The big composers cookery book: strategies and structures in new music from 1900-present
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| Beschreibung: | 479 Seiten, XVI Seiten Farbtafeln Illustrationen, Notenbeispiele (teilweise farbig), Portrait (des Verfassers auf dem Cover, farbig) 24 cm |
| ISBN: | 9789082408966 |
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| 245 | 1 | 0 | |a The big composers cookery book |b strategies and structures in new music from 1900-present |c Peter-Jan Wagemans ; vertaald Leo Reijnen |
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Datensatz im Suchindex
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| adam_text | CONTENTS 1. 2. 3. 1. 2. PREFACE 15 CHAPTER I LET’S LISTEN TO THE LISTENER 19 Introduction A system of social values 19 21 2.1 2.2 2.3 2.4 22 23 24 24 The first archetype: telling stories The second archetype: music for dance The third archetype: creation of mysticspace Conclusions What is art? 25 3.1 3.2 3.3 3.3.1 3.3.2 3.3.3 3.4 25 27 27 28 28 28 29 First layer: ideology Second layer: material Third layer: aesthetics Taste Tradition Art or utility? Fourth layer: Gestalt CHAPTER II THE SECOND VIENNESE SCHOOL 31 Why innovate? 31 1.1 1.2 1.3 31 32 33 The first performance of the Gurre-lieder The burden of Flegel Art-Hegelians The step to atonality 35 2.1 2.2 2.3 2.3.1 2.4 2.5 35 36 37 39 42 43 Chromaticism and Reger Chromaticism and Tristan The emancipation of dissonance The consonance-dissonance dilemma The orchestra of the twentieth centurymusic The Schönberg Verein
Analysis of Schönberg: Fünf Orchesterstücke 3-і 3.2 3-3 First movement, counterpoint of textures Third movement: the emancipation of the chord Fifth movement: musical prose The emancipation of the chord Analysis of Wozzeck, the atonal masterpiece 44 44 48 48 52 52 5-і Introduction 52 5-2 5.2.1 5.2.2 5.2.3 5.2.4 5.2.5 5.2.6 5.2.7 5.2.8 5.2.9 Analysis The first triangle: Wir arme Leut [Us poor folks] The second triangle: Wozzeck as father The third triangle: the drama The fourth triangle: buffo The fifth triangle: one of the people Nature The ambiguity of the music material in Wozzeck Invention over a key Importance 53 54 56 57 58 59 59 59 61 62 Some notes on melody in the Second Viennese School 62 6.1 6.2 6.3 6.4.1 6.4.2 62 62 62 63 64 The unendliche Melodie The ostinato The gliding rhythm Avoiding repetition The use of the whole tone scale The twelve-tone technique 65 Origin The tone rows Analysis of the first twelve-tone work, a Waltz! Analysis of Alban Berg’s Lyrical Suite, first part Introduction Analysis of the row Detailed analysis 7-4-3 Analysis of Anton Webern’s Symphony (1928) 7-5 7.5.1 Importance 7.5.2 Row analysis Mirrored ensemble 7-5-3 The first movement 7-5-4 7.5.4.1 Harmonic regions 7-5-4-2 Rhythmic units The second movement 7-5-5 Gedanke - Raum - Unity 7.6 7.6.1 Gedanke 7.6.2 Raum [space] 7.6.3 Unity 65 66 68 7-і 7-2 7-3 7-4 7.4.1 7.4.2 73 73 73 75 83 83 83 83 84 84 84 84 86 86 87 88
CHAPTER III PARIS 89 Introduction A comparison between Paris and the Second Viennese School Sub-languages 89 91 92 3.1 3.1.1 3.1.2 3.1.3 3.2 3.3 92 93 95 95 96 3.4 3.5 3.5.1 3.5.2 3.5.3 3.5.4 3.5.5 Sub-language: modes Debussy’s Voiles The Messiaen modes Modes in Andriessen’s De Tijd[Time] Sub-language: colouredmelody Sub-language: period style quotation and object quotation Sub-language: montage Sub-language: harmonic enrichment Enriched harmony White Music Multi-tonality Polychords The magic of colour. The emancipation of chord to sound 