recursal/Fanatic-Fandom huggingface dataset:
Gnoll

Race la plus haïs de toute surtout par le Saint Royaume , ce sont des charognards animée par la haine envers les autres races , surtout les Minotaures ,ils ont la réputation d'être un peuple sanguinaire ou d'horrible Hors la loi, c'est une race violente et primitive apparu en -100 a.v m.n

## Noms :

Les Gnolls se nomment eux même

Quelque exemple : Varg ,Drezz , Gruzz

## Espérance de vie :

Les Gnolls vivent pas longtemps , a peine 50 ans

## Apparence physique :

Ce sont des Hyènes humanoïdes , rien de particulier

## Lieu de vie :

Ils vivent essentiellement dans la province Viride au coté des Minotaures, grâce a leur actuelle Leader de guerre les Gnolls perdurent dans a peu près toute les provinces du continent dans des petits campement

## Religion :

Les Gnolls vénèrent leur propre dieu Itaz Gootusk ,Gnoll de la guerre et des charognards

## Communauté :

Leur communauté marche en Tribu , le plus fort est le Chef qui dirige tout au coté des Sorciers , les guerriers en second et les villageois en dernier

Il y a le Leader de guerre se nommant Gruargex Fizzlefingers qui a réussis a rassembler toute les tribus sous sa tutelle pour harceler et tuer les autres races plus efficacement

Beaucoup d'entre eux quitte leur peuple pour rejoindre des groupes mercenaire ou hors la loi , ce qui n'arrange pas leur réputation

## Langue :

Ils parlent leur propre langue primitive : Le Gnan

Et le courant pour les déserteur

## Origine :

C'est une race primitive arriver naturellement sur la planète

## Tribu :

(Traduit dans notre langue)

Les Gnolls comptent seulement 5 Tribus unis sous le Leader de guerre

-Les Fourbe-Griffe

-Les Anti-Humain

-Les Sorciers-d'-Itaz

-La Horde-Sanguinaire

-Les Tueurs-De-Minotaure
Jesper Nordin (1971)

## Introduction

Jesper Nordin is a Swedish composer whose compositions mix traditional Swedish folk music, rock music, electroacoustics, and improvisation. In 2002 his composition *Calm Like a Bomb* won second prize in Category B: electroacoustic music with voice or instruments in the 24th Russolo Composers Competition. The following year, he was a finalist in Category A: electroacoustic music in the same competition. Jesper Nordin has also had huge success with his iOS app Gestrument that is based on his own composition technique. It is used worldwide to create music in genres ranging from Electronica and Techno to Jazz Impro and Contemporary Classical music. His use of unique instrumentation and sounds allow him to be one of the foremost Swedish composer of the modern day.

## Work Analysis

In his work *Klotho* (2000) featuring Marimba, cello and percussion ensemble, he interweaves the instruments and the melodic lines. The name Klotho is one of the three goddesses of fate in the ancient Greek myths. Known as the weaver, this piece was primarily focused on capturing the present moment. Some improvised lines with constructed sections surrounding it allow the listener to be drawn in and experience the moment.

## Comparisons

His development of his app "Gestrument" allowed him to claim a good amount of fame because of its user friendly interface that allows him to use motion and the body to have a connection with the sounds being produced. This makes him a unique composer of the modern era because his works are not only compositional but also technological. This reminds me a lot of the way Stockhausen and Lachenmann developed technology techniques in order to dive deeper into the threshold of sound.

## Works Cited

http://www.jespernordin.com/

https://en.wikipedia.org/wiki/Jesper\_Nordin\_(Swedish\_composer)

http://www.jespernordin.com/pdf/klotho.pdf
Anna Clyne (1980)

## Introduction

Anna Clyne was born in London in 1980. She composes with acoustic music and also electro-acoustic music. She began writing and playing music when she was very young. by the time she was eleven years old she had finished her first composition. She received her Bachelor of Music from the University of Edinburgh. She obtained her M.A. degree in music from the Manhattan School of Music. She directed the New York Symphony's "Making Score" program from 2008-2010 which was a program where young composers got to study. Clyne scored herself a Grammy Nomination in 2015 in the category Best Contemporary Classical Composition for her double violin concerto *Prince of Clouds.*

## Work Analysis

*Prince of Clouds* is a double concerto composed in 2012 that was commissioned by the Chicago Symphony Orchestra, the IRIS Orchestra, the Los Angeles Chamber Orchestra, and the Curtis Institute of Music. It is a single movement piece that lasts approximately 14 minutes. This piece has dark moments but they are always overshadowed by a happy and bright theme that returns throughout the piece.

## Comparisons

Her work often seeks to encompass other art forms such as dance, literature, and painting. This reminds me of ives and how he wanted to intertwine literature with her music. Clyne seeks to encompass all art forms to truly express her emotions.

## Observations

I like that she tries to combine her musical ability with other art forms. Her piece *Steelworks* has an optional film that can be played along with the piece. I think this allows her to reach a largr audience and create some really cool art.

