Music Center Research Articles

Q&A: Electronic music comes of age

The Columbia–Princeton Electronic Music Center in New York was the first institution of its kind in the United States for experimenters seeking new technology-based sounds. Fifty years after its founding, director of research Doug Repetto explains how electronic music has evolved and how the role of academic music centres is changing.

Clara Schumann's collection of playbills: A historiometric analysis of life-span development, mobility, and repertoire canonization

Clara Schumann's (1819–1896) important influence on concert life and piano performance throughout the 19th century can still be felt in our times. Virtually all concerts Clara gave between 1828 (at age 9) and 1891 (at age 71) are documented in a historically unique collection of over 1300 printed concert program leaflets (playbills). Combining an historiometric approach with musicological methods, we analyzed those data descriptively and theoretically from the perspective of repertoire canonization. The aim of this study was to document details of Clara's life-time career as a concert pianist, to study her repertoire development in the context of critical life events and personal aesthetic beliefs, and to establish some first comparisons with data from other performers of the time. This study complements existing research on programming and canonization by explaining the cumulative effects of an individual performer's programming decisions. First, the playbills were entered into a database and prepared for computer-assisted analysis. From the 20,000 program entries we extracted those 536 solo piano and chamber music pieces which Clara had performed. Analyses showed that the yearly frequency of concerts reflected her personal circumstances and critical life events. Although Clara performed works by almost 40 composers, the most frequently performed four composers (R. Schumann, Mendelssohn, Beethoven, and Chopin) comprised 70% of all performances. Furthermore, although she performed in 160 cities, 50% of her concerts took place in only seven major cities which represented international (London, Leipzig, Vienna) and national (Berlin, Dresden, Hamburg, Frankfurt) music centers. Finally, her influential role in the canonization of classical piano music can be explained by biographical circumstances which resulted in particular choices of traditionalist repertoire after Robert Schumann's death (1856). This included decreasing program diversity after 1870 and the avoidance of contemporary composers, such as Liszt, Brahms, Grieg, Tchaikovsky or Saint-Saens.

Nurturing the careers of Australia's future composers

In 1994, the Australian Society for Music Education (ASME) initiated two related projects supporting and acknowledging composition in schools and offering the opportunity for secondary school-aged students to work with prominent Australian composers. These were the Young Composers' Project and the Composer-in-Residence Project. Both projects were planned in conjunction with the biennial ASME National Conference, in association with the Australian Music Centre and initially the Australia Council for the Arts. The context of this article is set with an overview of the teaching of composition in the compulsory and post-compulsory years of schooling in Australia, giving contrasting examples of a specific syllabus and a generic framework. Organizations in Australia that provide composition opportunities for students are identified and acknowledged. The ASME Young Composers' Project and the Composer-in-Residence Project are presented to illustrate venture-developed projects that are promoted by a professional teaching association to nurture school-age student composers and the teaching of composition in schools. The experiences of some of the students who have participated in the projects are presented. Their comments mainly focus on the opportunity that is provided by the Young Composers' Project to work with composers and professional ensembles, and the opportunity to meet members of their peer group with like interests.

Making Connections

The Musical Play program is designed to assist children ages 2 to 5 and their parents. The program creators sought to he families build a repertoire of songs and activities for everyday living and to encourage musical play at home. The progra includes developmentally appropriate songs, materials, and activities and incorporates a wide variety of topics, presentation and interactions. The songs and activities presented contribute to the well-being of children, both cognitively and emotio ally. Music centers remain the basis of the program, as the program was designed to incorporate musical free play. The ce ters are the vehicles for engaging children in thinking and playing with music. Through these centers, parents may learn ne ways to play musically with their children. The child's acquisition of musical skills, within this rich environment, empowe and enhances personal and musical expression, as well as aids in language acquisition and coordination development.

Granoff Music Center: A multipurpose facility.

The Granoff Music Center at Tufts University is distinguished by its emphasis on classical, traditional, and world music. Completed in February 2007, it finally collects the entire Music Department under one roof after a century of inadequate office, rehearsal, and performance spaces that were scattered throughout the campus. Its intent was to house rehearsal and performance spaces whose acoustical environments are each distinctive so that the entire complex becomes multipurpose. Furthermore, the design essentially dismissed electroacoustic reinforcement or enhancement in favor of ‘‘natural’’ acoustics. This paper reviews the history, design, value engineering, and results of the facility, and the emergence and rapid escalation during construction of a multimedia program including multichannel recording, sound system, and A/V system features.

