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	Mario Davidovsky - Wikipedia, the free encyclopedia
		Mario Davidovsky (born March 4, 1934) is an Argentine-American composer.
		Davidovsky was born in Médanos, Buenos Aires Province, Argentina; a town nearly 600km southwest of the city of Buenos Aires and close to the seaport of Bahía Blanca.
		Davidovsky worked to solve the "composer's major problems." The electronic medium gave new means to control the primal elements of sound: attack, sustain, and decay—aspects that had not previously played a major role in music.
	en.wikipedia.org /wiki/Mario_Davidovsky (1564 words)

	Mario Davidovsky
		Born in 1934 in Médanos, Buenos Aires, Mario Davidovsky began his musical studies at the ago of seven, continued his education at the Collegium Musicium, and graduated from the Bartolomé Mitre School in Buenos Aires in 1952.
		Davidovsky has received a Pulitzer Prize and awards from the Association Wagneriana, the Asociación Amigos de la Música, BMI, Brandeis University, and the National Institute of Arts.
		Davidovsky is the Fanny P. Mason Professor of Music, Emeritus, at Harvard University.
	www.collagenewmusic.org /davidovsky.html (210 words)

	AGNI \| Miscellany \| 50 \| 'Mario Davidovsky: An Introduction' by Eric Chasalow
		Of late, Mario has become fond of explaining his approach this way: “I always enjoyed the challenge of being left in the desert for a few days with a knife and a jug of water.
		When Davidovsky came to the Columbia-Princeton Electronic Music Center in 1960, he became a central part of a community of composers seeking new expressive means and willing to use their highly developed musicianship as the point of departure.
		As he worked in the studio, Davidovsky cannily realized not only that he was creating the actual performance, but also that he needed to find new ways of compensating for the loss of the live musician.
	www.bu.edu /agni/miscellany/print/1999/50-chasalow.html (2207 words)

	Electroacoustic Music for the Flute: chapter 4
		Mario Davidovsky is best known for his work in the field of electronic music, with special recognition for his pieces combining live instrumental performance with recorded electronic sound, such as the ten Synchronisms.
		Mario Davidovsky has taught at the University of Michigan, the DiTella Institute of Buenos Aires, the Manhattan School of Music, Yale University, the City University of New York (CUNY), and at Columbia University, where he directed the Columbia Electronic Music Center.
		Mario Davidovsky's Synchronisms No. 1 was written in 1963, and was the first of ten Synchronisms that Davidovsky wrote for electronic tape and an acoustic instrument.
	www.subliminal.org /flute/dissertation/ch04.html (4903 words)

	Welcome to SEAMUS on-line
		Mario Davidovsky was born March 4, 1934 in Medanos, Buenos Aires, Argentina.
		Davidovskyís early tape pieces displayed his talent in the electronic field was Jan La Rueís reaction to a performance of Electronic Study No.1 at the Columbia-Princeton Electronic Music Center in 1961.
		He is perhaps most widely recognized for his contributions in the realm of electro-acoustic music, with his series of Synchronisms for instrument(s) and tape, and received the Pulitzer Prize in 1971 for Synchronism #6 for piano and tape.
	www.seamusonline.org /mario.html (215 words)

	Dan Lippel - Guitarist
		Mario Davidovsky, born in Argentina, who has been one of the fore-runners in the field of electronic music, combines a pre-recorded and altered tape with the live guitar.
		After a long guitar introduction, Davidovsky slips in the electronics almost imperceptibly, yet the music's subtly increased energy carries the guitar and tape into a thrilling duet of musical equals.
		Davidovsky may be a crusty, old-school modernist, but "Synchronisms #10" is, overall, a gentle, beguiling work filled with pleasures both simple and complex.
	www.danlippel.com /cd/resonance_flash.html (1301 words)

