DOCSLIB.ORG

Portico Semanal 1112 Musica 50

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Portico Semanal 1112 Musica 50 PÓRTICOSemanal Música 50 Nº 1112 — 10 marzo 2014 Obras generales Teoría y pedagogía musicales Ediciones musicales Historia de la música Música española Folklore — Jazz — Rock — Pop Etnomusicología Ópera — Canto — Danza Instrumentos musicales PÓRTICO LIBRERÍAS PÓRTICO SEMANAL Año XXVII, Nº 1112 — 10 marzo 2014 MÚSICA 50 Dirige: José Miguel Alcrudo Responsable de la Sección: Concha Aguirre PÓRTICO LIBRERÍAS, S.A. www.porticolibrerias.es Muñoz Seca, 6 HORARIO / OPEN HOURS: Tel. (+34) 976 55 70 39 50005 Zaragoza — España 976 35 03 03 Lunes a jueves / Monday to Thursday 976 35 70 07 Fundada en 1945 10–14 15–18 Fax (+34) 976 35 32 26 Viernes / Friday 10–14 OBRAS GENERALES Acciaiuoli, M. / P. Ferreira de Castro, eds.: A dança e a música nas artes plásticas do século XX 2012 – 174 pp. € 16,00 Anttila, M. E.: Luther’s Theology of Music. Spiritual Beauty and Pleasure 2013 – viii + 227 pp. € 89,95 ÍNDICE: Introduction — Voluptates aurium: the pleasures of music in Antiquity and the Middle Ages — Optimum Dei donum – the essence of music — Domina et gubernatrix affectuum humanorum – the power of music — Joy (gaudium) and Pleasure (voluptas) in Luther’s theology — Theology of beauty and the virtues of music — Conclusion. Begbie, J.: Music, Modernity, and God. Essays in Listening 2013 – 272 pp. € 43,70 ÍNDICE: Introduction: Listening to Music — Shifting Sensibilities: Calvin and Music — Disquieting Conversations: Bach, Modernity and God — The Nature of Music: Rameau, Rousseau and Natural Theology — Musical Apotheosis: Early German Romanticism — Room of One s Own? Music, Space, and Freedom — Music and God-talk (1): Mapping the Field — Music and God-talk (2): Interaction in Action. Bhogal, G. K.: Details of Consequence. Ornament, Music, and Art in Paris 2013 – 368 pp., 18 fig., 37 not., 2 tabl. € 52,45 ÍNDICE: Introduction — Ornament and Expression in Music and the Visual Arts — Ornament and the Arabesque: From Line to Melody — Ornament and Virtuosity in French Piano Music — Ornament and Antiquity from Debussy’s Arabesque to Ravel’s Daphnis et Chloé — Ornament and Neo-Primitivism in Le Sacre du Printemps — Ornament and Disenchantment around the First World War. PÓRTICO LIBRERÍAS PS 1112 — Música 50 3 Blanco Ruiz, C.: Historia del festival de plectro de La Rioja: una referencia internacional 2011 – 392 pp., 1 CD-ROM, 1 fig., lám.col. € 15,00 Brown, J. / A. Davison, eds.: The Sounds of the Silents in Britain 2013 – 352 pp., 27 fig. € 28,70 ÍNDICE: Introduction: The Sounds of the Silents in Britain: J. Brown / A. Davison — Speaking to Pictures: Professional Lecturing in Early British Film Shows: J. Kember — «Now, where were we?» Ideal and Actual Early Cinema Lecturing Practices in Britain, Germany and the US: J. Buchanan — Eric Williams: Speaking to Pictures: S. Bottomore — Sounding Scottish: Sound Practices and Silent Cinema in Scotland: T. Griffiths — Accompanying pictures: «Suitable music»: Accompaniment Practice in Early London Screen Exhibition from R. W. Paul to the Picture Palaces: I. Christie — The Art of Not Playing to Pictures in British Cinemas, 1906-1914: J. Burrows — «The efforts of the wretched pianist: Learning to Play to the Pictures in Britain, 1911-1913: A. Higson — The Reception of Bri- tish Exhibition