Music Publishers’ Catalogs

Music Publishers’ Catalogs George R. Hill This column lists new and current publishers’ catalogs received since the last issue, and aims at comprehensive coverage. Also included are stock order blanks, agents’ catalogs, catalogs of books on music, catalogs of single series, substantial publishers’ catalogs of single composers, and rental catalogs. Excluded are catalogs that are exclusively retail. The list also includes catalogs published by national music centers and by licensing agencies. Since the list is international in scope, the same body of music may be represented in catalogs issued by more than one publisher or exclusive agent. Cross references have been provided to the publishers and subsidiaries listed in catalog titles and in cases where catalogs have been issued by agents. The cross references are intended only to lead the user to particular catalogs listed elsewhere in the column. Publishers whose catalogs are exclusively on the Web are indicated with only a Web address following the postal address. All Web sites accessed 23 May 2008. Alfred Publishing Company, Box 1003, Van Nuys, CA 91410–1003. http://www.alfred.com/ 2008 music catalog. 623 p. Amadeus Verlag, Hermannstrasse 7, CH-8400 Winterthur, Switzerland. http://www.amadeusmusic.ch/ Neuerscheinungen, Herbst 2007. [1 ℓ.] American Gamelan Institute, see Frog Peak Music. American Institute of Musicology, 8551 Research Way, Suite 180, Middleton, WI 53562. http://www.corpusmusicae.com/ Publications, 2008. 32 p. A-R Editions, 8551 Research Way, Suite 180, Middleton, WI 53562. http://www.areditions.com/ Music Publications, 2008. 45 p. Ashgate, 101 Cherry Street, Suite 420, Burlington, VT 05401–4405. http://www.ashgate.com/ Music theory: new titles and key backlist, 2007. [12 p.] Augener, see Stainer & Bell. Bärenreiter, Heinrich-Schütz-Allee 31–37, D-34131 Kassel, Germany. http://www.baerenreiter.com/ Music for strings, 2007/2008. [August 2007] 43 p. Bärenreiter facsimile: synonymous with authenticity. [March 2007] [6 p. foldout] Rudolf Kelterborn. [August 2007] 35 p. Monteverdi-editions by Rinaldo Alessandrini [August 2007] [2 p.] Johann Pachelbel: Sämtliche Vokal-werke. [February 2008] [8 p.] Opere di Gioacino Rossini. [November 2007] [8 p.] Andreas N. Tarkmann. [2008] [6 p. foldout] Louis Vierne: complete organ and piano works. [ July 2007] [4 p.] Boosey & Hawkes, see B. Schott’s Söhne. Boydell & Brewer, 668 Mount Hope Avenue, Rochester, NY 14620–2731. http://www.boydellandbrewer.com/cats.htm/ . Music, spring 2008. 29 p. Breitkopf & Härtel, Postfach 1707, D-65007 Wiesbaden, Germany. http://www.breitkopf.de/ Musiktheater, 2008. [November 2007] 128 p. Musica Rara, 2008. [ January 2008] 39 p. Wissenschaft, 2007. [2 p.] Neuerscheinungen, Frühjahr 2008. 24 p. Maurice Ravel: Breitkopf Urtext, [February 2008] [4 p.] Max Brockhaus Musikverlag, Weingärten-strasse 2, D-53242 Remagen-Rolandswerth, Germany. http://www.maxbrockhaus.de/ Verlagskatalog. [September 2006] 38 p. [End Page 172] Broude Brothers Limited, 141 White Oaks Road, Box 547, Williamstown, MA 01267–0547. http://www.broudebrothers@verizon.net/ The Broude Trust, 2008. [February 2008] [8 p.] Jean-Baptiste Lully: the Tragédies lyriques in facsimile. [2007] [4 p.] Carus-Verlag, Sielminger Strasse 51, D-70771 Leinfelden-Echterdingen, Germany. http://www.carus-verlag.com/ Chormusik bei Carus: 2850 kleinere Chorsätze. [1 February 2007] 2889 p. Fastenzeit, Passion, Ostern 2008. [December 2007] 34 p. Chorbuch: Mozart, Haydn. [December 2007] [6 p. foldout] Centro Studi Antoniani, Piazza del Santo 11, I-35123 Padova, Italy. http://www.centrostudiantoniani.it/ Catalogo, 2008. 5 p. Conners Publications, 503 Tahoe Street, Natchitoches, LA 71457–5718. http://www.music-usa.org/conners/ 2007–08 catalog. [2007] 33 p. Éditions Costallat, see Alphonse Leduc. Datamics, #40523, 1536 MacArthur Boulevard, Washington, DC 20016. http://www.datamics.com/ Music and other arts. [2008?] [4 p.] Éditions Delrieu, see Éditions Henry Lemoine. Edition Dobrev, Kiril i Metodi 36, 1202 Sofia, Bulgaria. http://www.editiondobrev@abv.bg/ Katalog, 2008. [7 p.] Emerson Edition, Windmill Farm, Ample-forth, North Yorkshire YO62 2HF, England. http://www.JuneEmerson.co.uk/ New issues, autumn 2007. [1 ℓ.] Edizioni musicale Euganea, Piazza Carrara 16–19, I-56126 Pisa, Italy. http://www.edizioniets.com/ Edizione nazionale dell’opera omnia di Alessandro Stradella. [2008?] [6 p. foldout] Falls House Press, Box 7121, Nashua, NH 03060–7121. http://www.fallshousepress.com/ Firmament Musik, Wittelsbacher Strasse 18, D-10707 Berlin, Germany. http://www...

