recursal/Fanatic-Fandom huggingface dataset:
Kevin Puts (1972)

## Introduction

Puts was born in St. Louis Missouri in 1972. He has earned both his Bachelor's Degree and his Doctor of Musical Arts Degree from the Eastman School of Music. He also attended Yale University where he obtained his Master's Degree. He is best known for his opera *Silent Night* which won the Pulitzer Prize.

## Work Analysis

*Silent Night* is by far Puts' most influential work. It earned itself a Pulitzer Prize and this was only his first opera. The opera has scenes that overlap each other as to keep the audiences interest and never have any dull moments. It tells the story of the Christmas Truce in 1914 during World War I. The opera was commissioned by the Minnesota Opera.

## Comparisons/Observations

Puts has written some of the largest variety of music. He has written many pieces as solos. I think he is unique as a composer because he is well known for his very first opera. Many composers do not find their footing until they have already written a few pieces but for Puts this was not the case. He is incredibly tallented and secure in his rich harmonic style.

## Works Cited

http://kevinputs.com/bio.html

http://www.kevinputs.com/SilentNight/about.html
Louis Andriessen (b. 1939)

## Introduction

**Louis Andriessen** was born in **Utrecht** into a musical family headed by his father **Hendrik Andriessen**, a recognized pioneer of modern **Dutch** music. He began his musical studies with his father, and then studied in T**he Hague with Kees van Baaren**, and later with **Luciano Berio**. In 1969 he co-founded **STEIM** in **Amsterdam.** He also helped found the instrumental groups **Orkest de Volharding and Hoketus**, both of which performed compositions of the same names. He later became closely involved in the ongoing **Schoenberg** and **Asko** ensembles and inspired the formation of the British ensemble **Icebreaker.**

## Works Cited

https://en.wikipedia.org/wiki/Louis\_Andriessen

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

http://www.allmusic.com/artist/louis-andriessen-mn0000058606/biography

https://www.theguardian.com/music/tomserviceblog/2012/oct/15/louis-andriessen-classical-music-guide

http://louisandriessen.blogspot.com/
Steve Reich (1936)

## Introduction

Reich is an American composer who was born in New York in 1936. He spent much of his childhood split between New York and California. He graduated from Cornell University with a degree in Philosophy in 1957 and continued his studies at the Juilliard School of Music. He obtained his M.A. in music from Mills College.

## Work Analysis

The piece I will analyze will be *Six Pianos.*

 In this piece he plays with rhythms and also the texture created by six pianos playing at once. It begins with a repetition of a rhythmic pattern and then more pianos come in playing the same pattern two beats out of sync with the first. The piece stays in D major for the first section, then later modulates to E dorian. He layers the piano parts and builds them up until the piece reaches its climax.

## Comparisons

Steve reich has created some very unique music by utilizing more than just instruments, vocals, or a synthesizer. He uses unique combinations of instruments such as the marimba, the vibraphone, and voices. This gives his music a very unique texture. However, the way he plays with rhythms reminds me of Babbitt's use of serialism. Reich's clapping music plays with the same rhythm and instead of playing it simultaneously, each time the second rhythm starts a little bit later. This is quite similar to the way Babbitt would play with rhythms. This can also be seen in his piece *Six Pianos.*

## Observations

Reich is evidently very interested in rhythm. I think this is seen in his pieces *Drumming* and *Clapping Music*. He also was really interested in the unique textures he created by combining instruments, voices, and even whistling. Pendulum Music was most interesting to me as it did not use any instruments at all and just played with the feedback from microphones swinging as pendulums.

## Works Cited

http://www.stevereich.com/

https://en.wikipedia.org/wiki/Six\_Pianos
Christopher Theofanidis (1967)

## Introduction

Christopher Theofanidis is an American composer who was born in Dallas, Texas in 1967. Theofanidis has attended Yale University, the Eastman School of Music, and the University of Houston.

## Work Analysis

*Rainbow Body* was a piece written for the Houston Symphony. Theofanidis attempted to combine two ideas; one inspired Hildegard of Bingen's music and the other by the Buddhist idea of the rainbow body (enlightenment). He purposely states the thematic material in a solo so it is clear and evident.

## Comparisons

He has written a ballet which is unique as I have not ready about many other composers who have done the same. It is also very unique how he combined medevil styles of music with Budhism. He reminds me of Chen as she also brought two very distinct cultures together through her music.

## Observations

Theofanidis is good at clearly stating his motives and themes. He does this extremely well in *Rainbow Body* and that keeps listeners interested. This helps people who aren't music experts understand the direction the piece will go in and helps him to reach a larger audience.

## Works Cited

https://en.wikipedia.org/wiki/Christopher\_Theofanidis

http://www.theofanidismusic.com/

http://www.theofanidismusic.com/works/program/rainbowbody.html
Ellen Taffe-Zwillich (1939)

## Introduction

Ellen Taaffe-Zwilch is an American female composer who was born in Miami, Florida in 1939. She originally studied violin and received her B.M. from Florida State University. After this she moved to New York City to seek opportunity. Here she began studying at Juiliard and in 1975 earned became a Doctor of Musical Arts in composition. She was the first woman ever to earn this title. She was also the first woman composer to be awarded the Pulitzer Prize for Music.

