<jats:p>Arguably the most important Israeli composer to emerge in the late twentieth centur... more <jats:p>Arguably the most important Israeli composer to emerge in the late twentieth century, Czernowin, born 7 December in Haifa, is much sought after as a composer and pedagogue in the United States and Europe. She earned a BA in 1982 at the Rubin Academy of Music, Tel-Aviv University, an MFA in 1987 at Bard College, and a PhD in 1993 at the University of California San Diego. Her principal teachers include Abel Ehrlich, Dieter Schnebel, Brian Ferneyhough and Roger Reynolds. Among her many honours and distinctions are the Kranichsteiner Musikpreis (1992), a year residency at the Akademie Schloss Solitude (1996), an Ernst von Siemens Stiftung Förderpreis (2003), the Fromm Foundation Award (2008), and a Guggenheim Fellowship (2011). She has held professorships at the University of California San Diego, Vienna's University of Music and Performing Arts and Harvard University. In addition to faculty positions at major contemporary music festivals like the Darmstadt Summer Courses, impuls academy, and the SWR Experimentalstudio's matrix academy, Czernowin has initiated elite international courses for young composers on three continents: the Summer Academy at Schloss Solitude (Germany), Tzlil Meudcan (Israel), and Harvard's Summer Composition Institute (USA).</jats:p>
This commentary investigates role of the body in the composition, performance, and audition of th... more This commentary investigates role of the body in the composition, performance, and audition of the author's musical works included in the portfolio. Starting from Jean-Jacques Nattiez's model of the three-part 'total musical fact', this text describes how the compositional research both adheres to this model and attempts to transcend it through the body. It examines notational strategies that target performing or perceiving bodies, the use of physical and perceptual thresholds, the somatic experience of the composer at various stages throughout the compositional process, and the structuring of the listening environment. Human error and expressive failure are cited as means through which performing bodies forge collectivities with the audience, thereby exemplifying the queer utopian aesthetics described by Jose Esteban Munoz and Judith/Jack Halberstam, especially as relates to the notion of hopeful exertion. The staging of absence is examined through various types of ...
<jats:p>One of her generation's foremost composers, Saunders was born into a musical fa... more <jats:p>One of her generation's foremost composers, Saunders was born into a musical family (both parents were freelance musicians) on 19 December 1967 and raised in Brixton, a suburb in southeast London. Upon completing her bachelor's degree in violin and composition (with Nigel Osborne) at the University of Edinburgh, Saunders moved to Germany in 1991 and, abandoning violin, dedicated herself fully to compositional studies with Wolfgang Rihm. She returned to Edinburgh for her doctorate in 1994, permanently relocating to Berlin in 1997. Among her many awards are a DAAD fellowship (1991–1994), the Busoni Förderpreis from the Berlin Academy of the Arts (1995), an Ernst von Siemens Förderpreis (1996), the Paul Hindemith Prize (2003), and the GEMA Deutscher Musikautorenpreis (2010). She was Composer-in-Residence at the Konzerthaus in Dortmund from 2005 to 2006 and Capell-Compositeur at the Staatskapelle Dresden from 2009 to 2010. Following guest professorships in Dresden and Cologne, she was appointed Professor of Composition at Hochschule für Musik, Theater und Medien in Hanover in 2012. She is frequently invited to give masterclasses and workshops at prominent music schools and international festivals (Darmstadt Summer Courses, Oberlin Conservatory, impuls academy, Ostrava New Music Days, Hochschule für Musik Freiburg, and others).</jats:p>
<jats:p>Arguably the most important Israeli composer to emerge in the late twentieth centur... more <jats:p>Arguably the most important Israeli composer to emerge in the late twentieth century, Czernowin, born 7 December in Haifa, is much sought after as a composer and pedagogue in the United States and Europe. She earned a BA in 1982 at the Rubin Academy of Music, Tel-Aviv University, an MFA in 1987 at Bard College, and a PhD in 1993 at the University of California San Diego. Her principal teachers include Abel Ehrlich, Dieter Schnebel, Brian Ferneyhough and Roger Reynolds. Among her many honours and distinctions are the Kranichsteiner Musikpreis (1992), a year residency at the Akademie Schloss Solitude (1996), an Ernst von Siemens Stiftung Förderpreis (2003), the Fromm Foundation Award (2008), and a Guggenheim Fellowship (2011). She has held professorships at the University of California San Diego, Vienna's University of Music and Performing Arts and Harvard University. In addition to faculty positions at major contemporary music festivals like the Darmstadt Summer Courses, impuls academy, and the SWR Experimentalstudio's matrix academy, Czernowin has initiated elite international courses for young composers on three continents: the Summer Academy at Schloss Solitude (Germany), Tzlil Meudcan (Israel), and Harvard's Summer Composition Institute (USA).</jats:p>
This commentary investigates role of the body in the composition, performance, and audition of th... more This commentary investigates role of the body in the composition, performance, and audition of the author's musical works included in the portfolio. Starting from Jean-Jacques Nattiez's model of the three-part 'total musical fact', this text describes how the compositional research both adheres to this model and attempts to transcend it through the body. It examines notational strategies that target performing or perceiving bodies, the use of physical and perceptual thresholds, the somatic experience of the composer at various stages throughout the compositional process, and the structuring of the listening environment. Human error and expressive failure are cited as means through which performing bodies forge collectivities with the audience, thereby exemplifying the queer utopian aesthetics described by Jose Esteban Munoz and Judith/Jack Halberstam, especially as relates to the notion of hopeful exertion. The staging of absence is examined through various types of ...
<jats:p>One of her generation's foremost composers, Saunders was born into a musical fa... more <jats:p>One of her generation's foremost composers, Saunders was born into a musical family (both parents were freelance musicians) on 19 December 1967 and raised in Brixton, a suburb in southeast London. Upon completing her bachelor's degree in violin and composition (with Nigel Osborne) at the University of Edinburgh, Saunders moved to Germany in 1991 and, abandoning violin, dedicated herself fully to compositional studies with Wolfgang Rihm. She returned to Edinburgh for her doctorate in 1994, permanently relocating to Berlin in 1997. Among her many awards are a DAAD fellowship (1991–1994), the Busoni Förderpreis from the Berlin Academy of the Arts (1995), an Ernst von Siemens Förderpreis (1996), the Paul Hindemith Prize (2003), and the GEMA Deutscher Musikautorenpreis (2010). She was Composer-in-Residence at the Konzerthaus in Dortmund from 2005 to 2006 and Capell-Compositeur at the Staatskapelle Dresden from 2009 to 2010. Following guest professorships in Dresden and Cologne, she was appointed Professor of Composition at Hochschule für Musik, Theater und Medien in Hanover in 2012. She is frequently invited to give masterclasses and workshops at prominent music schools and international festivals (Darmstadt Summer Courses, Oberlin Conservatory, impuls academy, Ostrava New Music Days, Hochschule für Musik Freiburg, and others).</jats:p>
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