Relevant bibliographies by topics / Chamber music Composers Chamber music Kamermuziek

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Chamber music Composers Chamber music Kamermuziek'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Chamber music Composers Chamber music Kamermuziek"

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Crutcher, Ronald A., and Margery Hwang. "The Chamber Music of African-American Composers." American String Teacher 45, no. 4 (November 1995): 71–74. http://dx.doi.org/10.1177/000313139504500414.

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McNUTT, ELIZABETH. "Performing electroacoustic music: a wider view of interactivity." Organised Sound 8, no. 3 (December 2003): 297–304. http://dx.doi.org/10.1017/s135577180300027x.

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For most electroacoustic composers, ‘interactivity’ refers to technology which responds to input from a performer. For performers, in contrast, performance may be described as ‘interactive’ on many levels: interacting with acoustic musical interfaces (their instruments), communicating with composers and audiences, mediating the data of a score, negotiating prosthetic devices (microphones, loudspeakers, pedals, sensors), and interacting with invisible chamber music partners (whether backing tracks or responsive computer programs). There has been little public discussion about these issues. This paper will therefore discuss various elements of interactivity in electroacoustic music from the performer's perspective, with the goal of promoting and facilitating satisfying collaborations for both composers and performers. Discussions of pieces for flute and electronics will demonstrate various issues in performing with electronics; describe ways in which works and systems have been designed to work effectively as chamber music; and offer insights into the process of collaboration between composers, technologists and performers.
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Li, Shusi. "Vocal Chamber Music by Russian Composers in I. P. Bogacheva’s Interpretation." Университетский научный журнал, no. 61 (2021): 177–83. http://dx.doi.org/10.25807/22225064_2021_61_177.

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Franchini, Cecilia. "1. Simultaneo Ensemble – Bringing Our History Into the Future / A New Pedagogical Approach of Music-Making Developed from “Bottega Dell'arte”." Review of Artistic Education 15, no. 1 (March 1, 2018): 7–12. http://dx.doi.org/10.2478/rae-2018-0001.

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Abstract How much can contemporary artists and audiences learn from the past? The mission and activity of Simultaneo Ensemble - SIM - is presented. How SIM laboratory, grouping performers from the seven Music Academies of Veneto, encourages musicians to explore, perform and promote italian music composers and their works. This article will consider the relationship between research into historical concert programs and the creation of adventurous and compelling chamber music concerts for contemporary audiences. Learn how to enhance the position of chamber music activity trough projects that have suceeded in bringing people together toward common goals via the arts.
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Leshkova Zelenkovs, Aida Islam, and Stefanija Leshkova Zelenkovs. "Musical Elements in the Performing Approach: Sonatina in C for Two Pianos from a Macedonian Contemporary Composer." Musicological Annual 52, no. 1 (June 27, 2016): 41–50. http://dx.doi.org/10.4312/mz.52.1.41-50.

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Tomislav Zografski (1934–2000) is one of the representatives of the middle generation of modern Macedonian composers. He introduced into Macedonian art music the basic elements of neoclassicism. Zografski, in some of his works, develops this stylistic direction in the fields of chamber and symphony music.
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Sumner Lott, Marie. "At the Intersection of Public and Private Musical Life: Brahms's Op. 51 String Quartets." Journal of the Royal Musical Association 137, no. 2 (2012): 243–305. http://dx.doi.org/10.1080/02690403.2012.717468.

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AbstractBrahms's dedication of his op. 51 string quartets (1873) to the surgeon Theodor Billroth provides a window into Brahms's musico-political views in the 1870s that has hitherto been unexplored by music scholars. Analysis of correspondence, performance traditions and the scores of these two quartets demonstrates that Brahms chose to align himself and his works with the learned connoisseurs of the domestic chamber-music-making tradition, represented by Billroth and his frequent musical soirées. Brahms's music also shows the influence of Joseph Joachim, his oldest and dearest friend and Europe's premier chamber musician. Brahms's compositional choices in these two works combine public and private musical styles, to offer a touching memorial to earlier composers and friends, and to provide a teachable moment for the musical public.
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CYPESS, REBECCA. "KEYBOARD-DUO ARRANGEMENTS IN EIGHTEENTH-CENTURY MUSICAL LIFE." Eighteenth Century Music 14, no. 2 (August 30, 2017): 183–214. http://dx.doi.org/10.1017/s1478570617000045.

