Showing papers in "Notes in 1992"
144 citations
TL;DR: The physics of the violin and its origins and development were discussed by Robin Stowell and others as mentioned in this paper, with comments about Cage, Feldman, Scelsi and Babbitt.
Abstract: 1. The violin and bow - origins and development John Dilworth 2. The physics of the violin Bernard Richardson 3. The violinists of the baroque and classical periods Simon McVeigh 4. The nineteenth century bravura tradition Robin Stowell 5. The twentieth century Eric Wen 6. The fundamentals of violin playing and teaching Adrian Eales 7. Technique and performing practice Robin Stowell 8. Aspects of contemporary technique (with comments about Cage, Feldman, Scelsi and Babbitt) Paul Zukofsky 9. The concerto Robin Stowell 10. The sonata Robin Stowell 11. Other solo repertory 12. The violin as ensemble instrument Peter Allsop 13. The pedagogical literature Robin Stowell 14. The violin - instrument of four continents Peter Cooke 15. The violin in jazz Max Harrison Appendix: Principal violin treatises.
73 citations
TL;DR: Abbate as mentioned in this paper reanimated the nineteenth-century metaphor of music that sings in a new context, and proposed interpretive strategies that seek the polyphony and dialogism of music, and that celebrate musical gestures often marginalized by conventional music analysis.
Abstract: Who \"speaks\" to us in The Sorcerer's Apprentice, in Wagner's operas, in a Mahler symphony? In asking this question, Carolyn Abbate opens nineteenth-century operas and instrumental works to new interpretations as she explores the voices projected by music. The nineteenth-century metaphor of music that \"sings\" is thus reanimated in a new context, and Abbate proposes interpretive strategies that \"de-center\" music criticism, that seek the polyphony and dialogism of music, and that celebrate musical gestures often marginalized by conventional music analysis.Who \"speaks\" to us in The Sorcerer's Apprentice, in Wagner's operas, in a Mahler symphony? In asking this question, Carolyn Abbate opens nineteenth-century operas and instrumental works to new interpretations as she explores the voices projected by music. The nineteenth-century metaphor of music that \"sings\" is thus reanimated in a new context, and Abbate proposes interpretive strategies that \"de-center\" music criticism, that seek the polyphony and dialogism of music, and that celebrate musical gestures often marginalized by conventional music analysis.
62 citations
TL;DR: Analyzing Opera: Verdi and Wagner as discussed by the authors explores the latest developments in opera analysis by considering, side by side, the works of the two greatest opera composers of the nineteenth century.
Abstract: "Analyzing Opera: Verdi and Wagner" explores the latest developments in opera analysis by considering, side by side, the works of the two greatest opera composers of the nineteenth century. Although the juxtaposition is not new, comparative studies have tended to view these masters as radically different both as musicians and as musical dramatists. Wagner and his "symphonic opera" set against Verdi "the melodist" is one of many familiar antitheses, and it serves to highlight the particular terms from which comparisons are often made. In this book some of the leading and most innovative music scholars challenge this view, suggesting that as we become more distant from the nineteenth century, we may see that Verdi and Wagner confronted largely similar problems, and even on occasion found similar solutions.But more than this, "Analyzing Opera" sets out to demonstrate the richness and variety of modern analytical approaches to the genre. As the editors point out in their introduction, today's musical scholars increasingly question the usefulness of organicist theories in analytical studies, and, as they do so, opera seems to become an ever more central area of investigation. Opera is peculiar: its clash of verbal, musical, and visual systems can produce incongruities and extravagant miscalculations. It invites a multiplicity of approaches, challenges orthodoxy, and embraces ambiguity. The sheer variety of essays presented here is witness to this fact and suggests that analyzing opera is one of the liveliest (and most polemical) areas in modern-day musical scholarship.In addition to the editors, the contributors to the volume are Philip Gossett, John Deathridge, James A. Hepokoski, Joseph Kerman, Thomas S. Grey, Matthew Brown, Anthony Newcomb, Martin Chusid, David Lawton, and Patrick McCreless.
48 citations
42 citations
TL;DR: Puccini's Turandot as discussed by the authors was the last Italian opera to enter the international repertory and was a fitting finale for the centuries-old Great Tradition of Italian opera.
Abstract: Unfinished at Puccini's death in 1924, Turandot was not only his most ambitious work, but it became the last Italian opera to enter the international repertory. In this colorful study two renowned music scholars demonstrate that this work, despite the modern climate in which it was written, was a fitting finale for the centuries-old Great Tradition of Italian opera. Here they provide concrete instances of how a listener might encounter the dramatic and musical structures of Turandot in light of the Italian melodramma, and firmly establish Puccini's last work within the tradition of Rossini, Bellini, Donizetti, and Verdi. In a summary of the sounds, sights, and symbolism of Turandot, the authors touch on earlier treatments of the subject, outline the conception, birth, and reception of the work, and analyze its coordinated dramatic and musical design. Showing how the evolution of the libretto documents Puccini's reversion to large musical forms typical of the Great Tradition in the late nineteenth century, they give particular attention to his use of contrasting Romantic, modernist, and two kinds of orientalist coloration in the general musical structure. They suggest that Puccini's inability to complete the opera resulted mainly from inadequate dramatic buildup for Turandot's last-minute change of heart combined with an overly successful treatment of the secondary character.