## Works Cited

https://en.wikipedia.org/wiki/Anna\_Clyne

http://www.annaclyne.com/about/

https://en.wikipedia.org/wiki/Prince\_of\_Clouds
Tristan Murail (1947)

## Introduction

Murail is a French composer who is commonly associated with the "spectral" technique. This means that the visual representation of the sound is relevant to the treatment of the current sound, bt also can be manipulated and applied to other similar visuals or sounds. He was a student of Olivier Messiaen at the Paris Conservatory from 1967-1972. Murail taught computer music and composition at IRCAM in Paris from 1991 to 1997. While there, he assisted in the development of Patchwork composition software. In 1973 he was a founding member of the *Ensemble l'Itinéraire.*

## Work Analysis

Murail is associated with the "spectral" technique of composition, which involves the use of the fundamental properties of sound as a basis for harmony, as well as the use of spectral analysis, FM, RM, and AM synthesis as a method of deriving polyphony. "Treize Couleurs du soleil couchant" is a piece where you can hear the almost pulsating sounds of the different pitches and overtones of the instruments ebb and flow. The compositions become borderline soundscapes at some moments. This "spectral" style of music becomes popular with the influx of digital music and the unique understanding of the way sound and harmonics function and interplay.

## Comparisons

One of his major influences is Giancinto Scelsi when it comes to the "spectral" style. Scelsi's used "a continual rather than a discursive process, an oriented and irreversible rather than a chronometric time, a consideration of the pure duration and of the unity of perception… But it is the discovery of electronic and computer means that broadened Murail's style." His interests in harmony, sonority and musical color makes him musically comparable to the styles and the influences of Boulez, Messiaen, Ravel and Debussy.

## Observations

The development of the access and rapid growth of electronic music drastically affected the way Murail composed his music. He had more options when it came to how he could amplify, modify, and playback his composition as well as his performers interpretations.

## Works Cited

[1] http://agora2010.ircam.fr/923.html?L=1

http://www.compositiontoday.com/articles/tristan\_murail.asp

https://en.wikipedia.org/wiki/Spectral\_music

https://en.wikipedia.org/wiki/Tristan\_Murail

1. ↑ http://agora2010.ircam.fr/923.html?L=1
György Ligeti (1923-2006)

## Introduction

György Ligeti was born in Transylvania, Romania in 1923. He was a leading composer when it came to avant-garde music post World War II. He composed electronic music, vocal music, and instrumental music. He studied and taught music in Hungary until 1956 when the Hungarian Revolution took place. He was highly interested in blending vocal and instrumental sounds.

## Work Analysis

The work I will analyze is Atmosphères. This is a piece for a full orchestra. It consists of parts for four flutes, four oboes, four clarinets, 3 bassoons, contrabassoon, six horns, 4 trumpets, 4 trombones, tuba, piano, and fifty six string parts. This work is not in movements and Ligeti disregards traditional meter and rhythm techniques to create a wall of sound. He creates a sense of timelessness as the wall of sound just continues and grows without many changes at all. This piece was originally written for a synthesizer but technology was not advanced enough to achieve the sound Ligeti was searching for.

## Comparisons

I find his music to be similar to that of many of the composers that use serialism such as Schoenberg, Webern, and Babbitt. Ligeti used techniques that had never been used before just as these composers did and paved the way for future musical breakthroughs. I would compare his atmospheres piece to the serialism pieces written by Babbitt. His music is highly complex and was truly pushing the boundaries of what was being done previously.

## Observations

His music was extremely unique and I enjoyed listening to it. The sense of timelessness in atmospheres was something I've never heard before. He played with the sounds and created a wall of sound that was hard to identify as an actual full orchestra. He made all of those instruments sound like a synthesizer machine and I think that is really awesome.

## Works Cited

https://www.britannica.com/biography/Gyorgy-Ligeti

https://articulatesilences.wordpress.com/2012/06/25/gyorgy-ligeti-atmospheres/

https://en.wikipedia.org/wiki/Atmosph%C3%A8res
Stacy Garrop (1969)

## Introduction

Stacy Garrop is an American composer. Her works include compositions for instrumental ensembles, orchestra, concertos as well as vocal works. Her works focus on her expression of humanity through storytelling. She is Head of Composition and Associate Professor of Composition at the Chicago College of Performing Arts at Roosevelt University. As an educator she teaches her students to acknowledge their weaknesses and find ways to tackle and overcome them. In an interview she talks about how she composes a minute of music a day, and regardless of its quality it is something that she could draw from or gain inspiration from her own works.

## Work Analysis

Garrop's music is centered on lyrical and dramatic story telling. Through the use of "sonic journeys" varying form simple and beautiful to complicated and dark she can convey the exact details of her compositional story to the audience. Sometimes she will begin on blank paper to just start designing what she wants to get out of the piece, which brings the narrative to the foreground of each of her pieces.

In her *String Quartet No. 2, "Demons and ANgels"*  she wrote this after an ex-boyfriend took a turn into depe mental illness, as well as murdering five people. She speaks of the third movement when there was a moment when each instrument plays a motif that then begins to overlap and play utter chaos for a whole minute. She feared the response would be negative, but the audience looked around confused at first or perplexed, but all made it through and to this day she considers it to be one of her strongest movements of the *Quartet.*

## Comparisons

Many people say that her music is similar to movie music. This is due to her prominent narrative lines that truly tell a story. SHe says she would enjoy scoring a film and is not offended when people compare her music to that because it reinforces the fact that she composes music with strong narrative lines.

## Observations

She speaks about pitch in an interview she wonders if she had been exposed to a different mode of pitches, for example in non-western music, would her perfect pitch be in relation to one of those modes. This is interesting because she clearly wants to dive beyond her own perception of sound and harmony, but doesn't want to feel like she can't understand it.