	Classics Today.com - Your Online Guide to Classical Music (Site not responding. Last check: 2007-10-08)
		It really is about time that a solo disc dedicated to the music of Mario Davidovsky was available in the U.S., where he has been composing and teaching for decades.
		Davidovsky is a composer of prodigious gifts, not the least of which is his capacity for instrumental timbre.
		Romancero, Davidovsky's setting of Spanish texts (poet unnamed) is exquisite, and though his writing for the voice leans to the disjunct and fragmented (albeit handled with expert grace by Susan Narucki) it still manages to be passionate and melodic.
	www.classicstoday.com /review.asp?ReviewNum=5123 (443 words)

	BMOP :: Mario Davidovsky (Site not responding. Last check: 2007-10-08)
		Born in 1934 in MÃ©danos, Buenos Aires, Mario Davidovsky began his musical studies at the age of seven, continued his education at the Collegium Musicium, and graduated from the BartolomÃ© Mitre School in Buenos Aires in 1952.
		He is a professor of music at Harvard and Columbia Universities and chairman of the Electronic Music Center at Columbia University.
		Davidovsky has held visiting professorships at the University of Michigan, Yale University, City University, the Di Tella Institute (Argentina), the Manhattan School of Music, and the University of Pennsylvania.
	www.bmop.org /musicians/composer_bio.aspx?cid=193 (179 words)

	Electronic Music Literature - The Columbia-Princeton Studio (Site not responding. Last check: 2007-10-08)
		This music, at its worst, is as boring and dry as any totally serialized music is, and at its best, is fascinating for its rhythmic complexity, cross=play of lines, and crystal clarity.
		Mario Davidovsky is best known for his series of Synchronisms for conventional instruments and tape.
		His stated goal in these pieces was to preserve the characteristics of each and to still achieve an integration of both into a coherent musical texture.
	home.att.net /~brianbebeau/emhist/colpr.html (514 words)

	Mario Davidovsky - The Music of Mario Davidovsky, Volume 3 (Site not responding. Last check: 2007-10-08)
		Concert music composer Mario Davidovsky has long been an important figure in electronic music, winning a Pulitzer Prize for his 1970 work for piano and tape Synchronisms No. 6.
		Davidovsky has also been a prominent teacher, running the annual Composer Conference at Wellesley College, directing the Columbia-Princeton Center for Electronic Music and teaching for a number of years at Harvard University (he recently retired).
		Three compositions transcribe some of the rhythmic intricacies and textural explorations found in Davidovsky's electronic writing to live performances on acoustic instruments.
	www.copperpress.com /new/reviews/html/112805davidovsky.html (323 words)

	synchronism (Site not responding. Last check: 2007-10-08)
		Mario Davidovsky was perhaps one of the most successful composers to take the second road.
		To this day Davidovsky has written 8 synchronisms (each for different instrumentations) This piece was written for pianist Robert Miller, was premiered at the Tanglewood Contemporary Music Festival, and won the Pulitzer Prize in 1971.
		What is notable about this piece is the degree of sensitivity with which the piano part is handled with the electronic sounds.
	www.sinc.sunysb.edu /Class/mus352/notes/synchronism.htm (420 words)

	Untitled Document
		The ability to record sound was, according to Davidovsky, one of the most important breakthroughs in the 20th century as it enabled "sound" to be used as an independent element in a composition.
		Mario Davidovsky was born in Buenos Aires and received his early training in his native city.
		In 1960, Davidovsky began what would be a longstanding association with the Columbia Princeton Electronic Music Center in New York.
	www.juilliard.edu /press/archive/pr082901.html (2153 words)

	EMF Institute: Gluck & Davidovsky
		In 1960, Mario Davidovsky came to New York City to become one of the first composers to work at the Columbia-Princeton Electronic Music Center.
		Following Vladimir Ussachevsky's retirement in 1979, Davidovsky became director of the Center.
		Davidovsky subsequently joined the Harvard University faculty as Fanny P. Mason Professor Emeritus of Music.
	emfinstitute.emf.org /articles/gluck.davidovsky_05.html (1991 words)

	Welcome to SEAMUS on-line
		In return, the Davidovsky commission will be officially connected to our 20th anniversary celebration, and the world premieres of the new works will take place at our national conference.
		As I'm sure every member of SEAMUS knows, Mario Davidovsky is one of the most important living composers of electroacoustic music.
		Davidovsky plans to complete the first work in time for a world premiere at the 2006 SEAMUS National Conference.
	www.seamusonline.org /seamus_Vol11.html (1532 words)