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ABSTRACTIt is well known that the instrumentation of eighteenth-century chamber music was highly flexible; composers frequently adapted their own works for a variety of instruments, and players often used whatever combinations they had available. One type of arrangement little used today but attested to in both verbal description and musical manuscripts of the period is that of trios and other chamber works adapted for two keyboard instruments. Players often executed such keyboard-duo arrangements on instruments with different mechanisms and timbres – for example, harpsichord and piano together – thus capturing something of the variety of timbres available in a mixed chamber ensemble.Keyboard duos were often played by members of a single family, or by teachers and students together, a practice that allowed for the construction of a sense of ‘sympathy’ – mutual understanding through shared experience and sentiment – between the players. These players shared common physical gestures at the instruments, which reinforced the emotional content of the music; this fostered the formation of a sympathetic connection even as players retained their individual identities.
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Wang, Bojian. "Musical expression means of a saxophone in the modern chamber-instrumental music." PHILHARMONICA. International Music Journal, no. 3 (March 2021): 32–46. http://dx.doi.org/10.7256/2453-613x.2021.3.35753.

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The research subject is the modern chamber-instrumental music of the late 20th - the early 21st century in the context of the newest performance and expression means and techniques of playing the saxophone as a unique wind instrument which is difficult to interpret. A wide musical expression range of modern music involving saxophone gives an opportunity to practically evaluate the depth of philosophical and figurative concepts embodied by modern composers. In this context, the author considers the peculiarities of the recommended techniques of playing the saxophone which have been detected and studied in the creative work of Yu.L. Povolotsky. The expressive timbre and sound palette attracts a modern composer with the purpose of both to experiment and to attempt to collect the wide range of artistic and philosophical generalizations of the epoch. This mutually determined process  -  a timbre-sound experiment, on the on hand, and a continuous expansion of the performance and expression means of a saxophone within the chamber-instrumental culture, determined by it, on the other - instigated the author to conduct a scientific analysis of the chamber-instrumental works of modern composers. Besides, of a scientific and historical value is the information about the creative process of Yu.L. Povolotsky: the involvement of out-of-the-box solutions, composition structures, and the newest ways and techniques of playing the saxophone.   
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Tsybikova-Danzyn, Inessa A. "The National Subject Matter in the Chamber Instrumental Music of Composers of Buryatia." Music Scholarship / Problemy Muzykal'noj Nauki, no. 3 (September 2015): 55–62. http://dx.doi.org/10.17674/1997-0854.2015.3.055-062.

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Hilger, Silke, and M. C. Hall. "Wolfgang von Schweinitz's impersonations of composer and poet." Tempo, no. 193 (July 1995): 15–17. http://dx.doi.org/10.1017/s0040298200004265.

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Franz & Morton Singing Together in Harmony (With the Lord Himself Enjoying His Bells) is the title of a recent chamber-music work for violin, cello and piano by Wolfgang von Schweinitz. The musically erudite will have no difficulty in identifying the persons referred to by those Christian names. They are, of course, the two composers, Schubert and Feldman – who, with Schweinitz, form a trio which combines more as a community than merely professionally.
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Dissertations / Theses on the topic "Chamber music Composers Chamber music Kamermuziek"

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Niepoetter, Jay Eric. "Solo and chamber music of Pulitzer Prize-winning composers." College Park, Md. : University of Maryland, 2004. http://hdl.handle.net/1903/242.

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Thesis (D.M.A.) -- University of Maryland, College Park, 2004.
Thesis research directed by: Music. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.
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Neher, Lisa Rose Julianna. "The chamber vocal works of Gabriela Lena Frank." Diss., University of Iowa, 2016. https://ir.uiowa.edu/etd/2250.