97 102 103 103 106 107 108 108 Some analytical comments on Igor Stravinsky’s Le Sacre du printemps 110 4.1 4.2 4.3 4.4 The rhythm of Le Sacre The harmonic language of Le Sacre The use of modes in Le Sacre Quotation in Le Sacre no 112 113 114 Analysis of Symphonies of Wind Instruments (1920) 116 5.1 5.2 116 117 Form Material Edgard Varèse 120 6.1 6.2 6.2.1 6.2.2 6.3 120 121 121 124 126 Introduction Style Textures and form Tone organisation in Octandre Analysis of Arcana Olivier Messiaen 131 7.1 7.2 7.3 7.4 7.5 131 133 135 135 137 introduction Rhythm Modes Style oiseau Montage in Couleurs de la CitéCéleste (1964)
CHAPTER IV THE SATZ 139 Introduction Elements of the Satz Different music for different periods Some examples 139 141 146 148 4.1 4.2 4.2.1 4.2.2 4.2.3 4-3 4.4 4-5 4.6 4-7 4.8 The regular rhythm Prokofiev’s Scythian Suite (1915) The Satz as command: Soviet Realism For the people verses of the people The five commandments Mozart and a popular tune Stravinsky, Symphony of Psalms (1930), second movement: fugue Shostakovich, beginning of the Fourth Symphony (1935-36) Stravinsky, Symphony in C (1940), beginning of the second movement Honegger, Symphony nr 5 (1951), beginning of the second movement After 1950 Béla Bartók 5-і 5·2 5·3 5-4 5·5 5·6 Introduction Synthesis Revolution, evolution Modes, polymodaiity and chromatism Mistuning General spirit (connected to folk music) 148 149 149 152 153 155 155 158 158 159 159 162 162 163 164 165 171 172 The atonal Satz: Matthijs Vermeulen 17Յ Introduction General spirit Vermeulen’s melody The textures 17Յ 174 174 175 6.1 6.2 6.3 6.4 Different tonalities 7-і 7.1.2 7.1.2 7.1.3 7.1.4 7· 2 7-2.1 7-2.2 7-2.3 7·2·4 Benjamin Britten and Leoš Janáček Sentence structure Form Speech melody Folk music Hindemith’s Unterweisung im Tonsatz Introduction Principles The chromatic tone row Interval value 183 183 183 187 188 189 189 191 192 193 193
7.2.5 7.2.6 7.2.7 7.2.8 7.2.9 8. Redefining the Satz. Ligeti: Etudes for 8.1 8.2 8.3 8.3.1 8.3.2 8.3.3 8.4 8.4.1 8.4.2 8.4.3 8.4.4 8.4.5 1. 2. 3. 4. 195 198 198 199 199 piano Introduction Importance Influences on the Etudes Influences on the Ligeti Etudes:Béla Bartók Influences on the Ligeti Etudes:Conlon Nancarrow Influences on the Ligeti Etudes:Claude Debussy Analyses Etude 1: Désordre Etude 2: Cordes à vide Etude 4: Fanfare Etude 5: Arc-en-ciel [Rainbow] Etude 15: White on White 205 205 205 206 206 206 206 210 210 214 215 216 218 CHAPTER V YOUNG MUSIC, MODERNISM AFTER WORLD WAR II 220 Music after the catastrophe Darmstadt 1951 A little arithmetic 220 225 227 3.1 3.2 227 228 Subsidies How to get rich? The punctual beginning: Structures Iby Pierre Boulez 4.1 4.2 5. Chord value Application New and very handy concepts Analyses A strange result Modes de valeurs en d’intensités. Messiaen’s most speculative work Structures I 229 229 230 Stockhausen 233 5.1 5.2 5.3 5.3.1 5.3.2 5.3.3 5.3.4 5.3.5 5.3.5.1 5.3.5.2 5.3.6 233 235 туї 237 240 241 242 244 244 247 250 Stockhausen as the archetype of the young genius Klavierstück I ...wie die Zeit vergeht.... [how time passes] and Gruppen Pitch and duration Pitch to group The duration of the various groups. The group Utopia or development? The durational formant The pitch matrix The spatial ordering