	American Composers Orchestra - Argentine Composers & Performers Biosaphies
		Pablo Ortiz was first trained in his native Buenos Aires, Argentina, graduating from the Catholic University of Argentina.
		At 27, he traveled to New York to study with Mario Davidovsky at Columbia University.
		He taught composition and was co-director of the Electronic Music Studio at the University of Pittsburgh from 1990 to 1994.
	www.americancomposers.org /sa98bios.htm#Davidovsky (5288 words)

	Amazon.com: Flashbacks: Music by Mario Davidovsky: Music: Rhonda Rider,Mario Davidovsky,Donald Palma,Jeffrey ... (Site not responding. Last check: 2007-10-08)
		Davidovsky is a composer of prodigious gifts, demonstrated most beautifully in Flashbacks, Quartetto No. 2, and the String Trio.
		Mario Davidovsky remains perhaps the least known of the elder generation of the New York avant-garde composers.
		Davidovsky's music is startling in its use of the opposites.
	www.amazon.com /exec/obidos/tg/detail/-/B00004T91M?v=glance (628 words)

	Susan Deaver Thesis
		At the same time Columbia faculty composers Mario Davidovsky, Chou Wen-Chung, Charles Dodge, Otto Luening, Peter Westergaard and those connected with the Columbia-Princeton Electronic Music Center (Babbitt and Ussachevsky) and young Columbia composers, like Nicolas Roussakis, were premiered.
		The performance of the Davidovsky was made possible by a grant from The Walter W. Naumburg Foundation, Inc. and was performed by Raymond DesRoches, Richard Fitz, Claire Heldrich, Donald Marcone and Howard Van Hyning with Harvey Sollberger conducting.
		Because of its residency at Columbia University, The Group was involved in an interaction with faculty composers such as Charles Dodge, Jack Beeson, Mario Davidovsky, Chou Wen-Chung, Otto Luening, Peter Westergaard and composers at the Columbia-Princeton Electronic Music Studio such as Milton Babbitt and Vladimir Ussachevsky.
	www.stokar.com /GCM/Deaver.htm (15793 words)

	Davidovsky offers electronic, acoustic blend
		A major figure in contemporary music, Davidovsky turned 70 last year and attended Friday's concert as part of a weeklong residency at Columbia.
		Friday's program was nicely varied, and in all five works, Davidovsky's musical language displayed a warmth and emotional depth that reached far beyond the realm of mere technical experiment.
		In comments to the audience, Davidovsky said that a major goal when he started working with tape in the early 1960s was to "tame and civilize" electronic sound.
	www.suntimes.com /output/delacoma/cst-nws-wynne16.html (561 words)

	Music Of Mario Davidovsky Vol 3 / Speculum Musicae \| ArkivMusic
		This CD presents six new recordings of Mario Davidovsky compositions spanning a period of nearly thirty-five years, performed by some of his leading champions.
		The music that Davidovsky offers is notable for its highly musical interweaving of materials from radically differing sound sources.
		CD annotator Eric Chasalow writes that “Davidovsky was already a composer of great accomplishment when Aaron Copland brought him from Argentina to Tanglewood in 1959.
	www.arkivmusic.com /classical/album.jsp?album_id=107374 (336 words)

	Mari Kimura and Violin Subharmonics
		She has studied composition with Mario Davidovsky at Columbia University and computer music at Stanford.
		While at Juilliard, she discovered a novel bowing technique called ‘subharmonics,’ which extends the range of the violin down to one octave below the lowest fundamental note (open G string) without retuning the instrument.
		And in that class, I heard a piece of music by Mario Davidovsky, who composed a series of Synchronisms, at least ten of them, for solo instrument with tape.
	www.angelfire.com /music2/davidbundler/kimura.html (4447 words)

