Harps and harp music have enjoyed a renaissance over the past century and today can be heard in a broad array of musical contexts. Guide to the Contemporary Harp is a comprehensive resource that examines the vibrant present-day landscape of the harp. The authors explore the instrument from all angles, beginning with organology; moving through composition, notation, and playing techniques; and concluding with the contemporary repertoire for the harp. The rapid diversification in these areas of harp performance is the result of both technological innovations in harp making, which have produced…mehr
Harps and harp music have enjoyed a renaissance over the past century and today can be heard in a broad array of musical contexts. Guide to the Contemporary Harp is a comprehensive resource that examines the vibrant present-day landscape of the harp. The authors explore the instrument from all angles, beginning with organology; moving through composition, notation, and playing techniques; and concluding with the contemporary repertoire for the harp. The rapid diversification in these areas of harp performance is the result of both technological innovations in harp making, which have produced the electric harp and MIDI harp, and innovative composers and players. These new instruments and techniques have broadened the concept of what is possible and what constitutes harp music for today. Guide to the Contemporary Harp is an essential guide for any harpist looking to push the instrument and its music to new heights.
Mathilde Aubat-Andrieu is a harpist and cofounder of the association Les Signes de l'arc (The Signs of the Arch). She was awarded a gold medal and first prize in proficiency at the Music Conservatory in Troyes (France) and gives regular performances at reading-concerts, with chamber music ensembles and orchestra. Laurence Bancaud is a harpist and cofounder of the association Les Signes de l'arc. She was awarded first prize at the CNSMD (Conservatoire National Supérieur de Musique et de Danse) and has a master's degree in musicology and specializes in contemporary music. She is author of Tôn-Thât Tiêt: Dialogue Avec la Nature. Aurélie Barbé is a harpist, composer, and cofounder of the association Les Signes de l'arc. She was awarded a gold medal at the Music Conservatory in Caen (France) and a higher studies diploma in musicology. She is a teacher and performer, specializing in modal, minimalist and improvised music for both classical and electric harp. Hélène Breschand is a harpist, composer, and cofounder of the association Les Signes de l'arc. She was awarded a gold medal and first prize in proficiency at the Conservatoire à Rayonnement Regional in Paris. She pursues her career as a soloist in the contemporary repertoire and in new creations, improvisation, and musical theatre. Lilian Rossi has pursued an academic career and is the author of Doctors and Nurses. Jean Rossi is an administrative officer. Working as a team, they have translated numerous academic and literary works from French and German.
Inhaltsangabe
Preface Acknowledgements Introduction 1. Organology I. Historical Reminders II. The Pedal Harp General Characteristics The Parts of the Harp The Strings The Pedals and the Modulation Mechanism "Using the Pedals" Pedal Notation Playing the Harp III. The Lever Harp General Characteristics The Strings Levers and the Modulation Mechanism Playing the Lever Harp IV. Electric Harps The Electroacoustic Harp The Electric Harp The Electric-Acoustic Harp V. Some 21st Century Creations The MIDI Harp The Automatic Harp 2. Writing and Language I. Notations Measured Notation Unmeasured Notation Proportional Notation Introduction of the Aleatory Element (Indeterminacy) Open Works Combination of Several Notations Superposition of Different Tempi Writing on Several Staves Writing with Another System than the Five-Line Stave Graphic Scores II. Dramatized Writings Micro-Choreography, Theatrical Gestures Dramaturgic Use of the Voice Use of the Sung Voice, with No Theatrical Indication Use of the Spoken and/or the Sung Voice with No Text III. Mixed Forms of Music Some Works for Harp and Extensions 3. Playing Techniques I. Timbre "Près de la table" (Near the Soundboard) "Bas dans les cordes" (Low in the Strings) "Près des chevilles" (Near the Tuning Pins) Harmonic Sound Sound Using the Fingernail Koto Sound Plucked Sound Vibrated Sound Portando From One Pitch to Another Xylo Sound Pizzicato (Pizz.) Bartók Pizzicato Normal Position Bisbigliando Tone-Color Melody (Klangfarbenmelodie) II. Glissandi, Chords and Clusters Single Glissando Fast Glissando Multiple