- published: 15 Jun 2013
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Alfred Whitford (Fred) Lerdahl (born March 10, 1943, in Madison, Wisconsin) is the Fritz Reiner Professor of Musical Composition at Columbia University, and a composer and music theorist best known for his work on pitch space and cognitive constraints on compositional systems or "musical grammar[s]." He has written many orchestral and chamber works, three of which were finalists for the Pulitzer Prize for Music: Time after Time in 2001, String Quartet No. 3 in 2010, and Arches in 2011.
Lerdahl's influences include Elliott Carter, late Sibelius, early Schoenberg, Bartok, and Stravinsky. Lerdahl has said he "always sought musical forms of [his] own invention," and to discover the correct form for the expression. His spiral form (implying both change and repetition), "in which a simple and stable musical idea is expanded on," has been described as a "recurrent motif of interweaving patterns."
Lerdahl studied with James Ming at Lawrence University, where he earned his BMus in 1965, and with Milton Babbitt, Edward Cone, Roger Sessions, and Earl Kim at Princeton University, where he earned his MFA in 1967. He then studied with Wolfgang Fortner at the Hochschule für Musik in Freiburg/Breisgau in 1968-69, on a Fulbright Scholarship. Lerdahl was awarded an honorary doctorate from Lawrence University in 1999, and previously taught at the University of Michigan, Harvard University, and the University of California at Berkeley. He is a member of the American Academy of Arts and Letters.
Fred may refer to:
An orchestra (/ˈɔːrkᵻstrə/ or US /ˈɔːrˌkɛstrə/; Italian: [orˈkɛstra]) is a large instrumental ensemble used in classical music that contains sections of string (violin, viola, cello and double bass), brass, woodwind, and percussion instruments. Other instruments such as the piano and celesta may sometimes be grouped into a fifth section such as a keyboard section or may stand alone, as may the concert harp and, for 20th and 21st century compositions, electric and electronic instruments. The term orchestra derives from the Greek ὀρχήστρα, the name for the area in front of an ancient Greek stage reserved for the Greek chorus. The orchestra grew by accretion throughout the 18th and 19th centuries, but changed very little in composition during the course of the 20th century.
No. 3 (넘버3) is a 1997 South Korean gangster comedy film starring Han Suk-kyu as the titular no. 3 man of a gangster organization who's aspiring to rise up the ranks and become the leader of his own gang. It was writer-director Song Nung-han's debut film.
In their Korean Film; History, Resistance, and Democratic Imagination, Min Eung-jun et al. state that through his portrayal of gangster society in this film, Song allegorically criticizes all of contemporary South Korean society. Calling the film a "black comedy employing satire and self-reflexivity," Min says the film represents a revisionist impulse in contemporary Korean cinema for several reasons. It uses violence allegorically not as an expression of repressed sexuality, but as an expression of the absurdity of Korean society. Also, rather than focus exclusively on male aspirations, it simultaneously shows the desires of its female characters as well. Further, in satirizing Korean society, it does not exclude the bourgeoisie from its critical eye.
Columbia University (officially Columbia University in the City of New York) is a private, Ivy League, research university in Upper Manhattan, New York City. It was established in 1754 as King's College by royal charter of George II of Great Britain and is the oldest college in New York State as well as the fifth chartered institution of higher learning in the country, making Columbia one of nine colonial colleges founded before the Declaration of Independence. After the revolutionary war, King's College briefly became a state entity, and was renamed Columbia College in 1784. A 1787 charter placed the institution under a private board of trustees before it was renamed Columbia University in 1896 when the campus was moved from Madison Avenue to its current location in Morningside Heights occupying land of 32 acres (13 ha). Columbia is one of the fourteen founding members of the Association of American Universities, and was the first school in the United States to grant the M.D. degree.
performed by the Daedalus Quartet Min-Young Kim and Matilda Kaul, violins Jessica Thompson, viola Thomas Kraines, cello at the Gardner Museum Tom Stephenson, engineer and producer Colin Gallagher, associate engineer
Fred Lerdahl's "Quartet No. 3", in stunning HD quality! Alfred Whitford (Fred) Lerdahl (born March 10, 1943, in Madison, Wisconsin) is the Fritz Reiner Professor of Musical Composition at Columbia University, and a composer and music theorist best known for his work on pitch space and cognitive constraints on compositional systems or "musical grammar[s]." He has written many orchestral and chamber works, three of which were finalists for the Pulitzer Prize for Music: Time after Time in 2001, String Quartet No. 3 in 2010, and Arches in 2011. Music Lerdahl's influences include Elliott Carter, late Sibelius, early Schoenberg, Bartok, and Stravinsky. Lerdahl has said he "always sought musical forms of [his] own invention," and to discover the correct form for the expression. His spiral form...
This is a live performance of the Fred Lerdahl's Waltzes. @ DOROT, NYC Gerald Itzkoff, violin Maureen Gallagher, viola Joel Noyes, cello Volkan Orhon, bass http://www.fredlerdahl.com/waltzespn.html 1. Grazioso. A congenial wind-up waltz. 2. Con brio. Two Chopin waltzes gone mad. 3. Cantabile. A cello melody reminiscent of a tune in Swan Lake. 4. Leggiero. String harmonics give a special twist to a passage in Ravel's Valses nobles et sentimentales. 5. Valse triste. No Sibelius here, just soulful phrases slowly tossed between the violin, viola, and cello. 6. Misterioso. Five against two within 3/4 time, in the ghostly guise of a presto minuet. 7. Amoroso. Another nod to Ravel's Valses nobles et sentimentales, with passionate intent. 8. Humoresque. A wild fantasy, with pizzicato and legn...
