DOCSLIB.ORG

Twentieth Century Theatre: a Sourcebook Pdf, Epub, Ebook

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Twentieth Century Theatre: a Sourcebook Pdf, Epub, Ebook TWENTIETH CENTURY THEATRE: A SOURCEBOOK PDF, EPUB, EBOOK Richard Drain | 408 pages | 06 Dec 1995 | Taylor & Francis Ltd | 9780415096201 | English | London, United Kingdom Twentieth Century Theatre: A Sourcebook PDF Book The soul of the actor is no less trained than the leg muscles or the thorax. This does not mean that the actor must make the audience believe that he or she literally is Hamlet, merely that he is plausibly and consistently making-believe to be Hamlet. These qualities have ceaselessly been pronounced the lifeblood of theatre; but then, most pronouncements on theatre have been by men, who may have a predisposition to them. The surrealist 'movement' under Breton's leadership begins soon after. Now we find that without having to eliminate any one of the eight factors, we have been able to harmonise their conflicting purposes by altering some of them…. But I lack the regrettable courage to believe Spengler, 2 that we are living in a postcultural epoch of civilisation, not capable of the creation of art. The ideas expressed here are a development of those put forward in his preface Two Superdramas' included in Walter Sokel's Anthology of German Expressionist Drama, Ithaca, NY, Anchor, , where he calls for the magnification of reality, denatured masks, 'oversized ears, white eyes, stilts'-the grotesque enlisted to disturb 'reasonable attitudes'. Public funds were—and continue to be—used for this purpose throughout Europe and in much of Asia and Africa. To stop resembling himself that is, to conceal, to dissemble, to depersonalise the material of his art , to express something other, strange, not like himself-seemed his principal aim. Download PDF Package. The dramatic script, like an operatic score or the scenario of a ballet, is no more than the raw material from which the performance is created. Henry Cowell Categories : 20th-century theatre. As one of the most outstanding and innovative playwrights of the 20th century, Elmer Rice made and sustained his reputation with a series of hit plays and provocative experimental work which, next to the output of Eugene O'Neill, remains the most varied canon of theatrical writing produced by an American dramatist. Children disgorge barrels of whitewash over the mountain. C74 Beginning in the s, Alois M. History of 20th century. To replace a spatial problem with a temporal, and to let not the ear but the eye of the spectator feel the flow of time, to plunge him into temporal emotion, is an undertaking of fantastic difficulty. Presenting a view of the 20th-century music avant-garde without resorting to highly specialized jargon, this work offers an exhaustive history and analysis of contemporary music in a social, political, and artistic context. But his innovations pointed the way to a shift in power from the actor to the director- that shift whose most eloquent advocate was Gordon Craig. Pierre Schaeffer and Pierre Henry Start-up or smaller companies were less likely to be sustained by corporate sponsorship; such funding was also often considered anathema by companies committed to political critique. Twentieth- Century French Dramatists Volume Related Papers. At all levels of sophistication, however, serious human pursuits offer opportunities for entertainment. The 'new art-material' of the first unfinished article is, as the second suggests, what Appia believed theatre might become: a medium no longer blocking artistic expression, but giving it free scope. Until now, all these elements have been subordinated to the dramatic plot-to the play. Many of the features commonly identified as postmodernist in the other arts are in one sense or another 'theatrical'; and they already have a long history in modernist theatre. Wladimir Vogel What is his art? Coherence of this kind is discarded in favour of modernist collage in Kantor and in happenings ; free association Robert Wilson ; or of lateral hops of the musing intelligence Richard Foreman. This reference book is a thorough guide to Rice's fascinating career. I exploded a bundle of stimuli on the world; other dancers would make a whole programme out of a single strand, but for me they were loud, whizzing little rockets, shooting around the world. A single-minded attempt by the actors to create, or by the audience to undergo, illusion reduces drama to a form of deception. People were too noble, though later it became an epidemic. For works that are all observation and study, actors are needed who are spontaneous and authentic, in touch with reality through and through. Twentieth Century Theatre: A Sourcebook Writer They claim to represent rooms or natural fields. To share with more than one person, separate addresses with a comma. From the s onward, theatre scholarship—like almost all scholarship across the humanities—showed the influence of deconstruction , postmodernism, and interculturalism an analytic approach that emphasizes the relationships between cultures. Project Muse Over electronic full-text