archive-com.com » COM » A » AARONHOLLOWAYNAHUM.COM

Total: 624

Choose link from "Titles, links and description words view":

Or switch to "Titles and links view".
  • DiMenna Center » aaronhollowaynahum.com
    outside of the UK Sandbox Percussion s performance as part of Kettle Corn New Music at the DiMenna Center in NYC No Comments Blog Writing Tagged DiMenna Center I Care If You Listen Kettle Corn New Music NYC Review Sandbox Percussion Latest News Remember Me Part IV Performances Remember Me Part IV Premiere AIDF Anything But Real Time Premiere LSO Soundhub Atea Quintet Brighton Festival Event Calendar Jan Mar February

    Original URL path: http://www.aaronhollowaynahum.com/tag/dimenna-center/ (2016-02-08)
    Open archived version from archive


  • I Care If You Listen » aaronhollowaynahum.com
    DiMenna Center I Care If You Listen Kettle Corn New Music NYC Review Sandbox Percussion ICIYL Review Arditti Quartet at 40 My latest review over at I Care If You Listen com is a review of the first concert from the Arditti Quartet 40th Birthday Weekend over at Milton Court No Comments Blog Writing Tagged Arditti Quartet I Care If You Listen Milton Court Review ICIYL CD Review Resounding Earth My latest review over at I Care If You Listen com is a review of Third Coast Percussion s CD DVD of Augusta Read Thomas Resounding Earth No Comments Blog Writing Tagged Augusta Read Thomas I Care If You Listen Resounding Earth Review Third Coast Percussion BBCSO Sounds from Japan Review I m hugely excited to be joining the writing team at the contemporary music blog I Care If You Listen My first post was a review of the recent BBC Symphony Orchestra Total Immersion Sounds from Japan day at the Barbican Centre and LSO St Luke s I m looking forward to writing more reviews in particular of No Comments Blog Writing Tagged BBC Symphony Orchestra I Care If You Listen Japan Live Music Review Total Immersion Latest News

    Original URL path: http://www.aaronhollowaynahum.com/tag/i-care-if-you-listen/ (2016-02-08)
    Open archived version from archive

  • Review » aaronhollowaynahum.com
    I Care If You Listen com is a review of the first concert from the Arditti Quartet 40th Birthday Weekend over at Milton Court No Comments Blog Writing Tagged Arditti Quartet I Care If You Listen Milton Court Review ICIYL CD Review Resounding Earth My latest review over at I Care If You Listen com is a review of Third Coast Percussion s CD DVD of Augusta Read Thomas Resounding Earth No Comments Blog Writing Tagged Augusta Read Thomas I Care If You Listen Resounding Earth Review Third Coast Percussion Written on Skin Review My review of the Royal Opera House s closing night performance of George Benjamin and Martin Crimp s Written on Skin is now up on I Care If You Listen Librettist Crimp describes Written on Skin in the programme notes as a hot story set within a cold frame and Benjamin approached his setting in very much this way In his music the No Comments Blog Writing Tagged Covent Garden George Benjamin Live Music Martin Crimp Review Royal Opera House Written on Skin BBCSO Sounds from Japan Review I m hugely excited to be joining the writing team at the contemporary music blog I Care If You Listen My first post was a review of the recent BBC Symphony Orchestra Total Immersion Sounds from Japan day at the Barbican Centre and LSO St Luke s I m looking forward to writing more reviews in particular of No Comments Blog Writing Tagged BBC Symphony Orchestra I Care If You Listen Japan Live Music Review Total Immersion Review Published Aaron s review of the the ELISION Ensemble s Out Here Map of Possibilities concert at King s Place 6 December 2010 has been published in the second issue of Pulse You can read the full text of the

    Original URL path: http://www.aaronhollowaynahum.com/tag/review/ (2016-02-08)
    Open archived version from archive

  • ICIYL Review: Arditti Quartet at 40 » aaronhollowaynahum.com
    Tagged Arditti Quartet I Care If You Listen Milton Court Review 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 Required fields are marked Comment Name Email Website Latest News Remember Me Part IV Performances Remember Me Part IV Premiere AIDF Anything But Real Time Premiere LSO Soundhub Atea Quintet

    Original URL path: http://www.aaronhollowaynahum.com/iciyl-review-arditti-quartet-at-40/ (2016-02-08)
    Open archived version from archive

  • Arditti Quartet » aaronhollowaynahum.com
    the first concert from the Arditti Quartet 40th Birthday Weekend over at Milton Court No Comments Blog Writing Tagged Arditti Quartet I Care If You Listen Milton Court Review Latest News Remember Me Part IV Performances Remember Me Part IV Premiere AIDF Anything But Real Time Premiere LSO Soundhub Atea Quintet Brighton Festival Event Calendar Jan Mar February 2016 M T W T F S S 1 2 3 4

    Original URL path: http://www.aaronhollowaynahum.com/tag/arditti-quartet/ (2016-02-08)
    Open archived version from archive

  • Augusta Read Thomas » aaronhollowaynahum.com
    Coast Percussion s CD DVD of Augusta Read Thomas Resounding Earth No Comments Blog Writing Tagged Augusta Read Thomas I Care If You Listen Resounding Earth Review Third Coast Percussion Latest News Remember Me Part IV Performances Remember Me Part IV Premiere AIDF Anything But Real Time Premiere LSO Soundhub Atea Quintet Brighton Festival Event Calendar Jan Mar February 2016 M T W T F S S 1 2 3

    Original URL path: http://www.aaronhollowaynahum.com/tag/augusta-read-thomas/ (2016-02-08)
    Open archived version from archive

