recursal/Fanatic-Fandom huggingface dataset:
Terry Riley (1935)

## Introduction

Terrence Mitchell "Terry" Riley was born in California, and has a passion for the music of India, and spent a

considerable amount of time there studying the music and styles. However, from the beginning of his musical career he was working with tape samples and the manipulation of electronic sounds. The combination of these two styles make for a unique work that almost sounds ahead of its time. He is known as a minimalist and the minimalist style.

## Work Analysis

An early work of his called *A Rainbow in Curved Air (1969)*.

This piece uses repeating patterns of small intervallic distance to create a sort of soundscape that has direction and motion without being overly dissonant or without overwhelming the listener's ears.

The video shown here is at the Boiler Room Amsterdam. You can hear the minimalist lines that intertwine and how the actual pitches that are utilized by each instrument have a very limited range.

## Comparisons

In The Who's song, Baba O'Riley you can hear is partly inspired by the electronic album "A Rainbow in Curved Air" and after listening to the title track of that album, you can hear why. He himself even says that his access to the radio and the time when he was growing up, the radio was the really the only option to listen to music beyond live music and certain recordings. He talks about how he liked the sound of music on the radio and taught himself bits and pieces on the piano.

## Observations

Riley has a way of making minimalist music have a complexity that is comparable to his contemporaries. His groundbreaking work *In C* was what makes him known as the Father of Minimalism. His influence, however, as explained above has a wider reach than just minimalists, and electronic composers to also rock musicians.

## Works Cited

http://www.musicsalesclassical.com/composer/short-bio/4098

http://www.npr.org/sections/deceptivecadence/2015/06/19/415761487/the-most-beautiful-offerings-terry-riley-at-80

https://en.wikipedia.org/wiki/Terry\_Riley

http://terryriley.net/enter.htm

http://www.allmusic.com/artist/terry-riley-mn0000750519
Mario Davidovsky (b. 1934)

## Introduction

**Mario Davidovsky** was born in **Médanos, Buenos Aires Province, Argentina.**  At seven he began his musical studies on the violin. At thirteen he began composing. He studied composition and theory under **Guillermo Graetzer at the University of Buenos Aires**, from which he graduated. In 1958 he came to the U.S. to study at the **Berkshire Music Center with Milton Babbitt**. He met **Aaron Copland**, who advised him to make his career in the United States. Davidovsky returned to the USA permanently in 1960, and began work at the Columbia-Princeton Electronic Music Center, becoming its assistant director in 1964. In 1964 he moved to Ann Arbor, Michigan, as an instructor at the **University of Michigan**. He has also taught at the **Manhattan School of Music, Yale University, and City College of the City University of New York**. In 1981 he returned to **Columbia University,** also becoming director of the **Columbia-Princeton Electronic Music Center.**

## Works Cited

http://www.allmusic.com/artist/mario-davidovsky-mn0001851173/biography

https://en.wikipedia.org/wiki/Mario\_Davidovsky

http://www.ericchasalow.com/pdfs/davidovskyintro.pdf

http://www.newmusicbox.org/articles/mario-davidovsky-a-long-way-from-home/

http://www.arkivmusic.com/classical/Name/Mario-Davidovsky/Composer/2756-1
Joan Tower (b. 1938)

## Introduction

**Joan Tower** was born in **New Rochelle, New York**, in 1938. her and her family moved to **Bolivia** when she was nine years old, an experience which she credits for making rhythm an integral part of her work. For the next decade Tower's talent in music, particularly on the piano, grew rapidly. She returned to the United States as a young woman to study music, at **Bennington College** and **Columbia University** where she studied under **Otto Luening, Jack Beeson, and Vladimir Ussachevsky** and was awarded her doctorate in composition in 1968. From 1969 to 1984, she was pianist and founding member of the **Naumburg** Award-winning **Da Capo Chamber Players,** which commissioned and premiered many of her most popular works. In 1990, she became the first woman to win the prestigious **Grawemeyer Award** for **Silver Ladders**. Her works have been commissioned by major ensembles, soloists, and orchestras, including the **Emerson, Tokyo, and Muir quartets**; soloists **Evelyn Glennie, Carol Wincenc, David Shifrin, and John Browning**; and the orchestras of C**hicago, New York, St. Louis, Pittsburgh, and Washington** **DC** among others.

## Works Cited

https://en.wikipedia.org/wiki/Joan\_Tower

http://www.musicsalesclassical.com/composer/long-bio/Joan-Tower

http://www.bruceduffie.com/tower.html

http://www.allmusic.com/artist/joan-tower-mn0001191508/biography

https://www.britannica.com/biography/Joan-Tower
Jerod Tate (1968)

## Introduction

Jerod Impichchaachaaha' Tate is a CHickasaw composer and pianist. His compositions are inspired by his American Indian culture and then developed by his European trained education. One of his primary passions is to develop younger composers and in order to do that he founded the CHickasaw Chamber Music Festival ad he is also a co-founder for the CHickasaw Summer Arts Academy. He also served as artistic director and composition instructor, respectively, in these programs. SInce 2011 he has been an adjunct instructor in the music faculty of Oklahoma City University.

## Work Analysis

Tate's works all are influenced by his Chickasaw lineage. He feels strongly connected to the melodies, sounds, and rhythms. However he will explore the music of other tribes and American Indian societies for influence. This can be seen in one of his first commissions, a ballet called *Winter Moons* (1992) which was premiered at the University of Wyoming.

