Una aproximación a Brian Ferneyhough by Pablo Aranda

Get full text

Análise da obra Kurze Schatten II de Brian Ferneyhough Analysis of Brian Ferneyhough's Kurze Schatten II by Felipe Merker Castellani

Subjects: Get full text

Brian Ferneyhough. Principios básicos de la estructuración rítmica de su música by Juan Ortíz de Zárate

Get full text

Kurze Schatten II: compositional procedures and aesthetic principles by Artur Miranda Azzi, Rogério Vasconcelos Barbosa

Subjects: Get full text

Interpretación musical como investigación: una perspectiva desde la práctica interpretativa de música reciente para guitarra by Diego Castro Magas

Subjects: Get full text

"Au–delà d’une musique informelle": Nostalgia, obsolescence and the avant-garde by Krejmer Lorens

Subjects: Get full text

A complexidade rítmica no Estudo Percussivo II de Arthur Kampela The rhythmic complexity in Percussion Study II by Arthur Kampela by Daniel Vargas

“…Diferentemente, Arthur Kampela no Estudo Percussivo II, utiliza uma escrita peculiar na qual ele não faz a mesma indicação das figuras rítmicas como Brian Ferneyhough. Este artigo propõe uma discussão a respeito desta escrita peculiar no Estudo Percussivo II. …”
Get full text

Power, agency, deference and difference Examining the politics of composer–performer relationships in the wake of recent innovations by John Aulich

“…With a view to uncovering the political implications of notational, technological and musical innovation in composer–performer relationships within Western art music, this paper examines three disparate works: Christian Wolff’s Duo for Pianists II (1958); Brian Ferneyhough’s Unity Capsule (1975); and Georg Hajdu’s Schwer… unheimlich Schwer (2009). …”
Get full text

Invention is not taught by Flo Menezes

“…The specif ic context is his experience as a selected composer at the Royaumont courses in 1995, under the supervision of British composer Brian Ferneyhough and Swiss composer Michael Jarrell, while he was writing his “TransFormantes II” (1995) for piano and clarinet. …”
Get full text

The Composition of Experience in the Musical-Holistic Art of Dario Buccino by Stefano Lombardi Vallauri

“…Buccino goes farther on the way of Karlheinz Stockhausen's "intuitive music" (about 1968-70), Dieter Schnebel's <em>Maulwerke</em> (1968-74), Helmut Lachenmann's "musique concrète instrumentale", Brian Ferneyhough's extreme demand for effort, and radicalises an approach which instead is typical of other musical genres, where form at all levels arises in composition (often extemporaneous) from the singular physical relationship of the interpreter with the instrument.…”
Get full text