journals by a wide array of academic publishers. Humanities Department Attendance PolicyIt is the conviction of the Humanities Department that a student who is not in a class for any reason is not receiving the benefit of the education being provided. Download file. This would not have, as in the antique world, the appearance of tears or laughter which are not characters but the character of the part: the Miser, the Hesitant One, the Covetous, piling up his crimes… And if the eternal character of the part is included in the mask, there is a simple means, similar to a kaleidoscope or even more a gyroscope, to highlight, one by one or severally, chance moments…. These actors, including Dustin Hoffman , Martin Sheen, and Lauren Bacall , brought to the theatre precisely those qualities of risk and commitment that make live performance so challenging. A short summary of this paper. Many programs also exist to bring young people to the theatre. We can imagine such a play as having complete freedom with respect to absolutely everything from the point of view of real life, and yet being extraordinarily closely knit and highly wrought in the way the action is tied together. But in a country at war first with the allied powers and then with itself, the forms it developed were, not surprisingly, conflicting or tormented rather than harmonious. Tanqueray by Arthur Wing Pinero is an example. Restoration and Eighteenth-Century Dramatists 2nd series. Severe necessity without discipline or morals and spit on humanity. Download with Google Download with Facebook or. Above all make no effort to achieve what is called the "popular" theatre. Kasumi Mabiille rated it it was amazing Oct 03, The human encounter it involves between audience and performers, and the emotional dynamic that results, are essential to it. Movement of his body evokes in the spectator first of all spatial sensations. In 6 volumes and a supplement, this title surveys drama of the world, containing 5 volumes on individual dramatists and a 6th volume of essays on literary history and literary trends, along with an index. But he differs from Craig in basing his aesthetic throughout the different phases of his thinking upon the human performer. Extracts from fifty practitioners, critics and theorists from the fields of dance, drama, music, theatre and live art make up an essential sourcebook for students, researchers and practitioners. The actors, rather than merely reflecting a creation that has already been fully expressed in the script, give body, voice, and imagination to what was only a shadowy indication in the text. These developments are traced largely in Parts II and III; but passages by El Lissitsky and Sergei Radlov are included here to register the impulse towards more abstract forms that flourished in stage design and movement. The settings are not there to give the illusion of a reality, but to establish where the action is taking place. More generally you have than you have not…. Debating critical costume: negotiating ideologies of appearance, performance and disciplinarity. Twentieth Century Theatre: A Sourcebook Reviews This plausibility is based on the connection between the impression made by the actors and the preconceptions of the auditors. Once a third actor appeared, the chorus gradually declined, and it was the multiplying individual characters who assumed importance. Bibliografische Informationen. Between and , he wrote several plays for the company before debuting his first critical hit Beyond the Horizon in , which went on to win the Pulitzer Prize for Drama. The actors, rather than merely reflecting a creation that has already been fully expressed in the script, give body, voice, and imagination to what was only a shadowy indication in the text. He was a voluminous writer of letters, articles, and diatribes as well as plays, memoirs, and novels. Twentieth-century theatre describes a period of great change within the theatrical culture of the 20th century, mainly in Europe and North America. But even these dramatic masterpieces demand the creative cooperation of artists other than the author. Try our Search Tips. Nevertheless, it was still thought important, especially in London, that the actors suggest gentility. Los Angeles Times Historical John Cage Anne rated it liked it Nov 28, Kasumi Mabiille rated it it was amazing Oct 03, In the theatre, on the other hand, every audience helps to create or to destroy the performance. Although largely developing in Europe and North America through the beginning of the century, the next 50 years saw an embrace of non-Western theatrical forms. State leaders: — — Earthquakes Lunar eclipses Solar eclipses Volcanic eruptions. Theater Performance Field Report. University Presses of Florida, Under successive Conservative governments, however, such subsidy was slashed, and by the s funds derived from a national lottery were substituted for direct government support. Views Read Edit View history. Start-up or smaller companies were less likely to be sustained by corporate sponsorship; such funding was also often considered anathema by companies committed to political critique.