## Work Analysis

I will analyze *American Concerto.* This piece is in three movements and each of them have an evident tonal center. The piece begins in D minor and ends in Eb major and makes numerous modulations throughout the piece. The piece follows traditional concerto format and the movements are fast, slow, and fast in that order.

## Comparisons

Her music was originally largely atonal but once her husband passed on, she went through a dramatic change in her composition style. This reminds me of Schnittke because he changed his style drastically when his wife passed and he wrote a piece in her memory. Both of them started composing in a more tame and tonal manner after they lost their partners.

## Observations

I like that she has composed pieces for some under appreciated instruments such as the trombone and clarinet. I also like that a majority of her work is tonal. It was easy to listen to and understand and she followed many traditional methods of composing.

## Works Cited

http://www.musicsalesclassical.com/composer/short-bio/Ellen-Taaffe-Zwilich

https://en.wikipedia.org/wiki/Ellen\_Taaffe\_Zwilich

https://digital.library.unt.edu/ark:/67531/metadc9043/m2/1/high\_res\_d/dissertation.pdf
Dominick Argento (1927)

## Introduction

Argento is an American composer who was born and raised in Pennsylvania. Unlike many other composers, he did not begin his musical career until much later in life. After high school he was drafted into the Army. It was not until after this chapter of his life that he began studying music. He started to study piano at Peabody Conservatory but soon changed to study composition and earned his degree in 1953. He obtained a Ph.D. from the Eastman School of Music.

## Work Analysis

I will analyze the one act opera *Miss Havisham's Wedding Night.* This opera is about an extremely emotionally distressed woman who occasionally has moments of peace. The music of this opera reflects directly how the main character is feeling. There is a tonal center present whenever she is lucid and not insane. As she descends into anger and madness the tonal center disappears. He uses more chromaticism and dissonance as the main character slips into her negative thoughts.

## Comparisons

His operas are very extensive and beautiful. He is much different than many of the other composers we have been recently studying. HIs work is very tonal and lyrical although there are still some aspects of serialism and atonality. His lyrical work is quite impressive and he pairs his music with the lyrics to create an intense mood whether it be happy, sad, or any emotion in-between.

## Observations

Argento is a genius when it comes to telling a story with his music. He can make the music reflect the text so accurately and it gives a whole new depth to the operas he wrote. I have not heard other composers who can so accurately represent the character's emotions through the music.

## Works Cited

https://en.wikipedia.org/wiki/Dominick\_Argento

https://digital.library.unt.edu/ark:/67531/metadc28455/m2/1/high\_res\_d/dissertation.pdf

https://www.boosey.com/composer/Dominick+Argento
Jennifer Jolley (b. 1981)

## Work Analysis

   She likes working in different genres and sometimes mashing them up in odd but nice ways as in her **Double Concerto for Violin and Fiddle,** (again using witty humor to inform her jumping off point) that combines the virtuosity of blue grass and classical styles that directly quotes **Bach** as well a few country fiddle tunes without missing a beat or making it sound like an unholy union.

## Comparisons

Her choir pieces are strongly reminiscent of Bach in some of the chordal shapes and fugue like passages, though not fully liturgical in nature makes unusual in their context. She genre hops sometimes within a few bars of one another so her influences are just about anything you can think of.

## Observations

The witty and overt humor in some of her work, especially, **Krispy Cremes and Butter Queens** where Paula Deen is making her infamous "The Lady's Brunch Burger" (glazed doughnuts, hamburger, fried egg, bacon, and cheese) when she accidentally chokes on a doughnut and dies. In the afterlife, Paula Deen is denied entrance to heaven because of her sinful culinary ways. She pleads to the angels guarding heaven's door to let her in, tempting them to taste butter, causing them to lose their angel wings. Shades of **Frank Zappa** in its perversity and sending up of a popular icon.

From her Blog about failing as a composer: "For as much as we would like to have our music be the true conduit through which others can understand who we are, it is increasingly necessary for living composers to allow musicians and audiences to discover who the person is behind the score. Performers want to be able to not only enjoy a composer’s music but enjoy working with a composer on a personal basis. Whether it is through the use of a personal blog–both Nico Muhly and John Mackey are deeply associated with their online musings–or other means, the decision to allow others to see at least a part of one’s life as a composer is something that we all will have to make in the future."

## Works Cited

https://www.jenniferjolley.com/

https://www.owu.edu/academics/departments-programs/department-of-music/faculty-staff/jennifer-l-jolley/

https://whycompose.com/

http://www.john-lane.com/standinginthestream/2015/1/25/episode-4-jennifer-jolley

http://www.newmusicbox.org/articles/author/jjolley/
Kaja Saariaho (b. 1952)

## Introduction

**Kaja Saariaho** was born in **Helsinki**. She began studying visual arts at the **University of Art and Design (then known as the University of Industrial Art)**. In 1976, She studied at the **Sibelius Academy** under **Paavo Heininen.** She obtained a degree in composition from the academy in 1980, but continued studies there for another year. Afterward, she enrolled at the **Musikhochschule in Freiburg, Germany**, to study with British composer **Brian Ferneyhough** and **Klaus Huber**. She found her teachers’ emphasis on strict serialism and mathematical structures stifling and was quoted as saying. *"You were not allowed to have pulse, or tonally oriented harmonies, or melodies. I don't want to write music through negations. Everything is permissible as long as it's done in good taste."*  She was awarded a diploma there in 1983. By this time, she was already turning out some of her earliest works. The most noted efforts from this period include **Verblendungen for Orchestra and Tape** (1982-1984) and the minimalist piece **Vers le blanc** (1982). . In the mid-1980s, her works began garnering attention and she received many prestigious awards, such as the **Kranichsteiner Prize** in 1986, the **Prix Italia** in 1988, and the following year the **Ars Electronica** for her works **Stilleben** (1987-1988) and **Io** (1986-1987). She has attracted several commissions, including one from the **Lincoln Center**. **Saariaho** had become one of the few composers to write in a modern, though not particularly dissonant, style who has achieved a good measure of popularity.