Fred Lerdahl: Arches, for cello and ensemble Anssi Karttunen, cello Argento Chamber Ensemble Michel Galante
Fred Lerdahl talks about emerging trends amongst emerging composers
Waves by Fred Lerdahl Orchestra/Ensemble: Orpheus Chamber Orchestra
Serge Koussevitzky championed the music of his time throughout his career, and the Foundation established in his name has continued to support the music of living composers since his death in 1951. Members of the foundation board (James Kendrick, Fred Lerdahl, Gunther Schuller, Fred Sherry) discuss the conductor and composer's legacy with former Library staff member Jon Newsom. For transcript, captions, and more information, visit http://www.loc.gov/today/cyberlc/feature_wdesc.php?rec=6480
The Duo is in two contrasting parts that share underlying motivic, harmonic, and gestural patterns. The first movement, after quiet introductory chords in the piano, is generally fast and aggressive. It evolves by means of a spiral technique that I have often used, in which a simple idea expands and becomes more complex and diverse with each cycle. In this case, the process begins to reverse about three-fifths of the way through, eventually collapsing the music back to its starting point. At the same time, the material continues to proliferate while the form compresses, leading to an explosive climax. The longer, more contemplative second movement is in binary form: ABC/ABC. This movement has an elegiac, passionate, and at times dirge-like expression that arose unbidden in response to the ...
Fred Lerdahl, a composer and music theorist at Columbia University, spoke at Rice University's Shepherd School of Music as part of the Exploring the Mind Through Music Conference. Dr. Lerdahl spoke about the differences and similarities between musical and linguistic syntax. More details on the conference can be found at www.rice.edu/mindandmusic. For abstracts for this talk and the others at the conference, please visit http://www.rice.edu/mindandmusic/faculty_abstracts.shtml
Sound Icon interviews Fred Lerdahl on his work "Time after Time". Performance of "Time after Time" by Sound Icon: Jessi Rosinski, flute Alexis Lanz, clarinet Gabriela Diaz, violin Stephen Marotto, cello Yoko Hagino, piano Matt Sharrock, percussion Interview filmed and conducted by Diana Rodriguez Film editing by Chris Watford
Composer Fred Lerdahl and former Vice President of Artistic Planning, John Mangum discuss the three year residency, also involving composers Lee Hyla and Chen Yi, at the St. Paul Chamber Orchestra. The residency involved commissions, multiple performances of the new works, and a unique emerging composers competition.
Intervention at the Collège de France about musical syntax and its relation to linguistics. The theory is based on Chomsky's work.
Serge Koussevitzky championed the music of his time throughout his career, and the Foundation established in his name has continued to support the music of living composers since his death in 1951. Members of the foundation board (James Kendrick, Fred Lerdahl, Gunther Schuller, Fred Sherry) discuss the conductor and composer's legacy with former Library staff member Jon Newsom. For transcript, captions, and more information, visit http://www.loc.gov/today/cyberlc/feature_wdesc.php?rec=6480
Active worked with producer Tom Knott to develop, shoot and edit this series. Each program in the series explores a musical composition by a leading composer. To date, over 30 programs with compositions by 15 different composers have been completed. Each program has been donated to the libraries of over 30 conservatories and also to the Library of Congress. Volume 1: Gunther Schuller, Ned Rorem, Fred Lerdahl, Tania León, George Crumb Volume 2: Mario Davidovsky, Teo Macero, Joan Tower, Paul Lansky, William Banfield Volume 3: William Bolcom, Ellen Taaffe Zwilich, Steven Stucky, David Amram, John Corigliano For more visit our website: http://www.activecommunications.tv
This lecture was the first time I'd ever heard of Noam Chomsky. It was 7 minutes into Bernstein's Norton Lectures of 1973, entitled 'The Unanswered Question'). The lectures were broadcast over PBS and stirred a lot of interest, leading to the 1983 publication of "A Generative Theory of Tonal Music" by Fred Lerdahl and Ray Jackendoff. This is a short 2-minute intro; full lecture below (the excerpt appears at the 7:00 mark) I found the topic fascinating and went to the library to borrow some books by Chomsky. One was his 1957 introduction to Transformational-Generative Grammar called 'Syntactic Structures' and it was completely over my head. I struggled through it, with my eyes glazed over, and put it aside. In the coming years and decades, Chomsky's name seemed to come up everywhere,...
In this clip from www.artistshousemusic.org - Vicki Ray is a Professor of piano and Coordinator of Keyboard Studies at the California Institute of the Arts. She is also an accomplished concert pianist who has performed works written for her by composers such as John Adams, Paul Dresher, Arthur Jarvinen and Donald Crockett. Vicki Ray, from Cal Arts, talks about being the coordinator of keyboard studies at Cal Arts.
Game Connection America 2015, San Francisco, March 2-5, Interview with Marianne Lerdahl, Project Manager/Producer at Sarepta Studio, Development Award winner for the Most Promising IP: Shadow Puppeteer.