  • Blog » aaronhollowaynahum.com
    Archery 2014 Aspen Music Festival June 16 2014 10 00 am to August 17 2014 5 00 pm I m very pleased to have been offered and to have accepted a full scholarship to attend and study at the 2014 Aspen Summer Music 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 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 5 Technical Books Every Composer Should Own I m a rather avid collector of books and unsurprisingly a large number of my books are either directly or indirectly connected to my work as a musician Over the next few weeks I m going to bring together a couple of lists of books that help inspire and challenge me as a composer As someone who has also spent some time presenting concerts and conducting new music I believe that the one thing all composers share in 2014 is the need for a rock solid technique Rehearsal time is too fleeting and the economic realities of our profession too pressing to waste time and energy creating music that is unintentionally imprecise or obtuse The books below are a suggested starting place for a contemporary composer s library of technical books They will not always provide creative drive or inspiration though they certainly can but will instead help a composer develop a rigorous technique with the fundamental tools that allow a composer to write their music in the clearest most practical way possible 1 Behind Bars Elaine Gould Notation What size should my staves be in an orchestral score What is the correct order of technical instructions in a string part How do I notate note values that do not divide according to standard beat division How should I notate a pedal buzz on the harp Every experienced composer will have encountered the complaint that computer notation software while incredibly useful seems to be creating a generation of composers who have lost basic notation skills I ve recently noticed more and more young composers taking to Facebook to throw notation questions to the crowd and am always amazed at how stubborn impassioned and I must say downright wrong much of the advice that comes back through these posts really is With this in mind every composer should race to get this encyclopaedic treatise by Elaine Gould the Senior New Music Editor at Faber Music since 1987 Moreover more than just a place where I can go to read about notation I have discovered numerous instrumental techniques I d never heard of before finding a description of their notation in Behind Bars It is an admittedly expensive place to start but especially considering the growing number of digital orchestration resources now available it is absolutely the first and most important book any composer should own A sample page from Behind Bars discussing technical notations in string parts 2 An Orchestration Book There are any number of adequate orchestration books It can be tremendously useful for a composer to own a few of these books and to take the time to read each chapter on a particular instrument when starting a new solo or chamber piece If I had to pick of the orchestration books I currently own which include Adler Piston Rimsky Korsakov Brant and Del Mar I d recommend a composer begin with Blatter s Instrumentation and Orchestration All orchestration books will give you a largely similar short background on the instrument discussion of its physical characteristics and some generally minor discussion of possible effects and extended techniques Blatter s book is thorough and in my experience the most accurate of the texts I also appreciate and have greatly benefited from Blatter s chapters on transcription and scoring for some of the more common ensembles 3 How to Write for Percussion Samuel Solomon Of all the instruments to write for in the orchestra none is harder to master than percussion Percussionists play about a hundred standard instruments followed by about a million other instruments from around the world This is only slight hyperbole Each of these instruments has their own idiosyncrasies including notation tuning if they are pitched range and mallets It is easy for a composer to fall in love with a sound say a gong dipped into water without ever thinking about just how big a bucket you need to successfully dip that gong into just how heavy that bucket becomes when filled with enough water to create the effect and just how hard it will be to carry that bucket from the nearest bathroom up three flights of stairs to the concert stage True story Percussionists must find borrow purchase the instruments you want incorporate them into what is likely a totally new set up and then learn to play them to a reasonably high standard They do this while standing further from the music than any other musician often moving from one stand to another mid performance Don t forget to count Even all of this just scratches the surface of the complexity that comes in writing for percussion instruments and so it is well worth every composer s time to sit down with Solomon s book and think deeply about the concrete physical challenges that face every percussionist and the clearest and most practical way to achieve what they want in their music 4 The Technique of my Musical Language Olivier Messiaen trans John Satterfield Messiaen is obviously widely regarded as one of the most important composers of the 20th Century and he was also an incredibly important and influential teacher his students included Boulez Xenakis Stockhausen George Benjamin etc This book includes chapters detailing Messiaen s rhythmic melodic harmonic and formal techniques along with

    Original URL path: http://www.aaronhollowaynahum.com/category/blog/page/3/ (2016-02-08)
    Open archived version from archive

  • Getting it Right – Final Round Tables » aaronhollowaynahum.com
    no It s an ongoing dream I have Benjamin emphasized his own personal love for the orchestra while highlighting two big challenges facing orchestral composers today 1 Because the ensemble and possibilities are so big you have to work very hard to avoid an ordinary orchestral sound In a way the more instruments you add the more uniform the whole sound becomes This takes real imagination Yet Benjamin also called this the most exciting aspect of the orchestra with so much energy and so many people pulling together in a single direction there is nothing else like it in the world today 2 The current tendency to subdivide strings and write with a certain rhythmic complexity has raised texture unnaturally high in the musical heierarchy and as a result the melodic aspects of many contemporary pieces are weak too weak to really carry the music Causton then turned the conversation to writing for soloists with orchestra Both agreed that Mozart is the very best composer of concerti and both eschewed the idea of a single performer in front with the orchestra behind as an idea not of our time Benjamin called writing his concerto I assume he meant his piano concerto Duet 2008 one of the most difficult things he s ever had to do while putting in the caveat that he feels very differently about writing for voice which he described as a beautiful challenge to combine with instruments The final panel of the day chaired by Helena Gaunt brought together all the aformentioned composers along with Andrew Kurowski BBC Radio Kurowski began the discussion surprisingly by saying that commissioning at the BBC is not really a manner of money The BBC broadcast all of their commissions and so there are a number of other variables and a huge

    Original URL path: http://www.aaronhollowaynahum.com/getting-it-right-final-round-tables/ (2016-02-08)
    Open archived version from archive



  •