## Works Cited

http://saariaho.org/

https://en.wikipedia.org/wiki/Kaija\_Saariaho

http://www.newyorker.com/magazine/2016/10/31/the-oceanic-music-of-kaija-saariaho

http://www.allmusic.com/artist/kaija-saariaho-mn0001827357/biography

http://www.npr.org/sections/deceptivecadence/2016/12/03/503986298/half-of-humanity-has-something-to-say-composer-kaija-saariaho-on-her-met-debut
DJ Sparr (1975)

## Introduction

DJ Sparr is a composer and electric guitarist. He was born in baltimore and by them time he was only three he was already holding a broom stick and pretending it was a guitar. By age five he began taking lessons and performing original songs at his town's music store. He attended Baltimore School for the Arts and was majoring in jazz guitar performance. He began taking an interest in composing and further studied it at the Eastman School of Music and the University of Michigan. Right now, Sparr is living in "the mystical high planes of the Wild West" with his wife Kimberly and their two dogs.

## Work Analysis

*Avaloch* is a very unique piece. It is written for all strings. It seems to go back and forth between happy and fast moments of tonality to eerie atonal slower parts. This piece can easily evoke emotions from its listeners even if they are inexperienced musicians.

## Comparisons

HIs composing style seems almost pop-like which is very unique as many other composers on this list usually take elements from older eras of music. His music can relate to almost any listener and he reminds me of Liebermann as he was very listener friendly.

## Observations

I think it is unique that Sparr is an electric guitar player. Most other composers i have looked at have played piano or violin. Electric guitar is not something I have seen come up often in this research and I think this shows through in his compositions.
Marcos Balter (1974)

## Introduction

Marcos Balter is a composer who was born in Rio de Janeiro, Brazil in 1974. When Balter was only five, he began his musical studies at the Conservatório Musical Heitor Villa-Lobos. When he was just eleven he was admitted into the Conservatório Brasileiro de Música. In 1966,he moved to the united states where he enrolled at Texas Christian University to study music composition. He later attended Northwestern University. Now he is living in New York City and teaching at Montclair State University.

## Work Analysis

Balter is known to combine modernism and post-modernism in his works. His piece, *Aesopica, plays with very unique rhythms.* The orchestra jumps in after the male voice sings on chords with unique colors and timing.

## Comparisons

He combination of two eras of composition remind me of Stravinsky and how he would always reference different eras of compositional style to influence his own writing.

## Observations

His unique style encompasses complicated rhythms and unusual harmonies. Balter definitely has his own sound.

## Works Cited

http://www.marcosbalter.com/bio.html

https://en.wikipedia.org/wiki/Marcos\_Balter
Carter Pann (1972)

## Introduction

Carter Pann is an AMerican composer who was born in a Grange, Illinois in 1972. He attended the Eastman School of Music where he studied piano and composition. He earned his Doctor of Musical Arts degree from the university of Michigan. HIs works have recieved much recognition and have been played by the London Symphony Orchestra, the New York Youth Symphony, and much more. He is a current professor at the University of Colorado at Boulder where he teaches composition and theory.

## Work Analysis

*The Cheese Grater* is one of Pann's most interesting pieces. It is written for a solo pianist and is a very intense two-step. It is modeled to sound as if a cheese grater is going up and down a piece of cheese as the chords of the song run up and down the piano keys.

## Comparisons

He has studied at the same schools as many of the other composers such as Balter but yet has a very unique sound. His music is mostly very tonal and rhythmic and makes you want to listen and pay attention.

## Observations

I believe a lot of Pann's work is easy for listeners to appreciate and understand. He creates music that sounds good and makes listeners want to move their body to the rhythm. I think it is cool that he was able to link his music to something as non-musical as a cheese grater.

## Works Cited

https://en.wikipedia.org/wiki/Carter\_Pann

http://www.presser.com/shop/the-cheese-grater-pno.html?SID=eliu7joedtpmliqfne9jc2o1e5
John Harbison (1938)

## Introduction

Harbison was born into a very musical Orange, New Jersey in 1938. In 1954, when he was just sixteen years old, he won the BMI Foundation's Student Composer Award. In 1960, he graduated from Harvard University with a BA in music. In 1987, he won the Pulitzer Prize for Music for his piece *The Flight into Egypt.* He is currently a professor of composition and chamber music at the Massachusetts Institute of Technology.

## Work Analysis

*Concerto for Oboe, Clarinet, and Strings* is a somewhat tonal piece that relies on more traditional harmonies. He also utilizes octatonic collections and whole tone collections throughout this piece. This piece is in three movements there are repeated themes made from the octatonic collection and the whole tone collection in all three movements to tie the piece together.

## Comparisons

He was heavily influenced by literature as he composed pieces often based upon a literary work. This again reminds me of Charles Ives and his great interest in Literature. He wrote an opera based upon *The Great Gatsby* and it shows what incredible things can happen when you combine different art forms.

