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Cambridge University Press 978-1-107-02100-6 - Stravinsky and the Russian Period: Sound and Legacy of a Musical Idiom Pieter C. van den Toorn and John McGinness Index More information Index Ablesimov, Alexander 56 extra eighth-note beat 201–5 The Miller Who was a Wizard, a Cheat, and a notation 201 Matchmaker 56 response of listener 201–5 Abraham, Gerald 244–45 geometry of the plot important rather than accent markings, beams and slurs 190–93, 205 individual roles 197 Adams, John 2 layered structures 199–200 El Dorado 2 metrical analysis following Lerdahl– Adorno, T. W. 1 Jackendoff 17 music of Stravinsky and Schoenberg 195, 269 octatonic–diatonic interactions 136, 143–44, Philosophy of Modern Music 1, 282, 283–84 189–90, 214–20 Stravinsky’s music see under Stravinsky and pitch relations 214–20 his critics Tonnetze 216–17, 219 aesthetic belief see performance practice and stratification 17, 199, 208–11 aesthetic belief structure in the large 208–13 Afanasyev, Alexander 53, 75–76, 196–97 substructure 206–08 Russian Folk Tales 196–97 “An Abridged Analysis” (de Schloezer) 13 Agon (Stravinsky) 190–91, 194 Andriessen, Louis 2, 3, 251 alignment 19, 194 De Staat 2 changes in metrical alignment 25, 33 Ansermet, Ernest 79 displacement as opposite of fixed alignment “Antar” Symphony No. 2 (Rimsky-Korsakov) 147 91–92 anti-humanism in Stravinsky’s music 12, 89, dissonances 39 261, 286–87, 289, 290, 294–95, 297 distinctions between displacement in Apollo Musagetes (Stravinsky) 115, 121 Classical style and in Stravinsky 32–33 Arensky, Anton 56–57 hemiola 33–34 articulation 5, 18, 19, 32–33, 267–68, 268–69 Les Noces 108, 112, 221 compositional process 173 metrical alignment and realignment in exactness in 176 relief 41 Les Noces 110, 131–32, 158, 261 and metrical interpretations 20–21 displacement 88 parallel alignment 22–23 incompleteness 114, 123–25, 139–40, 148 Renard 174, 202, 203, 205, 208, 214 percussion supplying extra articulation 79–80 see also meter, text and alignment in phrases 256 Renard Renard 11, 20–21, 199, 205, 214 Allegro section of Renard reconsidered 11, displacement 179 196–224 role of articulation in processes of metrical as “burlesque” 196–97 displacement 88, 179, 183–94, 194 con brio section 174, 184–85, 218 Symphonies of Wind Instruments 261 displacement and repetition in the opening Autobiography (Stravinsky) 259 allegro 20–21, 28–29, 174, 200–1, 208 conflicted interpretations 23 Babbitt, Milton 1 displaced repeats 29–30 Bach, Johann Sebastian 120 passages heard and understood Brandenburg Concerto No. 1 120 conservatively in score/ early sketch Ballets Russes 74 22–23 Banes, Sally 292, 293 radical interpretation 22–23 Barber of Seville (Rossini) 120 repeats of the motive 34–35 Baroque period music 199, 222 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-107-02100-6 - Stravinsky and the Russian Period: Sound and Legacy of a Musical Idiom Pieter C. van den Toorn and John McGinness Index More information 314 Index Bartók, Béla 67–68, 118, 124–29 Cohn, Richard Mikrokosmos 124 “Hyper-Hexatonic Systems” 46 String Quartet No. 3 124, 125, 128 neo-Riemannian operations 46, 147 Violin Concerto 128–29 Comoedia (journal) 292 basic cell conductors and conducting 6, 261 Les Noces 143–44, 146, 148, 164 Ansermet, Ernest 79 as basic melodic pattern of Les Noces 69 Boulez, Pierre 1, 70–71, 230, 295, 301 and “hiccup” motive 69, 117 Kussevitsky, Sergei 252–53 beams see accent markings, beams and slurs modernist fashion 5 “Bear and the Cock” 196–97 Stravinsky’sdifficulties with 252–53, Beethoven, Ludwig van 37, 261, 269 258, 263 bells ringing, suggestion of 69–71, 115–17 Cone, Edward T. 4 bell-like motive in Symphonies of Wind “Stravinsky: the Progress of a Method” 4 Instruments 260, 261 Conversations with Stravinsky (Stravinsky/ Berceuses du chat (Stravinsky) 55–56, 73–74 Craft) 120, 174–75, 177, 259–60 Birtwistle, Harrison 251 Copland, Aaron 1 block and layered structures and textures 3–5 Corle, Edwin 13 Les Noces see under meter, motive and Igor Stravinsky 13 alignment in Les Noces; block and Così fan Tutte (Mozart) 120 layered structures Craft, Robert 3, 69 Symphonies of Wind Instruments see Conversations with Stravinsky 120, 174–75, Symphonies of Wind Instruments 177, 259–60 see also melodic repeat structures in the Les Noces 53, 54, 55, 65, 72 music of Stravinsky, Debussy and Stravinsky in Pictures and Documents 69 Rimsky-Korsakov critics of Stravinsky see Stravinsky and his borrowing see direct borrowing critics Boulez, Pierre 1, 70–71, 230, 295, 301 Cross, Jonathan 250–51 Brandenburg Concerto No. 1 (Bach) 120 Cubism 231, 245 Cui, César 175 Cantata (Stravinsky) 289, 290, 291 Capriccio (Stravinsky) 261, 262 Dahl, Vladimir 124 