https://www.lucyabrams.net/news daily 0.75 2025-01-08 https://images.squarespace-cdn.com/content/v1/5a902776b105987c3bab1797/1520606141067-VZE4DH73IT8WXGNLYGSE/IMG_3584.JPG Artistic Research https://www.lucyabrams.net/news/2025/1/8/the-musical-anthropologist monthly 0.5 2025-01-08 https://www.lucyabrams.net/news/2022/12/1/2022-2023-con monthly 0.5 2022-12-06 https://images.squarespace-cdn.com/content/v1/5a902776b105987c3bab1797/8aaf100a-da64-4f48-9bb3-cc66c13676ff/Percentage+of+Symphony+Orchestra+Concerts+with+Contemporary+Music+%28USA%29.png Artistic Research - 2022-2023 Orchestral Programming of Contemporary Music - Make it stand out Graph 1 https://images.squarespace-cdn.com/content/v1/5a902776b105987c3bab1797/b210c11d-6a9e-4ae2-9e43-03bca9a1c1b7/Percentage+of+Symphony+Orchestra+Concerts+with+Contemporary+Music+%28Northern+Europe%29.png Artistic Research - 2022-2023 Orchestral Programming of Contemporary Music - Make it stand out Graph 2 https://images.squarespace-cdn.com/content/v1/5a902776b105987c3bab1797/83d0a7de-a4bd-4399-b87b-4e10efd12adc/Number+of+Contemporary+Works+Played+%28USA%29.png Artistic Research - 2022-2023 Orchestral Programming of Contemporary Music - Make it stand out Graph 3 https://images.squarespace-cdn.com/content/v1/5a902776b105987c3bab1797/893f9668-0e77-4977-8dd3-a0774253ee43/Number+of+Contemporary+Works+Played+%28Northern+Europe%29.png Artistic Research - 2022-2023 Orchestral Programming of Contemporary Music - Make it stand out Graph 4 https://images.squarespace-cdn.com/content/v1/5a902776b105987c3bab1797/fdeda89d-1a01-4c43-b826-06548c068851/Number+of+Commissions+%28USA%29.png Artistic Research - 2022-2023 Orchestral Programming of Contemporary Music - Make it stand out Graph 5 https://images.squarespace-cdn.com/content/v1/5a902776b105987c3bab1797/28faf015-eeec-44ec-8962-ba5e44f18d5f/Number+of+Commissions+%28Northern+Europe%29.png Artistic Research - 2022-2023 Orchestral Programming of Contemporary Music - Make it stand out Graph 6 https://images.squarespace-cdn.com/content/v1/5a902776b105987c3bab1797/af53c648-cbb7-4335-b9e7-1c90ed298158/Percentage+of+commissions+by+American+composer.png Artistic Research - 2022-2023 Orchestral Programming of Contemporary Music - Make it stand out Graph 7 https://images.squarespace-cdn.com/content/v1/5a902776b105987c3bab1797/5037ccc1-6e0c-4d43-ba0d-ebaa56e4ab18/Percentage+of+commissions+by+national+composer.png Artistic Research - 2022-2023 Orchestral Programming of Contemporary Music - Make it stand out Graph 8 https://images.squarespace-cdn.com/content/v1/5a902776b105987c3bab1797/b150457a-9210-4b46-93d8-8999dd3d32da/Percentage+of+contemporary+works+by+American+composer.png Artistic Research - 2022-2023 Orchestral Programming of Contemporary Music - Make it stand out Graph 9 https://images.squarespace-cdn.com/content/v1/5a902776b105987c3bab1797/316d2eb7-a239-44e8-a6bf-3492b6c2546c/Percentage+of+contemporary+works+by+national+composer.png Artistic Research - 2022-2023 Orchestral Programming of Contemporary Music - Make it stand out Graph 10 https://www.lucyabrams.net/news/2022/5/26/fourth-doctoral-concert-folk-clarinet monthly 0.5 2022-05-26 https://www.lucyabrams.net/news/2022/1/17/duel-notes-on-the-album monthly 0.5 2022-04-07 https://www.lucyabrams.net/news/2022/4/6/duel-interview-with-sound-engineer-tuukka-tervo monthly 0.5 2022-04-06 https://www.lucyabrams.net/news/2022/1/13/2021-2022-orchestral-programming-of-contemporary-music monthly 0.5 2022-01-21 https://images.squarespace-cdn.com/content/v1/5a902776b105987c3bab1797/01e8ecda-3c54-4f6b-a52b-6f6d6bf78aaa/Percentage+of+SO+Concerts+w+Contemp+US.png Artistic Research - 2021-2022 Orchestral Programming of Contemporary Music - Make it stand out Figure 1: Percentage of Symphony Orchestra Concerts featuring at least 1 contemporary work 2017-2022 - US Orchestras https://images.squarespace-cdn.com/content/v1/5a902776b105987c3bab1797/0c3e2082-64ef-4245-9d43-bcdd8d3f9424/Percentage+of+SO+Concerts+w+Contemp+NEUR.png Artistic Research - 2021-2022 Orchestral Programming of Contemporary Music - Make it stand out Figure 2: Percentage of Symphony Orchestra Concerts featuring at least 1 contemporary work 2017-2022 - Northern European Orchestras https://images.squarespace-cdn.com/content/v1/5a902776b105987c3bab1797/f7f8612c-9fef-40d4-b15d-845aaa083192/Number+of+Contemp+Works+US.png Artistic Research - 2021-2022 Orchestral Programming of Contemporary Music - Make it stand out Figure 3: Number of contemporary works performed per season by six American orchestras 2017-2022 https://images.squarespace-cdn.com/content/v1/5a902776b105987c3bab1797/5a2498a1-ec4c-4b44-865e-195086ff7da6/Number+of+Contemp+Works+NEUR.png Artistic Research - 2021-2022 Orchestral Programming of Contemporary Music - Make it stand out Figure 4: Number of contemporary works performed per season by six Northern European Orchestras 2017-2022 https://images.squarespace-cdn.com/content/v1/5a902776b105987c3bab1797/037bc1b4-a9ec-4575-825b-09f57b62f9f6/Number+of+Commissions+US.png Artistic Research - 2021-2022 Orchestral Programming of Contemporary Music - Make it stand out Figure 5: Number of contemporary works commissioned by six American Orchestras 2017-2022 https://images.squarespace-cdn.com/content/v1/5a902776b105987c3bab1797/cd996021-e5a8-437c-8380-61e196409d28/Number+of+Commissions+NEUR.png Artistic Research - 2021-2022 Orchestral Programming of Contemporary Music - Make it stand out Figure 6: Number of contemporary works commissioned by six Northern European Orchestras 2017-2022 https://images.squarespace-cdn.com/content/v1/5a902776b105987c3bab1797/bdbe4b28-be51-4719-84f5-330bf1414a36/Total+Number+Commissions.png Artistic Research - 2021-2022 Orchestral Programming of Contemporary Music - Make it stand out Figure 7: Total number of works commissioned by twelve large symphony orchestras 2017-2022 https://images.squarespace-cdn.com/content/v1/5a902776b105987c3bab1797/7dbd8c57-eca1-405d-93e2-685a1d71d36b/Percentage+Contemp+by+Natl+Composer+US.png Artistic Research - 2021-2022 Orchestral Programming of Contemporary Music - Make it stand out Figure 6: Percentage of works contemporary works by American composer (of total contemporary works performed), 2017-2022 https://images.squarespace-cdn.com/content/v1/5a902776b105987c3bab1797/0bcab662-9f29-4c34-b162-3bf3a39857b3/Percentage+Commissions+from+Natl+Comp+US.png Artistic Research - 2021-2022 Orchestral Programming of Contemporary Music - Make it stand out Figure 7: Percentage of contemporary commissions from American composer, 2017-2022 https://images.squarespace-cdn.com/content/v1/5a902776b105987c3bab1797/0a60f39f-8fb7-4e99-a851-6999e40bba61/Percentage+Contemp+by+Natl+Composer+NEUR.png Artistic Research - 2021-2022 Orchestral Programming of Contemporary Music - Make it stand out Figure 8: Percentage of contemporary works by national composer (of total contemporary works performed), Northern European Orchestras 2017-2022 https://images.squarespace-cdn.com/content/v1/5a902776b105987c3bab1797/11e77001-5ead-4f60-ab5c-7b8c80b43ca1/Percentage+Commissions+from+Natl+Comp+NEUR.png Artistic Research - 2021-2022 Orchestral Programming of Contemporary Music - Make it stand out Figure 9: Percentage of contemporary commissions by national composer, Northern European