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  • Ben Oliver » aaronhollowaynahum.com
    Sound and Music Tom Coult Embedded BBCSO October 2 2012 10 30 am to 10 30 pm October 8 2012 8 00 am to 6 00 pm I m really pleased to announce that through Sound and Music I ve been selected as one of three composers to be Embedded with the BBC Symphony Orchestra in 2012 13 The other composers selected were Tom Coult and Ben Oliver It s

    Original URL path: http://www.aaronhollowaynahum.com/tag/ben-oliver/ (2016-02-08)
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  • Written on Skin: Review » aaronhollowaynahum.com
    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 hot centre are the voices They are virtually omnipresent in the opera and often times appear to be singing with only the sparsest accompaniment from the orchestra Benjamin knew the exact voices to be employed in the premiere production when he was writing the opera This comes through clearly as the voices spread out over their full ranges interweave perfectly in a number of stunning duets and trios and come back time and again to their most colourful and expressive notes You can read the full review here No Comments Blog Writing Tagged Covent Garden George Benjamin Live Music Martin Crimp Review Royal Opera House Written on Skin Leave a Reply Click here to cancel reply Name required Mail will not be published required Website Leave a Reply Cancel reply Your email address will not be published Required fields are marked Comment Name Email Website Latest News Remember Me Part IV Performances Remember Me Part IV Premiere AIDF Anything But Real Time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 Brighton Festival Event

    Original URL path: http://www.aaronhollowaynahum.com/written-on-skin-review/ (2016-02-08)
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  • Covent Garden » aaronhollowaynahum.com
    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 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/tag/covent-garden/ (2016-02-08)
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  • BBCSO Embedded: 1st Workshop » aaronhollowaynahum.com
    Feedback and critique will lead to an intense week of revising and writing with a second workshop to follow in April No Comments Blog Events Writing Tagged BBC Symphony Orchestra Embedded Maida Vale Studios Sound and Music 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

    Original URL path: http://www.aaronhollowaynahum.com/bbcso-embedded-1st-workshop/ (2016-02-08)
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  • Maida Vale Studios » aaronhollowaynahum.com
    Vale Studios Sound and Music 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 Comments Blog Performances Tagged Alice