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The purpose of this essay is to introduce readers to the music of living American composer Gabriela Lena Frank (b. 1972) through her chamber vocal works and to provide a resource to aid in the interpretation and performance of her music. Frank is an internationally recognized composer with a thriving career. However, she is not widely known among singers and teachers of singing and scholarship on her music is quite limited. This study seeks to fill that void by examining Frank’s published works as of January 2016 for solo voice and up to six instruments. These works are Cuatro Canciones Andinas (1999), for mezzo-soprano and piano; New Andean Songs (2008), for soprano, mezzo-soprano, two percussionists, and two pianos; Seven Armenian Songs (2013), for soprano, percussionist, and solo violin; and Honey (2013), for soprano, mezzo-soprano, and piano. Frank’s chamber vocal pieces are excellent additions to the repertoire and notable for Frank’s chamber music aesthetic, choice of diverse texts and languages (English, Spanish, and Armenian), dramatic storytelling, range of musical colors, and idiomatic writing for the performers. Frank’s ongoing exploration of her Peruvian heritage is reflected in two of these works, which draw inspiration from Andean folk music and poetry. This essay provides a brief biography of Frank; original poetic and musical analyses of the four works, exploring the areas of poetry, form, melody and motive, text painting, rhythm, harmony, folk influences, vocal writing, instrumental writing, timbre, range, and tessitura; and a summary of stylistic traits as seen across this sample. Poetic and word for word translations of foreign language texts, pronunciation guidelines for Latin American Spanish and International Phonetic Alphabet transliterations for the Armenian poems are included.
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Sandvik, Jan. "Examination concert : Interpreting music by three different composers." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-1660.

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This text is a personal reflection on my examination concert that took place on 17th May 2014. Instead of just preparing and performing a concert and then moving on to new projects, the writing of this text offered me a chance and an obligation to thoroughly reflect upon my work. I will shortly motivate how I made my choice of repertoire and why I chose the particular pieces. I wanted to make up an interesting program of pieces of different character. I also wanted to find pieces that would challenge me in different ways. I will then write about each piece and discuss the problems and challenges I had to solve and find a solution to. I will have a slightly different approach when discussing the different pieces. Regarding Alkan, after a brief introduction to the composer and the piano symphony, I will mainly focus on how to deal with and tackle the complex and highly demanding piano writing. Concerning the piano pieces by Pörn I will write about the emergence of them and describe them briefly. As I have had the opportunity to consult the composer while preparing his music, our cooperation has not only enabled me to get a detailed insight to his music, but it has also resulted in the composer making changes and rewriting certain passages. I will present some of these modifications, which for the most part appeared in the etudes. When it comes to the trio by Brahms, I will give an overview of some of the challenges in the piece, concerning ensemble playing and technically demanding passages in the piano part. Thereafter I will analyse the concert, first by writing about the impressions I had during and immediately after the concert, then by writing about the observations I gathered from listening to the recording. I found out that, in order to find solutions for certain interpretational or technical challenges, one needs to go beyond the printed score to find meaning, in other words, what it is that the composer wants to say. Sometimes there can be a discrepancy between the composer’s musical message and his suggestion of its execution. In some cases the performer has to decide whether he wants to carry out the composer’s instructions to the letter, or rather to find an own way of delivering the musical message.

Christoffer Pörn: Tre berättelser för piano

Johannes Brahms: Trio för piano, klarinett och cello op 114

Christoffer Pörn: Tre etyder för piano

Charles-Valentin Alkan: Symfoni för piano op 39 

Medverkande: Anna Lisa Mühlig - klarinett, Jessie Liu - cello

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Norris, Marcus Duane JR. "Brown Eyes, Black Magic." FIU Digital Commons, 2017. http://digitalcommons.fiu.edu/etd/3270.

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This thesis consists of a large composition for chamber orchestra titled Brown Eyes, Black Magic and an accompanying analytical paper. The piece, approximately twelve minutes long, is a tribute to women of color in America. The title pays homage to the “Black Girl Magic” campaign that CaShawn Thompson founded in 2013 to empower women of color by highlighting their achievements in different fields (Wilson 2016). Although the piece is not programmatic, I tried to create a mysterious sound world, in which the listener focuses on the beauty of ever-shifting sonic colors. The composition explores musical texture and timbre, and is influenced by the works of Orlando Jacinto Garcia, Georg Friederich Haas, Krzysztof Penderecki, Arnold Schoenberg, and Anton Webern.
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Kim, Chan Ji Kim Chan Ji. "I. Composer and choreographer a study of collaborative compositional process. II. The lotus flower : ballet music for chamber ensemble and two-channel audio /." [Gainesville, Fla.] : University of Florida, 2006. http://purl.fcla.edu/fcla/etd/UFE0013897.