Orchestras 2017-2022 https://images.squarespace-cdn.com/content/v1/5a902776b105987c3bab1797/2ad3acfe-951e-49e1-9108-7fac6599a481/Total+Number+Works+Played.png Artistic Research - 2021-2022 Orchestral Programming of Contemporary Music - Make it stand out Figure 10: Total number of contemporary works played by 12 large orchestras 2017-2022 https://images.squarespace-cdn.com/content/v1/5a902776b105987c3bab1797/fdea57a4-0809-4936-9d99-40ec2ab544e1/Percentage+of+Premieres+-+US+2017-2022.png Artistic Research - 2021-2022 Orchestral Programming of Contemporary Music - Make it stand out Figure 11: Percentage of contemporary works performed that were World or National Premieres, 2017-2022 - American Orchestras https://images.squarespace-cdn.com/content/v1/5a902776b105987c3bab1797/89c2f778-f3e6-4178-97ec-8d2a9edb9d72/Percentage+of+Premieres+-+NEUR+2017-2022.png Artistic Research - 2021-2022 Orchestral Programming of Contemporary Music - Make it stand out Figure 12: Percentage of contemporary works performed that were World or National Premieres, 2017-2022 - Northern European Orchestras https://images.squarespace-cdn.com/content/v1/5a902776b105987c3bab1797/99a5d8d8-17ff-4092-aaca-ae88593a4b97/Percentage+of+Commissions+-+US+2017-2022.png Artistic Research - 2021-2022 Orchestral Programming of Contemporary Music - Make it stand out Figure 13: Percentage of contemporary works performed that were commissioned, 2017-2022 - American Orchestras https://images.squarespace-cdn.com/content/v1/5a902776b105987c3bab1797/fb6be413-55c1-4b01-b559-aa8857a97533/Percentage+of+Commissions+-+NEUR+2017-2022.png Artistic Research - 2021-2022 Orchestral Programming of Contemporary Music - Make it stand out Figure 14: Percentage of contemporary works performed that were commissioned, 2017-2022 - Northern European Orchestras https://www.lucyabrams.net/news/2021/11/12/what-do-we-create-when-we-record monthly 0.5 2021-11-16 https://www.lucyabrams.net/news/2021/5/17/post-1945-and-the-narrow-definition-of-contemporary monthly 0.5 2021-05-28 https://www.lucyabrams.net/news/2021/3/25/sibelius-academy-research-days-2021 monthly 0.5 2021-03-24 https://www.lucyabrams.net/news/2020/11/10/reflections-on-elollinen-notation monthly 0.5 2020-12-20 https://www.lucyabrams.net/news/2020/10/20/reflections-on-elollinen-shared-ownership monthly 0.5 2020-10-27 https://www.lucyabrams.net/news/2020/10/7/between-live-performance-and-studio-recording monthly 0.5 2020-10-13 https://www.lucyabrams.net/news/2020/10/5/2020-2021-contemporary-orchestral-programming monthly 0.5 2020-10-06 https://images.squarespace-cdn.com/content/v1/5a902776b105987c3bab1797/1601983685967-14XNQ1IFUTSMDA0F49P4/Sept-Oct+Programming+statistics.png Artistic Research - 2020-2021 Contemporary Orchestral Programming Table 1: Contemporary Music programming announced for the 2020-2021 season, as of September 2020. https://images.squarespace-cdn.com/content/v1/5a902776b105987c3bab1797/1601984981586-1BBG9BBSQS2Y5MFTBBUP/Post+1+symphony+concerts+multi-year+table.png Artistic Research - 2020-2021 Contemporary Orchestral Programming Table 2: Percentage of Symphony Concerts featuring Contemporary repertoire, 2017-2021. (As of September 2020) https://www.lucyabrams.net/news/2020/8/28/elollinen-second-doctoral-concert monthly 0.5 2020-08-28 https://www.lucyabrams.net/news/2020/5/20/artists-in-exile-and-classical-music-in-america-contextualizing-the-writings-of-joseph-horowitz monthly 0.5 2020-05-27 https://www.lucyabrams.net/news/2020/4/16/contemporary-practice-and-the-work-concept monthly 0.5 2020-04-24 https://www.lucyabrams.net/news/2020/4/4/a-new-type-of-practice monthly 0.5 2020-04-04 https://www.lucyabrams.net/news/2020/3/22/silence-and-noise monthly 0.5 2020-03-23 https://www.lucyabrams.net/news/2020/2/25/yielding-a-performative-analysis-of-kaija-saariahos-duft monthly 0.5 2020-03-23 https://www.lucyabrams.net/news/2019/11/25/gestural-analysis-of-george-aperghis-7-crimes-de-lamour monthly 0.5 2019-11-25 https://images.squarespace-cdn.com/content/v1/5a902776b105987c3bab1797/1574687652148-IOQ7Z3D675C7B7C1RI1D/Aperghis+Sequence+1+Ex+1.png Artistic Research - Gestural Analysis of George Aperghis '7 Crimes de l'Amour' Aperghis 7 Crimes de l’Amour, Sequence I, mm. 1-5 (source: http://www.aperghis.com/download-scores.html) https://images.squarespace-cdn.com/content/v1/5a902776b105987c3bab1797/1574687829323-UNHDXNLRE58XDZ9Q70NH/Aperghis+Sequence+1+Ex+2.png Artistic Research - Gestural Analysis of George Aperghis '7 Crimes de l'Amour' Aperghis 7 Crimes de l’Amour, Sequence I, mm. 8-9 [left] and mm. 12-13 [right] (source: http://www.aperghis.com/download-scores.html) https://images.squarespace-cdn.com/content/v1/5a902776b105987c3bab1797/1574687980393-9VMLIETODBD7JBCB4TUV/Aperghis+Sequence+2+Ex+1.png Artistic Research - Gestural Analysis of George Aperghis '7 Crimes de l'Amour' Aperghis 7 Crimes de l’Amour, Sequence 2, mm. 1-5 (source: http://www.aperghis.com/download-scores.html) https://images.squarespace-cdn.com/content/v1/5a902776b105987c3bab1797/1574688210398-EFN717VS6X5AJWYBGF9A/Aperghis+Sequence+3+Ex+1.png Artistic Research - Gestural Analysis of George Aperghis '7 Crimes de l'Amour' https://images.squarespace-cdn.com/content/v1/5a902776b105987c3bab1797/1574688405466-TM7ZV6AKTANZGEAEOZ7F/Aperghis+Sequence+3+Ex+2.png Artistic Research - Gestural Analysis of George Aperghis '7 Crimes de l'Amour' Aperghis 7 Crimes de l’Amour, Sequence 3, mm. 2 (source: http://www.aperghis.com/download-scores.html) https://images.squarespace-cdn.com/content/v1/5a902776b105987c3bab1797/1574688587453-TRUDGAA262JDGM8SD2IV/Aperghis+Sequence+3+Ex+3.png Artistic Research - Gestural Analysis of George Aperghis '7 Crimes de l'Amour' Aperghis 7 Crimes de l’Amour, Sequence 3, mm. 6-15 (source: http://www.aperghis.com/download-scores.html) https://images.squarespace-cdn.com/content/v1/5a902776b105987c3bab1797/1574688838102-IFM3A07YA0IINON1HC9M/Aperghis+Sequence+4+Ex+1.png Artistic Research - Gestural Analysis of George Aperghis '7 Crimes de l'Amour' https://images.squarespace-cdn.com/content/v1/5a902776b105987c3bab1797/1574688938457-IGM93807JH42H3OP9Q2O/Aperghis+Sequence+4+Ex+2.png Artistic Research - Gestural Analysis of George Aperghis '7 Crimes de l'Amour' Aperghis 7 Crimes de l’Amour, Sequence 4, mm. 1-4 (source: http://www.aperghis.com/download-scores.html) https://images.squarespace-cdn.com/content/v1/5a902776b105987c3bab1797/1574689333171-F2R6CGAC1GA7ZJ153L41/Aperghis+Sequence+4+Ex+3.png Artistic Research - Gestural Analysis of George Aperghis '7 Crimes de l'Amour' Aperghis 7 Crimes de l’Amour, Sequence 4, mm. 9-11 (source: http://www.aperghis.com/download-scores.html) https://images.squarespace-cdn.com/content/v1/5a902776b105987c3bab1797/1574689559689-S5L60IKEERHLE86F8NF2/Aperghis+Sequence+4+Ex+4.png Artistic Research - Gestural Analysis of George Aperghis '7 Crimes de l'Amour' Aperghis 7 Crimes de l’Amour, Sequence 4, mm. 13-19 (source: http://www.aperghis.com/download-scores.html) https://images.squarespace-cdn.com/content/v1/5a902776b105987c3bab1797/1574691313353-5955J8LT42EGBTC3W4FE/Aperghis+Sequence+4+Ex+5.png Artistic Research - Gestural Analysis of George Aperghis '7 Crimes de l'Amour' Aperghis 7 Crimes de l’Amour, Sequence 4, mm. 19-23 (source: http://www.aperghis.com/download-scores.html) https://images.squarespace-cdn.com/content/v1/5a902776b105987c3bab1797/1574691504252-E84F7YER3U2AXS7WZJCT/Aperghis+Sequence+5+ex+1.png Artistic Research - Gestural Analysis of George Aperghis '7 Crimes de l'Amour' https://images.squarespace-cdn.com/content/v1/5a902776b105987c3bab1797/1574691604820-2N0FYU6M8I4HGE2HS7M1/Aperghis+Sequence+5+Ex+2.png Artistic Research - Gestural Analysis of George Aperghis '7 Crimes de l'Amour' Aperghis 7 Crimes de l’Amour, Sequence 5, mm. 1-5 (source: http://www.aperghis.com/download-scores.html) https://images.squarespace-cdn.com/content/v1/5a902776b105987c3bab1797/1574691691623-GB8HAUAP8U1W1NTW96PZ/Aperghis+Sequence+5+Ex+3.png Artistic Research - Gestural Analysis of George Aperghis '7 Crimes de l'Amour' Aperghis 7 Crimes de l’Amour, Sequence 5, mm. 9-11 (source: http://www.aperghis.com/download-scores.html) https://images.squarespace-cdn.com/content/v1/5a902776b105987c3bab1797/1574691831255-MRX5PZNPAYDTJV1ONIYH/Aperghis+Sequence+6.png Artistic Research - Gestural Analysis of George Aperghis '7 Crimes de l'Amour' Aperghis 7 Crimes de l’Amour, Sequence 6, mm. 1-5 (source: http://www.aperghis.com/download-scores.html) https://images.squarespace-cdn.com/content/v1/5a902776b105987c3bab1797/1574691950845-DBCPZ8NE6TL69U2NLGBN/Aperghis+Sequence+7.png Artistic Research - Gestural Analysis of George Aperghis '7 Crimes de l'Amour' Aperghis 7 Crimes de l’Amour, Sequence 7 (source: http://www.aperghis.com/download-scores.html, analysis in red added by me) https://www.lucyabrams.net/news/2019/11/6/contemporary-repertoire-in-orchestral-programming-year-3-part-2 monthly 0.5 2019-11-15 https://images.squarespace-cdn.com/content/v1/5a902776b105987c3bab1797/1573556679309-QKLZ35BRB4T58B3CV8YC/2019-2020+Premieres+Chart.png Artistic Research - Contemporary Repertoire in Orchestral Programming - Year 3, Part 2 https://images.squarespace-cdn.com/content/v1/5a902776b105987c3bab1797/1573556465809-S5S9QYQ2XRSJ136VNKC9/2019-2020+US+Premieres+Chart.png Artistic Research - Contemporary Repertoire in Orchestral Programming - Year 3, Part 2 https://images.squarespace-cdn.com/content/v1/5a902776b105987c3bab1797/1573562270470-4PTY6HV7OQOY4QOCKD1H/18-19%3A19-20+Premieres+Chart.png Artistic Research - Contemporary Repertoire in Orchestral Programming - Year 3, Part 2 https://images.squarespace-cdn.com/content/v1/5a902776b105987c3bab1797/1573562408865-JJJ6TW848DSEKQ1BDB45/2019-2020+Programming+and+Commissions+Data.png Artistic Research - Contemporary Repertoire in Orchestral Programming - Year 3, Part 2 https://images.squarespace-cdn.com/content/v1/5a902776b105987c3bab1797/1573651847775-HZUUFV2TV4YYVYORK1A3/Percentage+of+Works+Played+by+National+Composers+%28USA%29+2017-2020.png Artistic Research - Contemporary Repertoire in Orchestral Programming - Year 3, Part 2 https://images.squarespace-cdn.com/content/v1/5a902776b105987c3bab1797/1573652156022-9RU99K13BBNUWPYY3Y2C/Percentage+of+Works+Played+by+National+Composers+%28North+Europe%29+2017-2020.png Artistic Research - Contemporary Repertoire in Orchestral Programming - Year 3, Part 2 https://images.squarespace-cdn.com/content/v1/5a902776b105987c3bab1797/1573745493940-5AGHOYJNGRCVDGHS4E93/Populations+Chart.png Artistic Research - Contemporary Repertoire in Orchestral Programming - Year 3, Part 2 https://www.lucyabrams.net/news/2019/9/16/contemporary-repertoire-in-orchestral-programming-year-3-part-1 monthly 0.5 2019-11-06 https://images.squarespace-cdn.com/content/v1/5a902776b105987c3bab1797/1568883792851-TXMT8ZT2KEUP43UHQ78X/2019-2020+Programming+Results+Table.png Artistic Research - Contemporary Repertoire in Orchestral Programming - Year 3, Part 1 Table of 2019-2020 Contemporary Programming Data compiled by Lucy Abrams (July-September 2019) https://images.squarespace-cdn.com/content/v1/5a902776b105987c3bab1797/1569091601536-OME9YFEM4I4GYE0GGFEX/2019-2020+Symph+Concerts+Graph.png Artistic Research - Contemporary Repertoire in Orchestral Programming - Year 3, Part 1 Graph comparing Contemporary Repertoire programming in Symphony Concerts in the 2019-2020 season taken from data in the table above, compiled by Lucy Abrams (July-September 2019) https://www.lucyabrams.net/news/2019/9/10/reflections-on-saar-part-3 monthly 0.5 2019-09-12 https://images.squarespace-cdn.com/content/v1/5a902776b105987c3bab1797/1568119507618-OXAGUR5SGN74GPHRFY7R/flEIVyY1TnCpd1WnNuBgyg.jpg Artistic Research - Reflections on SAAR - Part 3 Photo by Lucy Abrams https://images.squarespace-cdn.com/content/v1/5a902776b105987c3bab1797/1568192120680-TFF4BPQJCDWL04MVV11A/utoya-blakstad-haffner-arkitekter-norway_dezeen_2364_col_7-1704x1173.jpg Artistic Research - Reflections on SAAR - Part 3 Image from <https://www.dezeen.com/2016/09/13/utoya-norway-island-massacre-site-architect-erlend-blakstad-haffner-hegnhuset-memorial-learning-centre/> https://images.squarespace-cdn.com/content/v1/5a902776b105987c3bab1797/1568304546029-0G7N0RSSXEU8U8P4VGWX/fullsizeoutput_26c5.jpeg Artistic Research - Reflections on SAAR - Part 3 Photo by Lucy Abrams of one of the comment sheets https://www.lucyabrams.net/news/2019/8/30/reflections-on-saar-part-2 monthly 0.5 2019-09-02 https://www.lucyabrams.net/news/2019/8/27/reflections-on-saar-part-1 monthly 0.5 2019-08-28 https://www.lucyabrams.net/news/2019/5/1/korvat-auki-performance-led-research-of-finnish-contemporary-music monthly 0.5 2019-05-21 https://images.squarespace-cdn.com/content/v1/5a902776b105987c3bab1797/1556712892350-J5LFE0RGZ6680XL9AMZ5/Finland+Small+but+Mighty.jpeg Artistic Research - Korvat Auki: Performance-Led Research of Finnish Contemporary Music - Finland: Small But Mighty Opening with a short introduction to Finnish contemporary music, explained how unique the Finnish contemporary music environment is, as a uniquely large, heterogenous, and internationally recognized body of repertoire that developed and presents very differently from other European contemporary music cultures. Furthermore, the musical developments in the country, and the connection between music and national identity, has historical rooms dating back to the late 18th and early 19th centuries. Many have argued that ever since Sibelius received international recognition, Finns have strongly embedded classical music within their cultural identity, and I would argue that that connection has also been a ‘tool’ used to strengthen a sense of unity and collectivity within the small nation. Sociocultural values and norms that I have observed keenly since moving to Finland 6 years ago have become very apparent to me in classical music culture, and particularly contemporary music culture, including a non-competitiveness that breeds a embedded sense of respect for the artistic practices of others. I identify three values- equality, individuality, experimentation - that I believe unify contemporary music practice in Finland and also can be used for musical analysis. https://images.squarespace-cdn.com/content/v1/5a902776b105987c3bab1797/1556713041530-CC5WPW6DO9WSXFQNZCRY/Performance-led+History+and+Research.jpeg Artistic Research - Korvat Auki: Performance-Led Research of Finnish Contemporary Music - Performance-Led History and Performance-Led Research In Finland, there also exists a history, again from from the 19th century, of strong links between performance