## Works Cited

https://www.garrop.com/

http://www.classicalconnect.com/composer/Stacy%20Garrop

http://www.newmusicbox.org/articles/stacy-garrop-with-a-story-to-tell/

http://magazine.uchicago.edu/0812/features/glimpses.shtml
Mason Bates (b. 1977)

## Introduction

**Mason Bates** was born and raised in **Richmond Virginia** where he attended **St. Christopher's School.** He graduated from the **Columbia University-Juilliard School** Exchange Program, with a BA in music composition and English literature, where he studied with **John Corigliano, David Del Tredici, and Samuel Adler.** He graduated from the **University of California, Berkeley** with a PhD in composition in 2008, where he studied with **Edmund Campion**. He is a DJ and techno artist, in **Oakland, California.**

## Works Cited

http://www.masonbates.com/

https://en.wikipedia.org/wiki/Mason\_Bates

https://www.washingtonpost.com/entertainment/music/a-composer-offers-the-field-just-what-it-needs/2016/03/31/9bd82884-d428-11e5-be55-2cc3c1e4b76b\_story.html?utm\_term=.d8bc4b29bd64

https://ww2.kqed.org/arts/2016/04/26/meet-mason-bates-the-man-behind-steve-jobs-the-opera/

https://www.bsomusic.org/stories/qa-with-composer-mason-bates/
Steven MacKey (1956)

## Introduction

Steven Mackey is an American composer and guitarist. His works are often influenced by jazz and rock along with having an avant-garde undertone. He will often perform his electric guitar for his own compositions. as an electric guitar soloist he has performed with  the Kronos Quartet (*Short Stories*), the Arditti Quartet, New World Symphony, Dutch Radio Symphony, and London Sinfonietta. Born in Germany to American parents and then raised in California, you can hear the influence of american rock and jazz through out his compositions. Since 1985 Mackey has served as a professor of music at Princeton University, where he teaches composition, theory, twentieth century music, improvisation, and a variety of special topics.

## Work Analysis

He comments on his compositions saying that he doesn't compose to tell people what he is thinking or to tell peopel what they should be thinking, but rather to find out what he is thinking. He says he enjoys when he can surprise himself. This was in an interview with Boosey&Hawkes called *Steven Mackey on Steven Mackey*. You can hear that in his music as it seems to meander and wander through the sounds. "Fusion Tune" written in 1995 uses both electric and acoustic instrumentation, and definitely fuses styles together as well as fuses you to the music because it captivates you.

## Comparisons

Mackey talks about how his music relates to the sounds he heard as a child, with cartoons, realizing that he was exposed to classical music a lot sooner. He finds that his works each influence the next step of his compositional skills. For example the passing of his parents affected his work because it affected what he was thinking and therefore his music was altered. He has something else to express.

## Observations

Steven Mackey seems to enjoy blending the old sounds and tonalities of the more classically composed music while playing with the modern electronic techniques. He felt that classical music from his childhood with cartoons was comparable to the sounds of life. Someone actually had to compose the sounds of falling of gravity or the chase. He liked this and he has found a way to allow his music to express the reality of the world around him.

## Works Cited

http://stevenmackey.com/

https://en.wikipedia.org/wiki/Steven\_Mackey

http://www.boosey.com/podcast/Steven-Mackey-on-Steven-Mackey/100862

http://www.boosey.com/composer/Steven+Mackey
Jocelyn Hagen (b. 1980)

## Introduction

Jocelyn Hagen was born inValley City, North Dakota. Her first forays into composition were via songwriting. Jocelyn began piano lessons at the age of three and became a professional accompanist by the age of 15. In 2000 she won first place in the **Klatzkin Contemporary Keyboard** Competition at **Arizona State University**  and in 2003 soloed with the **St. Olaf Orchestra.** For several years she specialized in the performance of 20th and 21st century art song performing and touring with soprano **Jennifer Kult** as the **Linden Duo.** She holds degrees in Theory, Composition, and Vocal Music Education from **St. Olaf College**, as well as a Masters degree in Composition from the **University of Minnesota**. She has received grants and awards from **ASCAP, the American Composers Forum, Minnesota Music Educators Association, the McKnight Foundation, the Jerome Foundation, VocalEssence, the Yale Glee Club, the Lotte Lehman Foundation, the Sorel Medallion Competition, the Cincinnati Camerata, the University of Minnesota, and the San Francisco Song Festival.** Her commissions include the **American Choral Directors Association, Texas, Georgia and Connecticut Choral Directors Associations, the North Dakota Music Teacher’s Association, The Singers – Minnesota Choral Artists, Trio Callisto, the Murasaki Duo, Cantus, the Houston Chamber Choir, the Metropolitan Symphony Orchestra, the St. Olaf Band, NDSU Gold Star Band, the ND Army Band, and the Copper Street Brass Quintet.** Currently she is Artist-in-Residence at the **North Dakota State University School of Music,** where she teaches, writes curriculum and brings in collaborators to perform her work.