His piece *Taloa Hiloah' (Thunder Song)* (1997) is a solo timpani piece. Based on the CHickasaw legend that thunder is the sound of good and bad spirits at war. This piece placed third in the 2006 Percussive Arts Society Composition Contest for Unaccompanied Timpani Solo.

## Observations

He self identifies as a Chickasaw classical composer. He uses his classically trained background, and then utilizes the Chickasaw melodies and rhythms and then abstracts and develops them in a classical form.

## Works Cited

https://www.youtube.com/watch?v=mM38CxgkU6w

https://en.wikipedia.org/wiki/Jerod\_Impichchaachaaha%27\_Tate

http://jerodtate.com/

http://jerodtate.com/wp/wp-content/uploads/2017/01/JerodTate-Bio.pdf
Ken Ueno (1970)

## Introduction

Ken Ueno is an American composer originally from Bronxville, New York. He has composed orchestral works, for jazz big band and woodwind quintet, and two dance pieces for the Boston Conservatory. Ueno composes pieces with conjunction of extra-musical models or forms in order to inspire the forms of his works. For example, his *Talus* is sort of a biography of a traumatic event in the life of its soloist, violist Wendy Richman, who shattered her ankle in a ten-foot fall. This is one of the ways he is able to make special connections with the performers and therefore creating a sort of irreproducible events in his compositions. His artistic mission is to champion sounds that have been overlooked or denied so that audiences reevaluate their musical potential.

## Work Analysis

On his Soundcloud, you can hear numerous compositions and performances including his Fanfares for The Apocalypse. Another composition that brings together bass clarinet, piano, percussion, electric guitar, cello and bass, called "*...blood blossoms..."* The score can be followed in the video and it is clear that there is a lot of distinct movement within each instrument but overall build up a relatively stagnant sonority.

## Comparisons

His style of using the forms of society in order to determine the forms of his works, is similar to the Renaissance composer who utilized the architecture of the Renaissance to inspire the symmetry as well as the rising and falling lines of structures.

## Observations

He uses Heavy Metal sub-tone singing and throat singing. He is also influenced by European avant-garde instrumental techniques, American experimentalism, and *sawari* or beautiful noise, an aesthetic in traditional Japanese music.

## Works Cited

http://www.yellowbarn.org/blog/images-utopiaeuterpedystopia

http://www.kenueno.com/

https://en.wikipedia.org/wiki/Ken\_Ueno

http://music.berkeley.edu/people/ken-ueno/

https://soundcloud.com/ken-ueno-composer
Sofia Gubaidulina (b. 1931)

## Introduction

**Sofia Gubaidulina** was born in **Chistopol', Soviet union.** After discovering music at the age of 5, she immersed herself in composition. While studying at the **Children’s Music School with Ruvim Poliakov,** she discovered spiritual ideas through **Judaism** and found them in the works of composers such as **Bach, Mozart, and Beethoven.** She quickly learned to keep her spiritual interests secret from her parents and other adults since the **Soviet Union** was against any religious ideas. She graduated from the **Kazan' Conservatory** in 1954 having studied composition and piano. She left for **Moscow** where she studied at the **Conservatory with Nikolay Peyko** until 1959 and then with **Shebalin** until 1963. She was marked as an "irresponsible" due to her exploration of alternative tunings. **Shostakovich**, among others, supported her however, advising her to "continue along [her] mistaken path." By the mid-1970s **Gubaidulina** founded a folk-instrument improvisation group with fellow composers **Victor Suslin and Vyacheslav Artyomov** called **Astreja,** still active in the late 1990s. Today **Gubaidulina** is a successful freelance composer, having won a number of prestigious composition prizes and grants.

## Work Analysis

Gubaidulina often devises durational ratios in order to create thetemporal forms for her compositions. Specifically, she is prone to utilizing elements of the Fibonacci sequence or the Golden Ratio, in which each succeeding element is equal to the sum of the two preceding elements (i.e., 0, 1, 1, 2, 3, 5, 8, etc.)

## Comparisons

The influence of electronic music and improvisational techniques is exemplified in her unusual combination of contrasting elements, novel instrumentation, and the use of traditional Russian folk instruments in her solo and chamber works, such as ***De profundis* for bayan, *Et expecto- Sonata* for bayan, and *In croce*** for cello and organ or bayan. The koto, a traditional Japanese instrument is featured in her work *In the **Shadow of the Tree***, in which one solo player performs three different instrument—Koto, Bass Koto, and Chang. **The *Canticle of the Sun*** is a cello concerto/choral hybrid, dedicated to Mstislav Rostropovich. The use of the lowest possible registers on the cello opens new possibilities for the instrument while the limited use of chorus also adds a mystical ambience to the work.

## Observations

Her music is dramatic and moving and though using odd numerical systems that resemble 12 tone row like intervals, still creates a moving music that is intensely emotional."I am a religious person...and by 'religion' I mean re-ligio, the re-tying of a bond...restoring the legato of life. Life divides man into many pieces...There is no weightier occupation than the recomposition of spiritual integrity through the composition of music."
Mel Powell (1923-1998)

## Introduction

Mel Powell born on February 12, 1923, was a Pulitzer Prize-winning American composer. He was the founder of the music department at the California Institute of the Arts where he taught for over 40 years. Other Institutes where he taught was at the Mannes College of Music, Queens College, Yale University, and CalArts. He was a jazz pianist when he was younger.

