Relevant bibliographies by topics / Music – Commissioning

Contents

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

Academic literature on the topic 'Music – Commissioning'

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

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Journal articles on the topic "Music – Commissioning"

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Farish, Margaret K., and Rebecca Henry. "Commissioning Music for Students." American String Teacher 43, no. 3 (1993): 49–50. http://dx.doi.org/10.1177/000313139304300319.

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Frey, Elinor. "On Commissioning New Music for Baroque Cello." Circuit 28, no. 2 (2018): 11–23. http://dx.doi.org/10.7202/1051289ar.

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In 2014, cellist Elinor Frey began commissioning new music for the five-string Baroque cello as a way to contribute to and expand the repertoire for the instrument. Her project grew to three new works for five-string cello, two works for the four-string cello, and one for cello and harpsichord. This article documents Frey’s close collaborations with six composers—Scott Godin, Isaiah Ceccarelli, Linda Catlin Smith, Maxime McKinley, Ken Ueno, and Lisa Streich—and reflects upon the ways in which her approaches to style and performance practice played a role in interpreting the new works. Frey also explores how she drew inspiration from Baroque stylistic qualities such as concealment and illusion.
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Jaeger, David. "Commissioning Brian Cherney’s String Trio." Intersections 37, no. 1 (2019): 99–104. http://dx.doi.org/10.7202/1059889ar.

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The author offers a personal account of the events that led him to commission Brian Cherney’s String Trio in 1976 for CBC Radio Music. The trio was first heard on the Two New Hours radio program in 1978, along with solo works for violin, viola, and cello by the German composer Bernd Alois Zimmermann. In 1979 the trio was submitted for consideration to the International Rostrum of Composers, and it was chosen as a recommended work, which resulted in the trio being broadcast in twenty-five countries, significantly enhancing Cherney’s international reputation. The performers who premiered the trio also recorded it, allowing further audiences to appreciate this important work.
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Fryberger, Annelies, and Matthew Lorenzon. "Risky Gifts and Uncertain Business: A Discussion of Results from a Survey on Commissioning in New Music." La commande d’oeuvre 26, no. 2 (2016): 39–50. http://dx.doi.org/10.7202/1037302ar.

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What are the risks involved in commissioning new music? Through interviews with 24 commissioners, performers, and composers based in Canada, the us, Australia, and France, we develop a model of the different types of risk encountered during the commissioning process. Despite providing the money for a commission, we found that commissioners are least exposed to financial risk as it is classically defined; commissioning fees really do behave like the philanthropic gifts they are legislated to be. Composers were likewise little exposed to financial risk, concerning themselves instead primarily with the uncertainty inherent to the creative process. We found that it is actually performers who are most exposed to financial risk, especially when they act as “middlemen” between commissioning bodies and composers. Burdened with compliance to a variety of Occupational Health and Safety laws and cash-flow issues stemming from conflicting outcomes and funding schedules, we found that performers were caught in a pincer between composers’ desires to take aesthetic risks and the obligations created by the philanthropic gift.
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Authelain, Gérard. "Music Education in France in Primary Schools." British Journal of Music Education 9, no. 3 (1992): 233–37. http://dx.doi.org/10.1017/s0265051700009116.

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‘Le musicien intervenant’ is a concept that has been developed in France especially to increase the scope of musical education, particularly in the elementary and pre-elementary schools. The ‘intervenants’ are not substitute teachers but are trained to work with school teachers as part of a team, offering children a high quality introduction to music. Intervenants also help to develop other musical activities in the localities where they work. Nine institutions throughout France (Centres de Formation de Musiciens Intervenant – CFMI) offer diploma courses. The author of this article is Director of the Centre at Lyon. He outlines his philosophy of music education, and describes some important aspects of his work – notably the commissioning of compositions that exploit contemporary musical ideas but are easily accessible for all children.
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Melhuish, Ruth, Maggie Grady, and Anthea Holland. "Mindsong, music therapy and dementia care: collaborative working to support people with dementia and family carers at home." British Journal of Music Therapy 33, no. 1 (2019): 16–26. http://dx.doi.org/10.1177/1359457519834302.