	CNM 2002-03 Concert Information, School of Music, The University of Iowa
		It moves on to a frenetic middle section that concludes in screaming high notes; and finally returns to the dark mood of the beginning, ending abruptly as if leaving something unsaid.
		Mario Davidovsky, a pioneer in the realm of electronic composition, is a composer who often refers to his music as having "space".
		Mario Davidovsky was born in 1934 in Medanos, Buenos Aires, Argentina.
	www.uiowa.edu /~cnm/37.030223.html (1629 words)

	PoughkeepsieJournal.com - Modfest runs gamut from traditional to cerebral
		This year's Vassar College Modfest spotlights Pulitzer Prize winner Mario Davidovsky, best known for his "Synchronisms" compositions that weave acoustic instruments with recorded electronic music.
		Davidovsky's music, which will be performed with piano and tape and violin and tape, "has a lot of atmosphere, mood, connotation," Wilson said.
		The performance is followed by an onstage conversation between Davidovsky and Wilson.
	www.poughkeepsiejournal.com /apps/pbcs.dll/article?AID=/20060120/ENT01/601200301/1038 (924 words)

	Davidovsky: Shulamit's Dream, Etc / Korf, Rothman, Et Al \| ArkivMusic
		The sudden changes in texture and dynamics that proliferate both in this and the other pieces show how Davidovsky (aided by the virtuosic proficiency of today's performers) was able to embody his trademark electronically-induced soundscape (mainly found in his series of Synchronisms) in the orchestral timbre.
		The only downside here is that despite its timeless texts and the strong meaning they held for the composer as a youth, the music does not convey much palpable emotional content such that it could be described as "moving".
		In the end, the whole effort, as well-performed and (at times) beautiful as it is, resounds mainly as a tribute to Davidovsky's prodigious compositional techniques and fills a gap in this important and underplayed composer's repertoire.
	www.arkivmusic.com /classical/album.jsp?album_id=53664 (582 words)

	The Ensemble Sospeso - Argentina - 10 February 2006
		For this concert at the Americas Society, Sospeso randomly chose two of the forty million inhabitants of the twenty-three provinces that stretch from the Bolivian border to Antarctica: the Republica Argentina.
		Seriously, Osvaldo Golijov's contemporaries, María Cecilia Villanueva and Mario Davidovsky, who share his cultural heritage in different ways as well as his assimilation of Beethoven into their compositions, will explore, through discussion and performance, the processes through which they create their own musical traditions.
		This concert is made possible with a generous grant from the Citigroup Foundation, as well as many other contributors.
	www.sospeso.com /contents/20052006/kagel.htm (177 words)

	Bang on a Can: Program Notes (Site not responding. Last check: 2007-10-08)
		"Mario Davidovsky came to the United States from Buenos Aires, Argentina, in the early sixties, just when electronic music was becoming interesting," says David Lang.
		Mario's solution to this problem was unique and ingenious: he made the confrontation between human and machine both the subject and context of his work.
		Synchronism #6, written in 1970, is part of a series of ten pieces combining the acoustical space of conventional instruments with electronically generated sounds from loudspeakers.
	www.bangonacan.org /pgnotes.html#davidovsky (10436 words)

	NewMusicbox Sitemap
		Were I to use the words lyrical, lush, and beautiful to describe some of Mario Davidovsky's oeuvre, many readers may question my sanity.
		On this recording though, which features three of his acoustic vocal works, all of the aforementioned adjectives apply.
		Shir ha-Shirim may be one of his most poignant works and the other two, Shulamit's Dream and Biblical Songs, are intense narratives that use his views of pitch relations, the influence of medieval music, and use of ensembles as a "composite instrument." Definitely worth a listen, if not many listens.
	www.newmusicbox.org /st_result.nmbx?id=41st47 (91 words)

	Kirchner/Davidovsky/Rands
		This year marks the 70th birthday of Bernard Rands and Mario Davidovsky, and the 85th of Leon Kirchner.
		All three composers are current or former professors at Harvard, winners of the Pulitzer Prize, and are among the most significant composers of their generation.
		Mario Davidovsky was born in Buenos Aires, two days after Bernard Rands, and came to Harvard after many years at Columbia, during which time he directed the Columbia/Princeton Electronic Music Center.
	www.music.columbia.edu /~anthony/harvardcomposers.html (643 words)

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