and contemporary music. This connection promotes a musicological study from a performance perspective. Kimmo Korhonen wrote that contemporary music in the 1980s developed in close connection with the new generation of instrumentalists that emerged in the 1970s, which displaced the choral traditions of the earlier 20th century. Korhonen argues, furthermore, that “the rise of new music [in the 1980s] would not have been possible without skilled performers versed in the multiple challenges presented by contemporary musical idioms” (Korhonen 1995: 68). I would offer that not only did it enable contemporary compositions to be performed at a high level, but instrumentalists involved in new music production propagated the repertoire by continuing to perform it beyond the premiere. The connection between composers and performers exists at both the institutional and individual level. The orchestras and educational institutions established by Martin Wegelius and Robert Kajanus in 1882 established a pattern for connecting orchestral performance and music education with the current composers of the time. This precedent was continued with the founding of the Finnish Radio Orchestra in 1926-27, which from the start made commissioning a large part of its musical activities. The connections between musicians and composers were also fruitful on an individual level. For clarinet, it is hard to imagine the body of contemporary repertoire to be what it is without Kari Kriikku, who has been an inspiration to living composers and a performer of their works for nearly 50 years. As a case study, for the presentation, I decided to use Kraft. Reflecting on my performance from 3 years ago, I feel the work exemplifies the connection between the music of the Korvat Auki founders and the Finnish sociocultural values of equality, experimentation, and individuality. https://images.squarespace-cdn.com/content/v1/5a902776b105987c3bab1797/1556712125769-D8ZCKQPBXAEBHDEF3CIQ/Korvat+Auki+Music+Society.jpeg Artistic Research - Korvat Auki: Performance-Led Research of Finnish Contemporary Music - "Korvat Auki" Music Society Founded in 1977, the Korvat Auki society marked, retrospectively, the third modernist music wave in Finland of the 20th century. Much like Sibelius’ rise represented both an important musical development but also reflected a ‘right time, right place’ moment in the geopolitical environment of the 19th century, the ‘Korvat Auki’ movement, if I can call it that, was the result of both musical and geo-political developments in Finland, particularly in the after-effects of World War 2. In the 1970s, Finland experienced important political, economic and social changes all in a very short period of time. In the late 1960s and early 1970s, for instance, many Finns had to emigrate to Sweden to find work. But by the early 1980s, economic stabilization meant that wages and standard of living became on par with that of Sweden. Finland also established the welfare state that we know today, which included universal healthcare, monetary support for studies, free education, and unemployment benefits. I argue that the social welfare system promoted a sense of unity and equality within Finnish society, cementing values of equality, experimentation and individuality. An unprecedented economic and social stability enabled Finns to experiment in their given field with the underlying societal understanding that everyone was entitled to equal benefits, regardless of their age, gender or field of study. This experimentation, and freedom to do so, resulted likewise in an acceptance of individuality in an otherwise homogenous population. The Korvat Auki society was founded as a reaction to a period of musical change in the 1960s and 1970s, as musicians and composers exhibited a a pseudo-conservative musical backlash to the 1950s modernist wave that took place in the country. The previous new music society, The Finnish Contemporary Music Society (Nykymusiikki-Nutiksmusik Ry), which was founded in 1949, disbanded in 1967. Music in the concert hall was also abandoned by a young culture more interested in popular music and political activism in the 1970s (Korhonen: 2003: 104) and modernism was considered by many, particular in the younger generation, to be an elitist value of the upper classes. Musically, many Finnish composers turned to free tonality in the 1960s and 70s, which “manifested as neo-classicism, neo-romanticism and minimalism” (Korhonen: 2003, 104). Korhonen continued, “the rise of free-tonality had a crucial impact on Finnish music”, which greatly affected the ‘flavor’ and heterogeneity of modernism introduced by Korvat Auki composers in the late 1970s and 1980s. The composers of Korvat Auki, many of whom were students of important Finnish modernist Paavo Heininen, banded together in 1977 to form a new contemporary music society that promoted modernist ideals to counter the conservatism they felt pervaded classical music institutions at the time. But they also exhibited a desire to make their music ‘accessible’ to audiences through an unusually concerted effort to explain their musical processes. The Korvat Auki society presented not only concerts by European and Finnish living composers, but also held talks and bonded amongst one and another through meetings, travel and sharing of ideas. They were very closely connected personally with one another, and they shared a common attitude towards contemporary modernism, exploration and experimentation, but did not adhere to a particular style or compositional philosophy. Unlike many other new music groups, they were extremely heterogenous, which I think is the reason why they have continued to exist for as long as they have (the Korvat Auki society is still active today). The modernism perpetuated by the Korvat Auki founders “no longer involved a search for something new and unheard of: it was more of an application and deepening of things that had been discovered in the pioneering stages of modernism in the 1950s and 1960s” (Korhonen: 2003, 146). https://images.squarespace-cdn.com/content/v1/5a902776b105987c3bab1797/1556712136412-HNVWMI88IEP39493ZLW3/Korvat+Auki+as+performers.jpeg Artistic Research - Korvat Auki: Performance-Led Research of Finnish Contemporary Music - "Korvat Auki" as Performers The 1980s modernists continued a tradition of working closely with instrumentalists and ensembles, ensuring their music was performed often and at a high level. Further, the society founders also actively performed not only each other’s music, but also the contemporary compositions of other composers from other countries. This active performance practice led to the creation of multiple ensembles, including Toimii, Zagros and Avanti! Chamber Orchestra. In particular the “laboratory of performers” in Toimii, which included Magnus Lindberg and Esa-Pekka Salonen, was “dedicated to experimental techniques [that] inspired developments in a number of pieces” (Howell, 233). https://images.squarespace-cdn.com/content/v1/5a902776b105987c3bab1797/1556786149566-TPH3FYLC0KUWY977G7AD/Case+Study+Kraft.jpeg Artistic Research - Korvat Auki: Performance-Led Research of Finnish Contemporary Music - Case Study: Kraft I had the opportunity to play “Kraft” in May 2016 to celebrate