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Mindsong brings music therapy to people with dementia across Gloucestershire. In 2016, it was part of an innovative co-production project funded by NHS Gloucestershire Clinical Commissioning Group that offered music therapy to people with advanced dementia and ‘challenging’ behaviour. Music therapy was used at times of crisis with couples in the domiciliary setting and the hardest to reach residents at a dementia specialist care home. Positive outcomes included improvements in well-being, mood, engagement and behaviours. Working with client and carer together resulted in increased carer resilience despite complex challenges. Collaborative working maximised results to the benefit of clients and those who care for them. This article focuses on work in the domiciliary setting.
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Wiprud, Theodore. "The Question of Commissioning Fees in the us: A Composer’s Perspective." Circuit 26, no. 2 (2016): 63–72. http://dx.doi.org/10.7202/1037304ar.

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Active professional composers of concert and dramatic music continue to rely on commissions as an important source of income. Theodore Wiprud, a composer and senior arts administrator, examines how the sources and distribution of commissions has evolved in recent years in United States. A range of working composers discuss their experiences and how the nature of a given commission can affect everything from the creative process to a new work’s reception and performance opportunities.
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Ewing, Micah. "High-Impact Experiences through Commissioned Works and Composer Residencies." Music Educators Journal 105, no. 3 (2019): 30–35. http://dx.doi.org/10.1177/0027432118818716.

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Music students, their teachers, composers, and school communities experience deep, long-lasting growth in music-making and artistic perspective when provided with opportunities to engage in the commissioning of new musical works in conjunction with composer residencies. Through consideration of relevant literature and case-study examination, the article defines and articulates possible formats for commissioned works projects with composer residencies. A discussion of the beneficial outcomes of such projects for student musicians, music educators, composers, and constituent communities addresses reasons for coordinating projects of this nature. The article concludes with a step-by-step guide that lays out how educators can organize a commissioned work and composer residency project for their students that is appropriate for their specific educational context.
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Taylor, Kris P. "Interview." Alphaville: Journal of Film and Screen Media, no. 19 (July 23, 2020): 195–202. http://dx.doi.org/10.33178/alpha.19.17.

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Kris P. (formerly Puszkiewicz) Taylor moved to New York from London in 1980. She was working at Island Records in the Publicity and Artist Development department when MTV was launched in 1981. The department quickly expanded to include Music Videos and she was soon promoted to Director of Music Video Promotion and Production. She left in 1985 to work as Executive Producer at Zbig Vision in New York after commissioning Zbigniew Rybczyński’s first music video, the MTV-award-winning Close to the Edit (1985) by Art of Noise. After successfully working together on fourteen videos over two years Kris moved briefly to work at MCA Records in Los Angeles and then in 1988 became Director of Music Video Production at Columbia Records (West Coast), working with artists such as Bob Dylan, The Rolling Stones, Michael Bolton, The Bangles, Alice In Chains, Billy Joel, Carlos Santana and Mariah Carey. In all she commissioned or was involved in the production of over three hundred music videos.
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Johnson, Bret. "Composer in Interview: Benjamin Lees." Tempo, no. 214 (October 2000): 28–30. http://dx.doi.org/10.1017/s0040298200008044.

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BL: The Concerto dates from 1966. It was written for Gary Graffman. We had worked together two years previously on the Fourth Piano Sonata, which I wrote on a Ford Foundation Grant. In those days the foundation was very active in getting performers and composers together and commissioning works. So we decided to do a Concerto. By chance a letter arrived from Eric Leinsdorf, then Music Director of the Boston Symphony, on another matter and when I mentioned in my reply that I was doing a Concerto for Gary, Leinsdorf said he wanted to do the première.
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Dissertations / Theses on the topic "Music – Commissioning"

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Haukebo, Lindsay A. "Virtuosic commissioning the creation of a canonized oboe repertoire /." Muncie, Ind. : Ball State University, 2009. http://cardinalscholar.bsu.edu/823.