## Work Analysis

Powell was a post-tonal composer, or as he called it, "Non-Tonal". After hearing that Arnold Schoenberg was an advocate for serialism, he entered the realm soon after. In 1990, Powell received the Pulitzer Prize in Music for his song *Duplicates: A Concerto for Two Pianos and Orchestra.* The piece shows Powell's craftsmanship and skill at creating extremely rich and expressive musical structures while staying intricately complex.
Michael Gandolfi (b. 1956)

## Introduction

**Michael Gandolfi** was born in **Melrose, Massachusetts**. He taught himself guitar as a child, studied for a year at the **Berklee College of Music**, and then entered **NEC**, where he earned his bachelor's and master's degrees. In 1986, as a Fellow at the **Tanglewood Music Center,** studied under **Leonard Bernstein and Oliver Knussen**. He has served on the faculty of **Harvard University, Indiana University, and the Phillips Academy at Andover.** He chairs the composition department at the **New England Conservatory of Music**, is Head of Composition at the **Tanglewood Music Center,** and has been a faculty member at **Harvard University, Indiana University, and Boston University.**
Brian Ferneyhough (1943)

## Introduction

Brian Ferneyhough is a British composer who has lived in California, United States since 1987. His works are defined by highly complex notation as well as irregular tuplets. He is often considered as the main figure of the New Complexity movement which is characterized by its extension of modernist techniques and tendencies moving towards formalization, particularly in integral serialism.

## Work Analysis

His scores require very intensive demands of the performers. requiring huge technical skills. In his String Quartet No. 6, you can see not only in the score but by listening that the overall texture is complex and challenging to wrap one's head around it.

## Comparisons

His music of New Complexity has been compared to works from James Dillon and Michael Finnissy, who have all rejected that a defining title or characteristic of their music.

## Observations

His works and complex notations have been explained that it is not necessarily that he expects them perfectly executed but more so that it begins a dialogue between the performer and music as well as performer and director.

## Works Cited

https://www.theguardian.com/music/tomserviceblog/2012/sep/10/contemporary-music-guide-brian-ferneyhough

http://composers21.com/compdocs/ferneyhb.htm

https://en.wikipedia.org/wiki/Brian\_Ferneyhough
Katherine Balch (1991)

## Introduction

Katherine Balch is an american composer who was born in 1991. She received her B.A. and her B.M. from the Tufts/New England Conservatory dual degree program. While at Tufts, she double majored in history and political science and at the New England Conservatory she studied composition. She received her Masters in Music from the Yale School of Music. Balch is in the process of obtaining her Doctorate at Columbia University. Her works have been commissioned and premiered by many prestigious orchestras and symphonies.

## Work Analysis

Her choir work *a e i o u* is very unique and really plays with the textures that can be created by the human voice. The sound that comes out of this piece is almost unrecognizable as voices. The dissonance she plays with creates an amazing sound.

## Comparisons

I think she is vey unique from all other composers. She is very modern and looking for the freshest way to write a piece that will grab an audience's attention.

## Observations

She is the only composer I have researched so far that is on soundcloud. I think this allows her to reach a larger audience, especially today's youth.
Luigi Nono (b. 1924 d. 1990)

## Introduction

**Luigi Nono** was born in **Venice Italy**, to a wealthy family and began music lessons with **Gian Francesco Malipiero** in 1941 at the **Venice Conservatory**. He also studied **Law at the University of Padua** receiving a Doctorate there while simultaneously studying with Avant Garde composer **Bruno Maderna and Hermann Scherchen**. He never practiced law but his politics were likely sharpened during this period. **Nono** combined political engagement with a musical orientation that mixes austere beauty with fierce intensity, (he had joined the Communist party in 1952). His interest in Electronic music began around this time as well. During a trip in 1954, attending a premiere of **Arnold Schoenberg's** unfinished opera, **"Moses und Aron"**, **Nono** met the composer's daughter, **Nuria** whom he married the following year. **Nono** often produced works of political substance, many of which sparked controversy. When his opera *Intolleranza 1960*, premiered in Venice in 1961, the performance was stormed by neofascists, causing a riot with the communists. The work attacked fascism, the atom bomb, and segregation and ended in a symbolic fashion in which the world is flooded and destroyed.

## Works Cited

https://www.britannica.com/biography/Luigi-Nono

https://www.theguardian.com/music/tomserviceblog/2012/nov/26/luigi-nono-contemporary-music-guide

https://en.wikipedia.org/wiki/Luigi\_Nono

http://www.allmusic.com/artist/luigi-nono-mn0001196376/biography

http://www.nytimes.com/1990/05/11/obituaries/luigi-nono-66-italian-composer-with-a-marxist-avant-garde-tilt.html
Milton Babbit (b.1916 d.2011)

## Introduction

Milton Babbitt was an American composer born in Philidelphia but raised in Jackson, Mississippi. Babbitt who was among the first to write electronically synthesized music. Babbitt learned how to play the violin when he was only four and was already composing music at age seven. Babbitt was attending the University of Pennsylvania when he was sixteen but ended up transferring to New York University to study with their modern music professors.