Pierre Boutez: Penser la musique aujourd hui and Pli selon pli 6.1 6.2 6.2.1 6.2.2 6.2.2.1 6.2.2.2 6.2.2.3 6.2.2.4 6.2.2.5 6.2.3 6.2.4 6.3 Introduction A summary of Boulez’ Penser la musique aujourd hui Introduction The five parameters Pitches Durations Dynamics Timbre Space Musical space and syntax Conclusions Some notes on Pli selon pli New complexity The controlled chance 8.1 8.2 8.3 8.4 8.5 8.6 Kontakte (1958-60) Klavierstück X (1955) Klavierstück VI (1954) Mobile form Action scores Boulez and coincidence 250 250 250 251 251 252 253 256 256 256 257 258 261 263 263 265 265 265 266 267 268 Cage and Adorno, two ideologists of freedom 269 9.1 9.2 9.2.1 9.2.2 9.2.3 269 274 274 275 2 77 John Cage: freedom through chance Theodor Adorno: the impossibility to be free Consequences Philosophie der neuen Musik Adorno’s influence on Young Music Organisation of tone fields 10.1 10.2 10.2.1 10.2.2 10.2.3 10.2.4 10.2.5 10.2.6 10.3 10.3.1 10.4 10.4.1 10.5 10.5.1 Coloured blocks, the early works of Krzysztof Penderecki Interval manipulation and sound fields: Witold Lutosławski Introduction Harmony Horizontal notation, controlled aleatoric Narrative language Analysis of String Quartet (1964) Analysis of Livre pour orchestre (1968) Moving clusters: Luigi Nono Analysis of Nono’s Como una ola de fuerza y luz Micro-polyphony: György Ligeti Analytical remarks on Lontano (1967) Iannis Xenakis: chance manipulation as an instrument of control Introduction 280 281 283 283 284 287 290 290 294 298 298 304 304 306 306
10.5.2 10.5-3 10.5-4 11. 12. 13· 317 The origin of spectral music The theory Applications Analysis: the harmonic language of Tristan Murail’s Désintégrations 320 322 324 An American competitor: the pitch-class set theory 329 12.1 12.2 12.3 329 329 Introduction Principles of the pitch-class sets Overview of the ways to manipulate the series of numbers 330 Electronic music 332 13.1 13.2 13.3 13.4 332 Introduction Electronics outside of classical music Classical music The studios Desirable or undesirable consequences? Live electronics Instruments The modern orchestra 333 335 335 337 338 339 Յ41 CHAPTERVI HYBRID MUSIC 345 Introduction Charles Ives 345 347 2.1 2.2 347 348 Introduction Analysis of The Fourth of July After World War II 3-3 3-4 3-5 3.6 Postmodernism Postmodernism Postmodernism Postmodernism Postmodernism Summary 356 in in in in in philosophy architecture and design painting film music Some 1remarks on Berio: Sinfonia Յ56 357 359 359 360 362 362 Introduction The Swingle Singers Mahler The use of texts The third part of Sinfonia 362 363 363 364 Pluramon, Hymunion in Harmondy 366 4.1 4.1 4.2 4-3 4.4 5· 314 11.1 11.2 11.3 11.4 3-і 3.2 4· 311 316 13-7 13.8 3· 307 Spectral music 13-5 13.6 1. 2. Calculating the details of a sound mass Analysis of Herma (1961) for piano solo Criticism 365
Introduction on Hymnen 5-і Structure 5-2 The electronics 5-3 Equipment 5-3.1 The Russian anthem 5-3-2 Kugelgestalt der Zeit: Zimmermann’s Die Soldaten and Requiem für einen jungen Dichter Introduction 6.1 6.2 The roads leading to the Requiem für einen jungen Dichter 6.2.1 Environment 6.2.2 Musical environment 6.2.3 Texts in the Requiem 6.2.4 Kugelgestalt der Zeit [dome shape of time] 6.2.5 Zimmerman, the composer of radio plays Some analytical remarks about the Requiem für 6.3 einen jungen Dichter 6.3.1 Prologue Requiem І 6.3.2 Requiem II 6.3.3 6.4 Some notes on Die Soldaten A flirt with low culture: Peter Schafs To You Amsterdam 7-і To You (1972) 7-2 Analysis of To You 7-3 Peter-Jan Wagemans 8.1 Introduction 8.2 Viderunt Omnes (1988) for ensemble As 1 Opened Fire (1985) for piano solo 8.3 Strollin’ from Het Landschap [The Landscape] (1989) 8.4 for piano solo Frozen Ritual (2013) for small ensemble 8.5 The jazz connection Introduction 9.1 9.2 Gershwin and Bernstein Robert Graettinger 9-3 Frank Zappa and pop 9-4 9.4.1 Introduction 9.4.2 Zappa and pop John Zorn 9-5 Wolfgang Mitterer 9.6 Music and visuals Introduction 10.1 10.2 Small scale music theatre 366 366 368 368 369 З71 З71 372 372 373 374 З76 З76 377 377 377 378 379 381 381 383 384 З87 387 388 388 390 390 395 395 396 397 397 397 400 402 404 404 404 407