## Observations

I find is music very easy for audiences from all backgrounds to grasp. He clearly conveys the emotions he wants to but also keeps it interesting enough that you wan to keep listening until the end. He was originally interested in poetry and that shows through his music.

## Works Cited

http://mta.mit.edu/person/john-harbison

http://www.songfest.us/john-harbison/

https://getd.libs.uga.edu/pdfs/belvin\_katherine\_m\_200912\_dma.pdf
Henry Brandt (1913-2008)

## Introduction

Henry Dreyfuss Brant was born on September 15, 1913, and died on April 26, 2008. Brandt started composing at eight years old and studied at the McGill Conservatorium from 1926 to 1929. After which he studied in New York City from 1929 to 1934. Brant was a multi-instrumentalist and played the violin, flute, tin whistle, piano, organ, and percussion at a professional level and was fluent enough to play all of the other playing techniques for all other standard orchestral instruments. In later years, he taught at Columbia University, Julliard, and Bennington College.

## Work Analysis

During the 50's Brandt felt that "Single-style music... could no longer evoke the new stresses, layered insanities, and multi-directional assaults of contemporary life on the spirit." Brant's goal in composition was to experiment his works to explore the possibilities that a space provided in terms of sound for a key element for his compositions. Brant's concept was called spatial music and is essentially the location of where the players are in the playing space. The piece *Rural Antiphonies* is a good example of his development of spatial music.
David Stock (1939-2015)

## Introduction

David STock was an American Composer from Pennsylvania. He was a champion of contemporary music. His desires always led him to wanting to see what else was new or interesting and he allowed himself to be open to the possibilities. He felt that music was a network that brought people together regardless of its style, its composition and even its criticism and he used his wide network of connections to help connect other musicians as well.

## Work Analysis

Stock's music was usually constructed of recurring blocks and textures, which got longer and shorter when repeated, and a handful of accompaniments. People who worked closely with him describe his music as alive and human, reminiscent of the kind of kind and caring person that Stock was. His *Three Yiddish Songs* are a playful and yet still slightly aggressively push through the composition. The vocalist is required to be very strong vocally, while the strings need to be willing to match that same aggression. You can hear the returning motifs that keep the audience captivated.

## Comparisons

Stock seemed to be a composer that wanted to explore all of the possibilities of music but didn't necessarily feel he had to compose them. His music ranges from emotional and lyrical to emotional and aggressive.

## Observations

Stock founded the Pittsburgh New Music Ensemble and directed that for 23 years before retiring in 1999. This length of time with musicians all performing new and contemporary music is what he was passionate about. His works seem hard to find recordings of, but it seems that many people think his music is well renowned.

## Works Cited

http://www.newmusicbox.org/articles/he-knew-everything-and-everyone-remembering-david-stock-1939-2015/

http://www.post-gazette.com/ae/music/2015/11/02/June-3-1939-Nov-2-2015-Composer-David-Stock-was-personification-of-new-music-in-Pittsburgh/stories/201511020138

https://en.wikipedia.org/wiki/David\_Stock
Fighters

The fighter is used to attack enemy ships. Your basic fighter has average speed, low-grade weapons and low-grade shields. They make up for a general lack of firepower by being incredibly cheap to produce and fuel-efficient, allowing you to overwhealm your enemy with numbers.

Avg build time: 7 hours

Material Cost: -1 per hour

http://www.war-worlds.com/doc/ships/fighter <---- Sources
Pauline Oliveros (b. 1932 d. 2016)

## Work Analysis

##### **"Deep Listening"** is at once meditative and jarring in its other-worldliness. **"Ghostdances"** is a disturbing amalgam of percussion, accordion and tape effects and voices that is hellish in it presentation. Oscillations of accordion notes manipulated by analog tape effects create something not of this planet. Her tape manipultion began when she got her first tape recorder in 1953.

   "Deep Listening" is an aesthetic based upon principles of improvisation, electronic music, ritual, teaching and meditation. This aesthetic is designed to inspire both trained and untrained performers to practice the art of listening and responding to environmental conditions in solo and ensemble situations." The use of reverberant spaces enhances the aesthetic as the tone colors multiply upon themselves. Part of the theory of Deep Listening is also about everyday listening as regards ones surroundings.
Ben Johnston (1926-

## Introduction

Johnston was born in Georgie in 1926. He is an American composer who focused mainly on just intonation and even tried to create a way that composers could notate music in just intonation on a staff. He used many other elements in his music such as serialism and even traditional forms such as fugue. Johnston taught at the University of Illinois.

## Work Analysis

I will analyze nine variations

This piece is in nine short movements. He begins with a twelve tone row in the first movement. There really is no stated theme other than the twelve tone row he uses. He establishes this row in the first movement and then alters it for each movement that follows.

First movement: prime form

Second movement: inversion

Third movement: retrograde inversion

Fourth movement: retrograde

Fifth Movement: inversion and retrograde inversion

Sixth MOvement: reordered

Seventh Movement: another reording

Eighth Movement: prime form

Ninth movement: all of these forms combined

These movements alternate between slow and fast. This piece was heavily influenced by Anton Webern and John Cage.