Practices in The Moving Picture World, 1907-1914: J. Buhler — Perfor- mance in cinemas: 9. Selsior Dancing Films, 1912-1917: S. Bottomore — Song Perfor- mance in the Early Sound Shorts of British Pathé: D. B. Scott — Atmospheric Film Prolo- gues and the British Film Trade Papers, 1919-1926: J. Brown, R. Holloway — Animating the Audience: Singalong Films in Britain in the 1920s: M. Cook — Musicians, Companies and Institutions: Workers’ Rights and Performing Rights: Cinema Music and Musicians Prior to Synchronized Sound: A. Davison — Sound at the Film Society: J. Riley — Edmund Meisel’s «visual sound» in The Crimson Circle (1929): The Case of the Vanishing Part- Talkie: F. Ford. Cott, J.: Dinner with Lenny. The Last Long Interview with Leonard Bernstein 2013 – 208 pp., 15 fot. € 21,20 Dolan, T.: Manet, Wagner, and the Musical Culture of their Time 2013 – 310 pp., 84 fig., 4 lám.col. € 81,15 ÍNDICE: Introduction: Manet’s soundscape — Wagner in Paris: the music of the future — Listening to color and seeing sound: Baudelaire, Wagner and Manet — Transposing and composing — Gautier, Wagner and Manet — Realism and music: Champfleury, Courbet, Wagner and Manet — Ebony keys: Fantin’s Venusberg scene and Manet’s Balloon — Serious spoofing: Offenbach, Wagner and Manet — Facing the music: Wagner and Manet — Con- clusion: MéloManet. Fairclough, P., ed.: Twentieth-Century Music and Politics. Essays in Memory of Neil Edmunds 2013 – 312 pp., 5 fig., 18 not. € 87,45 ÍNDICE: Foreword, R. Milner-Gulland — Preface — Introduction, P. Fairclough — ‘A world of Marxist orthodoxy’? Alan Bush’s Wat Tyler in Great Britain and the German Democratic PÓRTICO LIBRERÍAS PS 1112 — Música 50 4 Republic, J. Bullivant — Stravinsky’s Petrushka: modernizing the past, Russianizing the fu- ture, or, how Stravinsky learned to be an exile, J. Cross — Détente to Cold War: Anglo-Soviet musical exchanges in the late Stalin period, P. Fairclough — Front theatre, musical films and the war in Nazi cinema, G. Heldt — ‘Those damn foreigners’: xenophobia and British musical life during the first half of the 20th century, E. Levi — ‘An angry ape’: some preliminary thoughts about Orango, G. McBurney — A bridge between two worlds: the founding years of the Warsaw Autumn Festival, B. Mika — Winning hearts and minds? Soviet music in the Cold War struggle against the West, S. Mikkonen — Preserving the façade of normal times: musical life in Belgrade under the German occupation (1941-44), M. Milin — Musical commemorations in post-Civil War Spain: Joaquin Rodrigo’s Concierto Heroico, E. Moreda Rodriguez — The radicalization and ghettoization of music in the General Government, K. Naliwajek — ‘I only need the good old Budapest’: Hungarian cabaret in wartime London, Florian Scheding; Irish nationalism, British imperialism, and the role of popular music, D. B. Scott — Shostakovich as film music theorist, J. Titus — Diaspora, music, and politics: Russian musical life in Shan- ghai during the inter-war period, H.