10.3 10.4 407 408 The advent of the music video in pop music New development? CHAPTER VII MINIMAL MUSIC 410 Introduction - Dada and Fluxus 410 1.1 1.2 410 411 Dada Fluxus, the counterculture 414 Minimal Music in the U.S.A. 2.1 2.2 2.3 2.3.1 2.3.2 2.3.3 2.4 2-5 2.6 414 A brief history Reception 415 The three main minimal musical streams 416 416 Loops and pulses Minimal under the influence of conceptual art and Fluxus 420 426 Totalism 426 Ambient A comparison between Downtown Music and Young Music 427 Sources and influences on Minimal Music 427 427 429 The pop band and minimal European minimalism 4.1 4.2 4.2.1 4.2.2 4.2.3 4.2.4 4.2.5 4.2.6 4.2.7 4.2.8 4-3 Introduction Louis Andriessen: De Tijd [Time] Amsterdam and New York The conceptual character of De Tijd Composition of the ensemble Time, metre, and eternity The time bells Further detailed analysis De Tijd The pitch material of De Tijd Harmonic reduction and underlying tone rows of De Tijd God and melancholy, Arvo Part, Henryk Górecki, Galina Ustvolskaya 429 430 430 433 434 434 435 436 439 445 448 ACKNOWLEDGMENTS BIBLIOGRAPHY INDEX 453 ABOUT THE AUTHOR 478 COLOUR PLATES l-XVI COLOUR PLATES XVII-XXXII 458 466 after 96 after 368
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CONTENTS 1. 2. 3. 1. 2. PREFACE 15 CHAPTER I LET’S LISTEN TO THE LISTENER 19 Introduction A system of social values 19 21 2.1 2.2 2.3 2.4 22 23 24 24 The first archetype: telling stories The second archetype: music for dance The third archetype: creation of mysticspace Conclusions What is art? 25 3.1 3.2 3.3 3.3.1 3.3.2 3.3.3 3.4 25 27 27 28 28 28 29 First layer: ideology Second layer: material Third layer: aesthetics Taste Tradition Art or utility? Fourth layer: Gestalt CHAPTER II THE SECOND VIENNESE SCHOOL 31 Why innovate? 31 1.1 1.2 1.3 31 32 33 The first performance of the Gurre-lieder The burden of Flegel Art-Hegelians The step to atonality 35 2.1 2.2 2.3 2.3.1 2.4 2.5 35 36 37 39 42 43 Chromaticism and Reger Chromaticism and Tristan The emancipation of dissonance The consonance-dissonance dilemma The orchestra of the twentieth centurymusic The Schönberg Verein
Analysis of Schönberg: Fünf Orchesterstücke 3-і 3.2 3-3 First movement, counterpoint of textures Third movement: the emancipation of the chord Fifth movement: musical prose The emancipation of the chord Analysis of Wozzeck, the atonal masterpiece 44 44 48 48 52 52 5-і Introduction 52 5-2 5.2.1 5.2.2 5.2.3 5.2.4 5.2.5 5.2.6 5.2.7 5.2.8 5.2.9 Analysis The first triangle: Wir arme Leut [Us poor folks] The second triangle: Wozzeck as father The third triangle: the drama The fourth triangle: buffo The fifth triangle: one of the people Nature The ambiguity of the music material in Wozzeck Invention over a key Importance 53 54 56 57 58 59 59 59 61 62 Some notes on melody in the Second Viennese School 62 6.1 6.2 6.3 6.4.1 6.4.2 62 62 62 63 64 The unendliche Melodie The ostinato The gliding rhythm Avoiding repetition The use of the whole tone scale The twelve-tone technique 65 Origin The tone rows Analysis of the first twelve-tone work, a Waltz! Analysis of Alban Berg’s Lyrical Suite, first part Introduction Analysis of the row Detailed analysis 7-4-3 Analysis of Anton Webern’s Symphony (1928) 7-5 7.5.1 Importance 7.5.2 Row analysis Mirrored ensemble 7-5-3 The first movement 7-5-4 7.5.4.1 Harmonic regions 7-5-4-2 Rhythmic units The second movement 7-5-5 Gedanke - Raum - Unity 7.6 7.6.1 Gedanke 7.6.2 Raum [space] 7.6.3 Unity 65 66 68 7-і 7-2 7-3 7-4 7.4.1 7.4.2 73 73 73 75 83 83 83 83 84 84 84 84 86 86 87 88
