Theory of Music-Expressionism
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Perceptual Interactions of Pitch and Timbre: an Experimental Study on Pitch-Interval Recognition with Analytical Applications
Perceptual interactions of pitch and timbre: An experimental study on pitch-interval recognition with analytical applications SARAH GATES Music Theory Area Department of Music Research Schulich School of Music McGill University Montréal • Quebec • Canada August 2015 A thesis submitted to McGill University in partial fulfillment of the requirements of the degree of Master of Arts. Copyright © 2015 • Sarah Gates Contents List of Figures v List of Tables vi List of Examples vii Abstract ix Résumé xi Acknowledgements xiii Author Contributions xiv Introduction 1 Pitch, Timbre and their Interaction • Klangfarbenmelodie • Goals of the Current Project 1 Literature Review 7 Pitch-Timbre Interactions • Unanswered Questions • Resulting Goals and Hypotheses • Pitch-Interval Recognition 2 Experimental Investigation 19 2.1 Aims and Hypotheses of Current Experiment 19 2.2 Experiment 1: Timbre Selection on the Basis of Dissimilarity 20 A. Rationale 20 B. Methods 21 Participants • Stimuli • Apparatus • Procedure C. Results 23 2.3 Experiment 2: Interval Identification 26 A. Rationale 26 i B. Method 26 Participants • Stimuli • Apparatus • Procedure • Evaluation of Trials • Speech Errors and Evaluation Method C. Results 37 Accuracy • Response Time D. Discussion 51 2.4 Conclusions and Future Directions 55 3 Theoretical Investigation 58 3.1 Introduction 58 3.2 Auditory Scene Analysis 59 3.3 Carter Duets and Klangfarbenmelodie 62 Esprit Rude/Esprit Doux • Carter and Klangfarbenmelodie: Examples with Timbral Dissimilarity • Conclusions about Carter 3.4 Webern and Klangfarbenmelodie in Quartet op. 22 and Concerto op 24 83 Quartet op. 22 • Klangfarbenmelodie in Webern’s Concerto op. 24, mvt II: Timbre’s effect on Motivic and Formal Boundaries 3.5 Closing Remarks 110 4 Conclusions and Future Directions 112 Appendix 117 A.1,3,5,7,9,11,13 Confusion Matrices for each Timbre Pair A.2,4,6,8,10,12,14 Confusion Matrices by Direction for each Timbre Pair B.1 Response Times for Unisons by Timbre Pair References 122 ii List of Figures Fig. -
American Abstract Expressionism
American Abstract Expressionism Cross-Curricular – Art and Social Studies Grades 7–12 Lesson plan and artwork by Edwin Leary, Art Consultant, Florida Description Directions This project deals with the infusion between Art History Teacher preparation: and Art Making through American Abstract Expressionism. Gather examples of artists that dominated this movement, American Abstract Expressionism is truly a U.S. movement that display them in the Art Room with questions of: Who uses emphasizes the act of painting, inherent in the color, texture, organic forms? Dripped and splashed work? Why the highly action, style and the interaction of the artist. It may have been colored work of Kandinsky? Why the figurative aspects of inspired by Hans Hofmann, Arshile Gorky and further developed DeKooning? by the convergence of such artists as Jackson Pollack, William With the students: DeKooning, Franz Kline, Mark Rothko and Wassily Kandinsky. 1 Discuss the emotions, color and structure of the displayed Objectives artists’ work. Discuss why American Abstract Expressionism is less about • Students can interactively apply an art movement to an art 2 process-painting. style than attitude. • This art-infused activity strengthens their observation and 3 Discuss why these artists have such an attachment of self awareness of a specific artist’s expression. expression as found in their paintings yet not necessarily found in more academic work? Lesson Plan Extensions 4 Gather the materials and explain why the vivid colors of Apply this same concept of investigation, application and art Fluorescent Acrylics were used, and what they do within a making to other movements or schools of art. -
Tracing the Development of Extended Vocal Techniques in Twentieth-Century America