-L. Yang. García Bernalt Alonso, B.: Catálogo del Archivo de música de la Capilla de la Universidad de Salamanca 2013 – 957 pp., not. € 50,00 García Quiñonés, M. / A. Kassabian / E. Boschi, eds.: Ubiquitous Musics. The Everyday Sounds That We Don’t Always Notice 2013 – 228 pp., 8 fig., 2 not. € 74,90 Garrett, C. H., ed.: The Grove Dictionary of American Music. Second Edi- tion, 8 vols. 2014 – 5.472 pp., 418 fig., 142 not. € 1447,00 Georis, C.: Claudio Monteverdi letterato ou les métamorphoses du texte 2013 – 744 pp. € 120,00 Glahn, D. von: Music and the Skillful Listener. American Women Compose the Natural World 2013 – 392 pp., 19 fig., 72 not. € 33,70 Haines, J.: Music in Films on the Middle Ages: Authenticity vs. Fantasy 2013 – 230 pp. € 99,85 Hui, A. / J. Kursell / M. W. Jackson, eds.: Music, Sound, and the Laboratory PÓRTICO LIBRERÍAS PS 1112 — Música 50 5 from 1750-1980. Edited by A. Hui, J. Kursell, and M. W. Jackson 2013 – 352 pp. € 28,70 Kelly, J.: In Her Own Words. Conversations with Composers in the United States 2013 – 448 pp., 25 fot. € 54,95 Liszt, F.: Correspondence of Franz Liszt and the Comtesse Marie D’Agoult. Edited by M. Short 2013 – 400 pp. € 69,70 Neumeyer, D.: The Oxford Handbook of Film Music Studies 2014 – 672 pp., 93 fig. + 58 lám. € 124,80 ÍNDICE: Overview: D. Neumeyer — 1. Film Music : Central Questions: Music and the Ontology of the Sound Film: The Classical Hollywood System: J. Buhler / D. Neumeyer — Opera and Film: M. Citron — Visual Representation of Film Sound as Analytical Tool: R. Altman — Film Music from the Perspective of Cognitive Science: A. Cohen — Composing for Film: Hanns Eisler’s Lifelong Film-Music Project: P. Schweinhardt & al. — Ontological, Formal, and Critical Theories of Film Music and Sound: J. Buhler — 2. Genre and Platform: Drawing a New Narrative for Cartoon Music: D. Goldmark — Genre Theory and the Film Musical: C. McDonnell — «The Tunes They are a-Changing»: Moments of Historical Rupture and Reconfiguration in the Production and Commerce of Music in Film: J. Smith — The Compilation Soundtrack from the 1960s to the Present: J. Hubbert — The Origins of Musical Style in Video Games, 1977-1983: N. Lerner — 3. Interpretative Theory & Practice: Classical Music, Virtual Bodies, Narrative Film: L. Kramer — Gender, Sexuality, and the Soundtrack: J. Buhler — Psychoanalysis, Apparatus Theory, and Subjectivity: J. Buhler — Case Studies: Introduction: R. Stilwell — (Case Study 1) The Order of Sanctity: Sound, Sight, and Suasion in DeMille’s The Ten Commandments: M. Morris — (Case Study 2) Strange Recognitions and Endless Loops: Music, Media, and Memory in Terry Gilliam’s 12 Monkeys: J. McQuinn — 4. Contemporary Approaches to Analysis: Transformational Theory and the Analysis of Film Music: S. Murphy — Listening in Film: Music/Film Temporality, Materiality and Memory: M. Kielian-Gilbert — Auteurship and Agency in Television Music: R. Rodman — 5. Historical Issues: When the Music Surges: Melodrama and the Nineteenth-Century Theatrical Precedents for Film Music Style and Placement: M. Pisani — Audio-Visual Palimpsests: Resynchronizing Silent Films with «Special» Music: J. Brown — Performance Practices and Music in Early Cinema outside Hollywood: Kathryn Kalinak — Performing Prestige: American Cinema Orchestras, 1910-1958: N. Platte. Orden, K. van: Music, Authorship, and the Book in the First Century of Print 2013 – 256 pp., 13 fot., 8 tabl., 4 not. € 52,35 Osborne, R.: Vinyl: A History of the Analogue Record 2012 – 224 pp. € 74,90 PÓRTICO LIBRERÍAS PS 1112 — Música 50 6 Rogers, J.: The Death and Life of the Music Industry in the Digital Age 2013 – 192 pp. € 24,95 Stravinsky, I. / R. Craft: Memorias y comentarios. Traducción del inglés de C. Font 2013 – 437 pp.