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Sorensen, Randall J. "Original repertoire for the American Brass Quintet, 1962-1987 : a guide for performers and composers." Virtual Press, 1998. http://liblink.bsu.edu/uhtbin/catkey/1118241.

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This dissertation examines the following works from the original repertoire of the American Brass Quintet (ABQ): Charles Whittenberg, Triptych for Brass Quintet; Ralph Shapey, Brass Quintet; Gilbert Amy, Relais; William Lovelock, Suite for Brass; Leonardo Balada, Mosaico; Virgil Thomson, Family Portrait; Elliott Carter, Brass Quintet; Jacob Druckman, Other Voices; Robert Starer, Evanescence; Dan Welcher, Brass Quintet; Vladimir Ussachevsky, Dialogues and Contrasts; David Sampson, Morning Music; Maurice Wright, Quintet; and Eric Ewazen, Colchester Fantasy. These works represent a small part of the ABQ's repertoire and attest tothe significance of the ensemble's contribution to brass quintet literature. The purpose of this study is to bring these works to the attention of performers and to provide a guide for those wishing to perform them. Composers will be interested in the discussion of compositional techniques. The fourteen works are studied in chronological order and in the following manner: composer biography, historical background of composition, descriptive analysis (form, harmony, melody, rhythm, texture), and performance considerations (range, special techniques, use of basstrombone or tuba, and equipment needs). Program notes from the ABQ's performances of the works, many written by the composers, are included.Through the study of these works the following conclusions are reached: (1) the ABQ has influenced the development of university brass programs and has helped to make brass quintet experience an integral part of brass education, (2) it has encouraged composers to write for brass quintet, and (3) the ABQ has played a significant role in developing an original brass quintet repertoire. Through its residencies at the Aspen Music Festival and the Juilliard School of Music and touring, the ABQ has reached a large number of students, performers, and composers throughout the world. The quintet's performances of new music has inspired composers to write for brass quintet; the group receives many unsolicited scores each year. Since its founding in 1960, the ABQ has been a leader in the commissioning of original works for brass quintet and has played a significant role in the development of the brass quintet repertoire.
School of Music
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Mahr, Timothy Jon. "An annotated bibliography and performance commentary of the works for concert band and wind orchestra by composers awarded the Pulitzer Prize in music 1943-1992, and a list of their works for chamber wind ensemble." Diss., University of Iowa, 1995. https://ir.uiowa.edu/etd/5083.

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Hayes, Susan Nanette. "Chamber music in France featuring flute and soprano, 1850-1950, and a study of the interactions among the leading flutists, sopranos, composers, artists, and literary figures of the time." College Park, Md. : University of Maryland, 2006. http://hdl.handle.net/1903/3482.

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Thesis (D.M.A.) -- University of Maryland, College Park, 2006.
Thesis research directed by: Music. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Marylandia and Rare Books Dept., University of Maryland, College Park, Md. Also available in paper. Audio available on compact disc;
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Lee, Hyejin. "Traditional Korean Music in Contemporary Context: A Performance Guide to Gideon Gee Bum Kim's Kangkangsullae." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1157533/.

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Gideon Gee Bum Kim is an internationally-acclaimed contemporary Korean-Canadian composer. Kim has utilized traditional Korean music with Western composition techniques in some of his works. Kim created his own style by incorporating traditional Korean musical elements such as the scale, rhythmic diversity, syncopation, variation, ornamentation, and the progression of melody into a body of music that is otherwise contemporary and Western. The purpose of this study is to develop a performance guide for Gideon Gee Bum Kim's Kangkangsullae for string trio. Kangkangsullae trio is based on Korean historical, cultural and musical influences. I give a detailed historical and cultural background for this work and demonstrate how Kim integrated Western compositional techniques with traditional Korean music. My emphasis is on defining specific characteristics of traditional Korean music which will provide several points toward understanding Kim's compositional style.
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Jang, Hyeyoun. "A Conductor's Guide to Harrison Birtwistle's Entr'actes and Sappho Fragments." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1538792/.

