Glenn P Llorente
GLENN LLORENTE is a composer, influenced by Eastern and Western music cultures. He writes music for concert, commercial, and sacred aesthetics. He is a theorist and an educator—having served as a Teaching Associate at UCLA’s Herb Alpert School of Music (2013-2016), and has also served as an Adjunct Professor at Life Pacific College (2010-2012). He is an active orchestrator—both commercially and ecclesiastically—and a keyboardist, having performed for artists such as Shirley Ceasar, Cece Winans, Marla Reid, and Eric Lige. Llorente holds degrees from Life Pacific College (B.A., 2005), California State University-Fullerton (M.M., 2011), and is currently a PhD candidate (ABD) in Music at the Herb Alpert School of Music, University of California-Los Angeles (2012-2018). Llorente has studied composition with David Lefkowitz, Ian Krouse, Richard Danielpour, Roger Bourland, and Pamela Madsen. In 2015, he attended the Upbeat! International Summer School for Composition, studying with Joel Hoffman (Milna, Croatia, July-August, 2015).Llorente has received numerous awards, such as the Mannason Scholarship for Composition (2009-10), the Eugene V. Cota-Robles Fellowship (2012-2016), University Fellowships (2013-2015), as well as grants (University Grants, CSUF 2009-11) and scholarships (Graduate Dean’s Scholarship, UCLA 2012-14). Llorente is also winner of the CSUF New Music Festival Orchestra Competition, with his score, Solace for orchestra, premiered by the University Symphony Orchestra (March, 2011). In 2012, Llorente was commissioned by the Orange County Collegiate Orchestra and premiered Marie for saxophone and trumpet (March, 2012). Llorente’s electro-acoustic video installation, Humanus Pravitas, was featured in the 12th Annual World Electro-Acoustic Listening Project at the Grand Central Arts Theater, Santa Ana, CA (March, 2013). Llorente was also commissioned by the Vanguard University Symphony Orchestra, for his piano concerto, David and Goliath (2013). His trio, Equilibrium for tenor saxophone, electric guitar, and xylophone, was premiered at the Crystal Cove State Park’s Evironmental Study Loop Grand Opening (February, 2014)
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Papers by Glenn P Llorente
In the sixteenth century, Erasmus criticized the doctrine of Transubstantiation in his In Praise of Folly (1509). He questioned the logic behind having a multiplicity of Christ’s physical body being in more than once place simultaneously. Calvin, in his Institutes of the Christian Religion (1536), argues that the elements do not change physically, but that Christ is spiritually present in the sacrament. Luther argues for a Consubstantiation view, which he articulates in his Smalcald Articles (1537). To Luther, while the bread and wine contains the body and blood of Christ, the elements do not change physically—even though Christ is present “in, with, and under the elements.” When Luther met Zwingli at the Marburg Colloquy (1529), Luther could not agree with Zwingli’s symbolic Eucharist. The Reformation thus distinguishes three different views on the Eucharist (Transubstantiation, Consubstantiation, and Symbolic). Therefore, this essay will argue the source behind Zwingli’s symbolic premise on the Eucharist, by tracing his deductive and large-scope hermeneutics, through his use of the Aristotelian dialectic method.
Inevitably, the entire Book of Job seems to hinge upon the idea that Job (and all of mankind) should seek God’s Person disinterestedly—to relationally encounter with- and communicate to the God of the Bible without the influence of retributive rewards or punishments. God accepted the wager because He believed that Job is capable of a disinterested faith (which proved to be right in the end). Even though Job innocently suffered, in catastrophic proportions, God believed that Job disinterestedly pursued His Person. Job did not curse God to His face (1:11); instead, he worshiped God amid traumatic tragedies (1:20–21). The Book of Job, thus, proves that Job (and all of mankind) is capable of having a disinterested faith, especially through extreme sufferings.
However, the doctrine of retribution is traditionally prevalent in most human civilizations—particularly in Israel’s use of “collective retribution,” which served as “the cornerstone of philosophy of the biblical historians, the authors of Joshua, Judges, Samuel, and Kings.” Be it from secular society (such as the Golden Rule: “Do unto others as you would have others do unto you” ) or from biblical reference (“…A man reaps what he sows,” Gal. 6:7–8; cf. “Blessings” and “Curses” in Deut. 28), the doctrine/philosophy of retribution seems ubiquitous. This is especially evident in the increasingly influential pop-culture media. Therefore, this essay will (1) research the basis of biblical and secular retribution, (2) provide a theological assessment on the dynamics between a retributive versus a disinterested faith, and (3) describe a case study on retributive- and disinterested theodicy depicted in popular media.