Load more

Recommended publications
  • University Microiilms, a XERQ\Company, Ann Arbor, Michigan
    71-18,075 RINEHART, John McLain, 1937- IVES' COMPOSITIONAL IDIOMS: AN INVESTIGATION OF SELECTED SHORT COMPOSITIONS AS MICROCOSMS' OF HIS MUSICAL LANGUAGE. The Ohio State University, Ph.D., 1970 Music University Microiilms, A XERQ\Company, Ann Arbor, Michigan © Copyright by John McLain Rinehart 1971 tutc nTccrSTATmil HAS fiEEM MICROFILMED EXACTLY AS RECEIVED IVES' COMPOSITIONAL IDIOMS: AM IMVESTIOAT10M OF SELECTED SHORT COMPOSITIONS AS MICROCOSMS OF HIS MUSICAL LANGUAGE DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy 3n the Graduate School of The Ohio State University £ JohnfRinehart, A.B., M«M. # # * -k * * # The Ohio State University 1970 Approved by .s* ' ( y ^MrrXfOor School of Music ACm.WTji.D0F,:4ENTS Grateful acknov/ledgement is made to the library of the Yale School of Music for permission to make use of manuscript materials from the Ives Collection, I further vrish to express gratitude to Professor IJoman Phelps, whose wise counsel and keen awareness of music theory have guided me in thi3 project. Finally, I wish to acknowledge my wife, Jennifer, without whose patience and expertise this project would never have come to fruition. it VITA March 17, 1937 • ••••• Dorn - Pittsburgh, Pennsylvania 1959 • • • • • .......... A#B#, Kent State University, Kent, Ohio 1960-1963 . * ........... Instructor, Cleveland Institute of Music, Cleveland, Ohio 1 9 6 1 ................ • • • M.M., Cleveland Institute of ITu3ic, Cleveland, Ohio 1963-1970 .......... • • • Associate Professor of Music, Heidelberg College, Tiffin, Ohio PUBLICATIONS Credo, for unaccompanied chorus# New York: Plymouth Music Company, 1969. FIELDS OF STUDY Major Field: Theory and Composition Studies in Theory# Professor Norman Phelps Studies in Musicology# Professors Richard Hoppin and Lee Rigsby ill TAPLE OF CC NTEKTS A C KI JO WLE DGEME MT S ...............................................
    [Show full text]
  • THE CLEVELAN ORCHESTRA California Masterwor S
    ����������������������� �������������� ��������������������������������������������� ������������������������ �������������������������������������� �������� ������������������������������� ��������������������������� ��������������������������������������������������� �������������������� ������������������������������������������������������� �������������������������� ��������������������������������������������� ������������������������ ������������������������������������������������� ���������������������������� ����������������������������� ����� ������������������������������������������������ ���������������� ���������������������������������������� ��������������������������� ���������������������������������������� ��������� ������������������������������������� ���������� ��������������� ������������� ������ ������������� ��������� ������������� ������������������ ��������������� ����������� �������������������������������� ����������������� ����� �������� �������������� ��������� ���������������������� Welcome to the Cleveland Museum of Art The Cleveland Orchestra’s performances in the museum California Masterworks – Program 1 in May 2011 were a milestone event and, according to the Gartner Auditorium, The Cleveland Museum of Art Plain Dealer, among the year’s “high notes” in classical Wednesday evening, May 1, 2013, at 7:30 p.m. music. We are delighted to once again welcome The James Feddeck, conductor Cleveland Orchestra to the Cleveland Museum of Art as this groundbreaking collaboration between two of HENRY COWELL Sinfonietta
    [Show full text]
  • Kyle Gann, the Music of Conlon Nancarrow, the Music