## Comparisons

I find it difficult to compare Johnston to other composers. I do not know of any other composers who used different tuning as he did. He was a pioneer and was dedicated to proving that Just Intonation was just as valid as other forms of tuning. He is similar to other composers such as Babbitt in the sense that they were both writing music with very unique qualities that challenged listeners to think to understand the music. However, he went even further by taking the twelve tone technique and combining it with Just Intonation to create a series of pitches stretching far beyond just twelve tones.

## Observations

His music may have been the most difficult for me to understand and appreciate. Combining serialism with new form of tuning made music so complex that I really had to put effort into understanding. I enjoyed his Nine Variations piece because I liked how he made each piece a variation of the row. I found it easier to appreciate how he altered those twelve tones when each alteration was in its own movement.

## Works Cited

https://en.wikipedia.org/wiki/Ben\_Johnston\_(composer)http://www.newmusicbox.org/articles/sounds-heard-ben-johnston-string-quartets-nos-1-5-and-10/

http://www.newworldrecords.org/uploads/filezLUSu.pdf
Hỏa tộc

**Hỏa tộc** *(火の部族 - Hi no buzoku)* là một trong năm bộ tộc của Vương quốc Kouka. Hỏa tộc có lãnh thổ rộng nhất vương quốc này, nhưng phần lớn đất đai đều bị bỏ hoang. Thủ đô của nó là Saika và Tướng quân hiện tại là Kan Kyo-Ga, người đã kế thừa vị trí sau khi phụ thân của anh chết khi ông ta thực hiện cuộc đảo chính lật đổ Hoàng thượng.

## Vị trí

Vùng đất của Hỏa tộc nằm ở phía Bắc Phong tộc và phía Tây Bắc Thiên Tộc. Hỏa tộc có chung đường biên giới với Đế chế Kai.

## Người dân và Chính quyền

Người dân Hỏa tộc đa số đều là những là người nghèo khổ và bệnh tật. Kan Soo-Jin hầu như chỉ tập trung vào việc tăng cường sức mạnh của quân đội, dẫn đến sự cách biệt trong việc phân chia giàu nghèo cho người dân nơi đây. Ngoài ra, ông ta đã đưa ra một mệnh lệnh tuyệt đối cho những nam thanh niên phải được gửi đến thủ đô, nếu họ không tuân lệnh, họ sẽ bị trừng phạt. Vì lý do này mà Hỏa tộc không có đủ nhân lực để duy trì công việc hằng ngày, khiến cho các cánh đồng khô cằn và hạn hán. Điều này cũng đã khiến cho các nhóm cướp bóc hình thành và tấn công các ngôi làng hoang vắng.

Dù cho tình hình bộ tộc khủng hoảng như thế nào, nhưng cũng có những nỗ lực để khôi phục lại đất đai và con người nơi đây. Ban đầu được lãnh đạo bởi một nhóm cướp, sau đó là Kan Tae-Jun, và ngay sau đó, chính là nhà Vua. Hiện nay, một số bệnh xá đã được xây lên để chữa bệnh và việc trồng trọt đã được bắt đầu lại một lần nữa. Một ngôi làng đã từng được trao cho Đế chế Kai nay cũng đã được trao trả lại cho Vương quốc Kouka, và cùng với sự trở lại của nó là một hạt giống sẽ giúp việc trồng trọt phát triển ở Hỏa tộc.

## Nền văn hóa

### Bài hát "Thần lửa"

>
> *Đã từ rất lâu*
>
> *Mặt trời đỏ bừng sáng đã bị vẩn đục*
>
> *Và thiên hạ đã nhuốm màu đen*
>
> *Hãy kêu gọi Tứ long*
>
> *Cúi đầu*
>
> *Hãy cúi đầu trước Hỏa Long*
>
>
>
>

"Thần lửa", cũng được xem là bài hát về Vua Hiryu, là một giai điệu truyền qua các thế hệ của những người dân Hỏa tộc. Bài hát nói về câu chuyện thần thoại khi đất nước Kouka được thành lập và việc dân chúng Hỏa tộc là hậu duệ của Vua Hiryu.

### Lễ hội Lửa

Tại làng Senri, họ tổ chức lễ hội Lửa nhằm làm dịu linh hồn người đã khuất, ngọn lửa chiến tranh, và cơn thịnh nộ của Hỏa tộc. Dân làng xoay quanh một trại lửa khổng lồ để cầu nguyện và khiêu vũ, ăn uống. Cuối lễ hội, một vũ công sẽ biểu diễn trước mặt mọi người.

## Tham khảo

1. ↑ Akatsuki no Yona Manga: Chương 57, Trang 24
2. ↑ Akatsuki no Yona Manga: Chương 57, Trang 5
3. ↑ Akatsuki no Yona Manga: Chương 58, Trang 10
4. ↑ Akatsuki no Yona Manga: Chương 68, Trang 9
5. ↑ Akatsuki no Yona Manga: Chương 75, Trang 6 - 7
6. ↑ Akatsuki no Yona Manga: Chương 74, Trang 25 - 26
7. ↑ Akatsuki no Yona Manga: Chương 59, Trang 18
8. ↑ Akatsuki no Yona Manga: Chương 64, Trang 23
Thomas Adés (b. 1971)

## Introduction

**Thomas Adès** was born in **London**. He studied piano with **Paul Berkowitz** and composition with **Robert Saxton at Guildhall School of Music and Drama, London**. After attending **University College School**, he entered in 1992 at **King's College, Cambridge**, studying with **Alexander Goehr and Robin Holloway**. He was made **Britten Professor of Composition at the Royal Academy of Music**, and in 2004 was given an honorary doctorate by the **University of Essex.** In 1993 he gave his first public piano recital in **London** as part of the Park Lane Group series of recitals. **Adès** was the first Music Director of the **Birmingham Contemporary Music Group** from 1998 to 2000. He also served as Artistic Director of the **Aldeburgh Festival** from 1999 to 2008. In 2000, he was composer-in-residence of the **Ojai Festival in California** (along with **Mark-Anthony Turnage**), under the artistic direction of eminent music impresario **Ernest Fleischmann**.