Load more

Recommended publications
  • Burkholder/Grout/Palisca, Eighth Edition, Chapter 35 38 Chapter 35
    38 17. After WW II, which group determined popular music styles? Chapter 35 Postwar Crosscurrents 18. (910) What is the meaning of generation gap? 1. (906) What is the central theme of Western music history since the mid-nineteenth century? 19. The music that people listened to affected their ____ and _______. 2. What are some of the things that pushed this trend? 20. What is the meaning of charts? 3. Know the definitions of the boldface terms. 21. What is another term for country music? What are its sources? 4. What catastrophic event occurred in the 1930s? 40s? 5. (907) Who are the existentialist writers? 22. (911) Why was it valued? 6. What political element took control of eastern Europe? 23. Describe the music. 7. What is the name of the political conflict? What are the names of the two units and who belongs to each? 24. What are the subclassifications? 8. What's the next group founded in 1945? 25. Name the stars. 9. What are the next wars? What is the date of the moon landing? 26. What's the capital? Theatre? 27. What's the new style that involves electric guitars? City? 10. TQ: What is a baby boom? G.I. Bill? Musician? 28. What phrase replaced "race music." 11. (908) Know the meaning of 78-rpm, LP, "45s." 12. Know transistor radio and disc jockey. 29. What comprised an R&B group? 13. When were tape recorders invented? Became common? 14. (909) When did India become independent? 30. What structure did they use? 15. Name the two figures important for the civil rights 31.
    [Show full text]
  • Reconsidering Pitch Centricity Stanley V
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Faculty Publications: School of Music Music, School of 2011 Reconsidering Pitch Centricity Stanley V. Kleppinger University of Nebraska-Lincoln, [email protected] Follow this and additional works at: http://digitalcommons.unl.edu/musicfacpub Part of the Music Commons Kleppinger, Stanley V., "Reconsidering Pitch Centricity" (2011). Faculty Publications: School of Music. 63. http://digitalcommons.unl.edu/musicfacpub/63 This Article is brought to you for free and open access by the Music, School of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Faculty Publications: School of Music by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Reconsidering Pitch Centricity STANLEY V. KLEPPINGER Analysts commonly describe the musical focus upon a particular pitch class above all others as pitch centricity. But this seemingly simple concept is complicated by a range of factors. First, pitch centricity can be understood variously as a compositional feature, a perceptual effect arising from specific analytical or listening strategies, or some complex combination thereof. Second, the relation of pitch centricity to the theoretical construct of tonality (in any of its myriad conceptions) is often not consistently or robustly theorized. Finally, various musical contexts manifest or evoke pitch centricity in seemingly countless ways and to differing degrees. This essay examines a range of compositions by Ligeti, Carter, Copland, Bartok, and others to arrive at a more nuanced perspective of pitch centricity - one that takes fuller account of its perceptual foundations, recognizes its many forms and intensities, and addresses its significance to global tonal structure in a given composition.
    [Show full text]
  • Citymac 2018
    CityMac 2018 City, University of London, 5–7 July 2018 Sponsored by the Society for Music Analysis and Blackwell Wiley Organiser: Dr Shay Loya Programme and Abstracts SMA If you are using this booklet electronically, click on the session you want to get to for that session’s abstract. Like the SMA on Facebook: www.facebook.com/SocietyforMusicAnalysis Follow the SMA on Twitter: @SocMusAnalysis Conference Hashtag: #CityMAC Thursday, 5 July 2018 09.00 – 10.00 Registration (College reception with refreshments in Great Hall, Level 1) 10.00 – 10.30 Welcome (Performance Space); continued by 10.30 – 12.30 Panel: What is the Future of Music Analysis in Ethnomusicology? Discussant: Bryon Dueck Chloë Alaghband-Zadeh (Loughborough University), Joe Browning (University of Oxford), Sue Miller (Leeds Beckett University), Laudan Nooshin (City, University of London), Lara Pearson (Max Planck Institute for Empirical Aesthetic) 12.30 – 14.00 Lunch (Great Hall, Level 1) 14.00 – 15.30 Session 1 Session 1a: Analysing Regional Transculturation (PS) Chair: Richard Widdess . Luis Gimenez Amoros (University of the Western Cape): Social mobility and mobilization of Shona music in Southern Rhodesia and Zimbabwe . Behrang Nikaeen (Independent): Ashiq Music in Iran and its relationship with Popular Music: A Preliminary Report . George Pioustin: Constructing the ‘Indigenous Music’: An Analysis of the Music of the Syrian Christians of Malabar Post Vernacularization Session 1b: Exploring Musical Theories (AG08) Chair: Kenneth Smith . Barry Mitchell (Rose Bruford College of Theatre and Performance): Do the ideas in André Pogoriloffsky's The Music of the Temporalists have any practical application? . John Muniz (University of Arizona): ‘The ear alone must judge’: Harmonic Meta-Theory in Weber’s Versuch .
