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  • Josef Albers » aaronhollowaynahum.com
    me that they ve learned far more about composition from non musical books and artists than they ever did from other composers I wonder if some of No Comments Blog Writing Tagged 101 Things I Learned in Architecture School Alexander Goehr Anne Lamott Bird by Bird composer composition Finishing the Hat Guildhall School of M Josef Albers London Sinfonietta Look I Made a Hat Music Non Musical Non Technical Samantha Fernando The Interaction of Color Zen in the Art of Archery Interaction LSO Soundhub May 31 2012 10 00 am to 1 00 pm June 22 2012 7 30 pm to 10 30 pm Currently through the LSO Soundhub I am working on a piece for Lorenzo Iosco principal bass clarinet of the LSO and Dave Worswick LSO first violins that responds to Josef Albers book The Interaction of Color The work is aiming to translate Albers discussion of visual phenomenon into music and I will be blogging about No Comments Blog Events News Performances Tagged Dave Worswick Interaction Josef Albers Lorenzo Iosco LSO Soundhub LSO St Luke s Latest News Remember Me Part IV Performances Remember Me Part IV Premiere AIDF Anything But Real Time Premiere LSO Soundhub Atea

    Original URL path: http://www.aaronhollowaynahum.com/tag/josef-albers/ (2016-02-08)
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  • Music » aaronhollowaynahum.com
    spent with the orchestra and wanted 4 Comments Blog Events Writing Tagged Alexandra Gardner BBC Symphony Orchestra Ben Oliver composition Dynamics Embedded Learning Listening Microtones Music New Music Box Orchestral Music Recordings Rehearsals Sound and Music Tom Coult Issuu A self publishing tool I was recently pointed to the fantastic new music blog 5 against 4 which has completed a series of posts on James Dillon s Nine Rivers While reading the final post I came upon to my amazement a searchable and scalable online PDF of the full score Following the link I was taken to the website Issuu An online 2 Comments Blog Writing Tagged Contemporary Copyright Downloads Ensemble Amorpha Issuu Music Self publishing Skin and Bones On the performance of a score The most recent Contemporary Music Review takes up the question of impossible music The word impossible is explored in a number of different ways across eight engaging articles The second of these articles by Simon Clarke is about music that is so called impossible to read The abstract of the article is a good summary of the nature of No Comments Blog Writing Tagged Adorno Bataille Contemporary Music Review Derrida Impossible Music Music Simon Clarke

    Original URL path: http://www.aaronhollowaynahum.com/tag/music/page/2/ (2016-02-08)
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  • Getting it Right? 2013 – Richard Causton » aaronhollowaynahum.com
    wrote this passage freely but eventually realised that it would last 27 seconds at the indicated tempo in performance it was slightly faster reproduced with the composers permission There was not quite as much discussion around the creative process of the work but this is likely because Causton s experience was or at least sounded much more agreeable than Philips experience had been with Out of Light Causton observed that as he has aged he has found he is able to write more complex music by keeping things more simple quavers crotchets minims on the page Causton worked on the piece for some 18 months and had a number of workshops and rehearsals with the European Union Youth Orchestra that fed into many aspects of the piece In fact his desire to create a gunshot that temporarily silences the music was not successfully realised until the third performance of the work and I wonder if youth orchestra commissions though the EUYO are a particularly strong youth orchestra for obvious reasons should not be somewhat more coveted than they seem to be in the professional world of composers No Comments Blog Getting it Right Live Blog Tagged 20x12 European Union Youth

    Original URL path: http://www.aaronhollowaynahum.com/getting-it-right-2013-richard-causton/ (2016-02-08)
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  • 20×12 » aaronhollowaynahum.com
    an overview of the background behind the work including a discussion of poet William Blake Twenty Seven Heavens is based on Blake s Jerusalem in which the No Comments Blog Getting it Right Live Blog Tagged 20x12 European Union Youth Orchestra Jerusalem New Music PRS Richard Causton Twenty Seven Heavens William Blake Latest News Remember Me Part IV Performances Remember Me Part IV Premiere AIDF Anything But Real Time Premiere