## Works Cited

http://thomasades.com/

https://en.wikipedia.org/wiki/Thomas\_Ad%C3%A8s

https://www.theguardian.com/books/2008/jul/05/saturdayreviewsfeatres.guardianreview15

https://www.gramophone.co.uk/feature/contemporary-composer-thomas-ad%C3%A8s

http://www.telegraph.co.uk/culture/4715932/Is-Thomas-Ades-destined-to-become-the-first-major-composer-of-the-next-Millennium.html
Tina Tallon (1990)

## Introduction

Tina Tallon is a contemporary composer, computer musician, soprano, and arts documentarian. She is currently pursuing her doctorate in composition and the University of California, San Diego. Her first string quartet, *selective defrosting*, won grand prize in the 2013 PARMA Student Composer Competition. "Her research interests include embodied music cognition, computational modeling of energetic relationships between various musical parameters based upon Newtonian mechanics, technological mediation of the human voice, development of software for spectral analysis and composition, algorithmic composition, and computational approaches to musicological inquiry." (tinatallon.com) She is also the owner and lead documentarian of SALT Arts Documentation, a company that specializes in artistically-informed audiovisual recordings of the performing arts with a specialization in contemporary music, visual arts, theater, and dance.

## Work Analysis

Tina Tallon's works are contemporary and experimental like many of her contemporaries. Her desire to better develop the science of recorded sound and art is something that comes across in her desire to create compositions that create unique sonorities that push the boundaries of the instrument and the performers relationship with the instrument. Performed here is Tallon's *heliotrope* under the direction of Jason Gerraughty during the 2012 Cortona Sessions for New Music in Corona, Italy.

## Comparisons

Tallon and ted Hearne are similarly experimental. They have different subject matter, education backgrounds and even compositional styles, however, their presentation of sound pushes the boundaries of the average listener.

## Observations

Overall this music can be hard to digest. But the avant-garde nature of the compositions is common with the contemporary style.

## Works Cited

https://twitter.com/ttallon/status/628779041441472512

http://tinatallon.com/

http://saltartsdocumentation.com/

https://soundcloud.com/ttallon
Michael Daugherty (1954)

## Introduction

Michael Kevin Daugherty is an American composer influenced by Romanticism and Postmodernism, as well as pop culture. He is known as being one of the most widely performed American concert music composers of his generation. His works are each in relation to something that seems to have sparked a specific inspiration for his works.

## Work Analysis

ONe of his most notable works is his Metropolis Symphony, inspired by the Superman comic. You can hear the intermittent sounds of a cops whistle, and the turmoil of the city as if Superman is always lurking around every corner ready to save anyone. But the beginning almost seems like the city is in chaos and then moving forward there will be a release of tension and move towards the heroic sounds and triumphs of Superman.

## Works Cited

https://en.wikipedia.org/wiki/Michael\_Daugherty

http://www.michaeldaugherty.net/
John Luther Adams (b. 1953)

## Introduction

**John Luther Adams** was born in Mississippi and started his musical life as many of his generation born in the 50's, in various Rock bands as a drummer. Upon graduating from **California Institute of the Arts**, became an environmentalist, heavy on preservation of wildlife and found himself in **Alaska** in 1978, where he lived until 2014. He continued to perform as a Timpanist and percussionist with various orchestras in the 80's.

####

## Work Analysis

His love of nature in general informs all of his work and feels to be in tribute to the wonders of nature as he sees it, as a miracle of creation. His concept of "sonic geography" informed one of his earliest pieces in **"Songbirdsong"**, piccolo and percussion heavy to recreate actual birdsong. More recently in 2014 He released an album called **"Become Ocean",** which was part of a suite of works, **"*Sila: The Breath of the World"****,* (the air element), following with the representation of water in **"*Become Ocean"****, (the water element),* and the "earth element" in **"*Inuksuit"***, an outdoor percussion piece.. His music, he says, is *"our awareness of the world in which we live and the world's awareness of us"* . He won the **Pulitzer Prize** for music in 2014 for **"Become Ocean"** as well as the **Grammy** award for best Contemporary Classical Composition. Though often dismissed as new age music because of its highly suspect meditative nature, further listening to the slowly shifting sonorities of the work provide a rich tapestry of chordal shifts that echo much of what **Debussy, Stravinsky** and other modern composers were seeking in their early work.

## Observations

**Adams'** music is meditative and allows for the listener to glean for themselves how it makes them feel or not feel for that matter. There is a minimalist nature to his work, but the work itself translated the gargantuan beauty and ugliness of nature as it exists. The **Inuksuit** piece, which was written to be played outdoors, perhaps would have been his idea to try to blend in as a human with the sound of nature, (though percussion heavy, would more than likely have disturbed the natural surroundings, but perhaps that was the secret point of it considering his environmentalism and the fact humans tend to see nature as a means to subsist on instead of protect).