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Rose, Onsby Cray. "Symphony No. 10 by David Maslanka with Matthew Maslanka: Commissioning, Completion, Performance and Analysis." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1555327360452211.

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Snavely, John Albert. "Benny Goodman's commissioning of new works and their significance for twentieth-century clarinetists." Diss., The University of Arizona, 1991. http://hdl.handle.net/10150/185539.

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Benjamin David (Benny) Goodman known for his unique style of jazz clarinet performance and the acclaimed "King of Swing" began studying and performing standard clarinet repertoire after becoming firmly established as a jazz musician. Goodman's thirst for new works and desire to become a recognized concert artist led to a series of commissions from noted composers of the twentieth century. The works created as a result of these commissions have received varied acceptance, yet are important contributions to clarinet repertoire. Some of the works included in this study have been described in other studies, yet no other study exists which summarizes the history, nature and import of non-jazz works commissioned by Goodman. This study is divided into four chapters. Chapter one summarizes Goodman's early musical training and the establishment of his jazz career; chapter two summarizes Goodman's study and performance of standard clarinet repertoire; and chapter three includes a description of each commissioned work in terms of history and musical style. Reviews, especially of premiere performances, are noted and summarized. The concluding chapter includes evaluative comments by recognized clarinetists about these works, documentation of recent rentals of their accompaniments, and a survey of current recordings available for each work. Works included in the study are: Contrasts for Violin, Clarinet, and Piano by Bela Bartok; Concerto for Clarinet and String Orchestra by Aaron Copland; Concerto for Clarinet and Orchestra by Paul Hindemith; Concerto for Clarinet and Orchestra by Darius Milhaud; and Derivations for Clarinet and Band by Morton Gould. An unpremiered Concerto for Clarinet, Cello, and Orchestra by Allen Shawn is described. Letters written by composers Bela Bartok, Paul Hindemith, Morton Gould, Darius Milhaud, and Allen Shawn concerning their commissioned works were collected and are summarized. These letters along with the reviews of premiere performances, statements by noted clarinetists, and data concerning recent performances and recordings of works commissioned by Goodman form a new perspective of their history, nature and significance.
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Cook, Justin Hastings. "Commissioning Music for Trombone and Percussion: A Collaboration Between Composer and Performer with an Accompanying Survey of Trombone and Percussion Repertoire." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc955030/.

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The repertoire for trombone and percussion has grown in popularity since the later 1980s. There are currently more than 110 pieces written for the ensemble. This project follows the commissioning and collaboration of Dr. Blake Tyson, Professor of Percussion at the University of Central Arkansas and well known percussion composer, in the creation of a new piece for trombone and percussion. The project also created a survey of works for trombone and percussion duet that includes 32 works. The survey includes details such as specific percussion instrumentation range, tessitura, grade level, publisher, and a description of each piece.
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Morse, Matthew C. 1967. "The West Point Band's Wind Commissioning Project in Celebration of the Bicentennial of the United States Military Academy." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc984246/.