Famous for the melodramatic Sweeney Todd (1979), Sondheim’s partnership with Prince ended after Merrily We Roll Along failed at the box office (1981)—which led him to collaborate with Lapine. Sunday in the Park with George (1984) and Into the Woods (1987) thus depict Sondheim’s compositional shift, adapting postmodern aesthetics in the 1980s. An analysis of selected materials from Sunday in the Park with George and Into the Woods examine how Sondheim achieves a balance between breadth and depth, through his postmodern aesthetic adaptations: (1) using leitmotivic minimalism to depict pointillism in Sunday in the Park, (2) developing minimalist clusters to create continuity in Into the Woods, (3) incorporating rap styles in Into the Woods, and (4) utilizing electronics in both Sunday in the Park and Into the Woods.
In Takemitsu’s film score for Kurosawa’s Dodes’ ka-den, the cues for the Beggar and son reveal Takemitsu’s use of “ironic symbolism” (the use of ironic musical materials to depict the inconsistencies of a drama). His musical symbolisms are evident in (1) the use of silence, noise, and other sonic elements, (2) the use of neo-tonality, and (3) the use of colorful and dissonant orchestration. These musical symbolisms inevitably illuminate Takemitsu’s metaphor of a universal aesthetics, “swimming in an ocean that has no East or West.”
Music, image, and lyrics each possess their own language with regard to time, space, narrativity, activity, and affect. Even when these three media combine seamlessly into a new whole, in the background some aspect of each medium will remain, where it lingers in an almost palpable way.
Echoing on Ness’ and Vernallis’ analytical models, along with my interests in bizarre and absurdist audio-visual works, this paper aims to provide an absurdist narrative reading through a multimedia transcription of The Beatles’ music video, “I Am The Walrus” (originally premiered in 1967 on a television film Magical Mystery Tour).
The song’s music video features absurdist visual elements, while the lyrics were purposely written to be nonsensical. Just as Lewis Carroll’s poem, “Jabberwocky,” features nonsensical words, The Beatles wrote lyrics from random separate events and combined some lyrics from other unfinished songs. However, while the song’s lyrics were intentionally written to be nonsensical, its combination with its music video seems to provide a multimedia translation, despite its absurdist features. Thus, an absurdist, silly, or quirky narrative seems to arise from the combination of its text, visuals, and music. Therefore, from a multimedia transcription analysis of “I Am The Walrus,” this paper will discuss its resulting absurdist narrative, and that such resulting narrative will be framed within an opportunity space for absurdity.
Furthermore, this analysis traces Stockhausen’s use of multiple-serialism within Studie II. It will therefore explore the following serial methods, and attempt to trace what Stockhausen employs and understand how he utilizes them. Such serial methods include elements that serialistically control each sine wave’s (1) generation, (2) selection, (3) additive synthesis, and the score’s overall (4) structure—both at the macro- and micro-level. This essay will also include a spectrograph- and a structural analysis.
Subsequently, this essay poses some practical questions. How does this kind of electronic spectral serialism support Stockhausen’s premise of treating sine waves as “pure” sound elements, uninhibited by human intervention and imperfection? Are these “pure” sine waves completely controllable—to the extent that the score’s realization precisely produces the exact sound that the score prescribes? And if so, can this spectral graphic score be objectively realized electronically, without the subjectivity and influence of human emotion and interpretation?
After it examined the context of notational and textual sound assumptions, and analyzed both given and unspoken assumptions from select notational and textual elements, the paper determined that the score ultimately fails to effectively communicate Crumb’s chosen (or implied) sound metaphors. This conclusion is largely due to the problem of metaphor—and that in attempting to communicate “sound metaphors” is ripe with assumptions, both from the performer and the composer. Inevitably, one can either approach sound phenomenologically or epistemologically. While the first approach is to experience a sound event directly—with or without sound assumptions; the latter requires inscribed instructions (via notation and text) that may or may not recreate the sound metaphor exactly due to the variables sound assumptions
In the sixteenth century, Erasmus criticized the doctrine of Transubstantiation in his In Praise of Folly (1509). He questioned the logic behind having a multiplicity of Christ’s physical body being in more than once place simultaneously. Calvin, in his Institutes of the Christian Religion (1536), argues that the elements do not change physically, but that Christ is spiritually present in the sacrament. Luther argues for a Consubstantiation view, which he articulates in his Smalcald Articles (1537). To Luther, while the bread and wine contains the body and blood of Christ, the elements do not change physically—even though Christ is present “in, with, and under the elements.” When Luther met Zwingli at the Marburg Colloquy (1529), Luther could not agree with Zwingli’s symbolic Eucharist. The Reformation thus distinguishes three different views on the Eucharist (Transubstantiation, Consubstantiation, and Symbolic). Therefore, this essay will argue the source behind Zwingli’s symbolic premise on the Eucharist, by tracing his deductive and large-scope hermeneutics, through his use of the Aristotelian dialectic method.
Inevitably, the entire Book of Job seems to hinge upon the idea that Job (and all of mankind) should seek God’s Person disinterestedly—to relationally encounter with- and communicate to the God of the Bible without the influence of retributive rewards or punishments. God accepted the wager because He believed that Job is capable of a disinterested faith (which proved to be right in the end). Even though Job innocently suffered, in catastrophic proportions, God believed that Job disinterestedly pursued His Person. Job did not curse God to His face (1:11); instead, he worshiped God amid traumatic tragedies (1:20–21). The Book of Job, thus, proves that Job (and all of mankind) is capable of having a disinterested faith, especially through extreme sufferings.