## Work Analysis

Her work has a sad quality about it that is tonal in nature, There is not alot of what some would call overt modernism in her work. There are contrapuntal and traditional chorals and choir compositions. Her vocal work is reminiscent of **Wagner and Carl Orff.**

## Comparisons

**Bach and Handel** come to mind as well **Debussy Wagner and Orff**

## Observations

Her choir work is of the liturgical brand thus **Bach** and the baroque factor heavily in the contrapuntal forms and cadences. Though there are moments of chordal richness that also remind of **Debussy.**
Атака на Пурпурлэнд

**Атака на Пурпурлэнд** - битва произошедшая в 1950 году. В ней принимали участие две стороны:

**Нападающие**:

Rubrum reptile

Тёмная империя

**Обороняющиеся:**

ГОР

## Начало битвы

Начало битвы произошло 21 января 1950 года Rubrum reptile со своими союзниками вторглись в территорию ГОР. О новых союзниках Rubrum reptile не было ничего известно...

## Итог

Спустя 5 дней битва закончилась победой ГОР. Однако Тёмная империя занесла на планету опасный для неё вид существ - Ам-нямов.
Lowell Leibermann (1961)

## Introduction

Lowell Leibermann was born in New York City in 1961. He started playing piano at age eight and studying composition at age fourteen. When he was fifteen he composted his first piece, *Piano Sonata, Op.1.* He made his performance debut when he played his own piece at Carnegie Recital Hall when he was just sixteen. Leibermann studied at the Juiliard School of Music and he received his bachelor's, master's, and doctoral degrees from there. He is currently living in Weehawken, New Jersey with his partner William Hobbs and their two dogs.

## Work Analysis

*Sonata for Flute and Piano Op. 23.* This song consists of two movements. The first is Lento and the second is Presto. This piece has been recorded over twenty times and is a standard piece for each instrument. This piece follows sonata allegro form.

## Comparisons

I would compare Liebermann to more classical composers such as Mozart. He composes in the way that Mozart did with the exception that he pushes the boundaries of tonality.

## Observations

I can see that Liebermann prefers classical form, often writing his pieces in sonata form. His pieces are classic and easy on listeners.

## Works Cited

http://www.lowellliebermann.com/biography/

http://www.lowellliebermann.com/works/opus023.html

https://scholarship.rice.edu/bitstream/handle/1911/19160/9727555.PDF?sequence=1&isAllowed=y
Missy Mazzoli (1980)

## Introduction

Missy Mazzoli is an American composer and pianist who was born in Lansdale, Pennsylvania in 1980. Mazzoli has studied at the Yale School of Music, the Royal Conservatory of the Hague and Boston University. Through this schooling she has been taught by many great composers including Aaron Jay Kernis and John Harbison. She is currently living in New York CIty and has been called "Brooklyn's post-millennial Mozart" (Time Out New York).

## Work Analysis

Her piece *Holy Roller* Is meant to be a religious piece but for a religion that does not exist. It takes excerpts from 16th century psalms but she has altered it greatly. This piece was commissioned by the Albany Smphony and also premiered with them.

## Comparisons

Mazzoli has written everything from operas to music for her own band, Victoire. She is the only composer I have researched that has her own band dedicated to her compositions so i think this makes Mazzoli very unique as a composer.

## Observations

Her music is very tonal and i can hear a lot of triads present however her usage of them is always unique. They keep the listener guessing as to where the chords will progress because it's never just a typical V-I cadence. It is also very unique that she has her own band dedicated to playing her music. This way she can make the music be performed exactly the way she intended.

## Works Cited

https://en.wikipedia.org/wiki/Missy\_Mazzoli

http://www.missymazzoli.com/about-missy/

http://www.musicsalesclassical.com/composer/work/4037/47563
Mark Andre (1964)

## Introduction

Mark Andre is a French composer who lives in Germany. He studied at the University of Music and Performing Arts Stuttgart with Helmut Lachenmann. He also worked with André Richard in electronic music through the Experimental Studio for Acoustic Art. His works are mostly for orchestra and chamber groups. His chamber works, delicate and concentrated, have been described as “acoustic houses of cards that no wind can blow down”.  In his orchestral works the practicing Protestant also shows himself to be a sensitive explorer of sound, guided by the spiritual dimension of the creative process.

## Work Analysis

His works attempt to push the boundaries of where the threshold of a listener can be pushed to. where do the

boundaries of notation, knowledge and sound experience potentially hold us back from the overall experience. His work with Helmut Lachemann he explained as a revelation. His piece "*...auf... III*" for orchestra and live electronics, is an experience to listen to. It can be challenging at first to digest, however, there is intention behind every action and stroke created by Andre.

## Comparisons

His education with Helmut Lachenmann is prominent within all of his works. There is a distinct desire to push the boundaries of what music is and what composing can do to a performer and listener.

## Observations

On Soundcloud there are numerous recordings and compositions that all vary in the sounds created and manipulated, but nevertheless are still a complex and emotional compelling experience.

## Works Cited

https://en.karstenwitt.com/mark-andre

https://en.wikipedia.org/wiki/Mark\_Andre

http://www.composers21.com/compdocs/andrem.htm

https://soundcloud.com/mark-andre
Ted Hearne (1982)

## Introduction

Ted Hearne is an American composer, singer and conductor. He is defined as contemporary classical, avant-garde and experimental in his compositions. His use of sampled sounds as well as orchestral works build up an interesting dynamic in his works. He is known for writing a wide variety of compositions and each having a unique sound. This speaks to the experimental nature of his work and career as a musician and composer.

