DH Seminar: "Modernism, Jazz, Counterpoint: A Henry Martin Mix"
Event details
| Date | 28.04.2023 |
| Hour | 16:30 › 17:30 |
| Speaker | Henry Martin, Professor Emeritus at Rutgers University-Newark, composer and music theorist |
| Location | |
| Category | Conferences - Seminars |
| Event Language | English |
Abstract:
This lecture analyzes my work as a composer. Unifying in retrospect the chaos of invention and the randomness of circumstance, I show how my work shifted from the high modernism of the mid-twentieth century to a mix of bebop, postbop, counterpoint, and traditional forms that represents me best as a musician. This shift reconciled my two principal musical interests: the Western classical tradition and jazz. Re-focusing the past through the lens of the present, and highlighting a small group of my works, I also show how my involvement with music theory affected me as a composer, and present structural analyses of what I think are especially interesting passages.
The event will be followed by an apéro
Bio:
Henry Martin, Professor Emeritus at Rutgers University-Newark, is well known as both a composer and a music theorist. His music has been described by Paul Griffiths of The New York Times as “that of someone who knows and loves jazz to its bones.” A frequent recipient of commissions, he has composed for solo piano and organ, orchestra, and chamber ensembles. His Preludes and Fugues for piano, a widely performed work, won the 1992 National Composers Competition and the 1998 Barlow Foundation International Composition Competition. He is currently working on a series of works based on Dante’s Purgatorio.
Among Professor Martin’s books are Charlie Parker, Composer (2020), Charlie Parker and Thematic Improvisation (1996), Counterpoint: A Species Approach (2005) and Jazz: The First 100 Years, co-authored with Keith Waters (3rd ed., 2010). His numerous articles have appeared in distinguished journals, among them Journal of Music Theory, Perspectives of New Music, Music Theory Spectrum, Annual Review of Jazz Studies, and Jazzforschung/Jazz Research. He founded the Jazz Theory Interest Group of the Society of Music Theory (SMT) and has been co-editor of the Annual Review of Jazz Studies since 1995. He holds a Ph.D. from Princeton University. Prominent among his teachers have been David Del Tredici and Milton Babbitt.
This lecture analyzes my work as a composer. Unifying in retrospect the chaos of invention and the randomness of circumstance, I show how my work shifted from the high modernism of the mid-twentieth century to a mix of bebop, postbop, counterpoint, and traditional forms that represents me best as a musician. This shift reconciled my two principal musical interests: the Western classical tradition and jazz. Re-focusing the past through the lens of the present, and highlighting a small group of my works, I also show how my involvement with music theory affected me as a composer, and present structural analyses of what I think are especially interesting passages.
The event will be followed by an apéro
Bio:
Henry Martin, Professor Emeritus at Rutgers University-Newark, is well known as both a composer and a music theorist. His music has been described by Paul Griffiths of The New York Times as “that of someone who knows and loves jazz to its bones.” A frequent recipient of commissions, he has composed for solo piano and organ, orchestra, and chamber ensembles. His Preludes and Fugues for piano, a widely performed work, won the 1992 National Composers Competition and the 1998 Barlow Foundation International Composition Competition. He is currently working on a series of works based on Dante’s Purgatorio.
Among Professor Martin’s books are Charlie Parker, Composer (2020), Charlie Parker and Thematic Improvisation (1996), Counterpoint: A Species Approach (2005) and Jazz: The First 100 Years, co-authored with Keith Waters (3rd ed., 2010). His numerous articles have appeared in distinguished journals, among them Journal of Music Theory, Perspectives of New Music, Music Theory Spectrum, Annual Review of Jazz Studies, and Jazzforschung/Jazz Research. He founded the Jazz Theory Interest Group of the Society of Music Theory (SMT) and has been co-editor of the Annual Review of Jazz Studies since 1995. He holds a Ph.D. from Princeton University. Prominent among his teachers have been David Del Tredici and Milton Babbitt.
Practical information
- General public
- Free