Igor Stravinsky left behind a complex heritage of music and ideas. Per Dahl presents a model of communication that unveils a clear and logical understanding of Stravinsky's heritage, based on the extant material available.
Igor Stravinsky left behind a complex heritage of music and ideas. Per Dahl presents a model of communication that unveils a clear and logical understanding of Stravinsky's heritage, based on the extant material available.
Per Dahl is Professor of Music at the University of Stavanger, Norway.
Inhaltsangabe
Introduction Part I: Sign and expression in communication 1 Prelude 1.1. The point of departure 1.2. Discourses of a musical work 2 The multi-layered triad 2.1 Ogden 2.2 Agawu 2.3 A multi-layered triad 2.4 Literacy 2.5 Bacon 2.6 A complete communication model 3 Stravinsky's background and languages 3.1 St. Petersburg 3.2 Suisse/France 3.3 Religion 3.4 America 4 The Aesthetics 4.1 A grid 4.2 Quotes from Stravinsky 4.3 Comments and critiques of Stravinsky's aesthetics 4.4 Adorno 5 The Logics 5.1 The operational grid 5.2 Some aspects from semiotics and linguistics 5.3 Some statements from Stravinsky 5.4 Bacon's idols 6 The Ethics 6.1 The ethical grid 6.2 The listening process 6.3 The composer in action 7 Postlude Part II: Modes of Communication in Stravinsky's music 8 Notation 9 Music notation and literacy in music: a historical approach 10 A study of Stravinsky's notation practice: an empirical approach 10.1 Design 10.2 Results 11 Vocabulary, concepts and adjustments: a semiotic approach 12 Musicians' music reading practices: a cognitive approach 12.1 Music reading 12.2 Approaching the music notation 12.3 Elements in Stravinsky's notation practice 13 Stravinsky's recordings and performances: a critical approach 13.1 The composer as performer 13.2 Some case studies 13.3 Reliability and validity Conclusion Appendices: 1 Work categories 2 Vocabulary 3 Works in the Serial period 4 Shorted and stretched notes
Introduction Part I: Sign and expression in communication 1 Prelude 1.1. The point of departure 1.2. Discourses of a musical work 2 The multi-layered triad 2.1 Ogden 2.2 Agawu 2.3 A multi-layered triad 2.4 Literacy 2.5 Bacon 2.6 A complete communication model 3 Stravinsky's background and languages 3.1 St. Petersburg 3.2 Suisse/France 3.3 Religion 3.4 America 4 The Aesthetics 4.1 A grid 4.2 Quotes from Stravinsky 4.3 Comments and critiques of Stravinsky's aesthetics 4.4 Adorno 5 The Logics 5.1 The operational grid 5.2 Some aspects from semiotics and linguistics 5.3 Some statements from Stravinsky 5.4 Bacon's idols 6 The Ethics 6.1 The ethical grid 6.2 The listening process 6.3 The composer in action 7 Postlude Part II: Modes of Communication in Stravinsky's music 8 Notation 9 Music notation and literacy in music: a historical approach 10 A study of Stravinsky's notation practice: an empirical approach 10.1 Design 10.2 Results 11 Vocabulary, concepts and adjustments: a semiotic approach 12 Musicians' music reading practices: a cognitive approach 12.1 Music reading 12.2 Approaching the music notation 12.3 Elements in Stravinsky's notation practice 13 Stravinsky's recordings and performances: a critical approach 13.1 The composer as performer 13.2 Some case studies 13.3 Reliability and validity Conclusion Appendices: 1 Work categories 2 Vocabulary 3 Works in the Serial period 4 Shorted and stretched notes
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