## Work Analysis

His music is highly experimental with its dissonant harmonics, as well as aggressive rhythms and chromatic movement. His works are known for the juxtaposing of diverse styles of music. In his piece *Privilege* composed for voices. You can hear the limited text almost as if it is being synthesized electronically in the way the sounds pulsates. This piece discusses and criticizes what we as a society have come to understand as privilege, and its overarching distraction from the pain of the music. As a listener you want the music to settle into a tonal center and yet the piece is intended to feel unsettled.

## As a Performer

Hearne is also a singer who performs other contemporary composers pieces. He played the role of Justin Timberlake in Jacob Cooper's opera *Timberbrit.* His vocal technique and skills vary from have a dramatic range and his use of falsetto, crooning, screaming and even abrupt register changes. This can be seen in the vocal compositions he writes as well.

## Works Cited

https://en.wikipedia.org/wiki/Ted\_Hearne

http://pitchfork.com/reviews/albums/21131-the-source/

https://soundcloud.com/tedhearne

https://www.newmusicusa.org/profile/tedhearne/?newtab=true

http://www.tedhearne.com/#songs
Космический пассажирский корабль "Гигант"

*Не путать с классом космических кораблей -* Гигант (класс космических кораблей)

Космический пассажирский корабль "Гигант" - гигантский пассажирский корабль принадлежавший империи ГОР. Был запущен 30 января 1950 года. Гигант отправлялся на планету Fortis orbis.

## Характеристики

Длина: 500 метров

Вес: 80 650 тонн

Количество пассажиров: около 4000

## "Гигант" изнутри

На Гиганте было 6 этажей.

**ПЕРВЫЙ ЭТАЖ**

На первом этаже был лифт (изначально хотели сделать телерепортер, но на тот момент телепортация была плохо протестирована). Также там была столовая и несколько кают.

**ВТОРОЙ ЭТАЖ**

На втором этаже был лифт, несколько бассейнов и несколько кают.

**ТРЕТИЙ ЭТАЖ**

На третьем этаже были каюты и столовая.

**ЧЕТВЁРТЫЙ ЭТАЖ**

На четвёртом этаже были спасательные космические корабли.

**ПЯТЫЙ ЭТАЖ**

На пятом этаже была каюта капитана.

**ШЕСТОЙ ЭТАЖ**

На шестом этаже был склад.

## Гибель

3 февраля 1950 года "Гигант" был неподалёку от своего места назначения. Однако войска Тёмной империи и империи Rubrum reptile атаковали его. "Гигант" был уничтожен. К счастью большинство пассажиров спаслись на спасательных космических кораблях "Гиганта".
Pierre Boulez (1925-2016)

## Introduction

Pierre Boulez was born on March 26, 1925, in Montbrison in France. Boulez was one of the most prominent composers of his time and was the Cheif Conductor of the New York Philharmonic and the BBC Symphony Orchestra. He was the Music Director of the Ensemble Intercontemporin and Principal Guest Conductor of the Chicago Symphony Orchestra and the Clevland Orchestra. He was frequently a guest of many other ensembles including the Vienna Philharmonic, the Berlin Philharmonic, and the London Symphony Orchestra.

## Work Analysis

Boulez was mostly interested in the concept of total serialism to the point of which he was the first to serialize every aspect of the music, to the point of serializing dynamics. Every part of the music was calculated and essentially scheduled from what notes were played to how loud and how soft they were played. An example of this is in the piece, *Structures, Book I.* Boulez described the piece as "the responsibility of the composer is practically absent. Had computers existed at the time I would have put the data through them and made the piece that way. But I did it by hand... It was a demonstration through the absurd." Whether or not it should be listened to as music, Boulez stated, "I am not terribly eager to listen to it. But for me, it was an experiment that was absolutely necessary."
Andrew Imbrie (1921-2007)

## Introduction

Imbrie was an American composer who was born in New York City in 1921. He began playing piano at age four. Imbrie attended Princeton University and University of California, Berkeley. He received an M.A. in music in 1947. He taught analysis and composition at Berkeley from 1949 to 1991. He composed works for vocalists and instrumentalists.

## Work Analysis

The work I will analyze is called Dream Sequence. It consists of three movements

1. Allergo Assai: this movement is the longest of the three and lasts around eleven minutes. It is atonal but a tonal center s implied at various points within the music
2. Misterioso: This movement is much shorter at about half the length of the first. This movement is much more uneasy and floats around
3. Adagio

This piece really does sound to me what a dream sounds like. He moves through fast intense parts to slower more relaxed parts just as a dreaming brain would do.

## Comparisons

His work is evidently influenced by Bèla Bartók. He strays away from triad harmonies and wrote mostly atonal music. HIs music is largely contrapuntal. He was composing post World War II when everyone was using serialism but he refrained and just stayed atonal.

## Observations

Although his music is atonal, it is very enjoyable to listen to. This is some of rare atonal music that does not require one to sit down and try to appreciate. I found it very easy to enjoy his music. It always had clear direction and i enjoyed that.

