Composition Commons^™

Orthography, Jeremy Gill

Music & Musical Performance

The myth of Pope Gregory I taking melodic dictation from a magical singing bird is the imaginative starting point of Western musicʼs love-hate relationship with the music notation systems it later developed. This essay traces that development through Thomas Tallis and J. S. Bach to the dichotomous modern examples of Brian Ferneyhough and Arvo Pärt. In it, I suggest that Western musicʼs eventual development hinged upon that earliest desire to document and codify melodies, answering Gregoryʼs contemporary Isidore of Seville, who lamented that “unless sounds are held by the memory of man, they perish, because they cannot be written down.”

William Albright's Whistler (1834-1903): Three Nocturnes: "Why The Hell . . . Should Anyone Listen To This?!", R. Douglas Reed

Music & Musical Performance

William Albright's Whistler (1834-1903): Three Nocturnes: "Why the hell...should anyone listen to this?!"

By Douglas Reed--2022

The article explores William Albright's Whistler (1834-1903): Three Nocturnes (1989) through historical context, musical analysis, performance practice, and the composer's essay on the relationship between his composition and Whistler's paintings. Commentary by composer Sydney Hodkinson gives information about the 1960s new music scene in Ann Arbor (the ONCE Group, The Grate Society) composition study with Ross Lee Finney.

Contributors To Issue 2, Music & Musical Performance: An International Journal Digitalcommons.Fiu.Edu/Mmp

Music & Musical Performance

No abstract provided.

Christopher Luna-Mega: Time’S Arrow. Other Minds Om 1031-2, 2022 [Review], Rob Haskins

Music & Musical Performance

No abstract provided.

Sylvie Bodorová: Snow And Stars. Cesky Rozhlas Cr 1117-2, 2021 [Review]., Tom Moore

Music & Musical Performance

No abstract provided.

Christopher Fox: Trostlieder. Kairos 0220005kai, 2022 [Review], Rob Haskins

Music & Musical Performance

No abstract provided.