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Kamran Ince - JPop.com
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Kamran Ince

Kamran Ince

Kamran Ince


Kamran Ince (born 1960) is a composer of Turkish-American descent. He was born in Glendive, Montana, but at six moved with his family to Turkey. He entered the Ankara Conservatory at the age of ten, where he began studying cello and piano, and he took composition lessons with Ilhan Baran. In 1977 came further composition studies at Izmir University with Muammer Sun, but Ince returned to the United States in 1978, where he enrolled at Oberlin College in Ohio Read more on Last.fm
Kamran Ince (born 1960) is a composer of Turkish-American descent. He was born in Glendive, Montana, but at six moved with his family to Turkey. He entered the Ankara Conservatory at the age of ten, where he began studying cello and piano, and he took composition lessons with Ilhan Baran. In 1977 came further composition studies at Izmir University with Muammer Sun, but Ince returned to the United States in 1978, where he enrolled at Oberlin College in Ohio, and went on to complete his master’s and doctoral degrees from the Eastman School of Music. His teachers included David Burge, Joseph Schwantner, Christopher Rouse, Samuel Adler and Barbara Kolb.

In 1987, Ince won the Prix de Rome and the Guggenheim Fellowship and the next year, he moved to Ann Arbor, Michigan to become a visiting professor at the University of Michigan. In 1992 he joined the faculty of the University of Memphis, where he teaches composition, co-directs the University of Memphis Imagine New Music Festival. In addition, Kamran Ince founded MIAM, the Center for Advanced Research in Music at Istanbul Technical University, which he has directed since 1999. Journalist Blair Dedrick described Ince’s music as “characterized. .

. by its ability to pinpoint the sonorous strains present in the jagged dissonance of elements such as a smooth cello yearning suddenly broken by an incongruent spatter of drum beats.” Although several of his works display this sudden movement between slow chord movements and the nattering of percussion and / or instruments, such as Flight Box (2001) or Hammer Music (1990), other pieces use a more consistent texture, such as the energetic F E S T for New Music Ensemble and Orchestra (1998) or the subdued Curve (1998). His music can be described as post-minimalist, that is, it makes use of near repetition, tonal language, but avoiding traditional tonal functionality, and influence of world music. Indeed, his Concerto for Orchestra, Turkish Instruments and Voices uses an actual Turkish ensemble mixed with Western instruments. His musical palette tends toward large-scale works, mainly for orchestra or ensemble; he has also composed several smaller works for either solo instrument (In Memoriam: 8/17/99 for piano) or solo instrument and piano (Lines for clarinet and piano). Read more on Last.fm.

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