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The United States Military Academy Band, also known as the West Point Band is the oldest active band in the United States Army and the oldest unit at the United States Military Academy, and is considered to be one of the finest military musical organizations in the world. The band has also been instrumental in facilitating the creation of new works for wind band.As the commissioning of new music has been essential to the expansion of the wind band's repertoire, several major commissioning projects were undertaken in the mid-twentieth century by various organizations, including the West Point Band, the Goldman Band in conjunction with the League of Composers and later the American Bandmasters Association, Kappa Kappa Psi and Tau Beta Sigma, the American Wind Symphony, and the College Band Directors National Association. These commissioning projects and many others have contributed hosts of new quality works to the repertoire of the wind band. The West Point Band's 1952 commissioning project celebrating the Sesquicentennial of the United States Military Academy was among the first of these mid-twentieth century commissioning projects to seek out prominent composers of the day and have them write works for wind band. The project contributed several seminal pieces to the wind band's repertoire, including Morton Gould's Symphony for Band: West Point. In 1996, as tribute to both the Academy and to the earlier commissioning project, the West Point Band sought to celebrate the Academy's 2002 bicentennial in a similar fashion by commissioning well-known composers to contribute substantial wind works. These pieces would be premiered and recorded by the West Point Band over a number of years, including a gala Bicentennial Celebration concert at Carnegie Hall in March 2002. The purpose of this study is to create a consolidated written record of the wind music composed for the West Point Band as part of the band's Bicentennial Wind Commissioning Project, and to describe the process and circumstances by which this music was created and premiered. The continuing development of a quality original repertoire is important to the wind band community as a whole, and commissioning composers to write wind band music is the primary means by which new music is acquired. By any account, the twenty-six works produced through the West Point Band's Bicentennial Commissioning Project constitute a significant contribution to this repertoire. As this project and many of these pieces are not well known, it is the author's intent to bring increased attention to this commissioning project and to this music.
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"A Recording and Commissioning Project Aimed at Developing New Repertoire for Pre-College and Early-College Saxophonists Focused on the Early Applications of Extended Techniques." Doctoral diss., 2015. http://hdl.handle.net/2286/R.I.29961.

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abstract: Composers and performers alike are pushing the limits of expression with an ever-expanding sonic palette. There has also been a great expansion of saxophone repertoire over the past few decades. This has lead to an increasing number of advanced pieces incorporating saxophone extended techniques. As younger saxophonists discover these compositions, they too become inspired to implement these techniques in their own playing. There is a need for broader selections of introductory to intermediate compositions with saxophone extended techniques. It is the goal of this project to expand this repertoire for pre-college and early-college saxophonists. These target-level saxophonists are those who have already begun their studies in extended techniques. Three commissioned composers have contributed pieces for this target level of saxophonist with the purpose of bridging the gap between first attempts of extended techniques and the advanced pieces that already exist. Saxophonists who have the standard techniques to perform compositions such as Sonata for E-flat Alto Saxophone and Piano by Paul Creston will be suited to approach these compositions. In addition to the compositions, the author has composed short warm up exercises, utilizing selected extended techniques. A professional recording of the resulting compositions and exercises are also included. The enclosed document will provide a performer's analysis to help instructors of potential performers navigate the extended techniques and provide insight on other challenging aspects of the compositions. It is not the intention of the following document to teach the individual techniques.<br>Dissertation/Thesis<br>Doctoral Dissertation Music 2015
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Books on the topic "Music – Commissioning"

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Renshaw, Jeffrey H. The American Wind Symphony commissioning project: A descriptive catalog of published editions, 1957-1991. Greenwood Press, 1991.

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D, Shirley Wayne, ed. Ballet for Martha: The commissioning of Appalachian Spring ; and, Ballets for Martha : the creation of Appalachian Spring, Jeux de Printemps, and Hérodiade. Library of Congress, 1997.

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Jay, Richard. How to Get Your Music in Film & TV: The Music Broker Guide to Soundtrack Licensing & Commissioning (Music Broker Guides). Music Broker Organisation, 2003.

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Lefrak, Karen. In Search of the New Classics: A Survey of Commissioning by the New York Philharmonic (Contributions to the Study of Music and Dance, No 13). Greenwood Pub Group, 1995.

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West, Jeremy. Intervention. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199355914.003.0013.

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In this Intervention, Jeremy West, the founding cornett player of the early music group His Majesty’s Sagbutts and Cornetts, reflects on the excitement and challenge of commissioning a new work from a living composer for the first time in the ensemble’s thirty-year history. The short account shows how working with the composer in the room provides not only technical support, but aesthetic insight and the confidence to strike out in new directions.
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Davison, Annette. Title Sequences for Contemporary Television Serials. Edited by John Richardson, Claudia Gorbman, and Carol Vernallis. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199733866.013.0036.