## Work Analysis

As a young boy, Babbitt's uncle gave him a book of Schoenberg's piano compositions. This resulted in Babbitt being heavily influenced by Schoenberg throughout his career. Babbitt was very interested in jazz music and musicals from an early age. As he grew older, he became more interested in highly complex music involving things such as serialism. Not only did he push the boundaries of music as we know it with his use of serialism, but he pushed those boundaries even further by creating synthesized music. Babbitt's *Composition for Synthesizer*

## Comparisons

Babbitt's music was far more complex than that of other composer's at this time. He was pushing boundaries left and right to incorporate math and physics. HIs music was a continutaion of ideas that were originated in Schoenberg's pieces and Webern's pieces such as *Variations Op. 27.* He took their idea of twelve-tone serialism and expanded it. Babbitt's use of serialism included rhythyms, dynamics, and even modes of attack. Babbitt's music was revolutionary and paved the way for future composers to be influenced by him.

## Observations

Babbitt's music was highly complicated and iisn't the kinf of music you just put on to listen to in the background. In order to appreciate the beauty of his works, one must sit down and really absorb them. I found it hard myself to appreciate his music because if you just sit and listen to it, it sounds like noise. I had to think about why he was so interested in srialism and the beauty he saw in having total control over his compositions. Once I could do this i really saw what a genuis Babbitt was.

## Works Cited

http://www.biography.com/people/milton-babbitt-9193889

https://www.britannica.com/biography/Milton-Babbitt
Vincent Persichetti (1915-1987)

## Introduction

Vincent Ludwig Persichetti was an American composer, and educator and pianist. Originally from Philidelphia and an important teacher at the Julliard School. Notable students include Philip Glass, William Schimmel, Laurie Spiegel, Kenneth Fuchs, and Elena Ruehr. He was also appointed as head of the Theory and the Composition departments at the Philadelphia Conservatory.

## Work Analysis

His orchestral writings are praised because of his prominent conducting skills. So much so that many of his works are staples of American Orchestra's repertoire. He is noted for his short and concise polyphonic style, strong rhythms, and generally diatonic melodies (moving stepwise; not atonal or highly chromatic). Persichetti was also credited with developing a distinctive blend of Classical, Romantic, and Modernist styles or elements.

Symphony No. 6, Symphony for Band, is a lively piece full of melodic lines, and moving tonal centers. There is consistent play back and forth between the section of the band. There are a lot of very "American" sounding passages. His music seems to have a great balance of sections as well as allowing for contrast in order to highlight certain parts of the texture.

## Comparisons

His early style was marked by the influences of Stravinsky, Bartók, Hindemith, and Copland before he developed his distinct voice in the 1950s. He is known to draw influence from the unique contemporary composers of the 20th Century as well as inspired by Big Band music. His own interpretation of his music is a balance as well as juxtaposition of what he called "graceful", meaning lyrical and melodic, and "gritty", meaning sharp and rhythmic.

## Observations

SOmething else he made great use of is polytonality, which is the use of more than one key simultaneously. This is a common tool for 20th century composers like Aaron Copland, Benjamin Britten, Igor Stravinsky, and Bela Bartók. He also made use of Pandiatonicism which is a musical technique that allows the composer to utilize the diatonic scale without being bound by the functions of tonality.

## Works Cited

https://en.wikipedia.org/wiki/Vincent\_Persichetti

http://www.presser.com/composer/persichetti-vincent/

http://www.allmusic.com/artist/vincent-persichetti-mn0002180708/biography

https://www.britannica.com/biography/Vincent-Persichetti
Samuel Barber (1910-1981)

## Introduction

Samuel Barber was an American composer of orchestral, opera, choral, and piano music. He won the Pulitzer Prize for Music twice. Once for his opera *Vanessa* (1956–57) and again for the Concerto for Piano and Orchestra (1962). He grew up in Pennsylvania with his father, a physician, and his mother, a pianist. He grew up in a relatively prominent and well educated household, and this proved to be good for the fact that through his childhood he began to desire to pursue writing and performing music. He was enrolled into the Curtis Institute of Music in Philadelphia where he became known as a prodigy in not only composition and piano, but also voice.

## Work Analysis

His Violin Concerto is not his most popular orchestral work, but it is striking and has an interesting history in regards to composition and commissioning. His most popular Orchestral piece is *Adagio for Strings* which has become known as a staple for most orchestra's repertoire.

The Violin Concerto, however, is still popular. Barber's music has a way of moving from one emotion to the next without you even realizing it. The music carries the listener through a beautiful story of triumph, pain, joy, longing, and hope. Barber uses references to tunes that the listener can relate to and pick out if they are aware, but they blend into the texture in a way that makes them his own.

Barber provided these program notes for the premiere performance:

   The first movement—allegro molto moderato—begins with a lyrical first subject announced at once by the solo violin, without any orchestral introduction. This movement as a whole has perhaps more the character of a sonata than concerto form. The second movement—andante sostenuto—is introduced by an extended oboe solo. The violin enters with a contrasting and rhapsodic theme, after which it repeats the oboe melody of the beginning. The last movement, a *perpetuum mobile*, exploits the more brilliant and virtuosic character of the violin.
## Comparisons

Barber's work is emotional and expressive (Romantic tendencies). He uses extended harmonies for longing, and short and quicker ones that display anything from happiness or excitement to turmoil and frustration. He has been hailed as being an American composer who enjoyed so much, such consistency and for such a long career.