    Preface My first thanks must go to Stuart Smith, who got me started on this project and spent tremendous unrecompensed time reading and ofFering suggestions. 1 I profusely thank H. Wiley Hitchcock for his help, advice, and encouragement in this project as in so many other?. Trimpin became my comrade in Nancarrow scholarship, giving me pages and pages of helpful computerized charts over steins The music: general considerations German beer. Peter Garland, Sylvia Srmth, and Don Gillespie provided me with scores, James Tenney with the unpublished works and some helpful analytical advice. Charles Amirkhanian smoothed my way to a composer reputed to be difficult to approach. Eva Soltes, Helen Zimbler, WiUiam Duckworth, and Carlos Sandoval contributed valuable information. Doug Simmons provided expert editing advice. Penny Souster made the book possible. My wife Nancy Cook, Compared to the musical traditions of Africa, India, and Indonesia, European who became a “Nancarrow widow” the way some women become football wid classical music has always been rhythmically limited. As sOon as American com ows, accepted my idee fixe witfc humor and love. Yoko Seguira, Mrs Nancarrow, posers broke away firom Europe following World War I, they made an aggressive was a warm, funny, and helpful informant, and a gracious hostess. And Charles attempt to remedy this deficiency. They found themselves thwarted, however, Nancarrow, since departed, treated me to a defightful evening of reminiscence. first by the difficulty of notating extreme rhythmic complexity,-then by the greater Most of all I thank C)onlon Nancarrow for cooperating in every possible obstacle of getting performers to execute their rhythms acfcurately.
    [Show full text]
  • Kaikhosru Shapurji Sorabji's Quintet for Piano and Four Stringed Instruments and Its Intended Performance by Norah Drewett and the Hart House String Quartet
    91 Kaikhosru Shapurji Sorabji's Quintet for Piano and Four Stringed Instruments and its intended performance by Norah Drewett and the Hart House String Quartet Marc-AndrC Roberge Abstract This article attempts to reconstruct the history of what was to be the first per- formance of Kaikhosru Shapurji Sorabji's Quintet for Piano and Four Stringed Instruments (1919-20), which was scheduled to be given on 29 November 1925 at Aeolian Hall in New York by the pianist Norah Drewett and the University of Toronto's Hart House String Quartet as part of a concert sponsored by Edgard Varese's International Composers' Guild. The performance never took place for reasons that are not entirely clear but have to do mostly with the work's difficul- ties. The article also provides an introduction to the work itself, which Sorabji dedicated to his friend, the composer Philip Heseltine. Most people who have heard of Kaikhosru Shapurji Sorabji (1892-1988), the Parsi composer and pianist active who lived as a recluse in England for most of his career, know that performances of his often massive and extremely difficult works have been extremely rare as a result of a so-called ban.l The thirteen scores that Sorabji published between 1921 and 1931 contain the following warning: "All rights including that of performance, reserved for all countries by the composer." The score of his 248-page Opus clavicembalisticum (1929-30), his longest and most often cited work, contains the additional admonition: "Public performance prohibited unless by express consent of the composer." Various statements in letters make it possible to say that, in the late thirties, Sorabji had decided to turn down all requests for public performance either by himself or by others.
