Transcendence and Immanence in the Compositional Fabric of Schönberg's Moses und Aron

Transcendence and Immanence in the Compositional Fabric of Schönberg’s Moses und Aron

Author: Kurth, Richard
Publication details: Symposium Arnold Schönbergs Moses und Aron—Aufgabe des Übersetzens, sponsored by the Wissenschaftskolleg zu Berlin, at the Staatsoper Unter den Linden, Berlin

Journey

Artist: Columbus State University Wind Ensemble

Featured Faculty Composer: Dorothy Chang, Sunan Dances

Recording details:

Summit Records, 2005

Link

Mussorgsky & Stravinsky: Music for Two Pianos

Artists: Mark Anderson and Tamariko Siprashvili

Recording details:

“These are very fine performances with plenty of virtuosity and a lovely burnished tone”— JAMES LEONARD, ALLMUSIC (ALLMUSIC.COM)

Nimbus Records, 2004

Rhythmic Process and Form in Bartók’s ‘Syncopation’

Author: R oeder, John
Publication details: College Music Symposium, Vol. 44 (2004), pp. 43-57
Weblink: http://www.jstor.org

Preserving authentic interactive digital artworks: case studies from the InterPARES project

Author: R oeder, John
Publication details: International Cultural Heritage Informatics Meeting: Proceedings from ichim04 (Berlin). CD-ROM. Toronto: Archives & Museum Informatics.
Weblink: http://www.interpares.org

Landscape and Soundscape: Geomantic Spatial Mapping in Korean Traditional Music

Author: Hesselink, Nathan and Petty, Jonathan

Publication details: Journal of Musicological Research 23.3/4:265-88 (2004)
Weblink: www.tandfonline.com

Abstract:

It is known that music perception maps musical parameters against a cognitive template derived from physical spatial perception such that music is experienced in terms of space. Recent research suggests that the spatial dimension of music is gen- eral, but varies according to the way different societies construct different shared cultural spaces. The culturally specific East Asian spatial template of geomancy (feng shui in Chinese, p’ungsu in Korean) can be related to the structures of several genres of Korean music, with geomantic influences exerted on the constructions of Korean performance spaces, rhythmic patterns, and pitch sets. Knowing how such practices penetrated and spatialized aspects of Buddhist, Confucian, Shaman, and even secular musical activity alike provides a powerful new interpretive tool for understanding Korea’s multifaceted soundscape.