    Original URL path: http://www.aaronhollowaynahum.com/tag/maida-vale-studios/ (2016-02-08)
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  • Writing » aaronhollowaynahum.com
    left me wondering what to make of the interaction between these worlds Beautiful but separate Discordant yet fused You can read my full review here No Comments Blog Writing Tagged BBC Symphony Orchestra I Care If You Listen Japan Live Music Review Total Immersion Shostakovich 4 Mov II Analysis The opening concert of the 2012 13 BBC Symphony Orchestra season included a world premiere of Michael Zev Gordon s enigmatic and impressive Bohortha alongside Mahler s stunning Rükert Leider given a beautiful performance by soprano Alice Coote The BBCSO was impassioned throughout the entire concert and it s a real joy to know that I ll be working with this orchestra in the coming months The 2nd half of the concert was a performance of Shostakovich s under appreciated 4th Symphony There were a number of striking passages throughout this work but none has stuck with me more than this passage in the 2nd movement where the woodwind recklessly come charging into a texture that had been nothing but strings and in a sort of strange chromatic exuberance whip the music up to a giant forte e espress four horn melody over a pulsating D major chord Here are the relevant pages of the score remember you are looking at a transposing score So what exactly is going on here First Shostakovich has divided the eight active wind instruments two quartets I Piccolo I Flute I Clarinet I Bass Clarinet II Piccolo II Flute II Clarinet II Clarinet III Here are the entries of the first quartet lined up with each other and written in C or at sounding pitch you can click on the photo to enlarge What we can see and what is clearly audible at the beginning of this excerpt is that these are transpositions of the same line In the score each voice enters a major 7th lower and crotchet quarter note later than the previous one Note that this gives the entries the span of a minor third major sixth the first entry is on F the last on Ab The only variations in these lines are the length of the central note which draws the Piccolo Flute and Clarinet Bass Clarinet to within a quaver of each other respectively these two sub groups remain a crotchet apart As we reach the end of this passage the second quartet of instruments enter The first three entries are now only a quaver eighth note apart while the 4th entry Cl III is a crotchet after the 3rd Again each voice enters a M7 lower than the one that preceded it Here are their entries lined up and written in C In this example the red colour indicates a point where Shostakovich has altered a pitch and the blue colour indicates a point where Shostakovich has altered a rhythm There aren t a great many changes but this is an excellent example to other composers of making sure that a system you ve set up doesn t run away with you It s difficult to say exactly why Shostakovich has changed these pitches but looking at what would have resulted otherwise it seems to me it s likely to avoid a sudden pair of parallel 5ths in the counterpoint Regardless of whether this is the reasoning or not the later is clearly much more in character with the rest of the passage As the first quartet re enter at rehearsal mark 141 the passage feels as if it is lifting off From here on the lines are largely organised according to melodic intervals In this entry these intervals are limited after initial leaps of M6 and m7 to the minor third tone and semitone Notice compositionally how important the minor third major sixth is in all of this This is the only interval larger than a tone that exists past the opening leaps and the line itself outlines a major sixth D C The quartet is further divided here into two groups of two Picc Flute I Clarinet I Bass Clarinet again the red notes indicate a pitch other than the one given by exact transposition The 2nd quartet enters in the last bar of page 120 with the third and fourth voices omitting the first 2 and 4 notes respectively The minor third rocking has expanded to perfect fourths aside from two minor thirds at the conclusion of the 2nd Clarinet iteration The entries are lined up here to show their transpositional equivalence We re now up to bar 142 and it s at this point that the lines really take on an electronic quality in the live performance I was reminded of Ligeti s Contiuum for Harpsichord This quality is enhanced by the unchanging quiet dynamic which is unexpected and unsettling Listing the intervals out it s clear to see that the texture has become almost entirely chromatic each entry is still a minor seventh below the previous one adding to the chromaticism with only a few minor thirds punctuating the texture Mirroring the lines that have just finished from the example above the third and fourth voice omit the first 2 and 4 notes respectively This time the ends of the third and fourth voices also have small variations shown again in red The 2 nd quartet enters again with a similar chromatic texture to this Pg 121 bottom system third bar Three bars before rehearsal mark 143 the first quartet makes a final entry In fact only the first three voices of this quartet Piccolo I Flute I and Clarinet I enter in the canonic fashion we ve seen throughout this passage By the time the Bass Clarinet enters in the bar before 143 the entire woodwind section has entered in a crescendoing chromatic flurry that whips into the D major chord at 143 This flurry again emphasises the intervals we ve been seeing minor thirds tones semitones Here is an analysis of the four oboes within this crescendo The first oboe beings chromatically before shifting into a whole tone scale The second oboe alternates tones and semitones throughout the line The third oboe is fully chromatic while the fourth oboe plays a series of diminished chords linked by major thirds and a single perfect 5th to make the final diminished 7th chord land on F The sound clip and score excerpt listed in this post as used under academic fair use The recording is taken from André Previn s recording with the CSO and the score is the Edition Sikorski No Comments Blog Writing Tagged 4th Symphony Analysis BBC Symphony Orchestra Music Theory Shostakovich Morning Masterclass Goethe Institut Had a great masterclass this morning with Hanspeter Kyburz Christian Carey and the ECCE Ensemble at the Goethe Instut Boston They workshopped my piece The Faultlines of Prayer and we had a fruitful discussion about the creation of materials and in particular the local and global relationships of those materials to larger forms The recording from the workshop should be available in a few weeks and I ll upload it here when I get it No Comments Blog News Uncategorized Writing Tagged Aaron Holloway Nahum Boston Chamber Music Christian Carey ECCE Ensemble Goethe Instut Hanspeter Kyburz The Faultlines of Prayer Workshop BFE Conference Music through Space September 12 2012 11 30 am to 1 30 pm I will be presenting a paper entitled Music through Space at the 2012 British Forum for Ethnomusicology s Graduate Conference Music and Movement The conference takes place from 12 14 September at the Institute of Musical Research in London My paper will outline the basics of musical acoustics and discuss some of the physical transformations that sound waves undergo as they travel in a variety of spaces I will also discuss the changes that take place as sound waves interact with the human body and basic psychoacoustics No Comments Blog Events News Writing LSO Soundhub G Live Earlier this afternoon I had the pleasure of participating in a live streamed discussion with other Soundhub composers Emma Ruth Richards and Toby Young moderated by Ed McKeon focusing on the relationship between composers and their audiences and touching on a number of issues concerning the business of composing No Comments Blog News Show Your Work Writing Is everything really worse A number of people have pointed me to this article outlining David Lowery s talk at the SF MusicTech Summit where he attacked iTunes and Amazon the new model of the music industry for taking a roughly 30 cut of revenues without Lowery claims taking on any risk or capital expense So where record labels used to at least come in and help the artist with the expense risk of making a product now all of that risk and responsibility falls to the artist In the new model you have these parasitic entities iTunes etc that take 30 of gross and provide no added value As screwed up as the old business was