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Entr'actes and Sappho Fragments (1964) by English Composer Harrison Birtwistle represent extended notation, complex meters, and extended instrumental techniques. After World War II, the style and techniques of musical composition evolved considerably and musical trends began to continuously change. Conducting contemporary compositions requires new approaches in conducting methods. This paper examines a) introduce important elements of Birtwistle's compositions in the 1960, b) include an updated score of Entr'actes and Sappho Fragments (notated by the author), and c) provide a performance guide to the work.
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Books on the topic "Chamber music Composers Chamber music Kamermuziek"

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1943-, Winchester Barbara, ed. Vocal chamber music: A performer's guide. New York: Garland, 1985.

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Mozart chamber music. [London]: Ariel Music, BBC Publications, 1986.

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Schubert chamber music. London: BBC Publications, 1986.

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Brown, Jeanell Wise. Amy Beach and her chamber music: Biography, documents, style. Metuchen, N.J: Scarecrow Press, 1994.

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Ensemble, Minneapolis Artists. The Minnesota Composers Forum presents the Minneapolis Artists Ensemble. [Minn.?]: Innova Recordings, 1987.

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Korsten, Bjarne. 19 verk av 14 komponister: Rapport fra en safari i moderne norsk kammer- og orkestermusikk = 19 works of 14 composers : report of a safari in contemporary Norwegian chamber- and orchestral music. Bergen: Author, 2001.

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Walker-Hill, Helen. Piano music by Black women composers: A catalog of solo and ensemble works. New York: Greenwood Press, 1992.

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Ästhetik und Kompositionsweise der Gruppe der Six: Studien zu ihrer Kammermusik aus den Jahren 1917-1921. Echternach [Luxembourg]: Editions Phi, 1998.

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King, A. Hyatt, and Alec H. King. Mozart Chamber Music (Ariel Music Guides). BBC Books, 1995.

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Westrup, J. A., and Jack A. Westrup. Schubert Chamber Music (BBC Music Guides). Gloucester, 1996.

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Book chapters on the topic "Chamber music Composers Chamber music Kamermuziek"

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"Women and Chamber Music." In British Women Composers and Instrumental Chamber Music in the Early Twentieth Century, 59–74. Routledge, 2016. http://dx.doi.org/10.4324/9781315570334-10.

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Uy, Michael Sy. "The Rockefeller Foundation, the University New Music Center, and “Foundation Music”." In Ask the Experts, 101–28. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197510445.003.0005.

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This chapter focuses on the Rockefeller Foundation’s support of university new music centers and contemporary chamber ensembles, offering new insights into a commonly understood historiography of U.S. twentieth-century music: the dominance and prestige of experimental music and serialism at universities. Most notably, composers at Columbia, Princeton, the University of Chicago, and Mills College served dually as outside experts and commissioned artists and performers. Milton Babbitt, Otto Luening, and Vladimir Ussachevsky benefited greatly from their involvement at Rockefeller and the Columbia–Princeton Electronic Music Center. The composers and performers justified their work initially through the Soviet threat and rivalries with European studios, and later with innovation and creativity. The new music ensembles solidified a musical circuit that crisscrossed the country, making stops at many Rockefeller-funded centers. The foundation revealed ways it was both an advertent and inadvertent patron of what New Yorker critic Winthrop Sargeant pejoratively referred to as “foundation music.”
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"Contexts: The Lives of Women Composers." In British Women Composers and Instrumental Chamber Music in the Early Twentieth Century, 35–58. Routledge, 2016. http://dx.doi.org/10.4324/9781315570334-9.

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Rice, Albert R. "Music for the Chalumeau." In The Baroque Clarinet and Chalumeau, 43–79. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190916695.003.0002.

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Chapter 2 provides an overview of chalumeau music written from 1694 to 1780. Seventeen works are discussed that represent the large chalumeau repertoire: opera, oratorio, cantata, psalm, concerto, stage, chamber, and orchestral. The chalumeau was prominently used in European courts, schools, and concerts in Vienna, Hanover, Düsseldorf, Venice, Prague, Darmstadt, Hamburg, Liechtenstein, Frankfurt, London, Darmstadt, Zerbst, Eisenstadt, Dresden, and other cities, and in monasteries at Göttweig in Austria, and Osek and Lubens in Poland. Chalumeaux were made in five sizes: soprano, alto, tenor, bass, and basset bass (extended range bass). Soprano and bass chalumeaux were used in Vienna by several composers; soprano chalumeaux in Amsterdam by Dreux; alto, tenor, and bass chalumeaux by Graupner and Telemann in Darmstadt, Hamburg, and Frankfurt; and basset bass by Steffani in Düsseldorf and Pichler in Göttweig.
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Rice, Albert R. "Music for the Baroque Clarinet." In The Baroque Clarinet and Chalumeau, 129–89. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190916695.003.0005.