Watford Music Centre

AbstractDavid Littlefield describes how Tim Ronalds – the architect of the much‐loved, restored Hackney Empire in London and the Landmark theatre in Ilfracombe, Devon – has, on a very tight budget, satisfied the ambitions of both the Watford Grammar School for Boys and the county council for a regional music centre. Copyright © 2008 John Wiley & Sons, Ltd.

A response to two problems in music education: the Young Australian Concert Artists programme of the Australian Youth Orchestra

Two practical problems faced by national youth organisations devoted to the transmission of European classical music-making across the generations are: (1) how to assist individual pre-professional young musicians to enter their desired career path; and (2) how, in the interests of social justice, to provide access to music-educational opportunities for young people in areas of relative geographical remoteness and cultural isolation. This article analyses the effectiveness of the urban–regional interface and educational practice of one unique partial solution to the two problems: the chamber music development and regional outreach programme called Young Australian Concert Artists (YACA), presented since 1999 by the Australian Youth Orchestra (AYO). The article analyses the programme's philosophical framework and its ethical and educational aims, as well as examining its logistics. The research indicates that its provider, AYO which fulfils government and private sector demands for full accountability, needs additional funding to enable it to fulfil its role in responding to the two problems. An assessment model is proposed, based on the expectations of YACA's six groups of stakeholders: AYO, the regional music centre, a pre-professional chamber group, professional tutors, the regional ensemble, and regional communities and audiences.