the 100th anniversary of the Sibelius Academy Symphony Orchestra. The concert was conducted by Sakari Oramo, with soloists chosen from the Sibelius Academy and composer in attendance for rehearsals and performance. It was an interesting choice of concert repertoire - Rautavaara, Prokofiev, Lindberg - to celebrate the centennial of Finland’s highest music education institution, and one that speaks to the importance of contemporary repertoire to both Finnish musical education and performance. Regretfully, I did not know three years ago that this concert would, in many ways, be the starting point of my postgraduate music study, or else I certainly would have taken more notes! But retrospectively, I use “Kraft” as an example of how modernists of the Korvat Auki founding generation exemplified the Finnish sociocultural values of equality, experimentation and individuality in their musical compositions. https://images.squarespace-cdn.com/content/v1/5a902776b105987c3bab1797/1556712169132-35NWFHN7GSMOM1ILNLR2/Magnus+Lindberg+and+Kraft.jpeg Artistic Research - Korvat Auki: Performance-Led Research of Finnish Contemporary Music - Magnus Lindberg and "Kraft" A short background on the work itself: “Kraft” was commissioned for the 1985 Helsinki Festival, and it was composed between 1983-1985, when Lindberg was traveling extensively in Europe and spent a lot of time in Berlin, where he was inspired by the punk rock and underground popular music scenes. Its premiere was received with great enthusiasm, and the work has remained really popular ever since, even though it is rarely performed live. It is incredibly difficult to produce, requiring a very large orchestra with extra percussion, 5 virtuosic solo parts for clarinet, piano, cello, timpani and percussion, along with an expert sound engineer (the 6th soloist). The work requires the soloists, and members of the orchestra, to play various percussion instruments and to move throughout the hall, creating a surround sound experience for the audience. https://images.squarespace-cdn.com/content/v1/5a902776b105987c3bab1797/1556712185114-GS0LR7TEWEIXK1K7C0GN/Equality.jpeg Artistic Research - Korvat Auki: Performance-Led Research of Finnish Contemporary Music - Equality The process of preparing and performing this work is a group effort, from the musicians to the stage workers, to the producers. Even though it is a “concerto grosso”, all five soloists have equally important parts that are reliant on one and another, as well as the orchestra. One does not feel like a typical ‘soloist’ playing this work. While the technical and physical demands (running all around the hall, for instance), make it difficult to focus on any part but your own in performance, the musical product is one where no one part is really more important than another. Further, the orchestral parts, as well, have specialist requirements - to play in different stations of the hall and to make special effects. Never before have I witnessed such enthusiasm from the orchestra at the special parts they have to play; never was there a sense of accompaniment but collaboration. The soloists are also not only required to play their own instrument (or instruments, for the clarinetist), but everyone is required to play percussion, as well as produce various sonic effects like crumpling paper, speaking consonant syllables, or blowing bubbles into a bucket of water into the microphone. From the perspective of the clarinetist, the soloist A is required to play four clarinets, E-flat, B-flat, contrabass and B-flat bass. This is incredibly rare for any orchestra work, let alone a concerto. And all four clarinets are equally important within the work from a performance standpoint. Each have a technical solo, with extra techniques, and each is written for idiomatically. https://images.squarespace-cdn.com/content/v1/5a902776b105987c3bab1797/1556712194517-V9H97TWT11D9AS78KUT6/Experimentation.jpeg Artistic Research - Korvat Auki: Performance-Led Research of Finnish Contemporary Music - Experimentation As it relates in particular to the clarinet part and the aspects of performance, “Kraft” was a musical experiment in clarinet writing inspired in large part by the soloist, Kari Kriikku. Kari Kriikku has been integral to the development of contemporary Finnish clarinet repertoire, working with composers from the late 1970s to present day. I admittedly (and embarrassingly) do not remember specifics of much of what Magnus said during project week (I was starstruck and shy, to be honest), but I do remember him saying that the clarinet part, in particular, owed a great deal to Kari and the fact that Kari NEVER said “no” to any of Magnus’ suggestions. This allowed Magnus, I think, to really “push the envelope” of what the clarinet could do, technically and sonically. And I’m sure the work inspired later clarinet pieces by other Finnish composers as well. There are both physical and musical experiments that the work requires of the clarinet soloist. On the more physical side- to play contrabass clarinet, a beautiful but very challenging instrument that few clarinetists have a great deal of experience with. Not only that, but the contrabass clarinet solo, which comes about half-way through the, comes right after the clarinetist must play bamboo chimes and Chinese symbol at “Station 4”. In our performance, this meant finishing playing B-flat clarinet part in measure 88, leaving the stage and walking quickly through the hall to one of the upper balconies behind the audience, playing the percussion parts, and then traveling back to the stage to pick up a cold contrabass clarinet and play the “highest note possible” on contra fff (triple-forte dynamic) to start the solo at m. 151. And the contra solo itself, about 42 measures long spanning the whole range of the instrument with a number of extra techniques, to finish the solo by making key noises into the microphone while playing castanets with the right hand. On the musical side, the work is an experiment in trying to produce as wide a range of diverse sounds as possible. Using various notation, the composer is striving for a wide range of sounds, at various timbres and on the different clarinets. It is something I remember working a great deal on in my lessons with Kari, and I think should I ever get the chance to work on the piece again, it is an area which one could continuously work and grow on. https://images.squarespace-cdn.com/content/v1/5a902776b105987c3bab1797/1556712204757-XHWH5XX46LI28QF09DJ0/Individuality.jpeg Artistic Research - Korvat Auki: Performance-Led Research of Finnish Contemporary Music - Individuality Like all compositions, but especially with this one, there is an aspect of individuality in performing the work because no two performances will ever be alike. Every concert hall is different, so the stations around the hall called for in the score will be different, thus affecting both the visual and sonic performance. Also, the score calls for a collection scrap metal and parts to be collected from a nearby junkyard. Lindberg said the goal was for the performance to literally sound like the place it is being performed at, again, making each performance unique. For the clarinetist, also, the score and performance practice of the work inspire