    [Show full text]
  • Musicianship IV Syllabus
    University of Missouri-Kansas City Conservatory of Music and Dance CONS 242: Musicianship IV Spring 2015 Credit hours: 4.0 CRN: 17576 Instructor: Dr. David Thurmaier, Associate Professor of Music Theory Office: 302 Grant Hall Phone: 235-2898 Email: [email protected] Office Hours: M, T, W from 10-10:50 and by appointment Teaching Assistant: Taylor Carmona Office: 304 Grant Hall Email: [email protected] Catalog Description Continuation of CONS 241. Study of late-nineteenth century chromaticism and analytical and compositional methods of twentieth and twenty-first century music, including set theory and twelve-tone theory. Particular attention is given to the development of critical writing skills and the creation of stylistic compositions. Prerequisite: CONS 241 Meeting Time and Location Monday-Friday, 9-9:50 am, Grant Hall 122 Required Materials Kostka, Stefan and Roger Graybill. Anthology of Music for Analysis. Upper Saddle River, NJ: Pearson Prentice Hall, 2004. Laitz, Steven G., The Complete Musician: An Integrated Approach to Tonal Theory, Analysis, and Listening. 3rd Edition. New York: Oxford University Press, 2012. Roig-Francolí, Miguel. Understanding Post-Tonal Music (text and anthology). Boston: McGraw Hill, 2007. Notebook, music paper and pens/pencils In addition, you will be required to use the Finale notation program (or equivalent) for composition assignments. This is available for personal purchase at a substantial student discount http://www.finalemusic.com. I recommend against using such free programs as Notepad, as you are not able to take advantage of the many features of Finale. Continual failure to purchase and/or bring required books will result in deductions on homework or exams.
    [Show full text]
  • Takemi Sosa Magnus Lindberg — Musical Gesture and Dramaturgy
    Magnus Lindberg —Musical Gesture and Dramaturgy ACTA SEMIOTICA FENNICA Editor Eero Tarasti Associate Editors Paul Forsell Richard Littlefield Editorial Board Pertti Ahonen Jacques Fontanille André Helbo Pirjo Kukkonen Altti Kuusamo Ilkka Niiniluoto Pekka Pesonen Hannu Riikonen Vilmos Voigt Editorial Board (AMS) Márta Grabócz Robert S. Hatten Jean-Marie Jacono Dario Martinelli Costin Miereanu Gino Stefani Ivanka Stoianova TAKEMI SOSA Magnus Lindberg — Musical Gesture and Dramaturgy in Aura and the Symphonic Triptych Acta Semiotica Fennica LIII Approaches to Musical Semiotics 26 Academy of Cultural Heritages, Helsinki Semiotic Society of Finland, Helsinki 2018 E-mail orders [email protected] www.culturalacademy.fi https://suomensemiotiikanseura.wordpress.com Layout: Paul Forsell Cover: Harumari Sosa © 2018 Takemi Sosa All rights reserved Printed in Estonia by Dipri OÜ ISBN 978-951-51-4187-3 (nid.) ISBN 978-951-51-4188-0 (PDF) ISSN 1235-497X Acta Semiotica Fennica LIII ISSN 1458-4921 Approaches to Musical Semiotics 26 Department of Philosophy and Art Studies Faculty of Arts University of Helsinki Finland Takemi Sosa Magnus Lindberg — Musical Gesture and Dramaturgy in Aura and the Symphonic Triptych Doctoral Dissertation Academic dissertation to be publicly discussed, by due permission of the Faculty of Arts at the University of Helsinki (the main building), in auditorium XII on 04 May 2018 at 12 o’clock noon. For my Sachiko, Asune and Harunari 7 Abstract The Finnish composer Magnus Lindberg (b. 1958) is one of the leading figures in the field of contemporary classical music. Curiously, despite the fascinating characteristics of Lindberg’s works and the several interesting subjects his mu- sic brings up, his works have not been widely researched.