    [Show full text]
  • Piano Concerto Henry Dixon Cowell Was Born in Menlo Park, California, on March 11, 1897, and Died in Shady, New York, on December 10, 1965
    Piano Concerto Henry Dixon Cowell was born in Menlo Park, California, on March 11, 1897, and died in Shady, New York, on December 10, 1965. Cowell completed his Piano Concerto in 1928 and as soloist introduced the first movement and possibly also the second with the Conductorless Orchestra in New in April 1930; he was also the soloist in the first complete performance, on December 28, 1930, with the Havana Philharmonic conducted by Pedro Sanjuan. The only previous performance by the San Francisco Symphony was given in June 2000; Ursula Oppens was soloist and Michael Tilson Thomas conducted. The score calls for an orchestra of three flutes (first doubling piccolo), three oboes and English horn, three clarinets, three bassoons, four horns, three trumpets, three trombones, tuba, timpani, percussion (snare drum, large and small cymbals, triangle, and crash cymbals), and strings. Duration: about seventeen minutes Some composers have the bad luck to come up with an idea whose label leaves such a strong imprint that it dogs their name and reputation to the point of blotting out all their really significant achievements. It happened to Schoenberg with atonality, to Hindemith with Gebrauchsmusik (music for a practical purpose or a specific use), and to Henry Cowell with tone clusters. Although he did not invent the device--that was Vladimir Rebikov, followed by Charles Ives--it was Cowell who invented this term for the simultaneous sounding of a bunch of adjacent or close-together notes on a keyboard. At the piano recitals with which he both delighted and infuriated audiences in Europe and America, Cowell himself made much use of tone clusters, playing with the outside of his hand, his forearm, or a stick cut to a specific length.
    [Show full text]
  • Collective Difference: the Pan-American Association of Composers and Pan- American Ideology in Music, 1925-1945 Stephanie N
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2009 Collective Difference: The Pan-American Association of Composers and Pan- American Ideology in Music, 1925-1945 Stephanie N. Stallings Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC COLLECTIVE DIFFERENCE: THE PAN-AMERICAN ASSOCIATION OF COMPOSERS AND PAN-AMERICAN IDEOLOGY IN MUSIC, 1925-1945 By STEPHANIE N. STALLINGS A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Summer Semester, 2009 Copyright © 2009 Stephanie N. Stallings All Rights Reserved The members of the Committee approve the Dissertation of Stephanie N. Stallings defended on April 20, 2009. ______________________________ Denise Von Glahn Professor Directing Dissertation ______________________________ Evan Jones Outside Committee Member ______________________________ Charles Brewer Committee Member ______________________________ Douglass Seaton Committee Member The Graduate School has verified and approved the above named committee members. ii ACKNOWLEDGMENTS I would like to express my warmest thanks to my dissertation advisor, Denise Von Glahn. Without her excellent guidance, steadfast moral support, thoughtfulness, and creativity, this dissertation never would have come to fruition. I am also grateful to the rest of my dissertation committee, Charles Brewer, Evan Jones, and Douglass Seaton, for their wisdom. Similarly, each member of the Musicology faculty at Florida State University has provided me with a different model for scholarly excellence in “capital M Musicology.” The FSU Society for Musicology has been a wonderful support system throughout my tenure at Florida State.
    [Show full text]
  • Modern Art Music Terms
    Modern Art Music Terms Aria: A lyrical type of singing with a steady beat, accompanied by orchestra; a songful monologue or duet in an opera or other dramatic vocal work. Atonality: In modern music, the absence (intentional avoidance) of a tonal center. Avant Garde: (French for "at the forefront") Modern music that is on the cutting edge of innovation.. Counterpoint: Combining two or more independent melodies to make an intricate polyphonic texture. Form: The musical design or shape of a movement or complete work. Expressionism: A style in modern painting and music that projects the inner fear or turmoil of the artist, using abrasive colors/sounds and distortions (begun in music by Schoenberg, Webern and Berg). Impressionism: A term borrowed from 19th-century French art (Claude Monet) to loosely describe early 20th- century French music that focuses on blurred atmosphere and suggestion. Debussy "Nuages" from Trois Nocturnes (1899) Indeterminacy: (also called "Chance Music") A generic term applied to any situation where the performer is given freedom from a composer's notational prescription (when some aspect of the piece is left to chance or the choices of the performer). Metric Modulation: A technique used by Elliott Carter and others to precisely change tempo by using a note value in the original tempo as a metrical time-pivot into the new tempo. Carter String Quartet No. 5 (1995) Minimalism: An avant garde compositional approach that reiterates and slowly transforms small musical motives to create expansive and mesmerizing works. Glass Glassworks (1982); other minimalist composers are Steve Reich and John Adams. Neo-Classicism: Modern music that uses Classic gestures or forms (such as Theme and Variation Form, Rondo Form, Sonata Form, etc.) but still has modern harmonies and instrumentation.