each clarinetist to come up with him or her own technique for making the various extra sounds on all the clarinets. The notation is clear, but there are many different ways to accomplish what is written on the score. Prior to the performance, I had never played a work with so many extra techniques in it. In my lessons with Kari, I was hoping he would tell me specifically how a technique should be performed, but he would not, I think partly because he himself is a player constantly experimenting with new sounds and trying new things, and partly because he wanted me to find my own way. The parts, especially the soloist parts, are open to so much interpretation that the individual player must find his or her own vision and way of producing the sounds and effects. There is no right or wrong way, as long as a wide variety of sounds is produced. For a work that has such a “cult following”, one would think it also means a strict adherence to performance practice, but individuality is really built in to the way the work is meant to be performed. There were no pieces like this at the time, and nothing the same since has quite been composed since. “Kraft” is a work that has been inspiring, but never copied, which speaks to the aesthetics of the ‘Korvat Auki’ founders - they all respected the work of each other while staying true to their own individual aesthetics and views. https://images.squarespace-cdn.com/content/v1/5a902776b105987c3bab1797/1556712216813-JU65CY14ZILLRSOB4Q4M/Bibliography.jpeg Artistic Research - Korvat Auki: Performance-Led Research of Finnish Contemporary Music https://www.lucyabrams.net/news/2019/3/25/hitting-the-right-notes-sar10-international-conference monthly 0.5 2019-03-26 https://images.squarespace-cdn.com/content/v1/5a902776b105987c3bab1797/1553512361332-3267DE6R7Q8W490A87TL/SAR10+Slide+1.png Artistic Research - Hitting the Right Notes: SAR10 International Conference ©Lucy Abrams, SAR10 Presentation “Hitting the Right Notes” 22 March 2019 https://images.squarespace-cdn.com/content/v1/5a902776b105987c3bab1797/1553513361052-3PHMKLZ6VG08VGZ3SRKB/SAR10+Slide+2+.png Artistic Research - Hitting the Right Notes: SAR10 International Conference ©Lucy Abrams, SAR10 Presentation “Hitting the Right Notes” 22 March 2019 https://images.squarespace-cdn.com/content/v1/5a902776b105987c3bab1797/1553514154535-IDCKNGAU7BRGFOPY5QTC/SAR10+Slide+3.png Artistic Research - Hitting the Right Notes: SAR10 International Conference ©Lucy Abrams, SAR10 Presentation “Hitting the Right Notes” 22 March 2019 https://images.squarespace-cdn.com/content/v1/5a902776b105987c3bab1797/1553514206196-1DWXDONS8TY9DT5PQPBW/SAR10+Slide+4.png Artistic Research - Hitting the Right Notes: SAR10 International Conference ©Lucy Abrams, SAR10 Presentation “Hitting the Right Notes” 22 March 2019 https://images.squarespace-cdn.com/content/v1/5a902776b105987c3bab1797/1553514243868-GX1INRNRPOYW1X238NGM/SAR10+Slide+5.png Artistic Research - Hitting the Right Notes: SAR10 International Conference ©Lucy Abrams, SAR10 Presentation “Hitting the Right Notes” 22 March 2019 https://images.squarespace-cdn.com/content/v1/5a902776b105987c3bab1797/1553514295374-VZSM0MRSFNAOL4D3YCEC/SAR10+Slide+7.png Artistic Research - Hitting the Right Notes: SAR10 International Conference ©Lucy Abrams, SAR10 Presentation “Hitting the Right Notes” 22 March 2019 https://images.squarespace-cdn.com/content/v1/5a902776b105987c3bab1797/1553514310974-4BRHK4J5B5KXRWHA58KP/SAR10+Slide+6.png Artistic Research - Hitting the Right Notes: SAR10 International Conference ©Lucy Abrams, SAR10 Presentation “Hitting the Right Notes” 22 March 2019 https://www.lucyabrams.net/news/2019/3/11/imagined-models-video monthly 0.5 2019-03-11 https://www.lucyabrams.net/news/2018/12/18/contemporary-repertoire-in-orchestral monthly 0.5 2019-01-29 https://images.squarespace-cdn.com/content/v1/5a902776b105987c3bab1797/1548771072397-ZULTJ4Y9Q15GKIM31ESX/2018-2019+Orchestra+Report+American+composers+played+by+American+Orchestras.png Artistic Research - Contemporary Repertoire in Orchestral Programming - Year 2 Report, Part 2 https://images.squarespace-cdn.com/content/v1/5a902776b105987c3bab1797/1548771705963-6VT65RFWKEQCPWTR7ZTU/2018-2019+Report+American+composers+performed+internationally.png Artistic Research - Contemporary Repertoire in Orchestral Programming - Year 2 Report, Part 2 *2017-2018 season at left, 2018-2019 season at right. https://images.squarespace-cdn.com/content/v1/5a902776b105987c3bab1797/1548773467158-9ZN6NMWOU0IC46L7ID86/2017-2018+Premieres+Commissions+table.png Artistic Research - Contemporary Repertoire in Orchestral Programming - Year 2 Report, Part 2 Appendix 1 2017-2018 season orchestra data, showing amount of Premieres and Commissions within the season. Columns marked “Finnish”, “American” and “from own country” show the number of contemporary works that were Finnish, American, or from the orchestra’s home country. https://images.squarespace-cdn.com/content/v1/5a902776b105987c3bab1797/1548773489018-WUVR1IR23IUY2ZU8L3L0/2018-2019+Premieres+Commission+table.png Artistic Research - Contemporary Repertoire in Orchestral Programming - Year 2 Report, Part 2 Appendix 2 2018-2019 Season orchestra data, showing amount of Premieres and Commissions within the season. Columns marked “Finnish”, “American” and “from own country” show the number of contemporary works that were Finnish, American, or from the orchestra’s home country. https://www.lucyabrams.net/news/2018/12/11/after-imagined-models-docmus-concert-1-part-2 monthly 0.5 2018-12-21 https://www.lucyabrams.net/news/2018/12/11/contemporary-repertoire-in-orchestral-programming-report-2 monthly 0.5 2019-05-31 https://images.squarespace-cdn.com/content/v1/5a902776b105987c3bab1797/1559299256461-PHK0KIAK2PQHCETNPLMH/2018-2019+Contemporary+Music+Programming+Results+Table.png Artistic Research - Contemporary Repertoire in Orchestral Programming - Year 2 Report, Part 1 2018-2019 Contemporary Music Programming Results Table https://images.squarespace-cdn.com/content/v1/5a902776b105987c3bab1797/1544792025728-EJWRBITAL09YQFX56GOE/2018-2019+Symphony+Concerts+Graph.png Artistic Research - Contemporary Repertoire in Orchestral Programming - Year 2 Report, Part 1 Percentage of Symphony Orchestra Concerts featuring Contemporary Music in the 2018-2019 Season https://images.squarespace-cdn.com/content/v1/5a902776b105987c3bab1797/1559299277595-7W2G3SC8I7UIXB10B2HR/2018-2019+Total+Concerts+Graph.png Artistic Research - Contemporary Repertoire in Orchestral Programming - Year 2 Report, Part 1 Percentage of Total Orchestra Concerts featuring Contemporary Music in the 2018-2019 Season https://images.squarespace-cdn.com/content/v1/5a902776b105987c3bab1797/1544798763977-JIAL9R2YYG4FI61SHEGU/2018-2019+vs+2018-2019+Graph.png Artistic Research - Contemporary Repertoire in Orchestral Programming - Year 2 Report, Part 1 Comparison chart of contemporary music programming in total concerts performed between the 2017/2018 and 2018/2019 seasons. https://www.lucyabrams.net/news/2018/11/26/after-imagined-models-docmus-concert-1 monthly 0.5 2018-12-11 https://www.lucyabrams.net/news/2018/9/6/dancing-and-twirling-doctors-in-performance-conference-2018 monthly 0.5 2018-09-06 