Carnaval (Schumann) 38, 39 Dahlhaus, Carl 8, 263 Carter, Elliott 251 De Staat (Andriessen) 2 “Cat, the Cock and the Fox, The” 75–76 Debussy, Claude 162, 252 Chopin, Frédéric 261–62 Fêtes 239 Nocturnes 261–62 Nocturnes 239 choreography 95, 164–65, 291–92, 292–93 Nuages 239 church music/Russian Church 71–72, 117, 122 Prélude à l’après-midi d’un faune 235, 239 church bells 69–71, 115–17 repeat structures/duplication 235–40, 248, popevki 68, 131 251 cimbalom 75, 188–89, 215, 217, 218–20 developing variation 18, 119, 195, 270, 278 City Life (Reich) 2 Dewey, John 279 Classical period 18, 30–32, 222 Diaghilev, Sergei 54, 55, 56, 74 Classical concerto forms 199 diatonic system 3–5, 9 Classical–Romantic literature 194 octatonic–diatonic interactions see under Classical–Romantic music 194 octatonic–diatonic interactions Classical tradition 259–60 Dichterliebe (Schumann) 280 developing variation 119, 195, 270, 278 Dictionary of the Russian Language distinctions between displacement in (Dahl) 124 Classical style and in Stravinsky 32–33 Die Reihe (music journal) 1 hemiola rhythm see under hemiola direct borrowing homophonic style 34, 195, 270 folk music in Les Noces 120–23, 131 Schoenbergian model of Classical style 34, errors in Stravinsky’s accounts of role of 195, 271 borrowed folk material 66, 121–22 treatment of fragments 114 “Mitusov song” 122, 131 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-107-02100-6 - Stravinsky and the Russian Period: Sound and Legacy of a Musical Idiom Pieter C. van den Toorn and John McGinness Index More information Index 315 folk music in The Rite of Spring 118–19, 122, Eine kleine Nachtmusik see Serenade, Eine 123–24, 129 kleine Nachtmusik opening of The Rite of Spring 131–32 El Dorado (Adams) 2 from Rimsky-Korsakov 244 entrainment 14–15, 16, 22–23, 29 displacement/ metrical displacement 3–6, 8–9, Eurasianist movement 9–10, 285, 288–89, 290 245, 267–69, 270, 300 expression/expressive timing see under central role 176 performance practice and aesthetic conservative/radical interpretations see belief meter and metrical displacement in Stravinsky fabrication/simulation continuity and discontinuity 247, 249–50 folk songs in Les Noces 118–19, 120, 122, critical indictments 271–74 129–31, 135, 176, 222 developing variation 273–74, 275–84 folk songs in Renard 118, 120, 174–75, 222 displacements rare in Rimsky-Korsakov’s unconscious assimilation of Russian popular music 241–44 verse/borrowed materials 176–77, 222 duplications in Debussy’s music not Fêtes (Debussy) 239 undergoing metrical shifts 239 Fink, Robert 262–63 effects of see meter, text and alignment in Firebird, The (Stravinsky) 56, 61, 115, 118–19 Renard Five Easy Pieces (Stravinsky) 221–22 expressive timing 254 Flood, The (Stravinsky) 84–85 Les Noces see meter, motive and alignment Fodor, J. A. 278 in Les Noces; block and layered folk element in Stravinsky’s melodic style see structures under melody and harmony in Les and location and intensity see meter and Noces metrical displacement in Stravinsky Fundamentals of Musical Composition meter dimming and displacement fading 16, (Schoenberg) 35, 41, 277 29–30 and metrical parallelism 16 Garafola, Lynn 292 conflict between 19–20, 22–23, 101–3, 224, Generative Theory of Tonal Music, A (Lerdahl/ 260, 281 Jackendoff) 13–14 origins of displacement see under meter, text Gestalt psychology 21–22 and alignment in Renard Gjerdingen, Robert 22 overruling traditional processes 194 Glass, Philip 2 Renard see under Allegro section of Renard Glinka, Mikhail Ivanovich 56–57 reconsidered; meter, text and alignment Life for the Czar, A 56–57 in Renard Ruslan and Ludmila 56–57 The Rite of Spring 274, 275–77 Gogol, Nicholas 60 “Royal March” in The Soldier’s Tale 11 grouping 17–18, 23, 35–36 in Stravinsky’s music see meter and metrical grouping dissonances 38, 39, 40 displacement in Stravinsky hierarchy in works of the Russian period and superimposition 251 112–13 Symphonies of Wind Instruments 260–61 Renard 180, 203–04 syncopation see syncopation small-scale 179, 190–94, 199 tempo 253–54, 261 dissonance (metrical) Hanslick, Eduard 7–8 coloristic in character 151–53 Harkins, William 65 concept of 38–41 Haydn, Joseph 36–37, 194 displacement dissonance 38–39, 40 London Symphony, Minuet 37 grouping dissonances 38, 39, 40 string quartets 36–37, 273 indirect 33 Hearing in Time (London) 15 and irregularity of Stravinsky’s music 40 Heaven and Earth (Rimsky-Korsakov) 251 Renard 206, 212–13 hemiola 33–34, 109 Classical contexts 33, 36–37 Eagleton, Terry 265 Haydn’s music 36–37, 38 Éditions Russes 253 Minuet from Mozart’s Serenade 33–36, 38 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-107-02100-6 - Stravinsky and the Russian Period: Sound and Legacy of a Musical Idiom Pieter C.
