Musical performance - The 20th century and beyond | pugliablog.info
Are you an artist / writer / singer / actor? MUSICIAN'S CAREER QUIZ a new century, a new economy, and the music business has changed dramatically. Love and relationship quizzes - Which music star is your lover? +. In such compositions, the roles of composer, performer, and listener are consolidated in a single participant, who in interaction with others arrives at an art work. I'm proud of these, as well as my presence as featured artist in residence at weekly: a catalyst for an elementary school teacher to change her curriculum; percussion music, and deliberately ludic inter-performer relationships. and indeterminate enterprise, a veritable fusion of the composer-performer partnership.
In my work deliberately pitched at more specialized elite, esoteric audiences these precious prizes remain comparatively elusive. Emerging from these diverse artistic enterprises is an abiding constellation of comingling interests: The body of work continues to demonstrate an almost religious commitment to syntheses of rigor and whimsy, gravity and levity.
My Concerto for Florist exhibits a similarly playful vibe. The latter observation is the more useful one because it compels me to cogitate on what an intermediate and advanced level would be in its culture of one, or what kind of mannerist state of the art I might concoct out of absent pre-classic and classic antecedents.
And Rabbit Hole, a fastidious, contrapuntal work based on page turns and making almost no sound, is so carefully wrought with fussy details that it preemptively defends against detractors who might say it is just a silly idea.
It is a silly idea; but it is a highly considered, elaborately manicured one that took two years to construct.
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Other ensembles have recorded my work on at least six commercial CDs that I know of with more in storeand there are now dozens and quite possibly hundreds of performances on YouTube by performers from around the globe. So it seems that my international visibility has expanded considerably since tenure.
Probably the most performed work is Aphasia for hand gestures and tape. SinceI know of almost performances in 17 countries, and not a week goes by without a request from a new performer. Aphasia can be played by anyone, but it is typically performed by percussionists—folks with plucky dispositions and the native urge to acquire new techniques.
Since the midth century the established performance situation has moved from the formal, ritualized event of the past to a more informal and spontaneous type of gathering. The interaction of various media has led to new art forms and circumstances. Many artists have attempted to create performance situations that actively involve as participants all those in attendance.
Musical performance - The 17th and 18th centuries | pugliablog.info
In such compositionsthe roles of composer, performer, and listener are consolidated in a single participant, who in interaction with others arrives at an art work, which all have invented, realized, and perceived, and which can never take place in exactly the same way again. On the other hand, the ever-increasing use of technology has intensified the problem of evaluating the meaning and effect of electronically produced and assembled performances that, in their totality, never took place at all and possibly never could.
The electronic media continue to improve so that anyone may be able to select chamber, concert, opera, and other new types of performance from anywhere in the world, experiencing them through nearly lifelike reproduction facilities. Vast numbers of people may study performance skills via two-way transmission with great artists. The number of actual public performing events may decrease as private musical performance increases.
Non-Western musical performance traditions South Asia Although classical South Asian or Indian musicians usually perform in a concert situation quite analogous to that of Western artists, their audiences respond to them quite differently: Similarly, Western development away from large performing groups such as the full orchestra reflects—or at least parallels—the more intimate character of Indian music, the basic texture of which usually involves a quite small group of performers: The players often engage in a kind of competition not unlike that of Western jazz groups.
If there is singingthe style of performance is low and soft, in contrast to that of Indonesian classical vocalism. Southeast Asia The gamelan is at the centre of the art-music tradition of Indonesia.
In other areas, standardization and codification were the trend. The place of improvised embellishment and variation was further circumscribed, limited in general to such recognized spots as repeated sections in binary and da capo forms, slow movements of sonatas and concertos, and cadences. Instrumental tutors by famous performers were important and widespread.
The foundation of public concerts increased, and orchestras all over Europe followed the pattern set by the famous ensemble maintained by the elector of the Palatine at Mannheimwith its standard size about 25 and new style of performance with dramatic dynamic effects and orchestral devices e.
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The Mannheim composers also hastened the decline of the improvised thorough bass by writing out harmonic filler parts for the violas; conducting from the keyboard nevertheless remained standard practice into the 19th century. Meanwhile, entrepreneurial speculation was finally supplanting aristocratic patronage as the economic base for concert activity. It reached its zenith and was the primary factor in all music performance in the 19th century.
Mozart and Beethoven were famous concert pianists before they were famous composers, and succeeding generations saw a large number of piano virtuosos traveling throughout Europe and, later, North and South America.
The tradition of the star singer was of course much older, and it continued; one new development was that of the claquer, paid by the star for his applause.
The independent conductorsas distinct from first violinists or continuo players, emerged from the body of the orchestra during the first half of the 19th century, and the development of conductors as lionized figures of the 20th and 21st centuries was swift. The result of the enormous widening of concert activity and of the increasingly international reputations of performers was an even further standardization of performance practice.
Eighteenth-century concern with appropriateness and taste in embellishment yielded to emphasis on clarity and evenness of touch, purity of intonation, and accuracy of execution.
Real improvisation in music would not re-emerge until the 20th century—in jazz.