## Works Cited

http://www.musicsalesclassical.com/composer/short-bio/Andrew-Imbrie

https://en.wikipedia.org/wiki/Andrew\_Imbrie#Selected\_compositions
Jennifer Higdon (1962)

## Introduction

Jennifer Higdon is an American composer of classical music and a composition teacher. She received the 2010 Pulitzer Prize in Music for her Violin Concerto and in 2009 she won a Grammy Award for Best Contemporary Classical Composition for her Percussion Concerto. Originally born Brooklyn, New York, she grew up in Atlanta, Georgia for the first 10 years of her life. Now based in Philadelphia, she lives with her wife, Cheryl Lawson, where she teaches and composes.

## Work Analysis

*Blue Cathedral* (2000), is one of her most popular compositions. It is defined as a one movement tone poem. Written in order for her to express and deal with the death of her brother to cancer. It has been performed by my that 200 orchestras since its premiere in 2000. The harmonies are rich and inviting, and there are lines of intertwining polyphony, that build to homophonic moments of intensity and release. The overall piece gives a feel ing of closure and calm.

## Comparisons

Many of her works are considered neoromantic and a common feature are octatonic scales, where an alternating scale of whole and half steps.

## Observations

Her works are prominently defined by their lyrical lines and the virtuosity required to play those lyrical lines. Her works are becoming more popular as time goes on, and she is growing and experimenting as well.

Conductor Marin Alsop says she's also a Higdon fan.

"Her music is evocative and understandable," Alsop wrote in an essay for NPR. "Her willingness to communicate with audiences and her openness to musicians' comments is extremely refreshing. 'Accessible' is often a dirty word in the world of art, but Jennifer embraces the concept and explains that a major priority for her is to give listeners a sense of grounding and a feel for where they are in her compositions."

## Works Cited

https://www.philorch.org/blog/news/jennifer-higdon-livenote-and-curtis-connection#/

http://www.jenniferhigdon.com/

https://en.wikipedia.org/wiki/Jennifer\_Higdon

https://www.curtis.edu/faculty/faculty-bios-by-name/jennifer-higdon.html

http://www.npr.org/templates/story/story.php?storyId=125872042
Lukas Foss (1922-2009)

## Introduction

Lukas Foss was a German-American Composer, born in Germany and spending a large majority of his life in America, allowed him to have inspiration from both the European and American composers of the 20th century. In his early works, Foss was neo-classical in composition, with melodic lines that showed appreciation for other composers like Stravinsky and Bach. However, by the 1950s, he became increasingly interested in the freedoms of jazz and wanted to learn how to work with more experimental techniques. This inspiration allowed him to become more avant-garde with his compositions as well as experimenting with serialism and aleatoric styles.

## Work Analysis

Foss's *Renaissance Concerto, IV: Jouissance*, conducted by himself in this recording, shows his progression musically. You can hear the renaissance cadences throughout, as well as the percussive elements that help it sound stylistically Renaissance. He also balances this with his use of non-tonal parts that blend with the tonality of the Renaissance composition.

## Comparisons

Foss became good friend with Leonard Bernstein and with that relationship they were both able to conduct each other's works. When asked if he was a composer who conducts or a conductor who composes and his response was that given the choice he was definitely not the latter, but somewhere in the middle as a sort of combination of the two.

## Observations

Foss has different styles of his compositions but his work is about growth and development, or at least his growth and development as a composer.

## Works Cited

https://www.britannica.com/biography/Lukas-Foss

http://www.nytimes.com/2009/02/02/arts/music/02foss.html

http://www.npr.org/templates/story/story.php?storyId=100339864

https://en.wikipedia.org/wiki/Lukas\_Foss

http://www.bruceduffie.com/foss.html
Karlheinz Stockhausen (1928-2007)

## Introduction

Karlheinz Stockhausen was a German composer who is most known for his contributions to electronic music. However, over the course of his sixty year career as a composer, his works vary from traditional forms to modern aleatoric techniques. He was educated at the Hochschule für Musik Köln and the University of Cologne as well as studying with Olivier Messiaen in Paris. His works remain to be an inspiration for other composers as well as his theories on time and sound.

## Work Analysis

In his early years of conservatory he did not spend time composing, but it seems he spent time deciding the style with which he wanted to compose, because when he began to write, he had a very distinct idea of what he wanted. Klavierstücke I-IV (1952) is a set of 4 pieces that show some of that defined style. Stockhausen considered this to be *punktuelle* music, meaning "punctual". As his work develops Stockhausen began exploring the more randomness or the opportunities for "chance" to occur in a performance. This seems to be in response to his complete control of music and the desire to branch out and allow the performer and the distinct musical situation to play out. It emphasizes the concept of music being unique and similar to a one time experience.

## Influence

Due to the innovative nature of Stockhausen's music, his works still inspire composers today, but especially had strong influence on the music of the 1950s and 1960s. Even Igor Stravinsky commented on how, as an older composer at the time, could still have a lot to learn from the younger generation of composers. Composer Brian Ferneyhough is quoted saying that Stockhausen's music served as "an important source of motivation (rather than of imitation) for my own investigations".  French composer Pierre Boulez once declared, "Stockhausen is the greatest living composer, and the only one whom I recognize as my peer". Moving also into the pop and rock realm, Frank Zappa is known to be inspired by Stockhausen, along with other popular groups like The Who, Pink Floyd, and the Grateful Dead and even The Beatles attribute some of the Avant-Garde style to Stockhausen's contribution to electronic music.

## Observations

Overarchingly, the comments and observations of Stockhausen boil down to his ability to make music that is experimental and maybe not always approachable, become more approachable. His work pushes the listener to the boundaries of their musical preference or comprehension and then pushes it further without entirely breaking it.

