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Cambridge University Press 0521662567 - The Cambridge History of Twentieth-Century Music - Edited by Nicholas Cook and Anthony Pople Index More information Index Aaronson, Irving, 312 adowa, 600 ‘The Loveliest Night of the Year’, 312 Adventures of a Ten-Mark Bill, The, 182 Abba, 3, 309, 325, 496, 557, 615 Adventures of Ozzie and Harriet, The, 422, music in Mamma Mia, 325 430 Abbado, Claudio, 615 Aeolian (see also piano: player), 97 Abdel-Rahim, Gamal, 599, 602–3 African-Americans, 8, 154, 158, 167, 311, Rhapsody for Cello and Piano, 602 395, 414, 419, 423, 424, 440, 546 Abiam, Nana Danso, 592 confusion of the African and the Abstract Expressionism, 88, 344, 350 African-American, 160 accessibility(comprehensibility)( see also in Europe, 168 exclusion), 40, 45, 70, 91, 100, 110, impact on the musical, 322 152, 156, 168, 170, 179, 180, 183, 191, impact on Tin Pan Alley, 98 228, 246–8, 264, 298–9, 337, 364, 366, and National Socialism, 62, 174 367, 368, 369, 370, 371, 375, 376, 381, racialized image of, 158 382, 389, 463, 467, 474, 488, 524 African ‘art’ music, 589, 590–3, 596–604, ‘acoustic theology’, 474 606–12 Adami, Giuseppe, 203 Afro-Celt Sound System, 497 Adams, John, 539, 540, 543, 544–5, 549, Agawu, Kofi, 601, 603, 604 551, 553–4, 615 Aho, Juhani, 103 Christian Zeal & Activity, 544 Panu, 103 The Death of Klinghoffer, 553 Akai S-1100 sampler, 564 Grand Pianola Music, 544 Albarn, Damon, 578 Harmonielehre, 549 ‘Waterloo Sunset’, 578 El Ni˜no, 554 Albert, Eugen d’, 200 Nixon in China, 553–4 Tiefland, 200 Shaker Loops, 544 Die toten Augen, 200 Adams, Stephen, 312 Albini, Steve, 565 ‘The HolyCity’,312 aleatoricism, see indeterminacy Adderley, Julian ‘Cannonball’, 404 Alfie, 502 Addinsell, Richard, 310 algorithmic composition (see also ‘Warsaw Concerto’, 310 stochastics), 465, 535 Addy, Obo, 602 All Girls Band, 316 Kukrudu, 602 Alpert, Herb, 311, 441 Okropong, 602 Tijuana Brass, 311, 441 Ade, King Sunny, 595, 596, 615 Spanish Flea, 311 Ad`es, Thomas, 3, 510, 615 Alex, Joe, 169 Adler, Guido, 254 Alfano, Franco, 202 Adorno, Theodor, 46, 73–4, 80, 86, 87, 116, Alfv´en, Hugo, 310 191, 195, 197, 230, 264, 272, 308, 340, Alternative TV, 559 341, 508, 522, 533, 601, 616 ‘Love Lies Limp’, 559 ‘The Ageing of the New Music’, 522 amadinda, 584 ‘Vers une musique informelle’, 533 Amar Quartet, 177 [768] © Cambridge University Press www.cambridge.org Cambridge University Press 0521662567 - The Cambridge History of Twentieth-Century Music - Edited by Nicholas Cook and Anthony Pople Index More information Index 769 amateur music-making, 12, 43, 109, 113, Ballet m´ecanique, 182, 219 146, 177, 311 Jazz Sonata, 171 discouraged, 65 Sonata Sauvage, 171 ambient music (see also electronic dance Transatlantic, 182 music), 555–6, 568, 573, 585 The Wish, 339 Ambrose, Bert, 315, 316 Antoine, 330 A-Mei, 36 ‘La Tramontana’, 330 American Bandstand, 430, 431 AOR (adult-oriented