CRUMP, MELANIE AUSTIN. D.M.A. When Words Are Not Enough: Tracing the Development of Extended Vocal Techniques in Twentieth-Century America. (2008) Directed by Mr. David Holley, 93 pp. Although multiple books and articles expound upon the musical culture and progress of American classical, popular and folk music in the United States, there are no publications that investigate the development of extended vocal techniques (EVTs) throughout twentieth-century American music. Scholarly interest in the contemporary music scene of the United States abounds, but few sources provide information on the exploitation of the human voice for its unique sonic capabilities. This document seeks to establish links and connections between musical trends, major artistic movements, and the global politics that shaped Western art music, with those composers utilizing EVTs in the United States, for the purpose of generating a clearer musicological picture of EVTs as a practice of twentieth-century vocal music. As demonstrated in the connecting of musicological dots found in primary and secondary historical documents, composer and performer studies, and musical scores, the study explores the history of extended vocal techniques and the culture in which they flourished. WHEN WORDS ARE NOT ENOUGH: TRACING THE DEVELOPMENT OF EXTENDED VOCAL TECHNIQUES IN TWENTIETH-CENTURY AMERICA by Melanie Austin Crump A Dissertation Submitted to the Faculty of The Graduate School at The University of North Carolina at Greensboro in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts Greensboro 2008 Approved by ___________________________________ Committee Chair To Dr. Robert Wells, Mr. Randall Outland and my husband, Scott Watson Crump ii APPROVAL PAGE This dissertation has been approved by the following committee of the Faculty of The School of Music at The University of North Carolina at Greensboro. -
Professor Niecks on Melodrama Author(S): Frederick Niecks Source: the Musical Times and Singing Class Circular, Vol
Professor Niecks on Melodrama Author(s): Frederick Niecks Source: The Musical Times and Singing Class Circular, Vol. 42, No. 696 (Feb. 1, 1901), pp. 96-97 Published by: Musical Times Publications Ltd. Stable URL: http://www.jstor.org/stable/3366388 . Accessed: 21/12/2014 00:58 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Musical Times Publications Ltd. is collaborating with JSTOR to digitize, preserve and extend access to The Musical Times and Singing Class Circular. http://www.jstor.org This content downloaded from 128.235.251.160 on Sun, 21 Dec 2014 00:58:46 AM All use subject to JSTOR Terms and Conditions L - g6 THE MUSICAL TIMES.-FEBRUARY I, I901. of any service is, of course, always undesirable. musical society as well as choir inspectorand con- But it is permissible to remind our young and ductor to the Church Choral Association for the enthusiastic present-day cathedral organists that the Archdeaconryof Coventry. In I898 he became rich store of music left to us by our old English church organistand masterof the choristersof Canterbury composers should not be passed by, even on Festival Cathedral,in succession to Dr. -
Iolanta Bluebeard's Castle
iolantaPETER TCHAIKOVSKY AND bluebeard’sBÉLA BARTÓK castle conductor Iolanta Valery Gergiev Lyric opera in one act production Libretto by Modest Tchaikovsky, Mariusz Treliński based on the play King René’s Daughter set designer by Henrik Hertz Boris Kudlička costume designer Bluebeard’s Castle Marek Adamski Opera in one act lighting designer Marc Heinz Libretto by Béla Balázs, after a fairy tale by Charles Perrault choreographer Tomasz Wygoda Saturday, February 14, 2015 video projection designer 12:30–3:45 PM Bartek Macias sound designer New Production Mark Grey dramaturg The productions of Iolanta and Bluebeard’s Castle Piotr Gruszczyński were made possible by a generous gift from Ambassador and Mrs. Nicholas F. Taubman general manager Peter Gelb Additional funding was received from Mrs. Veronica Atkins; Dr. Magdalena Berenyi, in memory of Dr. Kalman Berenyi; music director and the National Endowment for the Arts James Levine principal conductor Co-production of the Metropolitan Opera and Fabio Luisi Teatr Wielki–Polish National Opera The 5th Metropolitan Opera performance of PETER TCHAIKOVSKY’S This performance iolanta is being broadcast live over The