## Observations

Barber is a composer that by bending the traditional Romantic sounds being influenced by the modern techniques and style are actually very emotionally moving pieces that are still accessible to the listener and audience.

## Works Cited

https://en.wikipedia.org/wiki/Samuel\_Barber

http://www.nytimes.com/1981/01/24/obituaries/samuel-barber-composer-dead-twice-winner-of-pulitzer-prize.html?scp=5&sq=%22Samuel+Barber%22&st=nyt

http://www.musicsalesclassical.com/composer/short-bio/Samuel-Barber

https://www.britannica.com/biography/Samuel-Barber

http://www.npr.org/2011/07/18/124272297/the-life-and-music-of-samuel-barber
David T. Little (b. 1978)

## Introduction

**David T. Little** was born and lives in **New Jersey** is an American composer and drummer known for his orchestral and operatic works. He holds degrees from **Susquehanna University** (2001), **The University of Michigan** (2002) and **Princeton University** (PhD, 2011), and his primary teachers have included **Osvaldo Golijov, Paul Lansky, Steven Mackey, William Bolcom, and Michael Daugherty**. In 2004, Little founded the amplified octet **Newspeak,** for which he is artistic director. He has taught music in **New York City** through **Carnegie Hall’s** Musical Connections program, served as the inaugural Digital Composer-in-Residence for the UK-based **DilettanteMusic.com**. He is a founder of the annual **New Music Bake Sale**, and served as the Executive Director of **New York’s MATA Festival** from 2010-2012. Since 2014 has served as Composer-in-Residence with **Opera Philadelphia and Music-Theatre Group,** and recently joined the composition faculty at **Mannes School of Music in New York City.**

## Work Analysis

Bang On a can :Sweet Light Crude melds a rock sensibility of songwriting with the arrangement and instrumentation of classical and non traditional classical instruments into something that might be almost Progressive Rock but still more firmly in the Classical realm of things.

## Comparisons

Philip Glass. His octet, newspeak have been called Punk Classical and that is an apt if slightly lazy description.

## Observations

Philip Glass is referenced here in the contrapuntal and repetative nature of some of his phrasing, as well as classic Prog rock of King Crimson and the opera vocalizations of German opera.
Helmut Lachenmann (1935)

## Introduction

Helmut Lachenmann is a German composer known for his association with the style "musique concrète instrumentale". According to Lachenmann, this is music "in which the sound events are chosen and organized so that the manner in which they are generated is at least as important as the resultant acoustic qualities themselves. Consequently those qualities, such as timbre, volume, etc., do not produce sounds for their own sake, but describe or denote the concrete situation: listening, you hear the conditions under which a sound- or noise-action is carried out, you hear what materials and energies are involved and what resistance is encountered."

## Work Analysis

The attached video is of a piece called "Guero" for piano. this piece takes the performer and the instrument to boundaries of their sound and skill levels that make this piece complex. Not only is the score unique in its notation and very decisive descriptions on how and when to do certain things. It also forces the performer, who more than likely is familiar with a piano to create a new relationship with the instrument.

## Comparisons

Lachenmann reminds me of John Cage in some of the ways that the pushes an instrument past its normal uses, but he also takes it one step further to make sure the performer is being pushed as well. He developed many techniques for performers and their instruments that as a lot of the instrumentalist. But this ties back to his desired experience of the piece. it is about creating an experience of the sounds we would maybe normally disregard.

## Observations

Lachenmann composes pieces that play with the way a listener and performer experience sounds. This is an interesting development to the minimalist era, where the concept of utilizing a different aspect of an instrument can create sounds and experiences that were newer at the time.

## Works Cited

http://www.stuttgarter-nachrichten.de/inhalt.helmut-lachenmann-ich-mag-sogar-gotthilf-fischer.2e973437-1267-4661-bbf9-dfe189e83b85.html

https://en.wikipedia.org/wiki/Helmut\_Lachenmann

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

https://www.theguardian.com/music/tomserviceblog/2012/jun/12/helmut-lachenmann-contemporary-composers-guide

https://slought.org/resources/musique\_concrete\_instrumentale

http://www.allmusic.com/composition/guero-for-piano-mc0002431564
Gabriella Lena Frank (b. 1972)

## Work Analysis

The juxtaposition of Peruvian violin techniques and effects in a number of her pieces, (specifically **"Leyendas-An Andean Walkabout"),** directly link to her lineage while sitting on a bed of Western classical styles reminiscence of **Aaron Copland** in her tonal moments and **Charles Ives** her non tonal moments. The rhythms she uses are also directly linked to the Latin American styles as might be played on a guitar. "Sonata Serrana No.1", a four handed piano piece, sounds the most like something **Bartok** would have written, (see **"Out Of Doors"**written in his piano year of 1926).