CHAPTER III PARIS 89 Introduction A comparison between Paris and the Second Viennese School Sub-languages 89 91 92 3.1 3.1.1 3.1.2 3.1.3 3.2 3.3 92 93 95 95 96 3.4 3.5 3.5.1 3.5.2 3.5.3 3.5.4 3.5.5 Sub-language: modes Debussy’s Voiles The Messiaen modes Modes in Andriessen’s De Tijd[Time] Sub-language: colouredmelody Sub-language: period style quotation and object quotation Sub-language: montage Sub-language: harmonic enrichment Enriched harmony White Music Multi-tonality Polychords The magic of colour. The emancipation of chord to sound 97 102 103 103 106 107 108 108 Some analytical comments on Igor Stravinsky’s Le Sacre du printemps 110 4.1 4.2 4.3 4.4 The rhythm of Le Sacre The harmonic language of Le Sacre The use of modes in Le Sacre Quotation in Le Sacre no 112 113 114 Analysis of Symphonies of Wind Instruments (1920) 116 5.1 5.2 116 117 Form Material Edgard Varèse 120 6.1 6.2 6.2.1 6.2.2 6.3 120 121 121 124 126 Introduction Style Textures and form Tone organisation in Octandre Analysis of Arcana Olivier Messiaen 131 7.1 7.2 7.3 7.4 7.5 131 133 135 135 137 introduction Rhythm Modes Style oiseau Montage in Couleurs de la CitéCéleste (1964)
CHAPTER IV THE SATZ 139 Introduction Elements of the Satz Different music for different periods Some examples 139 141 146 148 4.1 4.2 4.2.1 4.2.2 4.2.3 4-3 4.4 4-5 4.6 4-7 4.8 The regular rhythm Prokofiev’s Scythian Suite (1915) The Satz as command: Soviet Realism For the people verses of the people The five commandments Mozart and a popular tune Stravinsky, Symphony of Psalms (1930), second movement: fugue Shostakovich, beginning of the Fourth Symphony (1935-36) Stravinsky, Symphony in C (1940), beginning of the second movement Honegger, Symphony nr 5 (1951), beginning of the second movement After 1950 Béla Bartók 5-і 5·2 5·3 5-4 5·5 5·6 Introduction Synthesis Revolution, evolution Modes, polymodaiity and chromatism Mistuning General spirit (connected to folk music) 148 149 149 152 153 155 155 158 158 159 159 162 162 163 164 165 171 172 The atonal Satz: Matthijs Vermeulen 17Յ Introduction General spirit Vermeulen’s melody The textures 17Յ 174 174 175 6.1 6.2 6.3 6.4 Different tonalities 7-і 7.1.2 7.1.2 7.1.3 7.1.4 7· 2 7-2.1 7-2.2 7-2.3 7·2·4 Benjamin Britten and Leoš Janáček Sentence structure Form Speech melody Folk music Hindemith’s Unterweisung im Tonsatz Introduction Principles The chromatic tone row Interval value 183 183 183 187 188 189 189 191 192 193 193
7.2.5 7.2.6 7.2.7 7.2.8 7.2.9 8. Redefining the Satz. Ligeti: Etudes for 8.1 8.2 8.3 8.3.1 8.3.2 8.3.3 8.4 8.4.1 8.4.2 8.4.3 8.4.4 8.4.5 1. 2. 3. 4. 