Toll Brothers– Metropolitan Opera International Radio Network, sponsored conductor by Toll Brothers, Valery Gergiev America’s luxury in order of vocal appearance homebuilder®, with generous long-term marta duke robert support from Mzia Nioradze Aleksei Markov The Annenberg iol anta vaudémont Foundation, The Anna Netrebko Piotr Beczala Neubauer Family Foundation, the brigit te Vincent A. Stabile Katherine Whyte Endowment for Broadcast Media, l aur a and contributions Cassandra Zoé Velasco from listeners bertr and worldwide. Matt Boehler There is no alméric Toll Brothers– Keith Jameson Metropolitan Opera Quiz in List Hall today. -
Fauvism and Expressionism
Level 3 NCEA Art History Fauvism and Expressionism Workbook Pages Fauvism and Expressionism What this is: Acknowledgements These pages are part of a framework for students studying This workbook was made possible: NCEA Level 3 Art History. It is by no means a definitive • by the suggestions of Art History students at Christchurch document, but a work in progress that is intended to sit Girls’ High School, alongside internet resources and all the other things we • in consultation with Diane Dacre normally do in class. • using the layout and printing skills of Chris Brodrick of Unfortunately, illustrations have had to be taken out in Verve Digital, Christchurch order to ensure that copyright is not infringed. Students could download and print their own images by doing a Google image search. While every attempt has been made to reference sources, many of the resources used in this workbook were assembled How to use it: as teaching notes and their original source has been difficult to All tasks and information are geared to the three external find. Should you become aware of any unacknowledged source, Achievement Standards. I have found that repeated use of the please contact me and I will happily rectify the situation. charts reinforces the skills required for the external standards Sylvia Dixon and gives students confidence in using the language. [email protected] It is up to you how you use what is here. You can print pages off as they are, or use the format idea and the templates to create your own pages. More information: You will find pages on: If you find this useful, you might be interested in the full • the Blaue Reiter workbook. -
Exposing Corruption in Progressive Rock: a Semiotic Analysis of Gentle Giant’S the Power and the Glory
University of Kentucky UKnowledge Theses and Dissertations--Music Music 2019 EXPOSING CORRUPTION IN PROGRESSIVE ROCK: A SEMIOTIC ANALYSIS OF GENTLE GIANT’S THE POWER AND THE GLORY Robert Jacob Sivy University of Kentucky, [email protected] Digital Object Identifier: https://doi.org/10.13023/etd.2019.459 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Sivy, Robert Jacob, "EXPOSING CORRUPTION IN PROGRESSIVE ROCK: A SEMIOTIC ANALYSIS OF GENTLE GIANT’S THE POWER AND THE GLORY" (2019). Theses and Dissertations--Music. 149. https://uknowledge.uky.edu/music_etds/149 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. -
Pierrot Lunaire Translation
Arnold Schoenberg (1874-1951) Pierrot Lunaire, Op.21 (1912) Poems in French by Albert Giraud (1860–1929) German text by Otto Erich Hartleben (1864-1905) English translation of the French by Brian Cohen Mondestrunken Ivresse de Lune Moondrunk Den Wein, den man mit Augen trinkt, Le vin que l'on boit par les yeux The wine we drink with our eyes Gießt Nachts der Mond in Wogen nieder, A flots verts de la Lune coule, Flows nightly from the Moon in torrents, Und eine Springflut überschwemmt Et submerge comme une houle And as the tide overflows Den stillen Horizont. Les horizons silencieux. The quiet distant land. Gelüste schauerlich und süß, De doux conseils pernicieux In sweet and terrible words Durchschwimmen ohne Zahl die Fluten! Dans le philtre yagent en foule: This potent liquor floods: Den Wein, den man mit Augen trinkt, Le vin que l'on boit par les yeux The wine we drink with our eyes Gießt Nachts der Mond in Wogen nieder. A flots verts de la Lune coule. Flows from the moon in raw torrents. Der Dichter, den die Andacht treibt, Le Poète religieux The poet, ecstatic, Berauscht sich an dem heilgen Tranke, De l'étrange absinthe se soûle, Reeling from this strange drink, Gen Himmel wendet er verzückt Aspirant, - jusqu'à ce qu'il roule, Lifts up his entranced, Das Haupt und taumelnd saugt und schlürit er Le geste fou, la tête aux cieux,— Head to the sky, and drains,— Den Wein, den man mit Augen trinkt. Le vin que l'on boit par les yeux! The wine we drink with our eyes! Columbine A Colombine Colombine Des Mondlichts bleiche Bluten, Les fleurs -