    [Show full text]
  • Música En La España Contemporánea (Interuniversitario) (Mención De Calidad)
    PROGRAMA DE DOCTORADO: Música en la España Contemporánea (Interuniversitario) (Mención de calidad) Cruce de modernidades. La música para piano en España entre 1958 y 1982 Miriam Mancheño Delgado ÍNDICE GENERAL Índice General Agradecimientos 11 Resumen 17 Abstract 21 Introducción 1. JUSTIFICACIÓN Y OBJETIVOS 27 2. ESTADO DE LA CUESTIÓN 30 3. METODOLOGÍA 37 4. FUENTES 42 Capítulo I: España 1958-1982 1. ESPAÑA 1958-1982: CIRCUNSTANCIAS HISTÓRICAS Y CONTEXTO MUSICAL 49 1.1. Circunstancias históricas 49 1.2. Contexto musical 52 2. EN TORNO A LAS GENERACIONES MUSICALES 69 3. LA PRODUCCIÓN PARA PIANO 78 3.1. Cruce de modernidades 80 4. INTÉRPRETES 85 Capítulo II: Avanzar mirando al pasado: formalismo y neotonalidad 1. CONTINUIDADES 97 2. EL APEGO A LAS FORMAS TRADICIONALES 102 2.1. La sonata como referente de la tradición musical 102 2.2. El retorno al renacimiento y al barroco 111 2.3. Ciclos de piezas breves 121 ÍNDICE GENERAL 3. FOLKLORISMO 128 3.1. Utilización de citas 129 3.2. Inspiración de modelos populares 139 Capítulo III: Dodecafonismo y expresividad 1. RECEPCIÓN E INCIDENCIA DE LA II ESCUELA DE VIENA EN LA SEGUNDA MITAD DEL SIGLO XX 149 2. EL DISEÑO DE LAS SERIES EN LA MÚSICA ESPAÑOLA PARA PIANO 161 2.1. Construcción de las series 161 2.1.1. Agrupaciones simétricas 162 2.1.2. Agrupaciones parcialmente simétricas 164 2.1.3. Agrupaciones asimétricas 164 2.2. Exposición de la serie 165 2.3. La presencia de estructuras tonales 167 3. DODECAFONISMO Y SERIALISMO COMO LENGUAJE PROPIO 169 3.1. Rodolfo Halffter 170 3.1.1.
    [Show full text]
  • 2017-2018 Undergraduate Catalog
    2017-2018 Undergraduate Catalog This publication has been authorized by the Board of Trustees. The provisions of this publication are not to be regarded as an irrevocable contract between the student and Western State Colorado University. The information presented is based on commonly accepted practices at Western State Colorado University, but the University reserves the right to change any provision or requirement at any time within the student’s term of attendance. For further information, phone or write: Office of Admissions Western State Colorado University Gunnison, CO 81231 (970) 943-2119 1-800-876-5309 Main Switchboard (970) 943-0120 www.western.edu • [email protected] May 2017 Published by Western State Colorado University, Gunnison, Colorado 81231 Western State Colorado University is an affirmative action, equal opportunity institution and employer. We encourage applications for admission or employment and participation in other University programs and activities by all individuals. The University does not discriminate on the basis of race, sex, creed, color, age, religion, national origin, marital status, sexual orientation, or disability in admission or access to, or treatment or employment in, its educational programs or activities. Inquiries concerning Title VI, Title IX, ADA, and Section 504 may be referred to the Affirmative Action Officer (970 943-3140) or to the Office for Civil Rights, U.S. Department of Education, 1244 Speer Boulevard, Suite 300, Denver, Colorado 80204. No qualified handicapped person shall, on the basis of handicap, be excluded from participation in, or be denied the benefits of, or otherwise be subjected to discrimination, under any academic research, occupational training, housing, health insurance, counseling, financial aid, physical education, athletics, recreation, transportation, other extracurricular or other post-secondary education program or activity to which this sub part applies (Section 504, Rehabilitation Act of 1973, 29 USC 706, Title 45, Section # [84.3.1]).
