trying not to fall asleep.
More research on Srebotnjak:
Yugoslavia / Die neue Musik in Jugoslawien by Dragotin Cvetko from The World of Music, Vol. 4, No. 3 (JUNE 1962), pp. 52-53: Srebotnjak used "pointillist technique"? "Serial pointillist technique"?
Music in Slovenia by Niall O'Loughlin from The Musical Times, Vol. 134, No. 1801 (Mar., 1993), pp. 130-133: He had come to London to study with Peter Racine Fricker in 1959-60. Preludes was written in 60. He also used "12 note technique". (Except in Harp Concerto where he used 8-note to facilitate pedaling.)
Contemporary Trends in Yugoslav Music by Zija Kučukalić from International Review of the Aesthetics and Sociology of Music, Vol. 2, No. 2 (Dec., 1971), pp. 271-273: "the Slovenian folk music tradition is attached to the folk music of the Alps region and that is one of musical communication and closeness with other nations."
Music in Slovenia. In the First of Two Articles, Niall O'Loughlin Introduces the Rich Musical Heritage of One of Europe's Most Newly Independent Countries by Niall O'Loughlin from The Musical Times, Vol. 134, No. 1800 (Feb., 1993), pp. 74-77[Journal]: "Hindemith served as the model for many other younger composers in the 1950s,"
Music in Yugoslavia by Everett Helm from The Musical Quarterly, Vol. 51, No. 1, Special Fiftieth Anniversary Issue: Contemporary Music in Europe: A Comprehensive Survey (Jan., 1965), pp. 215-224: Srebotnjak's early works were Expressionist.
Oxford Music Online
Among composers of his generation, Srebotnjak had the most distinctively expressionist style, despite the diversity of his techniques, which ranged from 12-note composition (Invenzione variata) and serialism (Serenata, Monologi, Šest skladb, Antifona) to aleatory works and graphic scores. He often integrated folklore elements (Slovene and Macedonian) into his works and used expanded variations of the themes of other composers (Kogoj, Osterc, Tartini, Škerjanc).
Yugoslavia / Die neue Musik in Jugoslawien by Dragotin Cvetko from The World of Music, Vol. 4, No. 3 (JUNE 1962), pp. 52-53: Srebotnjak used "pointillist technique"? "Serial pointillist technique"?
Music in Slovenia by Niall O'Loughlin from The Musical Times, Vol. 134, No. 1801 (Mar., 1993), pp. 130-133: He had come to London to study with Peter Racine Fricker in 1959-60. Preludes was written in 60. He also used "12 note technique". (Except in Harp Concerto where he used 8-note to facilitate pedaling.)
Contemporary Trends in Yugoslav Music by Zija Kučukalić from International Review of the Aesthetics and Sociology of Music, Vol. 2, No. 2 (Dec., 1971), pp. 271-273: "the Slovenian folk music tradition is attached to the folk music of the Alps region and that is one of musical communication and closeness with other nations."
Music in Slovenia. In the First of Two Articles, Niall O'Loughlin Introduces the Rich Musical Heritage of One of Europe's Most Newly Independent Countries by Niall O'Loughlin from The Musical Times, Vol. 134, No. 1800 (Feb., 1993), pp. 74-77[Journal]: "Hindemith served as the model for many other younger composers in the 1950s,"
Music in Yugoslavia by Everett Helm from The Musical Quarterly, Vol. 51, No. 1, Special Fiftieth Anniversary Issue: Contemporary Music in Europe: A Comprehensive Survey (Jan., 1965), pp. 215-224: Srebotnjak's early works were Expressionist.
Oxford Music Online
Among composers of his generation, Srebotnjak had the most distinctively expressionist style, despite the diversity of his techniques, which ranged from 12-note composition (Invenzione variata) and serialism (Serenata, Monologi, Šest skladb, Antifona) to aleatory works and graphic scores. He often integrated folklore elements (Slovene and Macedonian) into his works and used expanded variations of the themes of other composers (Kogoj, Osterc, Tartini, Škerjanc).
Thursday, September 22, 2016
Wednesday, September 21, 2016
★ 30DtD Prelude 4. Research - From two sources: In 1944, the Society of Slovene Composers was founded and seemed to be instrumental (HA!) in promoting Slovene composers to the greater music world. Alozj Srebotnjak is considered one of the most respected and renowned Slovene composers because of his prolificness. In the early 60s, music in Slovenia took a huge leap forward due to citizens being allowed to travel and composers studying in other countries. Avant-garde was the style of choice for that music scene and "Over the next two decades, it thrived with a large body of high quality, adventurous music that in quantity was far more than might have been expected from such a small group of composers." Niall O’Loughlin Srebotnjak didn't embrace the new postmodern style of the next generation of composers as much as his contemporaries, but continued as he had, incorporating ideas from folk music. Classical compositions with nods to folk music were prevalent right after WWII. Interesting!
☆ 30DtD Tambourin. Couldn't quite get the E pedal change. Need to practice it slowly - change on beat 2 before single note, and change back ON the chord. Only got through page 1.
☆ 30DtD Tambourin. Couldn't quite get the E pedal change. Need to practice it slowly - change on beat 2 before single note, and change back ON the chord. Only got through page 1.
Tuesday, September 20, 2016
Monday, September 19, 2016
30 DtD Prelude 4.
30 DtD Tambourin. Doing research on this piece. I found out that a Tambourin is a Provençal dance, and that it imitates a drum in the left hand/bass clef and possible a flute in the right. There is a combination of tambour and galoubet or flaviol, called pipe and tabor in many other cultures, that are played at the same time by one person - the flute only having 3 holes. This piece might need a lighter touch than the f that's marked in the music I have.
Here's Patrick Rougeot talking about the combo en français!
30 DtD Tambourin. Doing research on this piece. I found out that a Tambourin is a Provençal dance, and that it imitates a drum in the left hand/bass clef and possible a flute in the right. There is a combination of tambour and galoubet or flaviol, called pipe and tabor in many other cultures, that are played at the same time by one person - the flute only having 3 holes. This piece might need a lighter touch than the f that's marked in the music I have.
Here's Patrick Rougeot talking about the combo en français!
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