Steve Goss: Unequal Music - The Long and Short of it

Join us today with our dear friend Prof. Steve Goss to talk abou the concept of Inegalité in Music! Professor at the Royal Academy of Music in London and professor of Composition in the department of Music and Media at the University of Surrey!

We aim to explore the question whether we are treating notation too literally, I'm sure this will be an eye-opening talk for everybody who is looking for the next level of their music performance!

What do you think? What differentiates the musical notation from the interpretation? What is a musician allowed to do?

Join us for to have your questions answered by Steve!

About Steve Goss:

Stephen Goss’s music receives hundreds of performances worldwide each year. It has been
recorded on over 80 CDs by more than a dozen record labels, including EMI, Decca, Telarc,
Virgin Classics, Naxos, and Deutsche Grammophon. His output embraces multiple genres:
orchestral and choral works, chamber music, and solo pieces. In many of his compositions,
contrasting styles are juxtaposed through abrupt changes of gear.

He has been commissioned by many of the world’s most celebrated musicians (John
Williams, Ian Bostridge, Evelyn Glennie, Nicola Benedetti, Mikhail Pletnev) and leading
orchestras (Royal Philharmonic Orchestra, Russian National Orchestra, China National
Symphony Orchestra, Scottish Chamber Orchestra, National Symphony Orchestra of
Colombia, Barcelona Symphony Orchestra, Oregon Symphony Orchestra). Guitarists who
have commissioned music from him include David Russell, Xuefei Yang, Zoran Dukić, and
Aniello Desiderio.

Stephen Goss is Chair of Composition at the University of Surrey, UK, Director of the
International Guitar Research Centre, and a Professor of Guitar at the Royal Academy of
Music in London.

A discussion of notes inégales, dotted rhythms, triplets, synchronisation, and other deceptive rhythmic notation in 18th and 19th century music. Are we treating notation too literarily? Do modern day performers fully appreciate the notation conventions of previous eras?

In this livestream, I shall be referring to the work of Clive Brown, Colin Booth and other scholars. Examples will be drawn from the piano and guitar repertoires from Bach and Scarlatti, through Schubert, Sor, Mertz, Chopin, and Brahms to Tarrega, Llobet, and Albéniz.