    [Show full text]
  • 14.203 Bazayev
    The Politics of Atonality during the Thaw and Beyond INESSA BAZAYEV Abstract The article provides a critical survey of harsh Soviet attacks on atonal music both foreign and domestic, which began to take root about a decade after the formation of the Soviet Union and continued through the Soviet period. To better contextualize the criticism of atonality within the Soviet Union, the author first discusses the thriving state of atonality prior and during the first two decades of the formation of the Soviet Union, especially highlighted by performances of works by Schoenberg and Berg, as well as their visits to Russia in the 1910s and 1920s. Then, the political climate drastically changed due to the Resolution of 1932, which sought to eradicate all artistic activities and publications that did not comply with Socialist Realism. The term “atonality” became a taboo and was used as a weapon to smear the reputation of Soviet composers. Finally, the article concludes with a brief summary of selected publications by theorist Yuri Kholopov, who tried to re-validate atonality. His creation of the new term—neotonality (1980s)—permitted him to discuss atonal music freely, without the use of the so-called “taboo” term that permeated the Soviet years, allowing open discussion of music by foreign and domestic composers. In official Soviet publications on contemporary music from the 1950s and 1960s, the terms “atonality” [atonal’nost’] and “twelve-tone music” [dvenadtsatitonovaya muzïka] were considered taboo. When used, they functioned to either smear the reputation of Soviet composers or condemn the works of their Western counterparts, especially members of the Second Viennese School.
    [Show full text]
  • The Relation of Analysis to Performance of Post-Tonal Violin Music: Three Case Studies
    City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 9-2016 The Relation of Analysis to Performance of Post-tonal Violin Music: Three Case Studies Karen E. Rostron The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/1565 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] The Relation of Analysis to Performance of Post-tonal Violin Music: Three Case Studies by Karen Rostron A dissertation submitted to the Graduate Faculty in Music in partial fulfillment of the requirements of the degree of Doctor of Musical Arts The City University of New York 2016 ii © 2016 KAREN ROSTRON All Rights Reserved iii This manuscript has been read and accepted by the Graduate Faculty in Music in satisfaction of the dissertation requirement for the degree of Doctor of Musical Arts. Jeff Nichols _____________________ ______________________________________ Date Chair of Examining Committee Norman Carey _____________________ ___________________________________ Date Executive Officer Joseph N. Straus, Adviser Norman Carey, First Reader Ursula Oppens , Reader Supervisory Committee THE CITY UNIVERSITY OF NEW YORK iv Abstract THE RELATION OF ANALYSIS TO PERFORMANCE OF POST-TONAL VIOLIN MUSIC: THREE CASE STUDIES by Karen Rostron Adviser: Professor Joseph N. Straus This dissertation investigates analytical and performance relationships through studies of three post-tonal pieces for solo violin: Élégie by Igor Stravinsky (1944), Riconoscenza per Goffredo Petrassi by Elliott Carter (1984), and Melismata by Milton Babbitt (1982).
    [Show full text]
  • MTO 3.4: Barnes, Review of Williams
    Volume 3, Number 4, July 1997 Copyright © 1997 Society for Music Theory Larry J. Barnes KEYWORDS: Williams, pedagogy, atonality, set theory, neotonality, aleatory, minimalism, new tonality ABSTRACT: Lest we arrive at the millennium uninformed, the time to reconcile with the twentieth century’s milieu has arrived with a vengeance. In the spring of 1997, I employed J. Kent Williams’s Theories and Analyses of Twentieth-Century Music, one of several recent texts that attempt such a reconciliation. Newly published, this was the primary resource in a course designed for upper-level undergraduate music majors. Unlike two other current texts dealing with analysis of our century’s music, Williams’s offers a brave inclusiveness, paying careful homage to nearly every salient style of this century. This review deals with personal successes and concerns I encountered with this in the classroom. Initial Observations “Day after day, making tomorrow seem like yesterday. And remember when we said there was no future? Well, this is it.”(1) “Humans tend to construct, accept and share with others systems that explain and organize their world as perceived and known, and feel uneasy without such explanation and organization.”(2) [1] The recently published text, Theories and Analyses of Twentieth-Century Music by J. Kent Williams, suggests that, lest we arrive at the millennium uninformed, the time has arrived to reconcile with a vengeance the now-fading twentieth-century milieu. We appear to be in a period of intense, self-absorbed retrospection. Blank Reg’s casual paraphrase of nihilistic philosophy in the ill-fated ABC-TV series “Max Headroom” signaled that popular media had finally arrived at the cynical conclusions of Schopenhauer.