Glissando Pitchless Glissandi Flat, Broken, Arpeggiated/Rolled Chords Cluster Glissando Rasgueado Cluster Glissando with Thunder Effect Cluster Muffled Cluster Tremolo Cluster Aeolian Cluster Various Forms of Rubbing III. Resonances, muffles and silences Muffles Let Vibrate Fermata IV. Hits on the harp Different Types of Hits Which Part of the Harp to Hit? Composers Who Have Elaborated a Detailed Notation for Hits V. Wire strings Whistling Sound (with the Palm of the Hand) Wired Sound (Grabbing a Wire String with the fingers) Scrape with a Nail or a Plectrum Buzz Thunder Effect Sustained Thunder Effect VI. Pedals and Levers Pedal Glissando Pedal Trill Rhythmic Effect with Pedals Pedal Movement Ad Libitum with Sound Effect Pedal Buzz Resonant Pedal Sound Levers Thunder Effect VII. Using Objects Metal Rod Stick Use of Percussion Instruments by the Harpist Bow Electronic Bow Plectrum Other Objects Prepared Harp Inserting Materials Between the Strings (Foam, Paper, Cardboard, Textile, Rubber, Elastic Band, etc.) VIII. Scordatura Pedal Harp Lever Harp Two Harps Conclusion Significant Landmarks List of Notations Bibliography The History of Music in the 20th and 21st Centuries Contemporary Notation Musical Instruments, The Orchestra The Harp Internet Sites Repertoire of Works for Harp Solo Harp Harp and Extensions Lever Harp Lever Harp and Extensions Duets and Harp Ensembles Concertos Duets Trios Quartets and More Ensembles and Extensions Index of Composers Quoted Index of Playing Techniques
Preface Acknowledgements Introduction 1. Organology I. Historical Reminders II. The Pedal Harp General Characteristics The Parts of the Harp The Strings The Pedals and the Modulation Mechanism "Using the Pedals" Pedal Notation Playing the Harp III. The Lever Harp General Characteristics The Strings Levers and the Modulation Mechanism Playing the Lever Harp IV. Electric Harps The Electroacoustic Harp The Electric Harp The Electric-Acoustic Harp V. Some 21st Century Creations The MIDI Harp The Automatic Harp 2. Writing and Language I. Notations Measured Notation Unmeasured Notation Proportional Notation Introduction of the Aleatory Element (Indeterminacy) Open Works Combination of Several Notations Superposition of Different Tempi Writing on Several Staves Writing with Another System than the Five-Line Stave Graphic Scores II. Dramatized Writings Micro-Choreography, Theatrical Gestures Dramaturgic Use of the Voice Use of the Sung Voice, with No Theatrical Indication Use of the Spoken and/or the Sung Voice with No Text III. Mixed Forms of Music Some Works for Harp and Extensions 3. Playing Techniques I. Timbre "Près de la table" (Near the Soundboard) "Bas dans les cordes" (Low in the Strings) "Près des chevilles" (Near the Tuning Pins) Harmonic Sound Sound Using the Fingernail Koto Sound Plucked Sound Vibrated Sound Portando From One Pitch to Another Xylo Sound Pizzicato (Pizz.) Bartók Pizzicato Normal Position Bisbigliando Tone-Color Melody (Klangfarbenmelodie) II. Glissandi, Chords and Clusters Single Glissando Fast Glissando Multiple Glissando Pitchless Glissandi Flat, Broken, Arpeggiated/Rolled Chords Cluster Glissando Rasgueado Cluster Glissando with Thunder Effect Cluster Muffled Cluster Tremolo Cluster Aeolian Cluster Various Forms of Rubbing III. Resonances, muffles and silences Muffles Let Vibrate Fermata IV. Hits on the harp Different Types of Hits Which Part of the Harp to Hit? Composers Who Have Elaborated a Detailed Notation for Hits V. Wire strings Whistling Sound (with the Palm of the Hand) Wired Sound (Grabbing a Wire String with the fingers) Scrape with a Nail or a Plectrum Buzz Thunder Effect Sustained Thunder Effect VI. Pedals and Levers Pedal Glissando Pedal Trill Rhythmic Effect with Pedals Pedal Movement Ad Libitum with Sound Effect Pedal Buzz Resonant Pedal Sound Levers Thunder Effect VII. Using Objects Metal Rod Stick Use of Percussion Instruments by the Harpist Bow Electronic Bow Plectrum Other Objects Prepared Harp Inserting Materials Between the Strings (Foam, Paper, Cardboard, Textile, Rubber, Elastic Band, etc.) VIII. Scordatura Pedal Harp Lever Harp Two Harps Conclusion Significant Landmarks List of Notations Bibliography The History of Music in the 20th and 21st Centuries Contemporary Notation Musical Instruments, The Orchestra The Harp Internet Sites Repertoire of Works for Harp Solo Harp Harp and Extensions Lever Harp Lever Harp and Extensions Duets and Harp Ensembles Concertos Duets Trios Quartets and More Ensembles and Extensions Index of Composers Quoted Index of Playing Techniques
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