31 citations
TL;DR: Bach's Chronology and Style in the Early Works: A Background for the Orgel-Buchlein The Architecture of the Passacaglia The Organ in Bach's Cantatas Apropos the Musical Offering: The Thema Regium and the Term Ricercar as discussed by the authors.
Abstract: Preface Abbreviations OUTLINES OF A MUSICAL PORTRAIT New Perspectives on Bach Biography The Family Decisive Career Steps Employers and Patrons Buxtehude, Bach, and Seventeenth-Century Music in Retrospect Bach and Johann Adam Reinken: A Context for the Early Works Vivaldi's Compositional Art, Bach, and the Process of \"Musical Thinking\" Bach and the Tradition of the Palestrina Style NEW SOURCES: BROADENED PERSPECTIVES The Neumeister Collection of Chorale Preludes from the Bach Circle Bach's Audition for the St. Thomas Cantorate: The Cantata \"Du wahrer Gott und Davids Sohn\" Origins of the Kyrie of the B Minor Mass The Reformation Cantata \"Em feste Burg\" The Handexemplar of the Goldberg Variations Bach's Personal Copy of the Schubler Chorales The Clavier-Ubung Series Text-Critical Comments on the Original Print of the Partitas Bach's Leipzig Chamber Music New Research on the Musical Offering Bach's Last Fugue: Unfinished? The Compositional History of the Art of Fugue The Deathbed Chorale: Exposing a Myth CONCEPTS, STYLE, AND CHRONOLOGY Chronology and Style in the Early Works: A Background for the Orgel-Buchlein The Architecture of the Passacaglia The Organ in Bach's Cantatas Apropos the Musical Offering: The Thema Regium and the Term Ricercar The Agnus Dei of the B Minor Mass: Parody and New Composition Reconciled Principles of Design and Order in Bach's Original Editions Toward a Definition of the Last Period of Bach's Work EARLY RECEPTION AND ARTISTIC LEGACY On the Original Editions of Bach's Works Bach's Vocal Music and Early Music Criticism On the Recognition of Bach and \"the Bach Chorale\": Eighteenth-Century Perspectives \"The Extraordinary Perfections of the Hon. Court Composer\": An Inquiry into the Individuality of Bach's Music Notes and Postscripts Acknowledgments Index of Works by Johann Sebastian Bach Individual Compositions Collections Index of Archival Sources General Index
29 citations
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23 citations
TL;DR: Rachmaninoff's Composing Career and Musical Style Student Years, 1886-1892 Free Artist, 1892-1897 Moscow, 1897-1906 Dresden, 1906-1909 Ivanovka, 1909-1917 New World, 1917-1943.
Abstract: Contents: Introduction: Rachmaninoff the Composer: Rachmaninoff and Russian Musical History Chronological Summary of Rachmaninoff's Principal Compositions Rachmaninoff's Composing Career and Musical Style Student Years, 1886-1892 Free Artist, 1892-1897 Moscow, 1897-1906 Dresden, 1906-1909 Ivanovka, 1909-1917 New World, 1917-1943 Rachmaninoff's Career as a Pianist Concert Statistics Rachmaninoff the Pianist: Rachmaninoff's Art as a Pianist Piano Repertoire Rachmaninoff and the Gramaphone Discography Rachmaninoff and the Reproducing Piano Rachmaninoff's Career as a Conductor: Conducting Repertoire Chronological List of Performances Notes Index of Rachmaninoff Works Index of Persons and Works referred to in the Text.
23 citations
TL;DR: The 19th century background from 1900 to the first world war between the wars from World War II to the present can be found in this paper, where the authors present the background of the last two world wars.
Abstract: The 19th century background from 1900 to the first world war between the wars from World War II to the present.
TL;DR: The writings gathered here finally make available in one place Lowinsky's major essays, including four previously unpublished ones, in two volumes that are lavishly provided with musical examples and illustrations as discussed by the authors.
Abstract: The writings gathered here finally make available in one place Lowinsky's major essays--including four previously unpublished ones--in two volumes that are lavishly provided with musical examples and illustrations. "Professor Lowinsky's method is the only kind of 'writing about music' that I value."--Igor Stravinsky
TL;DR: The performance of cadenzas in the late baroque period has been studied in this article with a focus on the performance of the cadenza not a cadenza and its growth and decline.