Shakespeare in New England, 2007

Shakespeare in New England, 2007 Yu Jin Ko Continuing a growing summer tradition in the Berkshires of western Massachusetts, actors from Shakespeare & Company collaborated again this summer (2007) with musicians and composers from Tanglewood Music Center on a staged reading of a Shakespeare play with full musical accompaniment. Two things in particular struck me in the course of listening to this year's performance, Macbeth. First, how fitting it felt to listen to the play's magnificent language in a concert space (Ozawa Hall) with impeccable acoustics and a physical orientation toward sound; second, how often I experienced the distressing impulse to shush the musicians. The music, as music, was in fact an engaging mix of classical and contemporary styles that reflected the collaborative effort of six Composition Fellows at Tanglewood. Ranging in mood from the eerie to the martial, it was especially effective between scenes in providing transitional soundscapes that prepared the audience for new emotional registers. However, when the music was played to underscore the words within scenes, it frequently—particularly at the most charged moments ("unsex me here," "Tomorrow and tomorrow," etc.)—became a competing, and sometimes irritating, distraction. Indeed, it was when the actors' voices alone reverberated through the hall with the music of the language that the quality of the sound was, for me, the most resonant. [End Page 161] I tell this story not to suggest that music and Shakespearean text are incompatible, but to illustrate a virtue of the acting practices associated with Shakespeare & Company and especially with its founder and artistic director, Tina Packer, who was not coincidentally Lady Macbeth in the above collaboration. The story of Tina Packer and her company has been well documented, but it is worth repeating some highlights. Packer came to America from England and, after some initial forays, founded the company in 1978 with the explicit goal of creating a classical repertory company that brought together the English training model she was exposed to (at BADA, LAMDA, and the RSC) with the emotional vigor and openness to risk-taking and self-searching that she felt to be uniquely American. As she wrote in a grant application for a project that became a precursor to Shakespeare & Company, she detected two distinct qualities in many American actors: "a vigor and directness" that made them "better able to express the depth and breadth of Shakespeare's characters," but also a certain technical neglect born of the "fear" of the "words" and the "verse" that led to their missing the rhythm of the language and thus also its "soul." Little has changed in thirty years in the philosophy, or near-evangelical fervor, behind these words, as indicated in a recent essay Packer wrote in which she emphasizes equally "the structure of the verse" and the need for actors "to consciously tap into [them]selves" to discover the character. Indeed, before doing scene work in rehearsals, Shakespeare & Company still practices the technique of "dropping in" that Packer developed with Kristin Linklater (author of Freeing the Natural Voice) in the early 1970s. In this exercise, actors are "fed" individual words and asked to repeat them as they conjure personal emotional associations with the words; the goal is to release, or free, the emotional potential buried in words—as a way of working "from the inside out" and getting beyond the artificiality of "speaking beautifully" with "pear-shaped" vowels. This kind of freely associative release is, however, coupled with rigorous text work and painstaking attention to prosody—to avoid the continuing American proclivity for shapeless brooding and outburst. After all these years, Packer is still at it and, as I certainly felt when I interviewed her, still as passionate about it as she ever has been. And that passion has paid off in many ways, especially in the influence she has exerted on Shakespeare in New England. Most visibly, actors who have trained with her can be found spreading her gospel in an eclectic range of companies and venues in productions that are equally diverse. Of course a host of other, and independent, developments and changes in everything from drama school training to audience tastes has to be taken [End Page 162] into...

Writing (British) Concert History: The Blessing and Curse of Ephemera

It has probably not escaped librarians' notice that since the mid-1990s there has been an upsurge in intellectual interest in the history of musical life in Britain from the eighteenth century onwards. This has produced a range of journal articles, books of essays, monographs, databases, and Web sites on this once highly marginalized topic. Ashgate Publishing has a series, Music in Nineteenth-Century Britain, edited by Bennett Zon; Boydell & Brewer has recently launched another, Music in Britain, 1600-1900, edited by Rachel Cowgill and Peter Holman; and the North American British Music Studies Association (NABMSA) (1) publishes a newsletter, hosts an electronic mailing list (for members only), and holds biennial conferences, and maintains an online bibliography of recent publications--to name only a few of the more visible examples. Within this broad area, concert history has become one of the more popular fields of investigation, offering opportunities to combine studies of the social, cultural, and economic structures of British musical life with the concerns of performance and reception history in their broadest senses. Among the several scholars who have contributed to this field are Jenny Burchell, Rachel Cowgill, Cyril Ehrlich, Christopher Fifield, Leanne Langley, Meredith McFarlane, Alyson McLamore, Simon McVeigh, Michael Musgrave, Roz Southey, and David Wright. (2) Collectively they have embraced many areas of inquiry, mostly concerned with art music and high culture, and ranging from the development of repertoire and patterns of taste to socioeconomic aspects of concert life, and from the functions and meanings that concerts had in people's lives to the development of ideologies about music and codes of behavior in the concert hall, some of which remain with us today. Along with all this has come a solid demonstration of the crucial importance of ephemera--that is, the detritus left after the performance event--as source material for serious concert history. Its artifacts comprise not just concert programs, but handbills, posters, tickets, newspaper advertisements and reviews, administrative records, contracts with performers, and so on--any documentation, in fact, that was associated with the business of putting live music before audiences. And the resultant concert history has strikingly demonstrated the value of ephemera, as James B. Coover put it, to illuminate people, those events, those organizations, and to vivify the history of music. (3) Admittedly, once upon a time only a few librarians and archivists bothered preserving such materials; but disdain for ephemera has long been on the wane. By 1991, Coover reckoned that the adage today's trash, tomorrow's treasure was being taken on board by most of us [American librarians], (4) just as five years earlier he had called for definitions, taxonomies, a national survey of holdings, and systems for bibliographic control. (5) In all this he held the view that British librarians had been ahead of the game in the value they placed on ephemera collections and the groundwork they had laid in this field. (6) Certainly, in the early 1990s much concert ephemera was lying in wait for British musicologists, in such collections as the John Johnson Collection at the Bodleian Library, Oxford, and--notably--the Portraits Collection (now the Centre for Performance History) at the Royal College of Music, London, and some of the first significant publications in the field were produced around this time. Since then, much more material has come to researchers' attention, as the value of concert ephemera to the scholarly community has continued to be demonstrated. Important archives (both public and private) have been purchased and opened up--witness the Royal Philharmonic Society's archive, bought for the nation by the British Library in 2002; or the papers of the musical artists' agency Ibbs and Tillett, now at the Royal College of Music's Centre for Performance History; and the archives of the Wigmore (formerly Bechstein) Hall, London, and the BBC Promenade Concerts, to which scholars have recently gained access. …