## Works Cited

https://en.wikipedia.org/wiki/Karlheinz\_Stockhausen

https://www.google.com/search?q=karlheinz+stockhausen&source=lnms&tbm=isch&sa=X&ved=0ahUKEwic3OH58OfTAhXhv1QKHYosA98Q\_AUICigB&biw=657&bih=780#imgrc=YFY0PjyWmK\_xUM:

[http://www.karlheinzstockhausen.org/img/Stockhausen\_CD\_Catalog\_2.jpg?full=http://www.karlheinzstockhausen.org/img/Stockhausen\_CD\_Catalog\_2.large.jpg http://www.karlheinzstockhausen.org/img/Stockhausen\_CD\_Catalog\_2.jpg?full=http://www.karlheinzstockhausen.org/img/Stockhausen\_CD\_Catalog\_2.large.jpg

]
William Thomas McKinley (1938-2015)

## Introduction

William Thomas McKinley was an American composer who was born in New Kensington, Pennsylvania in 1938. McKinley started learning both classical and jazz piano at a very young age and by the age of twelve, he was already a member of the American Federation of Musicians. He has written over 300 musical compositions in his lifetime and many were recorded by prestigious ensembles such as the London Symphony Orchestra. He attended Carnegie-Mellon University and later attended a graduate program at Yale University.

## Work Analysis

*Mostly Blues* selections is a piece written for clarinet and marimba. The clarinet and marimba are a unique combination that give opportunity to create a very interesting texture. The clarinet plays a beautiful melody while the marimba compliments it with a steady rhythm and modulating through different chords to support the clarinet part.

## Comparisons

I would compare McKinley to other composers who also were interested in literature. There are similarities between his music and that of Charles Ives.

## Observations

What's amazing is the breadth of the works of McKinley. He composed for clarinet and marimba, entire orchestras, and even viola and piano. He has a large array of compositions that are all unique in their own way.

## Works Cited

http://www.musicsalesclassical.com/composer/short-bio/3031

https://en.wikipedia.org/wiki/William\_Thomas\_McKinley

http://www.allmusic.com/artist/william-thomas-mckinley-mn0001841424/biography
Susan Botti (b. 1962)

## Introduction

**Susan Botti** was born in **Cleveland, Ohio and** her early training included studies in music, art, and theater. She received her Bachelor of Music from the **Berklee School of Music**; and her Masters in Music Composition from the **Manhattan School of Music.** Her vocal teachers included **Hilda Harris, Drew Minter, Myron McPherson, and Nancy Armstrong.** She was an Associate Professor of Composition at the **University of Michigan** from 2000 -­ 2006. She is currently a member of the Composition faculty at the **Manhattan School of Music in NYC** and is an Adjunct Associate Professor at **Vassar College.**

## Work Analysis

   There seems to be the use of 12 tone techniques tempered with tonal moments that resemble **Copland** at times, but also **Debussy** in her more lusher moments as in **"Wonderglass and Jabberwocky"** "Reflecting life experiences... my voice channels the wide range of emotions and ideas inherent in the words and music I sing or speak. My acting training is as vital to me as my diverse vocal experiences towards this end. I bring the same wide spectrum of possibilities to each vocal experience whether a simple song, operatic aria, narration, jingle, jazz standard...whatever the work to be spoken or sung, I invoke all of my experience and my complete vocal palette."

## Comparisons

**Wagner** was the first thing that came to mind as her vocal work and operatic and theatrical bent towards her writing is highly dramatic, (perhaps even over dramatic). **Copland** is in the mix as mentioned above and seems to inform her work as well as a Germanic style of spoken word and operatic inspiration.

## Observations

There is a dreamy quality to not only her vocal style which switches between a half sung and almost spoken set of melodic phrasings to full on operatic moments. Broadly dynamic, but also somewhat dark in its tone.
Wolfgang Rihm (1952)

## Introduction

WOlfgang Rihm is a German born composer. He is currently the musical director of teh Institute of New Music and Media at the University of Music Karlsruhe. In 2015 he was awarded the Grawemeyer Award for Music Composition for his orchestral work *In-Schrift 2.* He is teh author of over 400 works and they are all very unique. He is not know for being able to be categorized into one style or school of thought when it come to composition, but rather he allows himself to compose freely and express what needs to be expressed at any given time. His music develops and changes as he changes and given time he composes things that inspire him.

## Work Analysis

*In-Schrift 2* is a piece that seems to be broken into small segments of melodic motifs of blocks, that then evolve into longer more exaggerated phrases. The composition always return to the bell chimes and they break on the deep sound of the horns, and low strings. While the flutes play a wavering line that breaks through the sound.

## Observations

He does not always feel that a work that he has published is necessarily complete. He will change or adapt things as he is inspired. An example of this is that in 1992 he rewrote a whole piece he had completed two years prior. This demonstrates the essence of Rihm's works and composition style, that there is always something new to learn and discover.