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  • Let's Play Bassoon

    Let's Play Bassoon

    LET’S PLAY Bassoon By Hugo Fox Hugo Fox From 1922 until 1949, Hugo Fox served as principal bassoonist of the Chicago Symphony Orchestra, where he acquired an almost legendary reputation as one of the outstanding bassoonists of his era. During fifteen years of this period, he was instructor of bassoon at Northwestern University, and many of his students became ranked among the prominent bassoonists of America. During this period, his studies of the acoustics of the instrument and a desire to experiment, prompted him to form the Fox Bassoon Company, which now produces the well-known instru- ments that bear his name. 2 INTRODUCTION: This booklet has been prepared for the bandmaster or woodwind instructor who teaches the instrument, while not being an accomplished bassoonist. It is intended to serve as a handy reminder of some of the more important points to consider when starting a student, maintaining the instrument, and finishing reeds or reed blanks. The fingering chart is based on competent professional practices, and while not extensive in its treatment of alternate fingerings, is sufficiently complete to be used with almost any properly constructed instrument. 3 INDEX Introduction ....................................................................2-3 Starting the Student on Bassoon .................................... 5 Assembly of the Bassoon ...............................................6-7 Care of the Instrument ...................................................8-9 The Reed.....................................................................10-11 Fingering Charts .........................................................12-22 4 STARTING THE STUDENT ON THE BASSOON Either transfer the students from another instrument, or bassoon, much like when playing trombone. The air start them directly on bassoon. If you have access to a stream must have a clear, unobstructed path through the short-reach model bassoon, it is practical to start them in reed, continuing through the instrument.
  • Haydn Society

    Haydn Society

    I:I( ( )I:l), vinsky, pf. ALLEGRO AL 64. 3 min. (In Songs of Igor Stravinsky.) $5.95. instrument known as the cymbalom. The Songs of Igor Stravinsky.) $5.95. performance, by one of the composer's 1917 pupils, was prepared under his aegis, and THREE EASY PIECES (I Edition) the recording is first rate. A burlesque march, waltz, and polka for FIVE EASY PIECES (I Edition) -William Hess and Robert Harmon, ten., piano, four hands; the bass part is particu- A companion set to the Three Easy Pieces Warren Galjour and Leon Lishner, bar., larly easy and was intended for an amateur of 1915, but here the upper part is intended Michael Zittai, cymbalom; orchestra, Robert to play. Two years later Stravinsky reversed for an amateur rather than the lower. The Craft, cond. DIAL io. 26 min. (With Suite this arrangement in the Five Easy Pieces and gamin -like burlesque spirit prevails. Some No. r, Berceuses du Chat, Elegy, Song of the shortly thereafter he transcribed both sets of the titles (Napolitana, Española, Balalaika) Volga Boatmen.) $5.95 as the Suites for Small Orchestra. Good re- suggest folklore more strongly than the cording. music. SONG OF THE VOLGA BOATMEN (1 Edition) -Bartlett and Robertson. MGM E 3o38. -Bartlett and Robertson. MGM E 3038. A fine, sulphuric arrangement of the old 5 min. (With Concerto for Two Pianos Soli, Five 7 min. (With Concerto for Two Pianos Soli, tune, for wind instruments only, created as Easy Pieces, Sonata for Two Pianos.) $4.85. Three Easy Pieces, Sonata for Two Pianos.) a substitute for the Russian national an- $4.85.