Cambridge University Press 052180860X - A Handbook to Twentieth-Century Musical Sketches Edited by Patricia Hall and Friedemann Sallis Index More information Index abbozzo,47 backups, 78 access issues, 23, 31, 36, 40 Barron, Bebe, 189, 192, 193, 237–8 concerning computer-generated material, 187–8 Austin and, 211 acidity, 35, 37 and Cage’s Williams Mix, 193, 194, 207, 208, 210, Adorno, Theodor, 232 211, 237–8 Agawu, Kofi, 232 Barron, Louis, 189, 192, 193, 237–8 agogic indications, 134, 144, 145 and Cage’s Williams Mix, 193, 194, 207, 208, 210, alignment, 89 211, 237–8 ALN, see Archivio Luigi Nono Bartok,´ Bela,´ 55, 215 alterations, 11 compositional methods, 8, 23, 114–30 ambiguity, 177 handwriting, 116, 123–4 analysis, 133–4 lecture notes, 230 limits of, 4, 221 performances of works by other composers, 127 of pitch combinations, 8, 162–5, 168–9 sketchbooks, 114, 115–16, 126 of serial music, 146–60 use of piano for composing, 8, 114, 115, 116 sketches and, see under sketches Improvisations on Hungarian Peasant Songs, 117, 125, annotations, see verbal elements and annotations 126 under sketches The Miraculous Mandarin, 115, 122, 123, 125, 126, Aranyi,´ Jelly d’, 116–17, 130, 230 127, 230 archives and institutions housing musical sketches, 1, 59, Sonata for Violin and Piano No. 1 (1921), 115, 214–20 116–30, 230, 231 access issues, 31, 36 Sonata for Violin and Piano No. 2 (1922), 115, 122 application procedures, 36 Three Studies Op. 18, 125, 126, 231 behaviour in and proper handling of material, 37–9, 40 Bartok,´ Ditta, 229 contacting before visiting, 18 Bartok,´ Marta,´ 116–17, 127 counting of manuscript holdings, 69, 226 BBC Sound Effects Library, 211 estimating time needed at, 18–19 Beethoven, Ludwig van, 6, 54 inspections, 35 sketchbooks, 102, 106, 108, 228–9 preparation for visiting, 17–21, 23, 29–31, 36, 39–40, sketches, 54, 131 73 Symphony No. 10 (sketches), 16 reducing need to visit, 37 bella copia,51 responsibilities of archivists and researchers, 36–42, Benary, Peter, 224 71–2 Benjamin, Walter, 3, 6 working in, 31, 36 Berberian, Cathy, 27–9 see also digital archives and sources Berg, Alban, 214 Archivio Luigi Nono, 59–72, 215, 226 Carter compared to, 168 Artificial Life theory, 177 compositional methods, 6, 7, 8, 102 artwork(s), see work(s) of art explanatory notes, 7 Asaf’yev, Boris, 135 handwriting, 108–13 Austin, Larry paper used for sketches, 90 and Ives’s Universe Symphony, 211, 213 printed scores, 227 Williams [re]Mix[ed], 189, 191, 197, 199–213, 237; sketchbooks, 102–13 sounds recorded for, 202, 207–12 verbal instructions and footnotes in scores, 134 autograph, meaning of, 51–3, 185 Lulu,15 Babbitt, Milton, 164 Lyric Suite,7 Bach, Johann Sebastian, 54, 156 Wozzeck, 102, 103, 110–11, 112, 168 246 © Cambridge University Press www.cambridge.org Cambridge University Press 052180860X - A Handbook to Twentieth-Century Musical Sketches Edited by Patricia Hall and Friedemann Sallis Index More information Index 247 Berio, Luciano, 18–23, 30, 223 sketches, 161–75 compositional methods, 23, 27 view of his place in music-theoretical research, 163–4 Folk Songs,27 Concerto for Orchestra, 163 Gesti,22 Double Concerto, 164 Rendering,16 Eight Etudes and