## Works Cited

http://www.dw.com/en/free-spirited-german-composer-wolfgang-rihm-at-65/a-37918031

https://en.wikipedia.org/wiki/Wolfgang\_Rihm

http://www.universaledition.com/Wolfgang-Rihm/composers-and-works/composer/599

https://www.bbc.co.uk/music/artists/c5918618-2d84-420f-98b5-3a2d9de84cfe

https://www.youtube.com/watch?v=i62K43AI4ro
Wiki ReaperWorld

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Frederick Rzewski (1938)

## Introduction

Rzewski is an American composer who was born in Westfield, Massachusetts in 1938. He began playing piano when he was just five years old. Rzewski has bene enrolled in Phillips Academy, Harvard University, and Princeton University. He was taught by many established composers including Roger Sessions and Milton Babbitt.

## Work Analysis

*The People United Will Never Be Defeated* was written in 1975 and is comprised of 36 variations of a chilean song that was published during the overthrow of the Salvador Allende government. Most variations are short and build up to a climax rather quickly. The piece also requires the pianist to whistle and slam the piano lid which add to the emotions this piece evokes. The final variation is just a restatement of the original piece to being listeners back home after a journey of variations

## Comparisons

Rzewski i sone of the first composers I have looked at that largely incorporates improvisation into his works. He also incorporated current political climate. This makes his works very unique and relevant to their time periods.

## Observations

I enjoy how Rzewski was so interested in current events. His music reflects some of the political climate that was happening during the period. This reminds me of how some composers incorporated literature into their works. I think this makes his works have a larger impact and have more meaning to the listeners.

## Works Cited

https://en.wikipedia.org/wiki/Frederic\_Rzewski

https://en.wikipedia.org/wiki/The\_People\_United\_Will\_Never\_Be\_Defeated!
Beat Furrer (1954)

## Introduction

Beat Furrer is an Austrian composer. In 1985 he was one of the co-founders for what is now Europe's leading contemporary music ensemble, Klangforum Wien, which he is still the conductor. He is also well known for his work conducting.

## Work Analysis

His works are unique and dynamic and are very modern. Composition is a complicated process for him because he is rarely satisfied with the final product he completes, and many of his works go through numerous revisions. *Spur* is a piece that hops and jumps around the page, and while there is forward movement and a mixture of different dynamic moments, it still has its complexity.

## Comparisons

There are numerous similarities to not only Stravinsky but also other composers like Messiaen and Boulez who used uniquely composed sounds to evoke emotion. However, Furrer allows for himself to be less restricted than the composers of the serialist time period.

## Observations

Furrer is also a composer of some opera music, however, when interviewed about its upcoming premier, he felt uncomfortable calling it opera because it wasn't exactly theatrical in the sense that the people are acting, but rather performing an aria and internal dialogue.

## Works Cited

https://en.wikipedia.org/wiki/Beat\_Furrer

http://www.universaledition.com/Beat-Furrer/composers-and-works/composer/241

http://www.beatfurrer.com/

https://www.youtube.com/watch?v=zARckGucMWU

http://www.remusik.org/wp-content/uploads/2012/12/
Niko Muhly (b. 1981)

## Introduction

**Nico Muhly** was born in Vermont and raised in Rhode Island. He studied composition at the **Juilliard School with John Corigliano and Christopher Rouse**, and worked subsequently as an editor and conductor for composer **Philip Glass**. He currently lives in the Lower East Side section of **Manhattan in New York City.** He is a member of the **Icelandic** music collective/recording label **Bedroom Community.** Described by The Guardian as “one of the most celebrated and sought-after classical composers of the last decade,” he is the youngest composer ever commissioned by the **Metropolitan Opera** and has received additional commissions from **Carnegie Hall, the Philadelphia Orchestra, St. Paul’s Cathedral, the Library of Congress**, and **Wigmore Hall**.

## Work Analysis

His opera "**Two Boys",** based on the true story of an online friendship between two male teenagers, one of whom kills the other is at once as traditional sounding opera as you will find using English as its primary language is almost brusque in its color as opposed to if it had been sung in French or German. The arrangements are somewhat minimalistic as opposed to the grandiosity of traditional opera.

## Comparisons

**Philip Glass** factors into his use of repetitions of contrapuntal melodic and chordal phrasing. He is quoted as saying, "I’d also say that I have a lot in common with composers like **Andrew Norman, Missy Mazzoli, Sean Shepherd** inasmuch as we all write large orchestra music, firmly rooted in the classical ‘concert’ music tradition.  You could also, if you wanted, say I have a lot in common with **Tom Adès** because we both derive musical material from the past — in his case, the ecstatic harmonic motion in **Couperin,** and in my case, **Tallis and Byrd.** "

## Observations

I was not overtly moved by his vocal music or opera. The droning and ambient work feels more satisfying and more natural to where his talent lay. In a 2007 interview with Molly Sheridan on *NewMusicBox*, **Muhly** explained that while he considers himself a classical music composer, that does not preclude his working in a variety of musical genres: "It's essentially like being from somewhere. I feel like I'm very proudly from the classical tradition. It's like being from Nebraska. Like you are from there if you're from there. It doesn't mean that you can't have a productive life somewhere else. The notion of your genre being something that you have to actively perform, I think is pretty vile."

## Works Cited

http://nicomuhly.com/

https://en.wikipedia.org/wiki/Nico\_Muhly

https://www.nytimes.com/2017/04/01/arts/music/nico-muhly-andrew-gant.html?\_r=0

http://www.believermag.com/issues/200810/?read=interview\_muhly

https://www.gramophone.co.uk/feature/contemporary-composer-nico-muhly