TITLE

THE CONCRESCENCE PROJECT (2008–2010): IDEAS, PROCESSES, EXPERIENCES, MUSICAL WORKS

AUTHOR(S)
Thoresen, Lasse
PUB. DATE
January 2014
SOURCE
Tempo;Jan2014, Vol. 68 Issue 267, p7
SOURCE TYPE
Academic Journal
DOC. TYPE
Article
ABSTRACT
This article discusses the concept, working practices and outcomes of the Concrescence Project, a research project initiated by the author oriented towards innovations in vocal practice and composition through experiments with combining vocal techniques from different cultures. The concept of ethnomodernism is explored, as are different attitudes to vocal sound production in a variety of musical traditions including the avant-garde, traditional styles from the Nordic/Baltic region, and overtone singing. The article concludes with a discussion of microtonal tunings, their notation, and their implementation in vocal composition.
ACCESSION #
93450641

 

Related Articles

  • WHAT IS FELDMAN? Volans, Kevin // Tempo;Oct2014, Vol. 68 Issue 270, p7 

    This article is a reflection on aspects of the compositional practice and aesthetics of the American composer Morton Feldman (1926–1987) as viewed from the perspective of a fellow composer. Writing as a colleague immersed in Feldman's work for more than three decades, Kevin Volans...

  • „Braunsbergo vargonų tabulatÅ«ra“: intavoliacijos fenomenas XVII a. rankraÅ¡ryje. Pister, Aleksandra // Musicology of Lithuania / Lietuvos muzikologija;2008, Issue 9, p6 

    This article describes the early 17th-century manuscript the Braunsberg Organ Tablature at the library of the Lithuanian Academy of Sciences. It also discusses facts and theories regarding the tablature's creation, its notographic features, musical-historical context and concentrates on the...

  • ‘Bona cadentia dictaminum’: Reconstructing Word Setting in Machaut’s Songs. Maw, David // Music & Letters;Aug2013, Vol. 94 Issue 3, p383 

    A comment in the anonymous Tractatus de discantu on ‘bona cadentia dictaminum’ (good word setting) indicates that word setting was recognized by medieval musicians as an important part of the best polyphonic writing. This aspect of compositional process remains a difficult one to...

  • Minimalizmas: komponavimo doktrina ir praktika Lietuvoje. Laura KAŠČIUKAITĖ, Gražina DAUNORAVIČIENĖ // Musicology of Lithuania / Lietuvos muzikologija;2012, Issue 13, p61 

    Minimalism that formed in the 1950s and 1960s as a response to avant-garde and experimental music brought back to music its elementary forms, gave meaning to silence, reduced the number of compositional elements, focused the listeners' (and analytics') attention on microscopic change in time and...

  • What I did on my holidays: The concrete and the ephemeral in acousmatic composition. Harrison, Jonty // Journal of Music, Technology & Education;Dec2013, Vol. 6 Issue 3, p311 

    Listening to acousmatic music can be oddly like being on holiday. One is temporarily dislocated from one's normal environment and mysteriously transported to 'other' worlds, where (especially in later recollection, for memory is certainly at work here) the normal rules of physics can be...

  • RECONNOITERING THE SONIC SPECTRUM OF SALVATORE SCIARRINO IN ???ALL' AURE IN UNA LONTANANZA??? McConville, Brendan P. // Tempo;01/01/2011, Vol. 65 Issue 255, p31 

    The above quote, extracted from his L'Opere per Flauto (1977???1990), provides not only a colorful introduction to the effusive imagination of Italian composer Salvatore Sciarrino, but also a preview of what an unfamiliar listener may expect to find in his music. His largely unchanging musical...

  • JOHN WHITE AND THE ALTERNATIVE BRITISH EXPERIMENTAL AESTHETIC. Anderson, Virginia // New Sound: International Magazine for Music;2012, Issue 38, p40 

    This paper proposes that the British experimental movement, considered to be 'fringe' to a notional central tradition, is actually the centre of an entirely different tradition in contemporary music. The sonatas and minimalist compositions by the composer John White (1936), rather than the...

  • RE-PERFORMING THE MATERIAL AND NARRATIVE OF THE POST-WAR AVANT-GARDE. Redhead, Lauren // New Sound: International Magazine for Music;2012, Issue 38, p77 

    Contemporary music which does not fit into the narrative of the post-war avantgarde, but which can be said to belong to the same tradition, is often marginalised by this movement. Through an analysis of the implications of an understanding of material in the context of the avant-garde, and a...

  • ‘HOW I BECAME A COMPOSER’: AN INTERVIEW WITH VINKO GLOBOKAR. Goldman, Jonathan // Tempo;Jan2014, Vol. 68 Issue 267, p22 

    This article is an interview with the Franco-Slovenian composer, conductor and trombonist Vinko Globokar, translated, edited and introduced by the author. It offers an overview of Globokar's musical development and a consideration of his artistic position, which straddles the worlds of...

Share

Read the Article

Courtesy of THE LIBRARY OF VIRGINIA

Sorry, but this item is not currently available from your library.

Try another library?
Sign out of this library

Other Topics