View Becomes New." Anton Webern to Arnold Schoenberg, November, 25, 1927
J & J LUBRANO MUSIC ANTIQUARIANS Catalogue 74 The Collection of Jacob Lateiner Part VI ARNOLD SCHOENBERG 1874-1951 ALBAN BERG 1885-1935 ANTON WEBERN 1883-1945 6 Waterford Way, Syosset NY 11791 USA Telephone 561-922-2192 [email protected] www.lubranomusic.com CONDITIONS OF SALE Please order by catalogue name (or number) and either item number and title or inventory number (found in parentheses preceding each item’s price). To avoid disappointment, we suggest either an e-mail or telephone call to reserve items of special interest. Orders may also be placed through our secure website by entering the inventory numbers of desired items in the SEARCH box at the upper left of our homepage. Libraries may receive deferred billing upon request. Prices in this catalogue are net. Postage and insurance are additional. An 8.625% sales tax will be added to the invoices of New York State residents. International customers are asked to kindly remit in U.S. funds (drawn on a U.S. bank), by international money order, by electronic funds transfer (EFT) or automated clearing house (ACH) payment, inclusive of all bank charges. If remitting by EFT, please send payment to: TD Bank, N.A., Wilmington, DE ABA 0311-0126-6, SWIFT NRTHUS33, Account 4282381923 If remitting by ACH, please send payment to: TD Bank, 6340 Northern Boulevard, East Norwich, NY 11732 USA ABA 026013673, Account 4282381923 All items remain the property of J & J Lubrano Music Antiquarians LLC until paid for in full. Fine Items & Collections Purchased Please visit our website at www.lubranomusic.com where you will find full descriptions and illustrations of all items Members Antiquarians Booksellers’ Association of America International League of Antiquarian Booksellers Professional Autograph Dealers’ Association Music Library Association American Musicological Society Society of Dance History Scholars &c. -
Mannheim Le 12 Nov:Bre Mon Trés Cher Pére!2 1778 I Arrived Here Well
0504.1 MOZART TO HIS FATHER, SALZBURG Mannheim le 12 Nov:bre Mon Trés cher Pére!2 1778 I arrived here well on the 6th and surprised all my good friends in a pleasant way; – praise and thanks be to God that I am once again in my beloved Mannheim! [5] I assure you that you would say the same if you were here; I am lodging with Mad:me Cannabich3 – who, along with her family and all good friends, was almost beside herself for joy when she saw me again; – we have not finished talking yet, for she is telling me all the stories and changes that have happened my absence; – [10] I have not yet eaten at home the whole time I have been here – for it is full-blooded, this fighting over me; in a word; as I love Mannheim, Mannheim loves me; – And I do not know for sure, I believe I will yet in the end be taken on4 here! – here, not in Munich; for the Elector5 would, I believe, <be very glad to have his residence in Manheim again>, [15] since he will not possibly be able <to put up> with the <crudities> of the <Bavarian gentlemen> for long! – You know that the Mannheim troupe6 is in Munich? – there they have already whistled the 2 leading actresses, Mad:me Toscani7 and Mad:me Urban,8 off the stage, and there was so much noise that <the Elector himself> leaned out of his <box> and said sh– – [20] but after no-one allowed themselves to be put off by that, he sent someone down, – but <Count Seau9>, after he said to some officers they should not make so much noise, <the Elector> didn’t like to see it, received this answer; – <it was with their good money that they got in> there and <they are not taking orders from anyone> – yet what a fool I am! [25] You will long since have heard this from our – ;10 Now here comes something; – perhaps I can earn 40 louis d’or11 here! – Admittedly I must stay here 6 weeks – or 2 months at the most; – Seiler’s troupe12 is here – who will already be known to you by renomè;13 – Herr von Dallberg14 is their director; – this man 1 This letter contains passages in "family code"; these are marked with angle brackets < >. -