Abstract: Part 1: What is a cadenza? on the performance of cadenzas when is a cadenza not a cadenza? growth and decline. Part 2: late baroque cadenzas C.P.E.Bach and the cadenza other composers in Germany and Austria Mozart and the cadenza Haydn and the cadenza outside Germany and Austria viotti and the cadenza Beethoven and the cadenza the Virtuoso concerto.
TL;DR: Liszt has become for music historians the archetypical genius -able to upstage such titans as Chopin and Thalberg on the piano, then moving with ease into composition and effortlessly traveling outside the boundaries of his age with wildly original music.
Abstract: Franz Liszt has become for music historians the archetypical genius--able to upstage such titans as Chopin and Thalberg on the piano, then moving with ease into composition and effortlessly traveling outside the boundaries of his age with wildly original music. Such a figure will always be difficult to evaluate and thus this comprehensive bibliography and guide will be all the more valuable for student and scholar.
TL;DR: The first volume of the North American Beethoven Studies series as mentioned in this paper was published under the joint auspices of the University of Nebraska Press and the Ira F. Brilliant Center for BEETHoven Studies, focusing on the life and work, milieu and influence of the great composer.
Abstract: Fresh perspectives on the symphonies and piano concertos of Ludwig van Beethoven are offered in the inaugural volume of North American Beethoven Studies . To be published under the joint auspices of the University of Nebraska Press and the Ira F. Brilliant Center for Beethoven Studies, the volumes in the new series will focus on the life and work, milieu and influence of the great composer. The first volume, edited by the noted music scholar and pianist William Kinderman, brings together recent studies by leading scholars on Beethoven's major orchestral, including the first two piano concertos, the Egmont overture, the Missa Solemnis, and several of the symphonies, especially the Third, Fifth, and Ninth. They devote special attention to Beethoven's creative process by analyzing, in some instances closely for the first time, his numerous surviving musical sketchbooks and loose sketch-leaves. The issues dealt with include Beethoven's reinterpretation of the composition models of Haydn and Mozart, his working methods in composition, the structural expansion of his symphonic forms, the design of variation movements in his symphonies, and Beethoven's musical symbolism. Four introductory essays probe the relation between Beethoven's sketches and the analysis of his finished works; it is a fascinating and controversial undertaking. The first volume of North American Beethoven Studies illuminates critical issues and challenges traditional interpretations of some of Beethoven's most celebrated works while avoiding the narrow specialization of some recent scholarship. Future volumes will focus on performance practices, composition, and recording history.
TL;DR: In this article, the development of music in the early Romantic era, 1789-1849, in Paris, Berlin, Dresden, Leipzig, London, Italy, USA, Moscow, St Petersburg and Latin America is examined.
Abstract: One of a series examining the development of music in specific places during particular times. This volume looks at the development of music in the early Romantic era, 1789-1849, in Paris, Berlin, Dresden, Leipzig, London, Italy, the USA, Moscow, St Petersburg and Latin America.
TL;DR: The Senoi Temiar, a group of hunters and horticulturalists dwelling in the rainforest of peninsular Malaysia as mentioned in this paper, use music and dance to transform thoughts, emotions, and bodies.
Abstract: Music and dance play a central role in the \"healing arts\" of the Senoi Temiar, a group of hunters and horticulturalists dwelling in the rainforest of peninsular Malaysia. As musicologist and anthropologist, Marina Roseman recorded and transcribed Temiar rituals, while as a member of the community she became a participant and even a patient during the course of her two-year stay. She shows how the sounds and gestures of music and dance acquire a potency that can transform thoughts, emotions, and bodies.
TL;DR: Berg's life and cultural environment, Douglas Jarman "Man hat auch nur Fleisch und Blut" - Towards a Berg biography, J. Peter Burkholder Berg and the possibility of popularity, Berg's style and technique, Mark DeVoto creeping chromaticism in Berg, Janet Schmalfeldt Berg's path to atonality - the Piano Sonata, Op 1, Robert P. Forte the mask of tonality - Berg's Symphonic Interlude in Wozzeck, Allen Forte Douglass Green, a false start for L
Abstract: Berg's life and cultural environment, Douglas Jarman "Man hat auch nur Fleisch und Blut" - Towards a Berg biography, J.Peter Burkholder Berg and the possibility of popularity - Berg's style and technique, Mark DeVoto creeping chromaticism in Berg, Janet Schmalfeldt Berg's path to atonality - the Piano Sonata, Op 1, Robert P. organ the eternal return - Berg's retrogrades, Allen Forte the mask of tonality - Berg's Symphonic Interlude in Wozzeck, Allen Forte Douglass Green, a false start for Lulu - an early version of the prologue Claudio Spies, some notes on the completion of Lulu Patricia Hall, role and form in Berg's sketches for Lulu Leo Treitler, the character of Lulu.