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This chapter presents an overview of music written by 23 composers representative of a larger repertoire written about 1715 to 1760 for the Baroque clarinet. The works examined include opera, cantata, duos, concertos, wedding music, chamber music, military music, sacred arias, requiem, and motets by Dreux, Vivaldi, Caldara, Faber, Telemann, Handel, Chinzer, Rathgeber, Münster, Glaser, Kölbel, Molter, Sparry, Rameau, Zach, Stark, Johann Stamitz, Graupner, d’Herbain, Pasterwiz, La Borde, Ulbrecht, and Arne. The music is written in a trumpet style characterized by repeated notes, incomplete arpeggios, fanfare motives, limited range, and restricted use of the low register. In works composed after about 1730, a lyrical style of melodic writing takes on a greater importance with scale passages, leaps of an octave or more, and more frequent use of the low register.
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"The Society of Women Musicians." In British Women Composers and Instrumental Chamber Music in the Early Twentieth Century, 75–91. Routledge, 2016. http://dx.doi.org/10.4324/9781315570334-11.

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"The Other Side of London’s Musical Society: Adela Maddison, Ethel Smyth and Morfydd Owen." In British Women Composers and Instrumental Chamber Music in the Early Twentieth Century, 92–134. Routledge, 2016. http://dx.doi.org/10.4324/9781315570334-12.

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"The Early Twentieth-Century Phantasy." In British Women Composers and Instrumental Chamber Music in the Early Twentieth Century, 135–62. Routledge, 2016. http://dx.doi.org/10.4324/9781315570334-13.

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"Epilogue." In British Women Composers and Instrumental Chamber Music in the Early Twentieth Century, 163–66. Routledge, 2016. http://dx.doi.org/10.4324/9781315570334-14.

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"Introduction." In British Women Composers and Instrumental Chamber Music in the Early Twentieth Century, 19–34. Routledge, 2016. http://dx.doi.org/10.4324/9781315570334-8.

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Conference papers on the topic "Chamber music Composers Chamber music Kamermuziek"

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Deng, Kaiyuan. "Vocal Score and Piano Score The Interaction Between Chamber Music and Vocal Music of Chinese Composers." In 4th International Conference on Arts, Design and Contemporary Education (ICADCE 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icadce-18.2018.29.

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Reports on the topic "Chamber music Composers Chamber music Kamermuziek"

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Buene, Eivind. Intimate Relations. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.481274.

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Blue Mountain is a 35-minute work for two actors and orchestra. It was commissioned by the Ultima Festival, and premiered in 2014 by the Danish National Chamber Orchestra. The Ultima festival challenged me – being both a composer and writer – to make something where I wrote both text and music. Interestingly, I hadn’t really thought of that before, writing text to my own music – or music to my own text. This is a very common thing in popular music, the songwriter. But in the lied, the orchestral piece or indeed in opera, there is a strict division of labour between composer and writer. There are exceptions, most famously Wagner, who did libretto, music and staging for his operas. And 20th century composers like Olivier Messiaen, who wrote his own poems for his music – or Luciano Berio, who made a collage of such detail that it the text arguably became his own in Sinfonia. But this relationship is often a convoluted one, not often discussed in the tradition of musical analysis where text tend to be taken as a given, not subjected to the same rigorous scrutiny that is often the case with music. This exposition is an attempt to unfold this process of composing with both words and music. A key challenge has been to make the text an intrinsic part of the performance situation, and the music something more than mere accompaniment to narration. To render the words meaningless without the music and vice versa. So the question that emerged was how music and words can be not only equal partners, but also yield a new species of music/text? A second questions follows en suite, and that is what challenges the conflation of different roles – the writer and the composer – presents? I will try to address these questions through a discussion of the methods applied in Blue Mountain, the results they have yielded, and the challenges this work has posed.
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