rock), 498 American Civil War, 6, 124, 125 Aphex Twin, 568 American Graffiti, 502 Apollinaire, Guillaume, 83 American Music Club, 567 Arditti, Irvine (see also Arditti String AMM, 470 Quartet), 12, 510 Amos, Tori, 568 Arditti String Quartet, 509, 510, 533 ‘Me and a Gun’, 568 Arel, Bulent, 464 amplification, 21, 23–4, 442, 465, 564 Arlen, Harold, 320, 616 Amy, Gilbert, 454 ‘Come Rain Come Shine’, 320 Diaphonies, 454 Armstrong, Louis, 130, 131, 132, 135, 136, Triade, 454 137, 140, 141, 145, 146, 149, 396, 616 Anatomy of a Murder, 407 ‘Cake Walking Babies’, 131 Anbruch, see Musikbl¨atter des Anbruch ‘Dippermouth Blues’, 130 Anders, Allison, 448 ‘Froggie Moore’, 130 Grace of My Heart, 448 Hot Fives, 132, 137, 140, 145 Andersen, Lale, 328–9 ‘Cornet Chop Suey’, 132 ‘Lili Marleen’, 328–9 ‘Muggles’, 132 Anderson, Brett, 578 ‘Potato Head Blues’, 132 Anderson, Laurie, 552–3, 588 ‘Tight Like This’, 132 ‘O Superman’, 552 ‘West End Blues’, 132 Strange Angels, 588 Arndt, Felix, 111 United States, 553 ‘Nola’, 111 Anderson, Leroy, 102, 310 Arnold, Billy, 168, 175 Blue Tango, 310 American NoveltyJazz Band, 168–9 Sleigh Ride, 310 Arnold, Malcolm, 310 ‘The Typewriter’, 102 Arrested Development, 573 Anderson, Marian, 425 Artaud, Antonin, 347 Anderson, Signe, 449 Art Ensemble of Chicago, 411 Anderson, Thomas J., 7 Art of Noise, 606 Anderson, W. R., 381 Ashcan School, 133 Andriessen, Louis, 40, 471, 545–6, 616 Ashley, Robert, 474, 476, 552, 553 Anachronie I, 545 Atalanta, 552 Anachronie II, 545 Now Eleanor’s Idea, 552 Hoketus, 545 Perfect Lives, 552 On Jimmy Yancey, 545 The Wolfman, 474 Mausoleum, 546 Ashton, Frederick, 183 Reconstructie, 471 Asian Dub Foundation, 562 De Staat, 546 Community Music, 562 Volkslied, 545 Asmussen, Sven, 140 Workers’ Union, 545 Asso, Raymond, 326 Andy, Horace, 575 ‘Elle fr´equentait la rue Pigalle’, 326 Animals, The, 419, 437, 559 Association, 439 animated film, 100, 107, 115, 133, 179 ‘Along Comes Mary’, 439 Ansermet, Ernest, 166, 616 Astaire, Fred, 112, 317 Antheil, George, 70, 171, 182, 219, 292, Atkins, Cholly, 434 339, 616 atsiagbekor, 600 Airplane Sonata, 219 Attali, Jacques, 502, 503, 504 © Cambridge University Press www.cambridge.org Cambridge University Press 0521662567 - The Cambridge History of Twentieth-Century Music - Edited by Nicholas Cook and Anthony Pople Index More information 770 Index Atwell, Winifred, 314 Bach, J. S., 53, 157, 237, 241, 247, 252, 254, Auden, W. H., 207 265, 268, 269, 274, 295, 296, 389, 460, audience, 41–2, 95, 96, 100, 112–14, 115, 481, 485 155, 165, 180, 191, 195, 198, 199, 204, Art of Fugue, 254 205, 229, 232, 233, 246–8, 254, 264, Schoenberg’s version of the Prelude 268, 287, 289, 290, 295, 300, 302–3, and Fugue in E flat, BWV 552, 241 309, 324, 337, 350, 368, 382, 399–400, Webern’s version of the Ricercar from the 415, 431, 443, 467, 469, 485, 497, 509, Musical Offering, 241, 247 519, 524, 531, 535, 559, 589–90, 591 Bacharach, Burt, 