Thinking In and About Music offers a new look at Milton Babbitt's music, one which brings to bear theories of gesture and embodiment, rhetoric, text setting, and temporality in order to provide a multi-faceted look at one of the twentieth century's most fascinating musical minds.
Thinking In and About Music offers a new look at Milton Babbitt's music, one which brings to bear theories of gesture and embodiment, rhetoric, text setting, and temporality in order to provide a multi-faceted look at one of the twentieth century's most fascinating musical minds.
Zachary Bernstein is Assistant Professor of Music Theory at the Eastman School of Music. His writings on twentieth-century music have appeared in Music Theory Spectrum, Journal of Music Theory, Perspectives of New Music, Music Theory Online, Theory and Practice, and Oxford Bibliographies Online .
Inhaltsangabe
* Preface * Acknowledgments * Permissions * About the companion website * Chapter 1 On Milton Babbitt, Schenkerian * Introduction * Goethe, Schenker, and Hierarchical Organicism * Babbitt and Schenker * The Implications of the Series * Analepsis and Prolepsis * Conclusion * Chapter 2 Construction, Cognition, and the Role of the Surface * A Way into Emblems * Rudolf Carnap and Phenomenalistic Construction * George Miller, Information Processing, and Memory * Babbitt's Cognitively Informed Compositional Techniques * Organicism as Cognitive Heuristic: The "Schenker Memorative Approach" * "The Requirements"--and Responsibilities--"of Cognitive Communication" * Conclusion: Babbitt's Psychology and the Analysis of His Music * Chapter 3 The Seam in Babbitt's Compositional Development: Composition for Tenor and Six Instruments * "My Most Difficult Piece" * Trichordal and All-Partition Arrays * "Nearly Divine" Proportions * Generative Polyvocality * Extending the Trichordal Array * The Arrays of Composition for Tenor and Six Instruments * "Invariants of Order Embedded in Invariants of Content" * Chapter 4 The Surface and the Series in Composition for Four Instruments * Chapter 5 Poetic Form and Psychological Portraiture in Babbitt's Early Texted Works * Introduction * "The Widow's Lament in Springtime" * Du * Two Sonnets * Vision and Prayer * Philomel * Conclusion * Chapter 6 Completeness and Temporality * Introduction * Over-, Under-, and Multiple Completeness * Signals and Verticality * Conclusion: "Sounds of Relations" * Chapter 7 Babbitt's Gestural Dialectics * Introduction: The First Measure of Post-Partitions * Sources of Embodied Energetics: Kinesthetic Empathy and Musical Forces * The Gestural Function of Virtuosity * Liminal Periodicity and the Threat of Discontinuity * Serial Anomalies and Text Setting * Rhetorical Closing Gestures in Three Late Piano Pieces * Conclusion: Babbitt's Gestural Music and Formalist Discourse * Afterword: "Anything Vital is Problematical" * Glossary * References
* Preface * Acknowledgments * Permissions * About the companion website * Chapter 1 On Milton Babbitt, Schenkerian * Introduction * Goethe, Schenker, and Hierarchical Organicism * Babbitt and Schenker * The Implications of the Series * Analepsis and Prolepsis * Conclusion * Chapter 2 Construction, Cognition, and the Role of the Surface * A Way into Emblems * Rudolf Carnap and Phenomenalistic Construction * George Miller, Information Processing, and Memory * Babbitt's Cognitively Informed Compositional Techniques * Organicism as Cognitive Heuristic: The "Schenker Memorative Approach" * "The Requirements"--and Responsibilities--"of Cognitive Communication" * Conclusion: Babbitt's Psychology and the Analysis of His Music * Chapter 3 The Seam in Babbitt's Compositional Development: Composition for Tenor and Six Instruments * "My Most Difficult Piece" * Trichordal and All-Partition Arrays * "Nearly Divine" Proportions * Generative Polyvocality * Extending the Trichordal Array * The Arrays of Composition for Tenor and Six Instruments * "Invariants of Order Embedded in Invariants of Content" * Chapter 4 The Surface and the Series in Composition for Four Instruments * Chapter 5 Poetic Form and Psychological Portraiture in Babbitt's Early Texted Works * Introduction * "The Widow's Lament in Springtime" * Du * Two Sonnets * Vision and Prayer * Philomel * Conclusion * Chapter 6 Completeness and Temporality * Introduction * Over-, Under-, and Multiple Completeness * Signals and Verticality * Conclusion: "Sounds of Relations" * Chapter 7 Babbitt's Gestural Dialectics * Introduction: The First Measure of Post-Partitions * Sources of Embodied Energetics: Kinesthetic Empathy and Musical Forces * The Gestural Function of Virtuosity * Liminal Periodicity and the Threat of Discontinuity * Serial Anomalies and Text Setting * Rhetorical Closing Gestures in Three Late Piano Pieces * Conclusion: Babbitt's Gestural Music and Formalist Discourse * Afterword: "Anything Vital is Problematical" * Glossary * References
Es gelten unsere Allgemeinen Geschäftsbedingungen: www.buecher.de/agb
Impressum
www.buecher.de ist ein Shop der buecher.de GmbH & Co. KG Bürgermeister-Wegele-Str. 12, 86167 Augsburg Amtsgericht Augsburg HRA 13309