https://images.squarespace-cdn.com/content/v1/5a902776b105987c3bab1797/1536257202031-7T0IR64JMPO0RQS7CSAA/DiP_banner-copy-1.jpg Artistic Research - Dancing and Twirling - Doctors in Performance Conference 2018 https://images.squarespace-cdn.com/content/v1/5a902776b105987c3bab1797/1536257578845-7XNPSX8J00BK27KCG1K1/2018+DIP+LTMA.001.jpeg Artistic Research - Dancing and Twirling - Doctors in Performance Conference 2018 https://images.squarespace-cdn.com/content/v1/5a902776b105987c3bab1797/1536257623220-LPYRDDBE6QUFFINV8CRK/2018+DIP+LTMA.002.jpeg Artistic Research - Dancing and Twirling - Doctors in Performance Conference 2018 Why these two composers? My Doctoral Research Project is an artistic study and comparison of contemporary clarinet works by Finnish and American composers, and I chose this topic because, as an American who studied classical music about a decade in the US, but now lives and works in Finland, I have observed pretty fundamental differences in the way that contemporary music is practiced, taught, and performed in both places. There are two main goals in my research: first, to explore the artistic benefits that contemporary music affords to the ‘classically trained’ orchestral performer and second, to identify the differences in contemporary music practice in both places and why these differences exist. So, for this case, we have two works, Dancing Solo and Twirl, both for unaccompanied clarinet. Libby Larsen, composer of Dancing Solo, was born in 1950 in Wilmington, Delaware, and Markku Klami, composer of Twirl, was born in 1979 in Turku, Finland. These are two composers who, most likely are completely unaware of each other, but actually have a lot in common. https://images.squarespace-cdn.com/content/v1/5a902776b105987c3bab1797/1536257694144-KRQEX6G8XCXDJPSYD1NR/2018+DIP+LTMA.003.jpeg Artistic Research - Dancing and Twirling - Doctors in Performance Conference 2018 They both studied composition at the ‘university level’ - at the Sibelius Academy in Helsinki and the University of Minnesota in Minneapolis. And both these schools taught the German-modernist-serialist approach to composition, an approach that both Klami and Larsen resisted, deciding to compose using a wider variety of source material. Here we have a quote from Denise Von Glahn’s great book on Libby Larsen, Libby Larsen: Composing An American Dream. Von Glahn concludes that Larsen’s rejection of systems, like serialism, enabled her to be inspired and influenced by many more elements - music, art, nature, religion - than your typical composer. And below, a quote from an interview I did with Markku Klami. He told me that Twirl was written in a particularly challenging moment when he was a composition student, where he thought he was ‘stuck’. And like Larsen, removing himself from a strict compositional style allowed him greater freedom of expression in his composition. https://images.squarespace-cdn.com/content/v1/5a902776b105987c3bab1797/1536257740495-1FYXVCEGFUID1AX3F5I8/2018+DIP+LTMA.004.jpeg Artistic Research - Dancing and Twirling - Doctors in Performance Conference 2018 In working with Markku and reading about Larsen, I also learned that both composers have a similar to approach to time in their music, specifically to the idea of suspending and elongating time. In this quote, Libby Larsen explains her music has matured to a point to a ‘less in more’ mentality with regard to sound. In a similar way, Markku remarked in our interview that he’s been gravitating towards composing pieces where time is suspended and the music develops over longer period of time. And Von Glahn mentions in her book a very interesting conversation she had with Libby Larsen about Larsen’s belief that “citizens of the cold”, so those who are from or live in northern climates (like Minnesota, and like Finland), have a unique and shared experience of the phenomenon known as time. “Only northerners, she claims, understand ‘the rhythm and flow of water’ in all its moods and ways, moving and motionless.” (Von Glahn, 83) https://images.squarespace-cdn.com/content/v1/5a902776b105987c3bab1797/1536257866129-CFU0ABRW6H4S17ZX9IAI/2018+DIP+LTMA.006.jpeg Artistic Research - Dancing and Twirling - Doctors in Performance Conference 2018 At the beginning of the lecture I identified style and time as two musical aspects I discovered these composers converge on. To analyze how these aspects manifest themselves in these two pieces, I discussed how each composer used motivic development and pulse for artistic means. Both pieces begin with what I will refer to as a ‘figurative motive’, sextuplets, which become, in my opinion, the most important motivic source material for both entire pieces. Larsen’s sextuplet is presented three times, immediately signifying its importance to the listener. These sextuplets return identically throughout the first movement, as well as in modulated and transposed form. Klami’s motive is slightly different; it's introduced and then developed three times in quick succession, with each iteration slightly longer and slightly louder than the previous one. And instead of holding a sustained pitch and repeating identically to draw focus to the opening statement, as Larsen does, Klami prefers to use silence, drawing the listener in closer and isolating the figuration so it is the only musical sound. Both Larsen’s and Klami’s opening statements, contain three figurations, and both end on a long note and/or fermata, denoting a clear separation, and emphasizing importance, between these opening phrases and what follows. From here, however, the way each composer develops and uses the motive is very different. https://images.squarespace-cdn.com/content/v1/5a902776b105987c3bab1797/1536257989980-VJW4SDFUZW93ATSHHUI0/2018+DIP+LTMA.007.jpeg Artistic Research - Dancing and Twirling - Doctors in Performance Conference 2018 Larsen uses repetition, and repetitions of the motives, to structure each movement of Dancing Solo. In the first movement ‘With Shadows’, the motivic sextuplet, shown here as example A, returns at the 4/4 (quarter notes equals 60-66), indicating a formal recapitulation of the opening material. The return marks a pseudo- A’, if one were to view this movements as a very loose rounded binary form. A’ begins with an exact repetition of the opening motive, reminding the listener and player instantly of the opening material, which Larsen then elaborates using the same intervallic pattern a step lower and a half step higher. Also in the example marked ‘B’, Larsen not only transposes the motivic sextuplet, but she also recycles the 2-eighth-note pulse, shown in its original form at right. Where Larsen uses motivic repetition, Klami uses the figuration motive more melodically as developmental source material. We already saw in the opening how quickly he began altering the opening figuration, immediately adding notes. In these short examples, one can see how the figuration motive presented at the opening gets recomposed in various forms. Despite the rapid development, what remains the same is that each figuration begins with 1/2 steps, then whole steps, and then a minor third. This intervallic relationship provides musical unity for both the clarinetist, and hopefully, the audience. Klami alters length, modulates, and recomposes these figurations, and yet somehow we can