329, 432, 570 fans, 399, 423, 443, 447, 478, 480, 490, ‘Magic Moments’, 329 491 background music: fanzine, 559 muzak, 308, 482, 483, 501 jazz, 134, 139, 145, 150, 315, 412 semi-audible, 482, 483 general public, 91, 105, 134, 190, 233, Bacon, Francis, 240, 245, 246, 286, 287–8, 303, 405, Baconiana, 271 482, 509 Baez, Joan, 439, 448, 449, 617 informed audience, 105, 482 ‘The Night TheyDrove Old Dixie listeners, 41, 116, 235, 370, 429, 481, Down’, 439 483, 488, 490, 491, 492, 493, 494, ba˘glama, 20, 21, 29 500, 501 Bailey, Kathryn, 253, 254, 255 construction of, 479–81 Baker, Arthur, 566 mass audience, 66, 308 Baker, Chet, 403 Auer, Leopold, 50 Baker, Josephine, 87, 168, 169–70, 172, 176, Auric, Georges, 174 177, 313, 617 Adieu, New York!, 174 Bakunin, Mikhail, 546 Auschwitz, 208, 389 Bal´asz, B´ela, 182 Austin, Larry, 466 Achtung! 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P. E., 268 Knoxville: Summer of 1915, 379 © Cambridge University Press www.cambridge.org Cambridge University Press 0521662567 - The Cambridge History of Twentieth-Century Music - Edited by Nicholas Cook and Anthony Pople Index More information Index 771 Medea, 379 Anthology, 576 Piano Concerto, 379 Let It Be, 560 Piano Sonata, 379 ‘Across the Universe’, 560 Vanessa, 379 ‘Let It Be’, 577 Barbirolli, John, 617 ‘Love Me Do’, 436 Barenboim, Daniel, 617 Revolver, 441, 576 Baresel, Alfred, 173, 176 ‘Eleanor Rigby’, 576–8 Das neue Jazzbuch, 173 Sergeant Pepper’s Lonely Hearts Club Barnet, Charlie, 141, 142, 143, 402 Band, 332, 441, 442, 468, 560 arrangement of ‘Cherokee’, 143 ‘A Dayin the Life’, 560 Barraqu´e, Jean, 343 ‘When I’m Sixty-Four’, 332 Piano Sonata, 343 ‘Taxman’, 561 Barrie, J. M., 106, 207 ‘Ticket to Ride’, 329 Mary Rose, 106 ‘Yesterday’, 332 Barrister, Alhadji Sikuru Ayinde, 594 Beatniks, 400, 435 Barron, Bebe, 346 Bebey, Francis, 584 Barron, Louis, 346 bebop, 45, 148, 150, 397–401, 402, Barry, James, 308 403–4, 405, 406, 409, 413, 422, Barry, Jeff, 432 442, 444 Barry, John, 434, 618 Becce, Giuseppe, 106 James Bond theme, 434 Bechet, Sidney, 129, 130, 131, 135, 139, Barthes, Roland, 327 168, 619 Bartok,´ Bela, 4, 47, 50, 55, 75, 77, 83, 111, ‘Cake Walking Babies’, 131 115, 193, 244, 279, 301, 366, 378, 485, ‘Kansas CityMan Blues’, 131 515, 618 ‘Wildcat Blues’, 131 Cantata profana, 301 Beck, Jeff, 437 Miraculous Mandarin,77 Beckett, Samuel, 82 Basement Jaxx, 499 Bedford, David, 456 Basie, Count, 141, 142, 150, 317, 402, 618 Beefheart, Captain, 567 Count Basie Band, 143, 149 Captain Beefheart and the Magic Bassey, Shirley, 320, 327 Band, 567 Baudelaire, Charles, 6, 239, 347, 361, 481 Trout Mask Replica, 567 ‘Le voyage’, 361 Beethoven, Ludwig van, 5, 9, 51, 53, 62, 66, Baudrier, Yves, 289 93, 102, 106, 115, 206, 236, 238, 241, Bauhaus, 54 250, 257, 263, 268, 278, 372, 460, 461, Baum, Chris, 602 484, 485, 486, 493, 532, 544, 548 Baumol, William J., 55, 56, 58, 59 F¨ur Elise, 461 Bax, Arnold, 492 Piano Sonata no.