a Fantasy, 168 Requies, 17, 18, 19–20, 21, 22, 23–9 A Mirror on Which to Dwell, 165–75, 235; ‘Anaphora’, Sequenza III,29 165–75 Sequenza V,22 String Quartet No. 1, 163, 164 BIS, 232 String Quartet No. 2, 164 Bishop, Elizabeth, 166 Casella, Alfredo, 217 Blacher, Boris, 220 catalogues and cataloguing, 20–1, 36, 37, 41, 59–73 books, sketches written in, 45, 69 of pitch combinations, 8, 162–5, 168–9 books and bound documents, proper handling, 37–9, 40 see also classification systems and inventories Borio, Gianmario, 55, 221 cellulose, 33 Boulez, Pierre, 8, 146, 147–56, 159–60, 192 Cerha,ˇ Friedrich, 15 Cage and, 147, 191, 192, 199, 212 Cernovitch, Nicola, 194 compositional methods, 23, 147–56 Cezanne,´ Paul, 5 definition of system, 160 Chadabe, Joel, 212, 213 sketches, 148–9 Charlip, Remi, 194 and Stravinsky, 151 chronology and dating, 9–10 Antiphonie, 148–9, 153–6, 235 composers’ own, 10, 45, 68, 91, 116, 178, 224 Le marteau sans maˆıtre, 148, 149–50, 151–3, 156, 160 computer files, 178–9 Piano Sonata No. 3, 148–9, 235 examples of investigation into, 27, 29–30, 45, 55, Premi`ere ´etude de musique concr`ete, 147 93–100, 116–30, 178–9, 224 Structures, 147, 150 external evidence and, 9, 69–70, 126, 178 Brahms, Johannes, 54 of literary texts, 53 Britten, Benjamin, 216 paper and, 9, 69–70, 91 brouillon,47 see also order Brown, Carroll, 194 classification systems, 36, 43, 59–73 Brown, Earle, 189, 193, 194, 201, 206, 237 see also catalogues and inventories Octet, 192, 199, 236, 237–8 Coda Finale (notation program), 177, 181 Bruckner, Anton collaboration, 15–16, 110, 193–4, 203, 224, 237–8 Symphony No. 9 (sketches), 15 colleagues, as source of information, 17 Busoni, Ferruccio, 216 colour identifying, 103 Cage, John, 8, 191–6, 208, 209, 212, 217, 218 of ink/ink flow, 124, 230 and Brown, 237–8 issues in reproduction, 30, 75, 78–9 and compositional methods, 194–6 of paper, 103 and computers, 202–3 complete editions, publication of sketches in, 10–11 and the I Ching, 191, 193, 194, 195–6, 202–3, 237 completeness/incompleteness, see under sketches Concerto for Prepared Piano and Chamber Orchestra, 193 completions of, and works based on, sketches, 15–16, Fontana Mix, 237 211, 213 HPSCHD, 203 see also Austin, Larry, Williams [re]Mix[ed] Imaginary Landscape No. 4, 193 complexity, 177 Imaginary Landscape No. 5, 193, 236–7 composer institute, 1, 214–20 Instances of Silence, 237 composers Music of Changes, 193, 203 attitudes to sketches, 9, 22–3 Newport Mix, 237 comments and explanatory notes on own work, 7 Rozart Mix, 194, 237 compositional technique/process, 6–9, 88, 131, String Quartet, 191, 193 132–3 Williams Mix, 191, 213; Cage on performance, 212; computer-assisted, see computer-assisted performance configuration, 206–7; sounds recorded composition/sketching for, 202, 207–12 individual/collective, 15–16, 133 Carter, Elliott, 161–5, 181 not notating self-evident aspects, 8–9, 45 compositional methods, 165–75 pre-compositional strategies, 6–8, 114, 162–5 Harmony Book and related research, 8, 162–5, 168–9 reconstructing/understanding, 114, 115, 127–30, 133, pre-compositional strategies, 162–5 142–5, 146–7, 162, 178, 181, 187 © Cambridge University Press www.cambridge.org