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This article appears in theOxford Handbook of New Audiovisual Aestheticsedited by John Richardson, Claudia Gorbman, and Carol Vernallis. This chapter focuses on the main title sequences of recent television serials commissioned by the North American premium cable channel Home Box Office. At around 90 seconds’ duration, these sequences buck the trend much in evidence elsewhere on television of minimizing such elements drastically and placing such identifiers later in the show. An exploration of the functions and characteristics of television title sequences is followed by an introduction to commercial television marketing and approaches to the audiovisual. The chapter then provides detailed analyses of the title sequences forThe Sopranos(1997-2007), with music by Alabama3/A3 (“Woke Up This Morning”) andSix Feet Under(2001-05), with music by Thomas Newman. The relationship between the aesthetic character of the sequences and the institutional context of the serials in question is explored, suggesting that such sequences function as signifiers of the commissioning channel's brand identity.
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Book chapters on the topic "Music – Commissioning"

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Vasco, Hexel. "Commissioning Original Music." In The Film and Media Creators’ Guide to Music. Routledge, 2018. http://dx.doi.org/10.4324/9781315165752-7.

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Brodsky, Seth. "Music & New Music (2)." In From 1989, or European Music and the Modernist Unconscious. University of California Press, 2017. http://dx.doi.org/10.1525/california/9780520279360.003.0016.

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This chapter returns to the book's own present, but drags fi-de-siècle Vienna with it, exploring a network of “Mahler pieces” from 1989. The network emerges partly out of unrelated, stylistically disparate works, some of which explicitly cite or allude to the composer, others of which stage Mahlerian scenes or tropes. But the bulk of the network is the result of deliberate effort—European cultural institutions commissioning composers to fantasize on their behalf, to produce collective scenes in which “Mahler” serves as a musical representative of “Europe.” Unsurprisingly, the composers respond in the negative—not with scenes, but with their dismantling; not with representations, but their travesty, ruin, or residue. The remainder of the chapter stumbles into the book's central repression: the presence of Theodor Adorno, whose 1960 monograph on Mahler is taken as an uncanny guide to these later works. The book ends with an extended consideration of Adorno's place in a Lacanian account of European musical modernism.
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Clague, Mark. "American Music Goes to School A Point of View and a Case in Point." In Rethinking American Music, edited by Tara Browner and Thomas L. Riis. University of Illinois Press, 2019. http://dx.doi.org/10.5622/illinois/9780252042324.003.0008.

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That patronage remains a critical contemporary concern, not merely a topic of historical interest, is illustrated in Clague's case study from the twenty-first century. He begins with an extensive survey of the aesthetic principles found in earlier European and American commentaries in order to review the idea of a compositional “school” itself; he then focuses his discussion on the Atlanta school of composers and the work of Atlanta Symphony conductor Robert Spano. Clague traces Spano’s strategic commissioning principles as well as the tactics used to introduce new music to new audiences, while also offering insight into the creative power of institution building through community engagement.
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Fiala, Michele. "Nicholas Daniel." In Great Oboists on Music and Musicianship. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190915094.003.0003.

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Nicholas Daniel became known as an oboe soloist after winning the BBC Young Musician of the Year award at the age of eighteen. He has performed and conducted around the world and was awarded the Queen’s Medal for Music. In this interview, he talks about the performer-audience connection, fidelity to composers, problem solving in music, creating an interpretation, and being a soloist. He also discusses the relationship of vocal and instrumental music, commissioning, and highlights of his career.
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Owens, Matthew. "14. Commissioning and Performing Sacred Music in the Anglican Church." In Annunciations. Open Book Publishers, 2019. http://dx.doi.org/10.11647/obp.0172.26.

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Clark, Walter Aaron. "The Romero Repertoire." In Los Romeros. University of Illinois Press, 2018. http://dx.doi.org/10.5622/illinois/9780252041907.003.0014.

