Wednesday 31 October 2012, 4.00PM
Speaker(s): Jingdi Li & Andrew Passmore (Research Students, University of York)
‘Listening to the Pop Music within the CCTV Spring Festival Gala’
After Reform and Opening Up, the CCTV Spring Festival gala, from the government-controlled station China Central Television, has disseminated performances to the whole of China annually on Chinese New Year’s Eve. This programme has become the most watched television show in China with hundreds of millions of enthusiastic viewers nationwide. Its total length is 4.5 hours including all sorts of musical forms, not only focusing on traditional Chinese music, but also trying to introduce new kinds of Pop music. An examination of post reform Pop music on the CCTV Spring Festival Gala stage will shed light on how Chinese musical development continues to be closely intertwined with politics under tight state control.
Jingdi Li is a PhD candidate at the Department of Music, University of York. She holds an MA degree from York University, and a BA from Capital Normal University, Beijing.
‘Temperamental Temperaments: Performance Practice issues in Alessandro Grandi's Motets’
Alessandro Grandi (1586–1630) was one of the most notable Italian composers of the seventeenth century. The most significant part of his compositional output was the publication of approximately 200 motets in the new concertato style. Having begun his career in Ferrara as Maestro di Capella at the Accademia della Morte, he left in 1604 to take up the position of giovane di coro at S Marco, Venice – the centre of Italian church music - where he was to spend the majority of his career under the influence of the esteemed Claudio Monteverdi.
This paper seeks to illuminate performance practice issues in Grandi’s motets. Modern theorists have engaged in controversial arguments over the appropriateness of pairing organ and theorbo as continuo instruments in the performance of motets; there is much disagreement regarding the conflicting temperaments used by keyboard and plucked instruments in Grandi’s time. This paper identifies the difficulties faced by continuo players in performance of Grandi’s works, particularly at cadential points, and explores the varying possibilities surrounding the use of ¼-comma meantone and equal temperament.
Andrew Passmore holds a MA with distinction and a first class music degree from the University of York, gaining the John Paynter prize. Now undertaking doctoral studies with Peter Seymour and Jonathan Wainwright on the motets of Alessandro Grandi, Andrew combines his PhD with teaching and performing nationwide. Andrew is a regular accompanist for the Yorkshire Bach Choir and is a member of Yorkshire Baroque Soloists. Recent performances with period ensembles include Bach’s St. John Passion with the Gabrieli Consort at the Eilat Festival in Israel.