From his composer's point of view, it was a structural idea, concerning form in the highest sense. It is the essential shape that is important, although perhaps he oversimplified a bit. “Schnabel also used to think primarily from the ...
Author: Carol Montparker
Publisher: Hal Leonard Corporation
(Amadeus). Derived from a popular series of lecture-recitals presented by Carol Montparker over the past several years, The Composer's Landscape features eight insightful essays on the piano repertoire. Each chapter focuses on a single composer: Bach, Mozart, Beethoven, Schubert, Schumann, Brahms, Chopin, and Mendelssohn. Montparker uses landscape as a metaphor for the score, whether it be a well-tended garden of Mozart or the thorny thickets on a Schumann page: the topographical peaks and valleys, the circuitous melodic lines, the thoroughfares where all the voices convene, and so on. The discussions include thoughtful suggestions for navigating these "landscapes," which differ so greatly from one composer to the next, taking note of the essential technical and interpretive elements, as well as the challenges for the "explorer pianist." As an actively performing pianist, lecturer, teacher, music journalist, and author of six other books on music, Montparker has the experience and understanding to guide readers through these issues while elucidating the finer points. Woven into her text are excerpts from her interviews with world-renowned pianists, from Alfred Brendel to Andre Watts, conducted during her many years as senior editor of Clavier magazine. The book also includes images from original autograph manuscripts and audio of Montparker performing selections by composers featured in the book.
23 See Kemp, Tippett, p. 493 n. 21. 24 Tippett, 'Archetypes of Concert Music' in Tippett on Music, p. 107. 25 Tippett, 'A Composer's Point of View', ibid., p. 3. 26 Tippett, 'St Augustine and His Visions', ibid., p. 233.
Author: Kenneth Gloag
Publisher: Cambridge University Press
Category: Biography & Autobiography
This Companion provides a wide ranging and accessible study of one of the most individual composers of the twentieth century. A team of international scholars shed new light on Tippett's major works and draw attention to those that have not yet received the attention they deserve.
The first step towards understanding Messiaen's point of view is to establish the difference between the concepts of time and eternity, as they are 'two measurements of completely different duration'. Time is the means by which man ...
Author: Gareth Healey
Despite Messiaen's position as one of the greatest technical innovators of the twentieth century, his musical language has not been comprehensively defined and investigated. The composer's 1944 theoretical study, The Technique of My Musical Language, expounds only its initial stages, and while his posthumously published Traité de rythme, de couleur, et d'ornithologie contains detailed explanations of selected techniques, in most cases the reader is left to define these more precisely by observing them in the context of Messiaen's analyses of his own works. Technical processes are nevertheless in many cases the primary components of a work or movement. For instance, personnages dominate 'Joie du sang des étoiles' from the Turangalîla-symphonie, and in certain cases, such as 'L'échange' from the Vingt regards sur l'Enfant-Jésus, the process (asymmetric augmentation) is the only structuring element present. Given this reliance on idiosyncratic techniques, clear comprehension of the music is impossible without a detailed knowledge of Messiaen's methods. Gareth Healey charts their development and interconnections, considers their relationship with formal structures, and applies them in refined and extended form to works for which Messiaen himself left no published analysis.
The composer's point of view must be distinguished from the listener's , because the richness of a musical masterpiece relies greatly on the fact that those points of view are not the same , which allows the listener to adopt many ...
Author: Gerard Assayag
Publisher: Springer Science & Business Media
In Western Civilization Mathematics and Music have a long and interesting history in common, with several interactions, traditionally associated with the name of Pythagoras but also with a significant number of other mathematicians, like Leibniz, for instance. Mathematical models can be found for almost all levels of musical activities from composition to sound production by traditional instruments or by digital means. Modern music theory has been incorporating more and more mathematical content during the last decades. This book offers a journey into recent work relating music and mathematics. It contains a large variety of articles, covering the historical aspects, the influence of logic and mathematical thought in composition, perception and understanding of music and the computational aspects of musical sound processing. The authors illustrate the rich and deep interactions that exist between Mathematics and Music.
We have heard a great deal of discussion lately from the trade point of view , but I should like to hear as much as possible from the composers ' point of view . Mr. ASHDOWN . – I can only say that I think the composers ' and the ...
Author: Musical Association (Great Britain)Publish On: 1881
We have heard a great deal of discussion lately from the trade point of view , but I should like to hear as much as possible from the composers ' point of view . Mr. ASHDOWN . - I can only say that I think the composers ' and the ...
Poietic – the meaning of the work as seen from the composer's point of view . Esthesic – the meaning of the work as interpreted by performer or listener . For Nattiez the composer's role is creative - in the Poietic realm ( from Greek ...