‘Branding’ Branson (Missouri, USA) World's Largest Live Indoor Entertainment Centre

Branson, a community of 8,000 permanent inhabitants, situated on the hilly Ozark Plateau of southwestern Missouri, in southerly mid-central USA, is an anomaly. Most world-famous music centres develop in cities with large government- supported venues. In Branson, with 60,000 seats and over 70 live shows per day, most theatres are performer-owned. In the past half century Branson has evolved from an early hunting-fishing tourism area into its acknowledged role as the capital of Country music. Confronted with changing tourist ages and interests, from Depression-Era senior citizens to middle-aged baby boomers, Branson is developing a new upscale image and, by ‘branding’ their name, seeks to maintain their product: good, clean fun.

Making outdoor acoustic venues ‘‘better than the real thing.’’

Traditionally-acoustic music organizations, particularly orchestras, are developing new ways to reach out to a wider audience, extend their season, and promote their music in non-traditional summer homes. Many of these outdoor venues accommodate far more patrons than the established, enclosed concert hall. Furthermore, with these larger venues comes the responsibility to enhance the performing group through amplification to satisfy the expectations of the patrons and to compensate for the vastly different atmosphere regular concert-goers are accustomed to. Electronic reinforcement is now required to accommodate the thousands more outdoors and with digital reverberation and modern recording equipment, these goals and expectations can be met with little compromise in the listening experience. This paper will discuss the role of sound reinforcement in orchestral music, focusing on the popular Tanglewood Music Center, the summer home of The Boston Symphony Orchestra, and other successful venues.

The Electroacoustic Music Studies Network

This issue of Leonardo features an article by Ben Syverson of criticalartware, the first winner of the Leonardo-EMS Award for Excellence. I offer here a brief history of the Electroacoustic Music Studies (EMS) Network to place the award in context. The EMS Network was organized to fill an important gap in the field of electroacoustic music, namely to foster better understanding of the various manifestations of electroacoustic music. EMS aims to promote and encourage musical studies on electroacoustic music and to provide a regular framework for discussion and diffusion of the results. Areas related to the study of electroacoustic music range from the musicological to more interdisciplinary approaches, from studies concerning the impact of technology on musical creativity to the investigation of the ubiquitous nature of electroacoustic sounds today. The choice to call the organization a network is of fundamental importance to our mission, as one of our goals is to make relevant initiatives more widely available. Leigh Landy, of De Montfort University’s Music, Technology and Research Centre (Leicester, U.K.), and I began the EMS Network to create a recognized platform for sharing scholarship in the field of electroacoustic music. The creation of a bilingual conference specifically focused on relevant areas seemed to us a logical first step in creating such a platform. We proposed a meeting that became part of Institut de Recherche et Coordination Acoustique/Musique’s (IRCAM) Resonances conference in 2003, entitled “Electroacoustic Musics: A Century of Innovation Involving Sound and Technology—resources, discourse, analytical tools.” This became the first EMS Network event, albeit prior to the actual launch of the EMS Network. Subsequent to this event, we were joined by Daniel Teruggi of the Groupe de Recherches Musicale de l’Institut National de l’Audiovisuel (INA/GRM). Since then the network has grown to such a point that annual conferences are now scheduled through 2011. Leonardo/OLATS has established a collaboration with the EMS Network to give an annual LeonardoEMS Award for Excellence for the best contributions to the EMS conference by emerging researchers, as decided by a joint jury. The 2006 conference was the first occurrence of this award, given to criticalartware for the presentation of their project likn. Although the main theme of the 2006 conference was language and terminology, this was not the only topic discussed. Indeed, criticalartware’s contribution was based on a rather different topic, as reflected in the paper’s original title, “likn: A Flexible Platform for Information and Metadata Exchange.” Conceived as an artwork and a sharp critical approach to Internet communication, the contribution stood out by virtue of its theoretical context and convincing implementation. As criticalartware puts it:

The Columbia—Princeton Electronic Music Center: Educating International Composers

The Columbia-Princeton Electronic Music Center (CPEMC) in New York City was established in 1959 by founding director Vladimir Ussachevsky, along with Milton Babbitt, Otto Luening, and Roger Sessions, as the first educational and creative institution of its kind in the United States. Its central role in training composers hailing from outside the United States is not widely known. Home countries of composers include Turkey, Japan, Israel, Yugoslavia, Spain, Iran, Ghana, and several in Latin America. Using interviews (conducted almost entirely by the author) and documentary sources (largely from the CPEMC archives), this article explores the personal narratives of these composers and their impact on the culture of the CPEMC and on their own future work, both musically and institutionally. Studio logs (see Figure 1) from the archives proved invaluable resources. Quotations without citation are drawn from interviews conducted by the author, detailed in Appendix A.

Women Composers and Music Technology in the United States: Crossing the Line (review)

Women Composers and Music Technology in the United States: Crossing the Line. By Elizabeth Hinkle-Turner. Burlington, VT: Ashgate, 2006. [301 p. ISBN 0754604616. $79.95.] Index, bibliography, discography, webliography. As Elizabeth Hinkle-Turner notes in her introductory overview of the history of publishing about women and music, this history contains lacunae regarding avantgarde women composers, particularly of the post-World War II period. Her recent Women Composers and Music Technology in the United Stales makes great headway in filling these gaps and is the most substantial publication to date to investigate the achievements of women composers of electroacoustic music, defined as [music] which uses technology as a tool and gives the composer access to virtually any sound (p. 5). Hinkle-Turner brings her experience as a composer of such music to this project. She received her D.M.A. in music composition from the University of Illinois at UrbanaChampaign, served as acting director of the electronic and computer music studios at Florida International University and the Experimental Music Studios at the University of Iowa, and currently teaches twentiethcentury music and multimedia applications in music theory in the University of North Texas, College of Music. Hinkle-Turner builds on earlier, more narrowly focused publications in her survey of approximately 150 electroacoustic works by more than 100 women composers in the United States, including music educators, independent artists, and technological inventors, and covers the period from the 1930s to the present. While most of the composers were born in the United States, a few are included who were born elsewhere, but have worked extensively here and are essential to its history of electroacoustic music, e.g., Annea Lockwood (New Zealand), Thea Musgrave (Scotland) and Jin Hi Kirn, and Insook Choi (South Korea). Discussions include biographical information, particularly as it sheds light on the conception and creation of the composers' music; analyses of works; technical reviews of equipment and construction methods when deemed helpful in understanding a work; and composers' reflections on working as a woman in the world of music technology. Most of HinkleTurner's research draws on the primary sources of interviews, personal correspondence, the composers' writings, and unpublished vitas, biographies, and program notes sent to her by the composers. While Hinkle-Turner focuses on the period from the 1930s onward, she opens her second chapter Precedents and Pioneers with mention of Lady Ada Lovelace (18151852), who contributed to the work of Charles Babbage, inventor of the first calculating machine, the Difference Engine. According to Hinkle-Turner, Lovelace was the first person to suggest that such a machine might write music, thus constituting the earliest known connection between women and electroacoustic music. HinkleTurner moves forward through time with an overview of experimentation with various music machines, observing that GermanAmerican composer Johanna Magdalena Beyer (1888-1944) scored one of the first pieces for purely electronic instruments, Music of the Spheres (1938), an interlude piece for Beyer's opera Status Quo. Incorporated into Hinkle-Turner's survey of composers is a discussion of organizations that were crucial to the development of electroacoustic music composition. During the World War II era, technological advances led to the creation of large communication centers such as the Office de radiodiffusion et television francais (Paris) and Westdeutscher Rundfunk (Cologne, Germany). In United States academia, Columbia and Princeton universities collaborated in 1959 to create the ColumbiaPrinceton Electronic Music Center (CPEMC), whose example stimulated the establishment of additional academic studios such as those at the University of Illinois (1959), the University of Toronto (1959), the San Francisco Tape Center (1962), and Mills College (1966). …

Enhancing Student Employability?