However, the doctrine of retribution is traditionally prevalent in most human civilizations—particularly in Israel’s use of “collective retribution,” which served as “the cornerstone of philosophy of the biblical historians, the authors of Joshua, Judges, Samuel, and Kings.” Be it from secular society (such as the Golden Rule: “Do unto others as you would have others do unto you” ) or from biblical reference (“…A man reaps what he sows,” Gal. 6:7–8; cf. “Blessings” and “Curses” in Deut. 28), the doctrine/philosophy of retribution seems ubiquitous. This is especially evident in the increasingly influential pop-culture media. Therefore, this essay will (1) research the basis of biblical and secular retribution, (2) provide a theological assessment on the dynamics between a retributive versus a disinterested faith, and (3) describe a case study on retributive- and disinterested theodicy depicted in popular media.
Famous for the melodramatic Sweeney Todd (1979), Sondheim’s partnership with Prince ended after Merrily We Roll Along failed at the box office (1981)—which led him to collaborate with Lapine. Sunday in the Park with George (1984) and Into the Woods (1987) thus depict Sondheim’s compositional shift, adapting postmodern aesthetics in the 1980s. An analysis of selected materials from Sunday in the Park with George and Into the Woods examine how Sondheim achieves a balance between breadth and depth, through his postmodern aesthetic adaptations: (1) using leitmotivic minimalism to depict pointillism in Sunday in the Park, (2) developing minimalist clusters to create continuity in Into the Woods, (3) incorporating rap styles in Into the Woods, and (4) utilizing electronics in both Sunday in the Park and Into the Woods.
In Takemitsu’s film score for Kurosawa’s Dodes’ ka-den, the cues for the Beggar and son reveal Takemitsu’s use of “ironic symbolism” (the use of ironic musical materials to depict the inconsistencies of a drama). His musical symbolisms are evident in (1) the use of silence, noise, and other sonic elements, (2) the use of neo-tonality, and (3) the use of colorful and dissonant orchestration. These musical symbolisms inevitably illuminate Takemitsu’s metaphor of a universal aesthetics, “swimming in an ocean that has no East or West.”
Music, image, and lyrics each possess their own language with regard to time, space, narrativity, activity, and affect. Even when these three media combine seamlessly into a new whole, in the background some aspect of each medium will remain, where it lingers in an almost palpable way.
Echoing on Ness’ and Vernallis’ analytical models, along with my interests in bizarre and absurdist audio-visual works, this paper aims to provide an absurdist narrative reading through a multimedia transcription of The Beatles’ music video, “I Am The Walrus” (originally premiered in 1967 on a television film Magical Mystery Tour).
The song’s music video features absurdist visual elements, while the lyrics were purposely written to be nonsensical. Just as Lewis Carroll’s poem, “Jabberwocky,” features nonsensical words, The Beatles wrote lyrics from random separate events and combined some lyrics from other unfinished songs. However, while the song’s lyrics were intentionally written to be nonsensical, its combination with its music video seems to provide a multimedia translation, despite its absurdist features. Thus, an absurdist, silly, or quirky narrative seems to arise from the combination of its text, visuals, and music. Therefore, from a multimedia transcription analysis of “I Am The Walrus,” this paper will discuss its resulting absurdist narrative, and that such resulting narrative will be framed within an opportunity space for absurdity.
Furthermore, this analysis traces Stockhausen’s use of multiple-serialism within Studie II. It will therefore explore the following serial methods, and attempt to trace what Stockhausen employs and understand how he utilizes them. Such serial methods include elements that serialistically control each sine wave’s (1) generation, (2) selection, (3) additive synthesis, and the score’s overall (4) structure—both at the macro- and micro-level. This essay will also include a spectrograph- and a structural analysis.
Subsequently, this essay poses some practical questions. How does this kind of electronic spectral serialism support Stockhausen’s premise of treating sine waves as “pure” sound elements, uninhibited by human intervention and imperfection? Are these “pure” sine waves completely controllable—to the extent that the score’s realization precisely produces the exact sound that the score prescribes? And if so, can this spectral graphic score be objectively realized electronically, without the subjectivity and influence of human emotion and interpretation?
After it examined the context of notational and textual sound assumptions, and analyzed both given and unspoken assumptions from select notational and textual elements, the paper determined that the score ultimately fails to effectively communicate Crumb’s chosen (or implied) sound metaphors. This conclusion is largely due to the problem of metaphor—and that in attempting to communicate “sound metaphors” is ripe with assumptions, both from the performer and the composer. Inevitably, one can either approach sound phenomenologically or epistemologically. While the first approach is to experience a sound event directly—with or without sound assumptions; the latter requires inscribed instructions (via notation and text) that may or may not recreate the sound metaphor exactly due to the variables sound assumptions