there wasn t this giant parasitic entity sucking out 30 of gross for nothing This should suggest to any intelligent person that there is something seriously wrong with the NEW MODEL A number of the comments on that post have pointed out that there are a few deep and basic flaws in this logic Most pressingly iTunes and Amazon are retailers not labels and it really isn t true to say that they haven t expended resources or taken on risk in building their online platforms have a look at how many players there are trying to make money in that game I agree with these rebuttals but the real problem with Lowery s reasoning is that if these entities were really parasites that offered no added value absolutely nobody would use them Any artist can build their own website upload their digital tracks and stick a paypal or google checkout button on it Nobody is forced into a partnership with an online distributer Artists are asked to make a calculation will I make more money selling my album on my own website or through a retailer like iTunes Amazon We can argue about the respective value costs of that relationship and it is obvious that more artists need to think more deeply about that question but the fundamental point is that it has never been easier or cheaper to create high quality music with the potential for mass distribution That this has not made us artists rich is not a function of retailer s fees but to lower barriers of entry and the resultant growth in the sheer number of players in the field It s now a much larger and louder arena where it takes a long time to get noticed and established I understand the frustrations of this but looking out at the quality diversity and innovation that have started to take place in many forms of music including I hope my own as a result of this very phenomenon I have trouble seeing it as an entirely bad thing No Comments Blog Writing Tagged Amazon David Lowery iTunes The digital future of classical music Over at the incredibly useful Baekdal com Thomas Baekdal has some thoughts on the future of Television His general argument can be outlined like this People currently pay about 130 a month for a cable TV over which they have little control limited access and in which they receive a huge amount of content they don t use People pay a comparatively paltry 7 99 for digital services such as Hulu Plus Netflix where they have total control unlimited access and in which they use every piece of content they purchase In the short term restrictions on digital content particularly delays devalues the digital product and teaches consumers that these online digital forms of media are less valuable Over the long term users will move away from TV to totally digital subscriptions Because they have been trained to do so they are willing to pay only paltry sums for this far superior content This creates a revenue crash within the industry Baekdal also points out that this is not just happening to the TV industry People are now dominantly consuming news online but they also refuse to pay for it as the industry taught them not to Baekdal briefly compares this to the music industry pointing out that the payouts for artists from services like Spotify is miniscule and how could it not be when most people like me don t pay anything for it but I m interested in playing this argument out in the world of the digital classical and contemporary classical music In particular there are two services that seem particularly related to this discussion The Met Player of the Metropolitan Opera and The Berlin Philharmoniker s Digital Concert Hall This has gotten so big it is now the top hit on google for Berlin Philharmoniker Those unfamiliar with these services can click through on the images but in general they offer wide thorough and sometimes even live digital content Both of these services have a similar price for a yearly subscription The Met Player costs roughly 100 per year the Berlin Digital Concert Hall costs 125 per year This means that for roughly the price of a single average ticket to the Met you receive access to nearly 400 opera performances many in HD with extremely high quality sound Or for the cost of a two live tickets one can access thirty live Berlin Phil concerts and hundreds of concerts after the fact each year Assuming that you watch one opera per week this may seem like a lot or a little to you depending on your disposition you will have saved roughly 7 650 in comparison to attending live Met performances over the course of a year Moreover you will have done so without fighting New York traffic paying for taxis dinners out or even having to plan your schedule around a curtain time With the digital concert hall you can do even more watching individual pieces or chamber recitals alongside the orchestral concerts On the surface it seems like we are headed down Baekdal s road of cheap digital content replacing expensive live content and resulting in a crash of revenues in the industry But in the classical music world there are a couple of other questions First Going to the Metropolitan Opera or Berlin Philharmoniker is a special experience that can t be totally replicated online How big a difference is this If and when these services become even more convenient Oh going to the orchestra There s an app for that will the social aspect of attending concerts continue to draw people out of their homes and into the hall What if someone purchases a subscription and then invites friends over for dinner and a night at the orchestra on their 46 flat screen TV These are important questions There is also however one other huge difference whereas digital television services are offering a different version of the same product to the same people these classical music services offer their product to a vastly larger and more diverse group of people So Baekdal points out to maintain the same revenue in the industry Netflix would have to take on roughly 16 customers for each customer that leaves cable TV This is obviously not happening nor is it even really possible for it to happen there aren t 16 unique customers for Netflix to sign up for every customer that leaves cable Even if the Met Berlin Phil and other organisations do loose some concert goers to digital content there are currently huge numbers of people who never interact with classical music at all Many of the reasons these people aren t involved with classical music can be minimized by the transition into the digital realm On top of the lesser cost people are no longer likely to get flayed for having their mobile phone or having a small child to take care of Full disclosure in both these instances were I in the audience I would have likely been pretty aggravated myself Digitally though people can consume the concerts as and when they please This is far more representative of the way the younger generations relate to music and music listening In other words the digital world does have the capability of growing the audience for classical music at a rate that could not just sustain a drop in revenue per customer but reawaken classical music s influence The mass market available for digital content also suggests that it might just be possible for an organization who uses this correctly to actually make a reasonable amount of money That leaves us with just the second perhaps more pressing question is it profitable Are the Met and or Berlin Philharmoika making money on these projects If anyone has any data on that please do let me know No Comments Blog Writing Tagged Berlin Philharmoiker Classical Music Digital Concert Hall Met Player The Metropolitan Opera Thomas Baekdal PRSF App Hints from Vanessa Reed On 29 th January in the Fountain Room of the Barbican Centre Sound and Music hosted Counting In a morning of discussions and presentations aimed at early career composers and performers The event ran from 11am 2pm with the first half being a sort of round table discussion between panel members and the second half being presentations by Vanessa Reed PRS Stephen Newbould BCMG and Gabriel Prokofiev Nonclassical In particular composers might be interested in the notes advice given by Vanessa Reed about the upcoming PRSF Funding Applications there are four deadlines throughout the year and each composer organisation can apply once per calendar year The first deadline for 2012 is 6th February The individual applications are new this year and will place a special emphasis on the quality of music and the clips submitted As background the average grant last year was 3 200 and the PRSF are expecting