PALATINE, the Higher Education Academy Subject Centre for Dance, Drama and Music, received dedicated HEFCE funding (2003-2004) to address issues surrounding graduate employability, particularly focusing on the distinctive features of the labour market in the performing arts and creative industries. In the world of the Arts, the job market is very competitive and employment prospects for graduates are relatively uncertain. Career paths in this field are also very different from traditional career models in other industries. Despite the fact that performing arts courses have been listed at the lowest end of university league tables for graduate employment, this article demonstrates that courses in dance, drama and music are generally providing excellent preparation for the demands of the creative industries.

群馬音楽センターの実現化要因と計画経緯の先駆性

The aim of this study is to clarify how the between the performing-arts center and urban situation through the case study of Gunma Music Center. The findings are summarized as follows; 1) Preceding to the project, the performing-arts activity motivate the citizens to create their own music center. 2) The concept and the characteristics of the project was defined in the initial stage of the planning. 3) The citizens have opportunities to join the project through the collection of contributions, the explanatory meeting and the local media. 4) The relationships was cooperative enough to make the planning process advanced in the history of Japan performing-arts center.

Using Embedded Music Therapy Interventions to Support Outdoor Play of Young Children with Autism in an Inclusive Community-Based Child Care Program

For young children with autism enrolled in community-based inclusive child care programs, outdoor play can be a major challenge. The aim of this music therapy intervention was to improve peer interactions and meaningful play on the playground for four boys with autism by adding an outdoor music center and using original songs composed for each participant. A collaborative approach was used to support the implementation of the intervention by the children's teachers, engaging classroom peers as formal and informal helpers. The effects of the interventions were examined using a multiple baseline design with four conditions replicated across the four children. The results indicate that the musical adaptation of the playground itself did not improve social interactions of children with autism significantly, but it facilitated their play and involvement with peers by attraction to the sound and opportunity to use the instruments. The song interventions produced desirable peer interaction outcomes, and the collaborative consultative approach enabled teachers to implement interventions successfully in ongoing playground routines. In addition, peer-mediated strategies increased peer interactions and meaningful play on the playground.

Complete Unaccompanied Madrigals (review)