195 198 198 199 199 piano Introduction Importance Influences on the Etudes Influences on the Ligeti Etudes:Béla Bartók Influences on the Ligeti Etudes:Conlon Nancarrow Influences on the Ligeti Etudes:Claude Debussy Analyses Etude 1: Désordre Etude 2: Cordes à vide Etude 4: Fanfare Etude 5: Arc-en-ciel [Rainbow] Etude 15: White on White 205 205 205 206 206 206 206 210 210 214 215 216 218 CHAPTER V YOUNG MUSIC, MODERNISM AFTER WORLD WAR II 220 Music after the catastrophe Darmstadt 1951 A little arithmetic 220 225 227 3.1 3.2 227 228 Subsidies How to get rich? The punctual beginning: Structures Iby Pierre Boulez 4.1 4.2 5. Chord value Application New and very handy concepts Analyses A strange result Modes de valeurs en d’intensités. Messiaen’s most speculative work Structures I 229 229 230 Stockhausen 233 5.1 5.2 5.3 5.3.1 5.3.2 5.3.3 5.3.4 5.3.5 5.3.5.1 5.3.5.2 5.3.6 233 235 туї 237 240 241 242 244 244 247 250 Stockhausen as the archetype of the young genius Klavierstück I .wie die Zeit vergeht. [how time passes] and Gruppen Pitch and duration Pitch to group The duration of the various groups. The group Utopia or development? The durational formant The pitch matrix The spatial ordering
Pierre Boutez: Penser la musique aujourd'hui and Pli selon pli 6.1 6.2 6.2.1 6.2.2 6.2.2.1 6.2.2.2 6.2.2.3 6.2.2.4 6.2.2.5 6.2.3 6.2.4 6.3 Introduction A summary of Boulez’ Penser la musique aujourd'hui Introduction The five parameters Pitches Durations Dynamics Timbre Space Musical space and syntax Conclusions Some notes on Pli selon pli New complexity The controlled chance 8.1 8.2 8.3 8.4 8.5 8.6 Kontakte (1958-60) Klavierstück X (1955) Klavierstück VI (1954) Mobile form Action scores Boulez and coincidence 250 250 250 251 251 252 253 256 256 256 257 258 261 263 263 265 265 265 266 267 268 Cage and Adorno, two ideologists of freedom 269 9.1 9.2 9.2.1 9.2.2 9.2.3 269 274 274 275 2 77 John Cage: freedom through chance Theodor Adorno: the impossibility to be free Consequences Philosophie der neuen Musik Adorno’s influence on Young Music Organisation of tone fields 10.1 10.2 10.2.1 10.2.2 10.2.3 10.2.4 10.2.5 10.2.6 10.3 10.3.1 10.4 10.4.1 10.5 10.5.1 Coloured blocks, the early works of Krzysztof Penderecki Interval manipulation and sound fields: Witold Lutosławski Introduction Harmony Horizontal notation, controlled aleatoric Narrative language Analysis of String Quartet (1964) Analysis of Livre pour orchestre (1968) Moving clusters: Luigi Nono Analysis of Nono’s Como una ola de fuerza y luz Micro-polyphony: György Ligeti Analytical remarks on Lontano (1967) Iannis Xenakis: chance manipulation as an instrument of control Introduction 280 281 283 283 284 287 290 290 294 298 298 304 304 306 306
10.5.2 10.5-3 10.5-4 11. 12. 13· 317 The origin of spectral music The theory Applications Analysis: the harmonic language of Tristan Murail’s Désintégrations 320 322 324 An American competitor: the pitch-class set theory 329 12.1 12.2 12.3 329 329 Introduction Principles of the pitch-class sets Overview of the ways to manipulate the series of numbers 330 Electronic music 332 13.1 13.2 13.3 13.4 332 Introduction Electronics outside of classical music Classical music The studios Desirable or undesirable consequences? Live electronics Instruments The modern orchestra 333 335 335 337 338 339 Յ41 CHAPTERVI HYBRID MUSIC 345 Introduction Charles Ives 345 347 2.1 2.2 347 348 Introduction Analysis of The Fourth of July After World War II 3-3 3-4 3-5 3.6 Postmodernism Postmodernism Postmodernism Postmodernism Postmodernism Summary 356 in in in in in philosophy architecture and design painting film music Some 1remarks on Berio: Sinfonia Յ56 357 359 359 360 362 362 Introduction The Swingle Singers Mahler The use of texts The third part of Sinfonia 362 363 363 364 Pluramon, Hymunion in Harmondy 366 4.1 4.1 4.2 4-3 4.4 5· 314 11.1 11.2 11.3 11.4 3-і 3.2 4· 311 316 13-7 13.8 3· 307 Spectral music 13-5 13.6 1. 2. Calculating the details of a sound mass Analysis of Herma (1961) for piano solo Criticism 365