## Works Cited

#### http://johnlutheradams.net/biography/

http://www.newyorker.com/culture/culture-desk/leaving-alaska

http://www.allmusic.com/artist/john-luther-adams-mn0001763226/biography

http://www.newyorker.com/magazine/2008/05/12/song-of-the-earth
William Bolcom (b. 1938)

## Introduction

**William Bolcom** was born in **Seattle Washington** and almost out of the box at 11 years old, enrolled in the private study of composition at **University of Washington** under the tutelage of a number of preeminent composers, **George Frederick McKay, John Verrall**, and **Olivier Messiaen** in **Paris** in 1960. Getting his doctorate in Composition 1964 at **Stanford University**, he continued to teach and compose at a prolific and versatile rate, writing in a number of styles from chamber music to concertos, song cycles opera, symphonies as well as being a noted performer of Ragtime and **Gershwin** with his wife **Joan Morris**.

## Work Analysis

His Pulitzer prize winning piece, **"Twelve New Etudes, Books I-IV, per pianoforte (1977/1986)**, is at once experimental in its forms and lyrical in its melodic approach. This piece seems to bring out the possibilities of the piano as perhaps the most expressive percussion instrument ever invented. As he was one to not fully embrace the "European model", his work is filled with Jazz harmonies and specifically Ragtime chord changes and shapes that pepper this thoroughly modern work.

He has said that **Charles Ives** is his greatest influence and his themes are primarily of American origin, perhaps in an effort to distance himself from those European modes of approaching composition.

His **"Three Ghost Rags"** are a lovely tribute to this music that he has deftly incorporated and mastered as a style not only in his own performances but compositionally incorporating more modern chordal stacks that sound more related to 12 tone rows sitting right alongside the traditionally and tonally based work, (The **"Poltergeist"** section of this is a perfect example of this.) Perhaps his most ambitious work is his **"Songs of Innocence and of Experience" (1984), (William Blake).** In listening to this long work, there is seemingly not a European influence to be had as it is almost a homily to the American experience via **Blakes** poems. Using Choir, Symphony, Funk and Jazz rhythms, one gets the sense of America as religious experience, though again there is no overt agenda to suggest that was his intent.

## Comparisons

You can feel the influence of **Charles Ives** in his inherent "American" themes and the use of early 20th century song forms in the Ragtime idiom as well as gleaning much from the song books of **George and Ira Gershwin and Irving Berlin.**

## Observations

The melding of 12 tone modern music with the more popular music of the times, (i.e ragtime), is an interesting juxtaposition of writing in the styles of a particular moment in time in America, and composing using those eras as his jumping off point. Looking back in this way for his inspiration, is perhaps nostalgic for an era he was not even a part of might tend to over glamorize the era via myth making, but one can overlook that as there does not feel to be any overt political, jingoistic intent by marrying these styles together in such a skillful way.
Aarvo Pärt (1935)

## Introduction

Arvo Pärt is an Estonian composer. His main works are composed in the classical style and as religious music. He is known for his minimalist style and his own compositional technique called, tintinnabuli. Musically, Pärt's tintinnabular music is characterized by two types of voice, the first of which (dubbed the "tintinnabular voice") arpeggiates the tonic triad, and the second of which moves diatonically in stepwise motion. This can be heard and showcased in both *Für Alina* (1976) and *Spiegel im Spiegel* (1978).

## Work Analysis

His work *The Beatitudes* (1990) (as performed by the Choir of King's College), you can still hear the feeling of the voices pulsating between different chords. There is no polyphony in this piece which is unique to composer for his time. His inspiration is often gathered from Gregorian Chant.

## Comparisons

Moving forward, a lot of Pärt's harmonies and dissonances are similar to Eric Whitacre, and I would be surprised if he was not influenced by Pärt.

## Works Cited

https://en.wikipedia.org/wiki/Arvo\_P%C3%A4rt

https://en.wikipedia.org/wiki/Tintinnabuli

http://www.universaledition.com/composers-and-works/Arvo-Paert/composer/534/work/1320
Peter Maxwell Davies (1934-2016)

## Introduction

Peter Davies was born on September 8th, 1934 and Died on March 14th, 2016. From England, he studied at the University of Manchester and at the Royal Manchester College of Music. As a conductor, he was the Artistic Director of the Dartington International Summer School from 1979 to 1984. He was the associate conductor/composer with the Royal Philharmonic Orchestra and held a position with the BBC Philharmonic Orchestra.

## Work Analysis

While he was a student, he formed a group with his friends called the New Music Manchester, their most famous work was the 1969 *Eight Songs for a Mad King* which was a great surprise and most found the piece to be shocking.
Toru Takemitsu (1930-1996)

## Introduction

Takemitsu is a Japanese composer and writer who was born in Tokyo in 1930. Takemitsu was ill an bedridden for a large part of his life and this is when he became well acquainted with western music. He distanced himself from his native Japanese music and focused largely on western music. He is almost entirely self taught through this time in his life where he did his own research and he began composing at only sixteen years old.

## Work Analysis

I will analyze Requiem for Strings.

This composition is in Rounded Binary form with ABA sections. It has nothing to do with his Japanese roots and is mostly Western influenced. The crescendos and decrescendos create an ed and flow to this music almost like breathing.