still hear them as related. https://images.squarespace-cdn.com/content/v1/5a902776b105987c3bab1797/1536258070874-CGIV8HWKPM1EB0S9GA49/2018+DIP+LTMA.008.jpeg Artistic Research - Dancing and Twirling - Doctors in Performance Conference 2018 In thinking about musical time, my attention was drawn to how each composer plays with time in both works by first establishing a clear pulse, which they then can alter in different ways. In the opening, both composers begin with a ‘timeless’ space, without pulse. But Larsen establishes the pulse in the 3rd bar, shown here, at the 6/8. Then, in the section marked push ahead, shown below, pulse gets set again, but very subtlety. The sustained dotted half notes provide rhythmic unity but also a sort of suspending of time, since the notes are held. And the pulse gets moved by the 32nd note staccati, but then de-stabilized by the accelerando. https://images.squarespace-cdn.com/content/v1/5a902776b105987c3bab1797/1536258180154-5P7GBOOBTO67S2PSIRKH/2018+DIP+LTMA.009.jpeg Artistic Research - Dancing and Twirling - Doctors in Performance Conference 2018 In Twirl, Klami waits until m. 16, shown here, to set the tempo at intenso , preciso. Both the style markings, intense and precise, indicate to the performer a rhythmic stability. But Klami also changes to irregular time signatures, 7/16 and 5/8, so the pulse seems set for one measure, then changes, and then gets set again at the 3/4. Klami sets the pulse for the first half firmly at ritmico, giocoso, m.29-33, excerpted below. This tempo remains constant from m. 29, all the way through the first half. He does, again, offset the pulse at places, in this bottom example using accents, which I’ve shown in the excerpt below using arrows, but by the end of the 2nd half, he’s returned to a very stable and firm beat. https://images.squarespace-cdn.com/content/v1/5a902776b105987c3bab1797/1536258358525-4S25G1RBECAST1BLW55H/2018+DIP+LTMA.012.jpeg Artistic Research - Dancing and Twirling - Doctors in Performance Conference 2018 The 2nd movement of Dancing Solo, is really where I felt that Larsen established the vernacular she’s now really known for, and the one that she stays with for the remainder of the piece. Already from the beginning, shown above, she writes swing, signaling to the player a shift in style different than the first movement. Also different in this movement is the title: ‘Eight to a bar’, more of a rhythmic/quantitative title than the first movement, ‘With Shadows’. In ‘Eight to a Bar’, Larsen again used repetition for structure and cohesion. The simple swing pattern returns throughout the work to provide unity and also establish a stylistic vernacular voice. The swing also has a much more solid inherent pulse than the material we heard in the first movement. To make even more sure that the player and audience feels the pulse, Larsen notates pulsed whole notes throughout the entire movement. I’ve excerpted one as an example here. These pulsed whole notes, in my opinion, contribute to the dialectal or idiomatic nature of this movement’s style, as well as reinforce the driving pulse by instructing the clarinetist to physically indicate pulse as part of the musical expression. https://images.squarespace-cdn.com/content/v1/5a902776b105987c3bab1797/1536258444240-6MOZEN3WMM8NMAVBQEO9/2018+DIP+LTMA.013.jpeg Artistic Research - Dancing and Twirling - Doctors in Performance Conference 2018 The motivic sextuplet also returns in this movement, but this time it is recomposed as a quasi-cadenza, which occurs three times in the movement, in between swing sections. Not only does the repetition contribute to the formal structure, but it also provides a contrast, stylistically and rhythmically, to the swung sections. These cadenzas serve as a suspension of time in the movement - the swing is cruising along, and then all of a sudden the tied quarter note almost feels like a fermata, pausing whatever is going on for what is about to happen. But, as you can see here, by the third ‘cadenza’, Larsen notates ‘straight’ which I took as an indication that the material is morphing more into the style the second movement, rather than the abstract presentation of the first movement. I also took it as an indication that more liberty could be taken with the first two statements. What Larsen demonstrates in this movement, is the wide variety of musical styles that influenced her - from the expressive classical tonal to the popular and folk. And she uses the same compositional techniques - repetition of a small amount of musical materials and utilizing a rhythmic pulse. https://images.squarespace-cdn.com/content/v1/5a902776b105987c3bab1797/1536258516360-Y295GHF2V4SVEBSA9ZH7/2018+DIP+LTMA.014.jpeg Artistic Research - Dancing and Twirling - Doctors in Performance Conference 2018 Instead of using direct and frequent repetition the source material, like Larsen, Markku Klami develops his figuration through the intervallic relationships - half step, whole step, minor third. In the second half of Twirl, especially, he intensifies the harmonic impetus of these intervals through trills and multiphonics. Klami told me that the multiphonics in this work should be considered a harmonic extension of the trills, so to me, that meant also the trills should have melodic and harmonic purpose rather than being atmospheric or ornamental. The second half starts with a slower, intense sections, which comes right after a very dramatic build up at the end of the first half. To provide contrast in this new section, Klami composes half step trills which are intensified by small crescendi, each ascending, and connected with small figurations. The intervals of 1/2, whole and minor third define the harmonic and melodic contours, but to a different end than the rhythmic material we looked at in the first half. This harmonic development climaxes with the multiphonic trills in m. 131-134. The harmonies intensify with the crescendi, first as a half step trill, then whole step trill, then minor third. And the multiphonic trill combines both the minor third on the both and whole step on the top. It’s as if Klami has exhausted the motivic development in this form. So what does he do? He transitions back to the rapid ascending 3-note figures from the first half, at con fuoco, leading to the last new material of the piece. https://images.squarespace-cdn.com/content/v1/5a902776b105987c3bab1797/1536258656885-4R3Y7MKDJR068TR30H11/2018+DIP+LTMA.015.jpeg Artistic Research - Dancing and Twirling - Doctors in Performance Conference 2018 The last ‘new material’ that Klami presents in the work, might have sounded like it came out of no where - instead of slurred fast notes and soft intense trills, all of a sudden there are rapid articulated repeated notes. But I believe this section is also generated from the figuration motive, and the intervals of the motive. It first appears in measure 137 for 10 measures, and it repeats for another 10 measures leading up to the coda, but in mp. While the articulation and poco scherzando style contrast with what we heard before, the melodic contour consists of the same 1/2-step, whole-step, minor third relationships as both the figurative and harmonic material already discussed. 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