Cambridge University Press 052180860X - A Handbook to Twentieth-Century Musical Sketches Edited by Patricia Hall and Friedemann Sallis Index More information 248 Index computer-assisted composition/sketching, 176–7, Eberle, Josef, 103, 230 178–88, 202–3 Eco, Umberto, 55–6 see also Williams [re]Mix[er] editorial commentaries, 11–14, 87–8, 89, computers, 76, 187–8 113 storage systems, 80–1 Eisenstein, Sergei, 132, 232 testing databases, 83 Eisler, Hanns, 217 see also computer-assisted composition/sketching and electronic music, 189–213 digitisation Elgar, Edward confidentiality, 133, 162 Third Symphony (sketches), 16 conservation issues, 31, 32–5, 74, 187 empty staves, 89, 227 see also storage Entwurf,47 continuity drafts sketches, 47, 90, 115–16 eps files, 77 cooperation, see collaboration erasures, 11, 30, 139 copia, bella,51 see also deletions copies, see fair copies and working copies errors, 11–12, 152 copyists, 226 Cage on, 212 copyright, 23, 36, 40, 54, 132, 223 in classification, 39 corrections, 30 in published editions, 152, 234 cotton, 33 transcription and, 11–12, 226 creative (compositional) process, see compositional erste Niederschrift,47 technique/process esquisse,44 cross-reference signs, 91, 95, 227 ethics, 133 Cunningham, Merce, 194 see also privacy exercises, 162–5 Dahlhaus, Carl, 54, 57 experimentation, 133, 232 Dallapiccola, Luigi, 215 extroversive/introversive art, 232 databases, 59–73 of digital files, 81–4 facsimiles, 11, 12, 88 requirements for, 72–3 as adaptations, 85 testing, 83 transcriptions needed to complement, 89–90 dating, see chronology see also under publication of sketches and under Debussy, Claude, 216 publication of works Bartok´ and, 127 fair copies, 51–3, 88–9, 227 D’un Cahier d’Esquisse,5 relationships to sketches/drafts, 8, 23, 27, 44, 51, deletions, 30, 179, 236 135–6, 185 notations which may indicate, 100, 228 terms for in other languages, 51 see also erasures Falla, Manuel de, 215 Dessau, Paul, 220 Fanning, David, 102, 106, 229 dictionary of pitch structures, 8, 162–5, 168–9 Fassung letzter Hand,53 digital archives, 81–4 Feldman, Morton digitisation and digital scans, 17, 23, 29–30, 36–7, 74–81 Intersection, 199, 236 of analog tapes, 200–1 Ferneyhough, Brian, 176–88 and deciphering handwriting, 110, 113 compositional methods, 179–88 problems and benefits of, 74 poems, 236 technological aspects, 74–81 sketchbooks, 177, 178 terminology, 76 sketches, 176, 177–88 see also image manipulation and working copies Bone Alphabet, 177 diplomatic transcription, see transcription(s) Carceri d’Invenzione, 181 Dlugoschevsky, Lucille, 194 La Chute d’Icare, 181 dpi, 76 Etudes Transcendentales, 184 draft(s), 23 Lemma-Icon-Epigram, 181, 236 range of meaning, 20 String Trio, 176, 181, 185 relationship to sketches, 9, 44, 47–51, 114–16 Terrain, 179 terms for in other languages, 47 Trittico per Gertrude Stein, 179 Druckvorlage,53 Palimpsests (poem), 236 fibril, 33, 223 e-sketches, see computer-assisted composition/sketching files, digital, 76, 77–8 ´ebauche,47 formats, 77–8 © Cambridge University Press www.cambridge.org Cambridge University Press 052180860X - A Handbook to Twentieth-Century Musical Sketches Edited by Patricia