## Comparisons

Considered as somewhat of a musical anthropologist, she is influenced by the works of **Bela Bartok** and **Alberto Ginastera**. She has been quoted as saying that part of her creative process might be to take 8 random bars of a **Mahler** symphony and re- orchestrate them. She has used Peruvian folk song as well as other native musical style along with Latin American folklore. poetry and mythology arranged within a Western classical framework. **"Coqueteos"** (Translated mean **"Flirtation"**)is a turgid Peruvian folk melody in a brisk 6/8 tempo but rendered within the orchestral form, becomes an anthemic and playfull short piece that perhaps

## Observations

**"Coqueteos"** (Translated mean **"Flirtation"**)is a turgid Peruvian folk melody in a brisk 6/8 tempo but rendered within the orchestral form, becomes an anthemic and playful short piece that perhaps perfectly encapsulates **Franks** mind set in general as regards how the roots of her composition directly mimic her own roots and her her upbringing within Western styles of composition. In realizing her own musical roots within these folk song forms, she is learning about her own heritage. Perhaps she might be though of as the **"Copland"** of **South America**?

## Works Cited

https://www.yowangdu.com/gabriela-lena-frank.html

http://www.musicsalesclassical.com/composer/long-bio/Gabriela-Lena-Frank

https://www.sfcv.org/article/gabriela-lena-frank-the-well-grounded-composer

https://handelandhaydn.org/gabriela-lena-frank/

http://www.newmusicbox.org/articles/gabriela-lena-frank-composite-identity/
Lamonte Young (b. 1935)

## Introduction

**La Monte Young** was born in a log cabin in rural Idaho and moved with his itinerant family many times before settling in **Los Angeles California**. He started his musical career playing Jazz saxophone and displaying skills beyond his years in 1953 at the age of 18. He gave up his sax studies, once he enrolled in **UCLA**, upon discovering the work of **Webern** and Indian, Gamelan and Japanese gagaku musics, all of which feature long sustained tones. These influences would inform everything of his composition work

http://musicmavericks.publicradio.org/features/interview\_young.html

The link above is the best way to get a sense of the man himself as there are no videos of him speaking available.

## Work Analysis

His first major piece of minimalism might be seen as a response to **Weberns String Trio Op. 20 from (1927)**, as the 12 Tone piece has moments, (mostly in the first movement **"1.Sehr Iangsam"** of elongated harmonic notes being played between more atypical atonal 12 tone phrasing.

**Youngs** own **Trio for Strings(1958)** was a groundbreaking composition that finally gelled his musical and theoretical views of the Cosmos and what it might sound like vibrationally. Also, his piece called **"The Well Tuned Piano"**, is another benchmark in the form of conceptual and minimalistic music. Young's tuning system was based on a fundamental E flat and the G sharp on the keyboard actually produces a note lower than the G; the C sharp and C similarly.

## Works Cited

#### http://www.allmusic.com/artist/lamonte-young-mn0000779502/biography

https://www.theguardian.com/music/musicblog/2013/mar/25/contemporary-music-guide-la-monte-young

http://www.melafoundation.org/lmyresum.htm

https://en.wikipedia.org/wiki/La\_Monte\_Young

http://musicmavericks.publicradio.org/features/interview\_young.html
Carl Schimmel (b.1975)

## Introduction

**Carl Schimmel** is a composer based in Iowa and Illinois. He received his Ph.D. in Music Composition from Duke University, studying under **Sydney Hodkinson, Stephen Jaffe, Anthony Kelley, and Scott Lindroth**, and he earned a Master's degree in composition from the **Yale School of Music**, where his teachers included **Ezra Laderman, Martin Bresnick, Evan Ziporyn, and Ned Rorem**.  He was a student at the **Aspen Music Festival** (2003 Master Class with **Christopher Rouse and Poul Ruders**, private lessons with **George Tsontakis** in 1996), and studied at the **Cleveland Institute of Music** with **Jennifer Conner** while attending **CaseWestern Reserve University** (B.A. Mathematics and Music).  He has taught at the **Yale School of Music, Duke University, Northern Illinois University**, and **Grinnell College**.  He is currently Assistant Professor of Music Composition and Theory at **Illinois State University.**

## Works Cited

http://www.carlschimmel.com/

http://www.americancomposers.org/2015/05/03/carl-schimmel/

https://music.wustl.edu/events/953

https://issuu.com/carlschimmel

http://www.newmusicbox.org/articles/Sounds-Heard-Carl-Schimmel-Serving-Size-4-Bunnies/
Blitz

When you update to the latest version of the app, you'll see a new option on the "Switch Realm" screen, "Blitz" (you'll also notice, as I announced at the beginning of June, that Alpha is now gone).

The goal of Blitz is to build the largest empire you can (in terms of *total population*) in a month. At the end of the month, the universe is reset and the winner announced. Then we all start over again.

I'll have some more details about how that works over the coming weeks,

Now to make the game a little more playable for those of you who wish to be active in both Beta and Blitz, notifications are split out by realm. That means you'll get separate notifications for each realm. Tapping the notification will take you to your situation report *for that realm*.

## Changes to capturing colonies

I know I promised this change in this release as well, but unfortunately it hasn't quite made it. I wanted to get Blitz out on the first of the month, though, to avoid having a short initial month, so the changes to colony capturing will be out in a week or two. Sorry!

Of course, there are also many other bug fixes in this released, based on your reporting them to me (an example of a common one was caused when you rotated the screen while on the Build menu... it no longer crashes!)

http://www.war-worlds.com/blog?page=3 <----- Sources
Karsten Fundal (1966)

## Introduction

Karsten Fundal is a Danish composer born in 1966. He creates his music with his life experiences in mind. He works hard to let these experience manifest in his artwork. He has composed music for orchestras, ensembles, and even films.