    [Show full text]
  • A Performer's Guide to the Prepared Piano of John Cage
    A Performer’s Guide to the Prepared Piano of John Cage: The 1930s to 1950s. A document submitted to the Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS in the Keyboard Studies Division of the College-Conservatory of Music By Sejeong Jeong B.M., Sookmyung Women’s University, 2011 M.M., Illinois State University, 2014 ________________________________ Committee Chair : Jeongwon Joe, Ph. D. ________________________________ Reader : Awadagin K.A. Pratt ________________________________ Reader : Christopher Segall, Ph. D. ABSTRACT John Cage is one of the most prominent American avant-garde composers of the twentieth century. As the first true pioneer of the “prepared piano,” Cage’s works challenge pianists with unconventional performance practices. In addition, his extended compositional techniques, such as chance operation and graphic notation, can be demanding for performers. The purpose of this study is to provide a performer’s guide for four prepared piano works from different points in the composer’s career: Bacchanale (1938), The Perilous Night (1944), 34'46.776" and 31'57.9864" For a Pianist (1954). This document will detail the concept of the prepared piano as defined by Cage and suggest an approach to these prepared piano works from the perspective of a performer. This document will examine Cage’s musical and philosophical influences from the 1930s to 1950s and identify the relationship between his own musical philosophy and prepared piano works. The study will also cover challenges and performance issues of prepared piano and will provide suggestions and solutions through performance interpretations.
    [Show full text]
  • American Experimental Music in West Germany from the Zero Hour To
    Beal_Text 12/12/05 5:50 PM Page 8 one The American Occupation and Agents of Reeducation 1945-1950 henry cowell and the office of war information Between the end of World War I and the advent of the Third Reich, many American composers—George Antheil, Marc Blitzstein, Ruth Crawford, Conlon Nancarrow, Roger Sessions, Adolph Weiss, and others (most notably, Aaron Copland, Virgil Thomson, and Roy Harris, who studied with Nadia Boulanger in France)—contributed to American music’s pres- ence on the European continent. As one of the most adventurous com- posers of his generation, Henry Cowell (1897–1965) toured Europe several times before 1933. Traveling to the continent in early June 1923, Cowell played some of his own works in a concert on the ship, and visiting Germany that fall he performed his new piano works in Berlin, Leipzig, and Munich. His compositions, which pioneered the use of chromatic forearm and fist clusters and inside-the-piano (“string piano”) techniques, were “extremely well received and reviewed in Berlin,” a city that, according to the com- poser, “had heard a little more modern music than Leipzig,” where a hos- tile audience started a fistfight on stage.1 A Leipzig critic gave his review a futuristic slant, comparing Cowell’s music to the noisy grind of modern cities; another simply called it noise. Reporting on Cowell’s Berlin concert, Hugo Leichtentritt considered him “the only American representative of musical modernism.” Many writers praised Cowell’s keyboard talents while questioning the music’s quality.2 Such reviews established the tone 8 Beal_Text 12/12/05 5:50 PM Page 9 for the German reception of unconventional American music—usually performed by the composers themselves—that challenged definitions of western art music as well as stylistic conventions and aesthetic boundaries of taste and technique.