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There are basically five ways that the Romeros have added new works to the guitar repertoire: commissioning, composing, arranging, reviving, or improvising them. They have requested works from leading composers in Spain and the U.S.; composed works, mostly by Celedonio for solo guitar; arranged numerous orchestral and stage works for quartet; revived neglected classics, especially from the 1800s; and improvised flamenco numbers, as well as adding flourishes to notated music.
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Kravetz, Nelly, Rita McAllister, and Laura Brown. "Sergei Prokofiev and Levon Atovmian." In Rethinking Prokofiev. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190670764.003.0008.

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The name of Levon Atovmian is largely unknown. Yet he was a most important and influential figure in the development of Soviet culture: a musical impresario, company director, bureaucrat, publisher, editor, and arranger, as well as close friend and confidant of many distinguished Soviet composers. His role in Prokofiev’s later life cannot be overestimated. He played a leading, practical part in the composer’s return home in 1936. He promoted the commissioning of some of the most significant of Prokofiev’s later works, and arranged for piano all of his Soviet-period operas, oratorios, and ballets. He and Prokofiev exchanged an extensive professional and increasingly personal correspondence for over twenty years. The chapter is based on unique materials, including his memoirs, given to the author by Atovmian’s daughter. It explores their correspondence, and reveals the circumstances surrounding the discovery of Atovmian’s arrangement of an oratorio based on Prokofiev’s music for Ivan the Terrible.
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Robin, William. "Funding." In Industry. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190068653.003.0005.

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In the midst of the Culture Wars, in which Congressional Republicans and the religious right attempted to defund the National Endowment for the Arts, Bang on a Can expanded and professionalized. Cuts to government funding throughout the 1980s and 1990s shaped how Bang on a Can and their peers navigated their relationship to the marketplace. Other controversies also emerged, as when the New York State Council on the Arts attempted to implement policy around multicultural programming and encourage institutions to seek out audiences, to the chagrin of composers Charles Wuorinen and Milton Babbbitt as well as the Group for Contemporary Music. But Bang on a Can made the most of this moment, carving out new sources of income, diversifying their programming, reaching new audiences, and ultimately starting a new program, the People’s Commissioning Fund, in the wake of the devastating cuts to the NEA passed in the mid-1990s.
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Conference papers on the topic "Music – Commissioning"

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Tomono, Dai, Mitsuhiro Fukuda, Kichiji Hatanaka та ін. "Muon Beamline Commissioning and Feasibility Study for μSR at a New DC Muon Beamline, MuSIC-RCNP, Osaka University". У Proceedings of the 14th International Conference on Muon Spin Rotation, Relaxation and Resonance (μSR2017). Journal of the Physical Society of Japan, 2018. http://dx.doi.org/10.7566/jpscp.21.011057.

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Reports on the topic "Music – Commissioning"

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Kvalbein, Astrid. Wood or blood? Norges Musikkhøgskole, 2018. http://dx.doi.org/10.22501/nmh-ar.481278.

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Wood or Blood? New scores and new sounds for voice and clarinet Astrid Kvalbein and Gjertrud Pedersen, Norwegian Academy of Music What is this thing called a score, and how do we relate to it as performers, in order to realize a musical work? This is the fundamental question of this exposition. As a duo we have related to scores in a variety of ways over the years: from the traditional reading and interpreting of sheet music of works by distant (some dead) composers, to learning new works in dialogue with living composers and to taking part in the creative processes from the commissioning of a work to its premiere and beyond. This reflective practice has triggered many questions: could the score for instance be conceptualized as a contract, in which some elements are negotiable and others are not? Where two equal parts, the performer(s) and the composer might have qualitatively different assignments on how to realize the music? Finally: might reflecting on such questions influence our interpretative practices? To shed light on these issues, we take as examples three works from our recent repertoire: Ragnhild Berstad’s Vevtråd (Weaving thread, 2010), Jan Martin Smørdal’s The Lesser Nighthawk (2012) and Lene Grenager’s Tre eller blod (Wood or blood, 2005). We will share – attempt to unfold – some of the experiences gained from working with this music, in close collaboration and dialogue with the composers. Observing the processes from a certain temporal distance, we see how our attitudes as a duo has developed over a longer span of time, into a more confident 'we'.
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