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    James Madison University JMU Scholarly Commons Dissertations The Graduate School Fall 2014 Early music influences in Paul Hindemith's Compositions for the Viola Domenico L. Trombetta James Madison University Follow this and additional works at: https://commons.lib.jmu.edu/diss201019 Part of the Music Performance Commons Recommended Citation Trombetta, Domenico L., "Early music influences in Paul Hindemith's Compositions for the Viola" (2014). Dissertations. 5. https://commons.lib.jmu.edu/diss201019/5 This Dissertation is brought to you for free and open access by the The Graduate School at JMU Scholarly Commons. It has been accepted for inclusion in Dissertations by an authorized administrator of JMU Scholarly Commons. For more information, please contact [email protected]. Early Music Influences in Paul Hindemith’s Compositions for the Viola Domenico Luca Trombetta A thesis submitted to the Graduate Faculty of JAMES MADISON UNIVERSITY In Partial Fulfillment of the Requirements for the degree of Doctor of Musical Arts School of Music December 2014 To my wife Adelaide ii CONTENTS DEDICATION…………………………………………………………………………….ii LIST OF MUSICAL EXAMPLES……………………………………………………….iv LIST OF FIGURES………………………………………………………………………vi ABSTRACT……………………………………………………………………………..vii INTRODUCTION………………………………………………………………………...1 I. The Origins of Hindemith’s Interest in Early Music………………………………….5 II. The Influence of Bach’s D-Minor Chaconne for Solo Violin on Hindemith’s Viola Sonatas op. 11, no.5 and op. 31, no.4………………………………………………..14 III. Viola Concerto Der Schwanendreher………………………………………………..23 IV. Trauermusik for Viola and Strings…………………………………………………..35 CONCLUSION…………………………………………………………………………..42 BIBLIOGRAPHY………………………………………………………………………..45 APPENDICES…………………………………………………………………………...48 A. Musical Examples B. Figures iii Musical Examples 1a Hindemith, Solo Viola Sonata Op. 11, No. 5, movt. IV (In Form und Zeitmass einer Passacaglia), Theme…………………............................................49 1b Bach, Chaconne, Theme………………………………………………………....49 1c Hindemith, Solo Viola Sonata Op.
  • Exploring Xenakis Performance, Practice, Philosophy

    Exploring Xenakis Performance, Practice, Philosophy

    Exploring Xenakis Performance, Practice, Philosophy Edited by Alfia Nakipbekova University of Leeds, UK Series in Music Copyright © 2019 Vernon Press, an imprint of Vernon Art and Science Inc, on behalf of the author. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of Vernon Art and Science Inc. www.vernonpress.com In the Americas: In the rest of the world: Vernon Press Vernon Press 1000 N West Street, C/Sancti Espiritu 17, Suite 1200, Wilmington, Malaga, 29006 Delaware 19801 Spain United States Series in Music Library of Congress Control Number: 2019931087 ISBN: 978-1-62273-323-1 Cover design by Vernon Press. Cover image: Photo of Iannis Xenakis courtesy of Mâkhi Xenakis. Product and company names mentioned in this work are the trademarks of their respective owners. While every care has been taken in preparing this work, neither the authors nor Vernon Art and Science Inc. may be held responsible for any loss or damage caused or alleged to be caused directly or indirectly by the information contained in it. Every effort has been made to trace all copyright holders, but if any have been inadvertently overlooked the publisher will be pleased to include any necessary credits in any subsequent reprint or edition. Table of contents Introduction v Alfia Nakipbekova Part I - Xenakis and the avant-garde 1 Chapter 1 ‘Xenakis, not Gounod’: Xenakis, the avant garde, and May ’68 3 Alannah Marie Halay and Michael D.