Luzzasco Luzzaschi. Complete Unaccompanied Madrigals. Edited by Anthony Newcomb. Middleton, WI: A-R Editions, Inc., c2003-4. (Recent Researches in the Music of the Renaissance, 136, 139.) [Pt. 1, Quinta libra de' madrigali a cinque voci (Ferrara, 1595); Sesto libro de' madrigali a cinque voci (Ferrara, 1596); Settimo libra de madngali a cinque voci (Venice, 1604): Abbrevs. and sigla, p. viii; acknowledgments, p. ix; introd., p. xi-xxii; texts, trans., and commentary, p. xxiii-lviii; 7 plates; score (including transcriptions and trans. of dedications), 136 p.; crit. report, p. 137-45; appendix, p. 147-84. ISBN 0-89579-535-3. $93. Pt. 2, Il quarto libro de' madrigali a cinque voci (Ferrara, 1594) and Madrigals Published Only in Anthologies, 1583-1604: Abbrevs. and sigla, p. vii; acknowledgments, p. viii; introd., p. ix-xviii; texts, trans., and commentary, p. xix-xli; 4 plates; score (including transcription and trans. of dedication), 116 p.; crit. report, p. 117-23; appendix, p. 125-63. ISBN 0-89579-558-2. $76.] Appendix to pt. 1 includes settings of Ecco, o dolce, o gradita (by Alessandro Striggio, Pomponio Nenna) ; Se parti to mom (by Giuseppe Palazzotto e Tagliavia); Puo ben fortuna (by Paolo Bellasio); O sei geloso Amante (by Antonio Il Verso); Sorge la vagh'aurora (by Scipione Lacorcia); Cor mio, benche lontana (by Ruggiero Giovannelli); and Questa vostra pietate (by Giovanni de Macque, Giovanni Del Turco). Appendix to pt. 2 includes settings of Tra le dokezze (by Scipione Lacorcia); Mentre la notte (by Paolo Virchi, Filippo di Monte); lo v'amo [t'amo], anima mia (by Bernardino Bertolotti, Scipione Lacorcia); and Dolorosi martir (by Alessandro Striggio, Giovanni Maria Nanino, Francesco Soriano). In the half century since the publication of Alfred Einstein's The Italian Madrigal (3 vols., trans. by Alexander H. Krappe, Roger H. Sessions, and Oliver Strunk [Princeton: Princeton University Press, 1949; reprint 1971]), the complete works of most of the principal madrigal composers of the late sixteenth century have become available in modern editions. Luzzasco Luzzaschi (1544/5-1607) has until now been a glaring exception. When finished, Anthony Newcomb's edition of Luzzaschi's complete unaccompanied madrigals for the series Recent Researches in the Music of the Renaissance will fill a major lacuna in the field and make available for the first time a body of works that played a crucial role in the musical culture of their time. Luzzaschi is best known today for his Madrigali. . . per cantare et sonore a uno, e doi, e Ire soprani (Rome: Simone Verovio, 1601), which has been available in modern edition since 1965 (ed. Adriano Cavicchi, Monument! di musica italiana, ser. 2: Polifonia, vol. 2 [Brescia: L'Organo]), but the bulk of his surviving output consists of unaccompanied madrigals: seven books for five voices (1571-1604) and an additional six pieces for four to six voices that appeared only in anthologies. Part 1 of this edition, published in 2003, contains books 5-7, and part 2 includes book 4 and the pieces from the anthologies. A-R Editions has not yet published volumes 3 and 4 devoted to books 1-3. Luzzaschi was a figure of central importance in the late-sixteenth-century madrigal. A student of Cipriano de Rore (1515/ 6-1565), mentor of Carlo Gesualdo (ca. 1561-1613, who was said to have feared competition from no one else), celebrated organist, and teacher of Girolamo Frescobaldi (1583-1643), he served as director of music under the music-loving Duke Alfonso II at the court of Ferrara, one of the most prestigious musical centers of the time. He was widely admired by his contemporaries; Claudio Monteverdi (as related by his brother Ciulio Cesare Monteverdi in his 1607 edition of Claudio's Scherzi musical: a tre voci) included him among such luminaries as Rore, Marc'Antonio Ingegneri (1535/6-1592), Giaches de Wert (1535-1596), and Luca Marenzio (1553/4-1599) as a pioneer of the seconda prattica (Explanation of the Letter Printed in the Fifth Book of Madrigals, in Source Readings in Music History, ed. …

Reconstructing Cluniac music: Bryan Gillingham, Music in the Cluniac ecclesia: a pilot project (Ottawa: Institute of Medieval Music, 2006), $96

The music cultivated by the Cluniacs in the Middle Ages has been practically obliterated since the Reformation. The Cluniacs were monks and nuns whose way of life was based on the Benedictine rule, from which they developed their own distinct customs. Like the Cistercians, whose daughter houses were spread across Europe, the ‘Cluniac Ecclesia’ as a whole was based on an administrative network of monasteries of many different levels of income and status, some closely supervised by the ‘mother house’, others maintaining only a distant relationship. Between the founding of Cluny in 909 and the end of the 12th century, well over one thousand monasteries were built by or absorbed into the Ecclesia, including sites in France, England, Scotland, Italy, Germany and Spain. Musicologists have neglected Cluny as a musical centre because of the almost complete destruction of its building and possessions, largely between the 16th and 18th centuries, during which period over 5,000 books were lost, including liturgical manuscripts and possibly other music-related sources. Little hard evidence survives of what sort of music the wealthy monks of Cluny sang, but Bryan Gillingham is keen to argue that a place that invested so lavishly in its architecture and in the visual arts would not have lacked ‘music of the greatest magnificence’ (p.100). It is an opinion with which readers may already be familiar from the author's previous publications, and the present book goes over some of the same ground in terms of its content and the sources consulted.