    Original URL path: http://www.aaronhollowaynahum.com/category/blog/writing/page/2/ (2016-02-08)
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  • Six Links (23/11) » aaronhollowaynahum.com
    seemingly top down approach to the Industry High level network events bespoke professional training and so on This obviously won t constitute a complete picture of SMIA s plan so I d just like to hear a bit more about how they re going to take this idea out into the communities of Scotland Who owes what to whom Fantastic interactive graphic on how much EuroZone countries owe to other EuroZone countries Here is what I don t get France owes the UK 227 000 000 000 On the other hand the UK owes France 209 900 000 000 Why doesn t this just mean that the France owes the UK 17 100 000 000 Can someone explain this to me Scary thought in any case Ireland owes 390 969 per person J S Bach Complete Organ Works Free Downloads I don t know how much of this you can take yourself but some of this music is absolutely incredible Recorded by James Kibbie Professor of Organ at the University of Michigan San Francisco Musicians Re envision Career Paths An interesting article on some non classical paths being taken by some classically trained musicians in San Francisco I m particularly interested in Magik Magik as I like the idea of an ensemble in residence at a recording studio and wonder if this might be a possible sustainable model in Europe as well There are a number of questions but the pressing point at this moment would be that don t yet perform their own shows In this way it seems unlikely that they are really playing the music they always wanted to play but with over 70 performances recordings since their inception this is definitely an exciting idea to consider Innocent Couples Hilarious video It s only 2 minutes long

    Original URL path: http://www.aaronhollowaynahum.com/six-links-2311/ (2016-02-08)
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  • 4 and 2; Links 22/11 » aaronhollowaynahum.com
    engage in self promotion Instead promote the wonderful projects with which you re involved Extensis has released a Web Font Plug In for Photoshop Very useful stuff for composers who run their own website not me or who need to edit web pages with the same font that will appear to the world yes me The Fromm Music Foundation has announced their 2011 commissions The postmark deadline for the next cycle is June 1 2012 The 2012 application will be available from February and Two Upcoming Deadlines for Composers Aspen Music Festival 1st December The first half 20 6 22 7 is a master class program with Augusta Read Thomas and Christopher Rouse while the second half 23 7 19 8 are individual studies with Sydney Hodkinson and George Tsontakis Each half session costs about 5 000 though there is financial aid available Arditti Quartet 1st December An international call for new works for string quartet to be rehearsed in a public workshop with the Arditti Quartet Selected works will then be performed in a public concert in London No Comments Links Leave a Reply Click here to cancel reply Name required Mail will not be published required Website Leave

    Original URL path: http://www.aaronhollowaynahum.com/4-and-2-links-2211/ (2016-02-08)
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