    [Show full text]
  • Harmonic Function in the Late Nineteenth-Century Chromatic Tonality of Wagner and Strauss: a Study of Extensions to Classical Prolongational Practices
    Harmonic Function in the Late Nineteenth-Century Chromatic Tonality of Wagner and Strauss: A Study of Extensions to Classical Prolongational Practices by Kyle Hutchinson A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Faculty of Music University of Toronto © Copyright by Kyle Hutchinson 2020 Harmonic Function in the Late Nineteenth-Century Chromatic Tonality of Wagner and Strauss: A Study of Extensions to Classical Prolongational Practices Kyle Hutchinson Doctor of Philosophy Faculty of Music University of Toronto 2020 Abstract That mid-to-late nineteenth-century chromatic tonality challenges diatonic-based prolongational models of tonality is a well-known assertion. Recently, the field has embraced alternative frameworks, especially neo- Riemannian and transformational approaches, to account for coherence in the works of composers such as Richard Wagner or Richard Strauss. These approaches, however, only occasionally capture the extent to which this repertoire exhibits the prolongational procedures operative in classical tonality despite the unfamiliarity of the chromatic syntax. My dissertation investigates how this chromatic syntax can be approached as an extension of familiar diatonic models. My broader theoretic basis involves recognizing a proliferation of harmonic polysemy, whereby chords that have commonplace sonorities do not function in ways traditionally associated with that sonority. To account for this disjunction, I develop a model of Functional Interval Progressions (FIPs), which proposes dominant function is a product not of sonority, nor an isolated leading tone, but rather a combination of a univalent dissonance (a tritone or diminished seventh) combined with its conventional resolution: in short, I suggest function is a product of motion.
    [Show full text]
  • Narong Prangcharoen and Thai Cross-Cultural Fusion in Contemporary Composition
    NARONG PRANGCHAROEN AND THAI CROSS-CULTURAL FUSION IN CONTEMPORARY COMPOSITION A THESIS IN Musicology Presented to the Faculty of the University of Missouri-Kansas City in partial fulfillment of the requirements for the degree MASTER OF MUSIC by NATHINEE CHUCHERDWATANASAK B.A.(Music), Mahidol University, 2007 M.M., Eastern Michigan University, 2009 Kansas City, Missouri 2014 NARONG PRANGCHAROEN AND THAI CROSS-CULTURAL FUSION IN CONTEMPORARY COMPOSITION Nathinee Chucherdwatanasak, Candidate for Master of Music Degree University of Missouri-Kansas City, 2014 ABSTRACT Narong Prangcharoen (b.1973) has become one of the leading Asian classical composers since he won a number of international awards and received numerous commissions from major orchestras and individual distinguished musicians. His compositions, most of which include distinct Thai musical elements and Thai cultural influences within the guise of Western art music, are emblematic of a trend in contemporary composition that embraces worldwide influences. This thesis is a first step toward the literature of this compositional trend of Thai/Western musical fusion. It begins with a survey to different approaches of applying exotic elements into Western compositions, focusing on the fusion of Western and Far Eastern musical/non-musical elements of China and Indonesia. The focus then shifts to the cross-cultural interplay between Thai and Western elements that has appeared throughout Thai music history. The main topic of thesis ensues, with the presentation of Prangcharoen’s musical background, his creative process, and his synthesis of Thai influences and Western compositional techniques in his orchestral music. The purpose of this thesis is to be not only a principal source in iii apprehending Prangcharoen’s life and works, but also a foundation for any future study relating to Prangcharoen or other Thai composers and their compositions.
    [Show full text]