## Comparisons

Takemitsu is another composer who was heavily influenced by John Cage's music. Takemitsu wanted to stray from the ordinary and looked at John Cages experimentation with changing timbres. Although this was largely seen in his early compositions and he went through many transformations in his composing style throughout his lifetime. Takemitsu's early work was influenced by Debussy, Webern, and Schoenberg. He even refers to Debussy as his great mentor and when he composed *Green* he had taken two of Debussy's scores with him to the spot where he would compose.

## Observations

Takemitsu is a very unique composer. He has changed styles so many times throughout his career. It is extremely impressive that he had almost no formal musical training and yet could absorb the techniques used by other composers and incorporate them into his own music. I enjoyed his music and found it easy to notice the influence of other composers.

## Works Cited

https://en.wikipedia.org/wiki/Toru\_Takemitsu

https://euroculturer.eu/2013/05/07/toru-takemitsus-requiem-the-aesthetic-of-mono-no-aware/
Krzysztof Penderecki (1933)

## Introduction

Krzysztof Penderecki has been known for his music that defines the sounds of horror and pain. His music exemplifies the style of the Post World War II Europe that lived in a shadow of destruction and pain. Their youth was immersed in the sounds and the fallout of the war. Making the sounds of air raid sirens and planes flying overhead and even gunshots the prominent and almost comforting in its normalcy to the composer and even listeners from Europe. However, much of Penderecki's music was composed as Polish church music. Some say it is almost like his music is wrestling with God about how to reconcile with such horrors.

## Work Analysis

One of the most intense pieces I have ever heard is Penderecki's *Threnody for the Victims of Hiroshima* (1960).

The piece calls for 52 string instruments: 24 violins divided into four sections, 10 violas in two sections, 10 cellos in two groups, and 8 basses in two sections as well. The score describes not only the desire tone cluster to be established at any given time, but also allows for the instrumentalists to take some liberties, in an aleatoric fashion.

This piece was written so as to not forget the Victims of Hiroshima, and the pain and tragedy of the loss of their lives for a war. You can hear excerpts of this piece in Stanley Kubrick's 1980 adaptation of *The Shining.*

## Comparisons

His famed scores from the time surround 1960 all hail the avant-garde style of composers of the 20th century. The desire to do something extreme, or highly structured yet experimental was the aim. However, as he has continued composing past that, he has found inspiration from the Romantic era and even Bach.

## Observations

This music is very anxiety inducing in some ways, but not in a way that makes the music beyond appreciation or enjoyment. It elicits very distinct emotions from the listener and that is such an important part of music.

## Works Cited

https://en.wikipedia.org/wiki/Krzysztof\_Penderecki

http://culture.pl/en/artist/krzysztof-penderecki

http://www.npr.org/sections/deceptivecadence/2013/11/23/246309165/the-sound-of-struggle-tempered-with-terror-penderecki-at-80

http://www.npr.org/sections/deceptivecadence/2013/11/23/246916733/a-sound-of-fear-forged-in-the-shadow-of-war

https://en.wikipedia.org/wiki/Threnody\_to\_the\_Victims\_of\_Hiroshima
George Crumb (1929)

## Introduction

George Crumb was born on October 24, 1929, in Charleston, West Virginia. He was educated at the Mason College of Music in Charleston and graduated in 1950. He attended the University of Illinois at Urbana-Campaign and received his Masters, Berlin, and the University of Michigan where he received his D.M.A. in 1959. Crumb went on to teach at many schools some of which including the University of Colorado, University of Pennsylvania.

## Work Analysis

Crumb received the Pulitzer Prize for Music in 1968 for his Orchestra *Echoes of Time and the River* and a Grammy Award in 2000 for *Star-Child.* Crumb was influenced by Anton Webern initially, Crumb found interest in uncommon timbres and would often make instruments play in unusual ways such as using electric amplification for chamber music ensembles. A good example of Crumb's unusual approach to composing is by listening to *Black Angels* the piece is written for electric string quartet. The piece calls for the instrumentalists to play various percussion instruments and a mixture of playing their instrument in conventional and unconventional ways.
Llelmar Nightstar

Llelmar Nightstar was a half-elven rogue who used to serve in the Order of the Flaming Fist.

## History

### Womford

In 1491 DR, Llelmar, Rogan McDonnel and Greger Hausmeister was hired by Rickard MacPie to escort him to the city of Womford from Waterdeep.

As they reached Womford, they were hired by Baron Hadrick Ironford to investigate a fire that eventually culminated in slaying a gulabus inhabiting Carla Ruttenbury's body to save the town from being mind-controlled.

## Equipment

Llelmar Nightstar currently wields a mysterious scimitar given to him by Bracchus in the Misty Forest, for helping them evade capture by Feywild enforcement agents.
Greger Hausmeister

**Greger Hausmeister** is a forest gnome cleric of Selune.

## History

### Womford

In 1491 DR, Hausmeister, Rogan McDonnel and Llelmar Nightstar was hired by Rickard MacPie to escort him to the city of Womford from Waterdeep.

As they reached Womford, they were hired by Baron Hadrick Ironford to investigate a fire that eventually culminated in slaying a gulabus inhabiting Carla Ruttenbury's body to save the town from being mind-controlled.

## Equipment

Hausmeister currently wields Dardath's Resolve and Dolblunde's Cunning, relics known as part of the Amalgams of Phalorm, recovered from Harpshield Castle.