    Original URL path: http://www.aaronhollowaynahum.com/tag/20x12/ (2016-02-08)
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  • Richard Causton » aaronhollowaynahum.com
    New Music PRS Richard Causton Twenty Seven Heavens William Blake Embedded Induction Day Yesterday was the first day of the Sound and Music 2012 13 Embedded Scheme with the BBC Symphony Orchestra The centrepiece of the scheme is an 12 commission for the orchestra with two workshops with the full orchestra in March and April before a final public performance at BBC Maida Vale Studios in November 2013 Our No

    Original URL path: http://www.aaronhollowaynahum.com/tag/richard-causton/ (2016-02-08)
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  • 2014 Aspen Music Festival » aaronhollowaynahum.com
    at the festival include Steven Stucky George Tsontakis and Christopher Theofanidis It s looking to be a very excited and very beautiful summer No Comments Blog Events News Tagged 2014 Aspen Music Festival Christopher Theofanidis composition George Tsontakis Scholarship Steven Stucky Leave a Reply Click here to cancel reply Name required Mail will not be published required Website Leave a Reply Cancel reply Your email address will not be published

    Original URL path: http://www.aaronhollowaynahum.com/2014-aspen-music-festival/ (2016-02-08)
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  • BBCSO Embedded: Reflections & 2nd Workshop » aaronhollowaynahum.com
    case in a live room Even when just the violin sections of an orchestra play softly there are still some thirty players includedacross a very large physical space Conversely most modern recordings will have an individual microphone for every player of the wind section proportionally increasing the clarity and presence each of these players can have in the recording You can see from my correction markings on a single page of the first workshop score that I had made a lot of mistakes in this area I ve now hung that phrase written in large letters on a paper hung above my drafting table What is this Clarify When I was in America professional orchestral rehearsals weren t really something I found many opportunities for but this Embedded Scheme has already allowed me to attend more than two dozen rehearsals with the BBCSO and the LSO Soundhub Scheme allows even associate members to attend LSO rehearsals Student composers becomes associate members and spend every day you can at LSO rehearsals Write to orchestral managers and ask if you can come to some rehearsals This is the time in your life when you have the hours available to dedicate to this and your technique will thank you 2 In chamber music dynamics can be colours in orchestral music dynamics are dynamics In much of my string writing for the first workshop I was using dynamics to indicate the emotional rise and fall of the line while in the wind parts I was often using dynamics to suggest the character or colour of the music In chamber music though the musicians have a much larger part of the whole and so can be more active in balancing themselves correctly with the overall ensemble A piano colour within an overall mezzo forte makes a lot of sense in chamber music and experienced musicians do this intuitively In the orchestra the players play the dynamics and look elsewhere accents tempi written indications in the music for character So in orchestral music treat dynamics as dynamics and be very careful to take time calculating the volume of sound you need well apart from the timbre you are after One other interesting thing that came out of the workshop was noticing that as the number of dynamics increases so does the overall volume This can be used to advantage of course but in my piece the detail in trying to mark every shift from p mp and back again was making everything far too overwrought 3 A little more of a niche point Microtones Notate in flats and listen for drift in chords Microtones are still far from standard practice even in an orchestra as experienced with them at the BBCSO It is well worth thinking about which notation you use to indicate the note you are after In general all of the wind players felt strongly that the microtones should be notated as lowered rather than raised pitches They also played much more accurately when

    Original URL path: http://www.aaronhollowaynahum.com/bbcso-embedded-reflections-2nd-workshop/ (2016-02-08)
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  • 2014 » aaronhollowaynahum.com
    Festival I ll be writing a new orchestral piece after my work with the BBCSO this past year and a new chamber work for the Aspen Contemporary Ensemble Faculty at the festival No Comments Blog Events News Tagged 2014 Aspen Music Festival Christopher Theofanidis composition George Tsontakis Scholarship Steven Stucky Latest News Remember Me Part IV Performances Remember Me Part IV Premiere AIDF Anything But Real Time Premiere LSO Soundhub

    Original URL path: http://www.aaronhollowaynahum.com/tag/2014/ (2016-02-08)
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