Matching Items (2)
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- All Subjects: Electroacoustic
- Creators: Hubbard, Justin
- Creators: Paine, Garth
Description
“by my death...” is a composition in three movements for chamber ensemble and
laptop ensemble, with the instrumentation of clarinet in Bb, French horn in F, percussion, violin, double bass, and at least three laptops. The total duration of the piece is approximately twenty minutes. However, since the timing of the first and third movement is flexible, the total duration may vary.
“by my death...” is the creative culmination of my research into representations of
the Holocaust in music. More specifically, it corresponds to my analysis of three
Holocaust-based works by the Israeli composer Arie Shapira (1943-2015): Gideon Kleins Marterstrasse (1977), Gustl in Theresienstadt (1998-9), and Achtung Rapunzel (2007). I applied findings from the analysis in my own music, resonating Shapira's style, techniques, and expressive means. In a sense, “by my death...” is a homage to this composer, who had a strong influence on my path to dealing with the Holocaust in music.
My composition, however, is not necessarily about the Holocaust alone. It
concerns the larger Jewish historical narrative that is characterized by destruction and construction, with the Holocaust as a central, pivotal event. It reflect about the Holocaust within links between tradition and innovation, past and future, death and life, that are inherent to any aspect of Israeli culture, and that are intertwined within the Jewish narrative of extermination and resurrection.
laptop ensemble, with the instrumentation of clarinet in Bb, French horn in F, percussion, violin, double bass, and at least three laptops. The total duration of the piece is approximately twenty minutes. However, since the timing of the first and third movement is flexible, the total duration may vary.
“by my death...” is the creative culmination of my research into representations of
the Holocaust in music. More specifically, it corresponds to my analysis of three
Holocaust-based works by the Israeli composer Arie Shapira (1943-2015): Gideon Kleins Marterstrasse (1977), Gustl in Theresienstadt (1998-9), and Achtung Rapunzel (2007). I applied findings from the analysis in my own music, resonating Shapira's style, techniques, and expressive means. In a sense, “by my death...” is a homage to this composer, who had a strong influence on my path to dealing with the Holocaust in music.
My composition, however, is not necessarily about the Holocaust alone. It
concerns the larger Jewish historical narrative that is characterized by destruction and construction, with the Holocaust as a central, pivotal event. It reflect about the Holocaust within links between tradition and innovation, past and future, death and life, that are inherent to any aspect of Israeli culture, and that are intertwined within the Jewish narrative of extermination and resurrection.
ContributorsDori, Gil (Author) / Suzuki, Kotoka (Thesis advisor) / Feisst, Sabine (Committee member) / Paine, Garth (Committee member) / Arizona State University (Publisher)
Created2016
Description
The number of compositions that use electronics alongside the wind ensemble has gradually increased in the 21st century, yet these compositions are infrequently programmed past their premieres. Explanations include lack of access to necessary resources, unfamiliarity with the repertoire, and inexperience with the technology they require. While there are other barriers to performance, this document focuses on familiarizing the repertoire and providing foundational knowledge necessary to overcome inexperience.
As the number of technology-native composers, audience members, and performers continues to increase, electronics in the ensemble are likely to become more standard. Without knowledge of the technology electronics require, these works will remain inaccessible. Composers attempt to bridge the technological knowledge gap by providing technical instructions for individual pieces, but this does not help people recognize the broader concepts that make all of these works more accessible. This document guides ensemble directors and performers to an understanding of these base concepts by developing a grading system for technology difficulty, assessing pedagogical and performance issues, and providing an annotated list of works currently available for electronics and winds.
As the number of technology-native composers, audience members, and performers continues to increase, electronics in the ensemble are likely to become more standard. Without knowledge of the technology electronics require, these works will remain inaccessible. Composers attempt to bridge the technological knowledge gap by providing technical instructions for individual pieces, but this does not help people recognize the broader concepts that make all of these works more accessible. This document guides ensemble directors and performers to an understanding of these base concepts by developing a grading system for technology difficulty, assessing pedagogical and performance issues, and providing an annotated list of works currently available for electronics and winds.
ContributorsHubbard, Justin (Author) / Caslor, Jason (Thesis advisor) / Gardner, Joshua (Committee member) / Holbrook, Amy (Committee member) / Arizona State University (Publisher)
Created2020