"As aulas em grupo têm muitas vantagens que permitem às crianças desfrutar das experiências que a música lhes proporciona, como conhecer amigos, desenvolver o trabalho em grupo e penetrar na compreensão da música tocando em “Ensemble”. Com esta finalidade, a Yamaha adoptou um método pelo qual os estudantes podem escutar e tocar em grupo (Ensemble), aprendendo música ao mesmo tempo que se divertem".
Texto introdutório dos futuros novos programas de Instrumento
(a adoptar a partir do Ano Lectivo 2007/2008 nas Escolas de Ensino Especializado de Música)
Texto introdutório dos futuros novos programas de Instrumento
(a adoptar a partir do Ano Lectivo 2007/2008 nas Escolas de Ensino Especializado de Música)
it then, but [he had] very much admiration for Varèse. Varèse was the first composer Zappa discovered who struck him so much that he became Zappa's icon. Zappa told me, "I've written some scores for orchestra, and would you consider to look at them?" I was just finished with the New York Philharmonic, and beginning with IRCAM and the Ensemble InterContemporain. So I told him, "You know I don't really conduct orchestras for the time being. If you want me to conduct a work for orchestra, you have to wait for quite a long time. But if you want to write something for the Ensemble InterContemporain, then I will perform it immediately." And so he said, "Well, I will compose for the Ensemble!" About a month later he sent me scores. I then organized an American program with a work by Carter, a work by Zappa and one by Ruggles. There may have been a work by Varèse, I don't remember exactly. It was a hard program from the point of view that I wanted the audience to take Zappa seriously, and not just as a joke. The reaction was interesting, as I expected. People who came for Carter said, "Why Zappa?" and people who came for Zappa said "Why Carter?" After that we recorded Zappa's music, in his presence. He was really a very interesting character.