Author: Jolyon Laycock
Publisher: Peter Lang
Music is unique among the arts in its ability to bring large numbers of people together in a communal creative activity transcending social, cultural and linguistic boundaries. This book looks at many examples of composers working in schools, community centres, hospitals and other situations which are not traditional contexts for music. Examples are taken from the United Kingdom as well as from projects from other places in Europe which participated in the EU-funded 'Rainbow across Europe' programme. This study examines the development over the past hundred years of what has come to be known as creative music-making, and traces its spread in other parts of Europe and beyond. It also shows how the composer's role has developed from the nineteenth-century Romantic view of a heroic figure expressing his own inner emotional life in music, towards a more socially conscious inspirational catalyst whose role is to stimulate musical creativity in others.
... a baptized one - he could not entirely be absorbed into the Christian cula - ture , and the flavor of his Jewish worldview remained in all his activities . Susskind is a positive hero in the opera from the composer's point of view .
Author: Elena Dubinets
Publisher: Indiana University Press
As waves of composers migrated from Russia in the 20th century, they grappled with the complex struggle between their own traditions and those of their adopted homes. Russian Composers Abroad explores the self-identity of these émigrés, especially those who left from the 1970s on, and how aspects of their diasporic identities played out in their music. Elena Dubinets provides a journey through the complexities of identity formation and cultural production under globalization and migration, elucidating sociological perspectives of the post-Soviet world that have caused changes in composers' outlooks, strategies, and rankings. Russian Composers Abroad is an illuminating study of creative ideas that are often shaped by the exigencies of financing and advancement rather than just by the vision of the creators and the demands of the public.
In judging Verdi's Requiem, as in judging other works of art ably and conscientiously made, we should try to look at it from the composer's point of view. In the abstract, there is nothing more suggestively sacred in the music of I know ...
Famous Composers and Their Works is a study on music and biographies of some of the world's greatest composers in history._x000D_ Table of Contents:_x000D_ Volume I:_x000D_ Orlando di Lasso_x000D_ The Netherland Masters_x000D_ Giovanni Pierluigi da Palestrina_x000D_ Claudio Monteverde_x000D_ Alessandro Scarlatti_x000D_ Giovanni Battista Pergolese_x000D_ Gioacchino Rossini_x000D_ Vincenzo Bellini_x000D_ Gaetano Donizetti_x000D_ Gasparo Luigi Pacifico Spontini_x000D_ Luigi Cherubini_x000D_ Arrigo Boito_x000D_ Giovanni Sgambati_x000D_ Guiseppi Verdi_x000D_ Music in Italy_x000D_ Johann Sebastian Bach_x000D_ George Frederick Handel_x000D_ Christoph Wilibald Gluck_x000D_ Franz Joseph Haydn_x000D_ Volume II:_x000D_ Wolfgang Amadeus Mozart_x000D_ Ludwig van Beethoven (Biography)_x000D_ The Deafness of Beethoven_x000D_ Beethoven as Composer_x000D_ Franz Peter Schubert_x000D_ Ludwig Spohr_x000D_ Carl Maria von Weber_x000D_ Heinrich Marschner_x000D_ Felix Mendelssohn Bartholdy _x000D_ Robert Schumann_x000D_ Robert Franz_x000D_ Giacomo Meyerbeer_x000D_ Strauss
From this point of view (but only from this point of view), the various objections all seem reasonable, since they all point out that it would not have made sense for Luke to have used Matthew simply as his Double Tradition source.
Author: Thomas J. Mosbo
Publisher: Fortress Press
The literary relationships among the Synoptic Gospels have long attracted scholarly attention which has now generally coalesced into the predominant Two- (or Four-) Source Hypothesis and leading alternatives, the Griesbach (or Two-Gospel) Hypothesis (Mark used Matthew and Luke) and the Farrer Hypothesis (Luke used Mark and Matthew). Thomas J. Mosbo here argues that no theory of Synoptic relations is adequate unless it can satisfactorily explain the extensive middle third of Luke’s Gospel, the so-called Travel Narrative (9:51–19:27), where Luke departs from the order shown in either Matthew or Mark and assembles stories and sayings that develop themes concerning discipleship that are important to Luke. Mosbo examines this narrative as a composed narrative, not merely an assembly of “materials,” and finds that Luke has reordered materials taken from Matthew and from Mark in a very particular manner. He then examines Luke’s purposes in the Gospel as a whole, then addresses objections raised by Q advocates to the hypothesis that Luke knew Matthew. At length Mosbo offers his own hypothesis of Synoptic relationships, including the relationship between Matthew and Mark.