## Work Analysis

*Ballad for Symfoniokester* was written in Amsterdam and finished in 1988. Fundal says that he was inspired to write this piece after meeting Morton Feldman. In this piece he wanted to see how he could slow time and also play with unique repetitions.

## Comparisons

I can clearly see how his works have been influenced by Morton Feldman.

## Observations

He has composed a significant amount of music for movies. This is unique and many of the other composers I have researched have not done work like this. He has his own Internet Movie Data Base page and i think this particular interest in movie music makes him very unique as a composer. I think this demonstrates the value he places on his life experiences when it comes to composing as he composes music that will be played to compliment life-like situations.

## Works Cited

http://www.musicsalesclassical.com/composer/work/503/21856
Michael L.(Lorrence) Conway

Appearance in episode 5 of Animation Comic

**Michael L.(Lorrence) Conway** is a normal, enthusiastic main character in the *Animation Comic* series created by Derek Banchs Falcon(aka 25UltraGamer). He doesn't have much potential in his life and he's eager to know everything within his reach.

## Origin

Michael first appeared in episode one of Animation Comic. His looks are different but as time goes by episode, he looks more perfect and got to keep his looks. Same thing to all of his friends, except Jennifer Emerald. His original name was Mike with no last name or middle name(weird, right?) His life as a baby was perfect that he sees everything that he didn't even want to question about it until he became as a teen aged boy.

## Friends of his own kind

When he was just a toddler, he played with someone named Daniel Armstrong, and they've been knowing each other for many years. They've met when they were two years old. He would ask Daniel everything about his inventions and sometimes one of his big failures that didn't even went with the plan, but still he gets the job done. He has also met a girl named Jennifer Emerald, a girl that joined the baseball team named The Ultra Batters(TUB). Things didn't get straightforward when Daniel thinks that Michael should have a girl as a friend, Michael started working on getting a girl as a friend that he never met. He couldn't figure it out until he saw her during school at the cafeteria, getting her plate with food and is ready to sit down at the table. The kid right next to Michael told him that he would keep his cool, walk up to her and give her a nice greeting and compliments. Everything turned out okay when they agree that they want to become friends. That's how he got his three friends in his lifetime.
Seven Snakes

The **Seven Snakes** is a mercenary group based in Daggerford who has a a current reputation of being efficient, but ruthless. Currently, they are the main fighting force of Daggerford after their inclusion into the city as part of their deal from aiding the Company of the Sunlit Sea against their siege on Dragonspear Castle.

The Seven Snakes currently operate from the Seven Snakes Hall in Daggerford.

## Relationships

The Seven Snakes seems to be in an uneasy alliance with the Company of the Sunlit Sea when Psylocke saw Isteval and Kai exchanging vital information despite looking uneasy about it.

The Seven Snakes are also in good standing with Wurgaz, Leonard, Ralph, Donell and Michael having saved Michael from someone in The Shanties.

## Notable Members

* Kai
* Addison
* Feitun
* Taitoa Goma
* Naja
* Beylark
* Diamondback
Wac-empire

## Player:WAC

### **From small time trader to big time slaver**

Little is known about the elusive character known only as WAC. It is said he started out as a simple trader, moving between the stars. There is almost no information about his earlier exploits, but at some point he got stranded on a backwater human world called by the inhabitants "homestone".

He lived there for a few years in a place called Port Kar. He soon rised to promenance and it is here that he first learned the slave trade.

After that he disappeared and no one heard from him for decades. Some say he found the fountain of youth and remembered to boil the water before drinking it. Others say he found an ancient healing device. But the secret of his long life remains unknown. For all we know, it may have involved a lab accident and rubber bands.

Then one day he simply appeared in ships in the sky of another planet where the natives still thought digital watches was the next best thing.

He enslaved the planet and had a capitol built. He then turned his sights on the rest of that star system and soon it too was under his power.

Since then his empire has slowly expanded. Nowadays he is best known for supplying the strongest most docile work slaves and the most inventive pleasure slaves.

He is rarely seen. Never stays in the same place for long. No one knows why. Is he scared of assassins? Is he looking for something?

Either way, you've got to hand it to him.... if you don't, he'll send men to come and take it away
War World Bugs and Work Arounds

## War Worlds bugs and fixes

War Worlds is a very fun and enjoyable game but that can change when it's not working and constantly doing things that would otherwise make you wanna smash your screen. These are a list of known bugs and fixes for them.

Bug 1: Fleet Tab, we all know this is the longest standing glitch on record but one dean is currently trying to fix. their is unfortunately no work around other than an error message.

Bug 2: Move ships, i think we need to ask ourselves which is more annoying, not being able to play the game or having handicaps. Most would say handicaps, After clicking Move fleet it will take about 0 to 5 seconds to load the ships so do not be alarmed. The ships can appear faster if you escape the game and re enter very quickly, and for PC with blue stacks just Open another App for 2 seconds and go back to War Worlds and it should have loaded. However some times their is a ship that appears but no stars or map, this is a refresh error and does not usually fix it's self. Just hit the back button on your Android Device or ESC on your PC to fix and try again.