Conceiving Musical Transdialection
Conceiving Musical Transdialection By Richard Beaudoin, Harvard University and Joseph Moore, Amherst College Abstract: We illuminate the wandering notion of a musical transcription by reflecting on the various ways “transcription” and its cognates have been used in musical discourse, and by examining some notable 20th century transcriptions of J. S. Bach, which became increasingly loose through the decades. At root, musical transcription aims at preservation, but, as we bring out, exactly which musical ingredients are preserved across which transformations varies from transcriptional project to transcriptional project. We defend as intelligible one very interesting such project—we call it “transdialection”—by exploring an analogy with poetic translation, and by directly taking on some natural objections to it. We conclude that certain controversial transcriptions are justifiably and usefully so-called. 1 0. Transcription Traduced While it may not surprise you to learn that the first bit of music above is the opening of a chorale prelude by Baroque master, J. S. Bach, who would guess that the second bit is a so-called transcription of it? But it is—it’s a transcription by the contemporary British composer, Michael Finnissy. The two passages look very different from one another, even to those of us who don’t read music. And hearing the pieces will do little to dispel the shock, for here we have bits of music that seem worlds apart in their melodic makeup, harmonic content and rhythmic complexity. It’s a far cry from Bach’s steady tonality to Finnissy’s floating, tangled lines—a sonic texture in which, as one critic put it, real music is “mostly thrown into a seething undigested, unimagined heap of dyslexic clusters of multiple key- and time-proportions, as intricately enmeshed in the fetishism of the written notation as those 2 with notes derived from number-magic.”1 We’re more sympathetic to Finnissy’s music. -
The Pennsylvania State University the Graduate School College Of
The Pennsylvania State University The Graduate School College of Arts and Architecture CUT AND PASTE ABSTRACTION: POLITICS, FORM, AND IDENTITY IN ABSTRACT EXPRESSIONIST COLLAGE A Dissertation in Art History by Daniel Louis Haxall © 2009 Daniel Louis Haxall Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy August 2009 The dissertation of Daniel Haxall has been reviewed and approved* by the following: Sarah K. Rich Associate Professor of Art History Dissertation Advisor Chair of Committee Leo G. Mazow Curator of American Art, Palmer Museum of Art Affiliate Associate Professor of Art History Joyce Henri Robinson Curator, Palmer Museum of Art Affiliate Associate Professor of Art History Adam Rome Associate Professor of History Craig Zabel Associate Professor of Art History Head of the Department of Art History * Signatures are on file in the Graduate School ii ABSTRACT In 1943, Peggy Guggenheim‘s Art of This Century gallery staged the first large-scale exhibition of collage in the United States. This show was notable for acquainting the New York School with the medium as its artists would go on to embrace collage, creating objects that ranged from small compositions of handmade paper to mural-sized works of torn and reassembled canvas. Despite the significance of this development, art historians consistently overlook collage during the era of Abstract Expressionism. This project examines four artists who based significant portions of their oeuvre on papier collé during this period (i.e. the late 1940s and early 1950s): Lee Krasner, Robert Motherwell, Anne Ryan, and Esteban Vicente. Working primarily with fine art materials in an abstract manner, these artists challenged many of the characteristics that supposedly typified collage: its appropriative tactics, disjointed aesthetics, and abandonment of ―high‖ culture.