    [Show full text]
  • John Cage Collection, Ca. 1988-1992
    John Cage Collection, ca. 1988-1992 Percussive Arts Society 110 West Washington Street, Suite A Indianapolis, Indiana 46204 Summary Title: John Cage Collection Dates: ca. 1988-1992 Extent: 2 manuscript folders Language: The materials in the collection are in English. Repository: Percussive Arts Society, 110 West Washington Street, Suite A, Indianapolis, Indiana 46204 Administrative Information Accession(s): 2011.14 Donor(s) and date(s) of acquisition: Barry Michael Williams (2011) Processed by: Alysha Zemanek, July 2020 Access and Restrictions: This collection is open to the public without restriction. Rights statements: The reproduction and publication of copyrighted materials is regulated by the copyright laws of the United States (U.S. Code, Title 17). Preferred Citation: John Cage Collection, ca. 1988-1992. Percussive Arts Society Archive, Indianapolis, Indiana. Notes/other: Biographical Sketch: Influential 20th century American composer John Milton Cage, Jr. was born in Los Angeles, California on September 5, 1912. His early exposure to music came in the form of piano lessons from his aunt. Cage graduated from Los Angeles High School in 1928 as class valedictorian. He then attended Pomona College for two years before leaving to travel Europe. In 1931, Cage returned to the U.S. and began to study with pianist Richard Buhlig. Eventually, Buhlig suggested Cage send his early compositions to Henry Cowell. Cowell directed Cage to study with Arnold Schoenberg’s first American student, Adolf Weiss, before attempting to study composition with Schoenberg himself. So in 1933, Cage moved to New York City in order to study with Weiss. He also attended Cowell’s classes at the New School for Social Research.
    [Show full text]
  • A Conductor's Guide to Twentieth-Century Choral-Orchestral Works in English
    INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. University Microfilms International A Bell & Howell Information Company 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA 313/761-4700 800/521-0600 Order Number 9314580 A conductor's guide to twentieth-century choral-orchestral works in English Green, Jonathan David, D.M.A. The University of North Carolina at Greensboro, 1992 UMI 300 N.
    [Show full text]
  • Soe V Modern Theories of Tonality
    SOEV MODERN THEORIES OF TONALITY APPROVE )D: fe so r~ 0ij o Pr o linor Professor Director 0 he part-men Divi ussic Dea f the (.-ra te Division SOME MODERN THEORIES OF TONALITY THESIS Presented to the Graduate Council of the North Texas State Teachers College in Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC By Dorothy Robert, B. M. Denton, Texas January, 1946 138028 138928 TABLE OF CONTENTS Page LIST OF FIGURES . * * . * * * * .*. V Chapter I. INTRODUCTION . Exhaustion of iajor-Minor Tonality Signs of Revolution Composer and Audience New Founcations of Music Four Principal Theories Definitions of Tonality II. PRESENTATION AND IDENTIFICATION OF THE PRINCIPAL AUTHORITIES AND THEORISTS . 9 Hermann v. Helwholtz Adele Katt Arnold Schoenberg Paul Hindemith Joseph Yasser Application of Theories III. HERMANN v. HEL IOLTZ . .. 12 Physics of Sound Physiology of Hearing Aesthetic Approach to Music IV. ADELE T. KATZ . 16 Heinrich Schenker Challengers of Musical Tradition Schenker 's Theory Basic Structure and Prolongation The Structural Top Voice The Cadence Polytonality and Atonality Criticism iii Chapter page V. ARNOLD SCHOENBERG ... .... ..... 29 The Crisis before Schoenberg Schoenberg's Twelve-tone System Reactions to Schoenberg's Approach Schoenberg's Influence Criticism and Reinterpretation of Schoenberg's System VI. PAUL HINDEMITH . 39 Derivation of the Chromatic Scale Invertibility of Intervals Melodic and Harmonic Forces of Intervals Tonal Activity Comparison of Traditional Harmony with Hindemith' asSystem Atonality and Polytonality Summary VII. JOSEPH YASSER ................ 54 Historical Development of Scale Systems Relativity of Musical Terms Construction of the Infra-diatonic and Diatonic Systems Construction of the Supra-diatonic System The Supra-diatonic Scale The Supra-diatonic Modes The Supra-diatonic Intervals Supra-diatonic Chords Supra-tonality Anticipated in Contem- porary Music Definition of Tonality Atonality Vetsus Supra-tonality Historical Considerations and Prophecies Possible Objections to Yasser's System VIII.
    [Show full text]