Work In Progress]
Reavers of War Worlds

## Objectives

###

To be Reaver means Ascension to Godliness in War Worlds, There is no stronger power an empires existence can be with no fear. Defeat becomes impossible.

###

Reavers enjoy the extermination and genocide of inactive or troublesome empires. It is best not to cross or anger a Reaver.

###

It is good to befriend a Reaver they can be extremely helpful if asked.
Mentaz map

### Players

For the first time since Madness created the maps back in 2012, Mentaz made a new map that would show players names on the map. This was using the same ESRI program but unlike Madness's maps Mentaz's map dimensions were too close to players at the edge of the map creating distortions that make it look like those players have more area then they actually have. The players actually have only a few colonies out there but the way that the map shows different areas make it so that they cover most of the outside of the map.

### Wormholes

No maps beyond this point were created with labels so it is an the latest point that wormholes can be effectively labeled. By overlaying wormholes over the map we can find out all the empires that have wormholes. This is especially useful for players that want to make sure they don't have any wormholes near them that they don't know about. This is a helpful map to make it easier for players.
Dean

Dean Harding is a Programmer and Artist Talented in Java, CC and C++ and other various Programming Languages. He currently resides in California and Is Creator of War Worlds and Other Various Works for Websites and Games Alike. His Website and YouTube can Be found Here: http://www.codeka.com.au/ https://www.youtube.com/user/aucodeka/featured

https://yt3.ggpht.com/a/AGF-l7\_LIHEMHOK5RQcmiVRWh5qyOPtxFt5oijh8jA=s288-c-k-c0xffffffff-no-rj-mo

Image Sources
Beta

**Beta**: Beta was a nice chunk of the War Wolds history and the second most active server. It was formed after the removal of Alpha and it's strongest alliance was Reavers. The era of Beta was one of great progress and many things were built such as C1 and the Great Raph Empire. The game at this time was slowly in decline after a few years of it being open. The server would have moments such as "Proto Baggins" and other various things that can all be found in the War Worlds history page.
Xandar

The Xandarian Empire began 10000 years ago in the star system of Haez, this happened after the fall of the Iceria Dynasty which had ruled that part of the know universe. The Icerian's were vicious rulers and their Dynasty fell due to revolts on multiple star systems. The Xandarian's started the revolt and were able to convince multiple star systems to join the fight. The first strike was on their home world where they overwhelmed Icerian forces and took the capital before they could notify their high command and send reinforcements. By taking the capital, the Xandarian's could send out false reports to the Icerian's leading them to believe that all was well. Haez was home to the Icerian's weapon's R & D as well as a main transport hub between star systems in the Icerian Dynasty. The Xandarian's would use this hub to transport weapons to the revolters on other stars. After a year of planning, the Xandarian's were able to transport weapons and arm multiple star systems, the revolt began. The war ravaged on for 10 years with neither side gaining any advantages. The Xandarian's knew this war could not last much longer as morale was waning as so many had been killed. The Xandarian's learned that the leader of the Icerian Dynasty was going to personally visit Haez to inspect the weapons factory to see a new weapon that was being designed to "end the war", little did he know, it was a trap. The Icerian leader arrived along with his heads of military and was brought to the weapons factory where they were promptly captured by the Xandarian's. The Xandarian's forced the leader of the Icerian's to have his armies stand down. The Icerian leaders were tried, convicted and executed for the atrocities they had committed to all of the star systems they controlled. In the aftermath, the leaders of Xandar were called upon to reorganize the Icerian Dynasty. They put in new benevolent leaders on all star systems and reorganized the Icerian Dynasty into the Xandarian Empire. There has been peace inside the empire ever since.

The Xandarian's started a rapid expansion 4 years ago and have seen their empire grow 10 times the size of what it was. For a brief time, the empire had joined the Dominion and helped put an end to Berzerker. Shortly there after, the empire went silent. Recently there have been some movement out of the empire and it appears that they have opened their borders again. They have been seen as of late claiming the old fallen Wesley Crushers empire.
War Worlds

Welcome to War Worlds, a new multi-player strategy game, available exclusively on Android.

If you are impressed with compelling gameplay, or you enjoy a real social gaming experience you can sink your teeth into, hold onto your cellphone. Forget jazzy web graphics, or beautiful web design, you are here for the *game*!

War Worlds is galactic space war at its best, played online by hundreds of players at a time. Explore an infinite universe, in fact, multiple universes, known as Realms. Colonize worlds, harvest alien artefacts, raise a war fleet, and *conquer your enemies!!*

http://www.war-worlds.com/ <---Sources
Scouts

Scouts are small, fast ships with no attack capability (and not much in the way of defensive capabilities, either). What they *are* good at, though, is getting in and out of enemy starsystems and reporting back what they found.

Coupled with their ability to cloak (see below), scouts are perfect for learning about your neighbours and keep track of what they're up to.

Avg build time: 1 hour 40 min

Material Cost: -29 per hour

The cloak upgrades makes the scout invisible to enemy radar. Additionally, if you set the fleet's stance to "Neutral" or "Passive" (so that it doesn't try to attack enemies), the scout will remain *undetected* on enemy stars. This is a great way to keep tabs on what your enemy is up to on neighbouring stars that your radar cannot reach.

http://www.war-worlds.com/doc/ships/scout <------- Sources