Introduction on Hymnen 5-і Structure 5-2 The electronics 5-3 Equipment 5-3.1 The Russian anthem 5-3-2 Kugelgestalt der Zeit: Zimmermann’s Die Soldaten and Requiem für einen jungen Dichter Introduction 6.1 6.2 The roads leading to the Requiem für einen jungen Dichter 6.2.1 Environment 6.2.2 Musical environment 6.2.3 Texts in the Requiem 6.2.4 Kugelgestalt der Zeit [dome shape of time] 6.2.5 Zimmerman, the composer of radio plays Some analytical remarks about the Requiem für 6.3 einen jungen Dichter 6.3.1 Prologue Requiem І 6.3.2 Requiem II 6.3.3 6.4 Some notes on Die Soldaten A flirt with low culture: Peter Schafs To You Amsterdam 7-і To You (1972) 7-2 Analysis of To You 7-3 Peter-Jan Wagemans 8.1 Introduction 8.2 Viderunt Omnes (1988) for ensemble As 1 Opened Fire (1985) for piano solo 8.3 Strollin’ from Het Landschap [The Landscape] (1989) 8.4 for piano solo Frozen Ritual (2013) for small ensemble 8.5 The jazz connection Introduction 9.1 9.2 Gershwin and Bernstein Robert Graettinger 9-3 Frank Zappa and pop 9-4 9.4.1 Introduction 9.4.2 Zappa and pop John Zorn 9-5 Wolfgang Mitterer 9.6 Music and visuals Introduction 10.1 10.2 Small scale music theatre 366 366 368 368 369 З71 З71 372 372 373 374 З76 З76 377 377 377 378 379 381 381 383 384 З87 387 388 388 390 390 395 395 396 397 397 397 400 402 404 404 404 407
10.3 10.4 407 408 The advent of the music video in pop music New development? CHAPTER VII MINIMAL MUSIC 410 Introduction - Dada and Fluxus 410 1.1 1.2 410 411 Dada Fluxus, the counterculture 414 Minimal Music in the U.S.A. 2.1 2.2 2.3 2.3.1 2.3.2 2.3.3 2.4 2-5 2.6 414 A brief history Reception 415 The three main minimal musical streams 416 416 Loops and pulses Minimal under the influence of conceptual art and Fluxus 420 426 Totalism 426 Ambient A comparison between Downtown Music and Young Music 427 Sources and influences on Minimal Music 427 427 429 The pop band and minimal European minimalism 4.1 4.2 4.2.1 4.2.2 4.2.3 4.2.4 4.2.5 4.2.6 4.2.7 4.2.8 4-3 Introduction Louis Andriessen: De Tijd [Time] Amsterdam and New York The conceptual character of De Tijd Composition of the ensemble Time, metre, and eternity The time bells Further detailed analysis De Tijd The pitch material of De Tijd Harmonic reduction and underlying tone rows of De Tijd God and melancholy, Arvo Part, Henryk Górecki, Galina Ustvolskaya 429 430 430 433 434 434 435 436 439 445 448 ACKNOWLEDGMENTS BIBLIOGRAPHY INDEX 453 ABOUT THE AUTHOR 478 COLOUR PLATES l-XVI COLOUR PLATES XVII-XXXII 458 466 after 96 after 368 |
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| index_date | 2024-07-03T18:46:35Z |
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| spelling | Wagemans, Peter-Jan 1952- Verfasser (DE-588)1019070013 aut The big composers cookery book strategies and structures in new music from 1900-present Peter-Jan Wagemans ; vertaald Leo Reijnen The Hague deuss music managed by albersten verhuur bv [2021] © 2021 479 Seiten, XVI Seiten Farbtafeln Illustrationen, Notenbeispiele (teilweise farbig), Portrait (des Verfassers auf dem Cover, farbig) 24 cm txt rdacontent n rdamedia nc rdacarrier Geschichte 1900-2020 gnd rswk-swf Stil (DE-588)4124256-7 gnd rswk-swf Komposition (DE-588)4032012-1 gnd rswk-swf Musiktheorie (DE-588)4040876-0 gnd rswk-swf Klassische Musik (DE-588)4164043-3 gnd rswk-swf Komponist (DE-588)4032009-1 gnd rswk-swf klassieke muziek muziektheorie Klassische Musik (DE-588)4164043-3 s Geschichte 1900-2020 z DE-604 Komponist (DE-588)4032009-1 s Komposition (DE-588)4032012-1 s Stil (DE-588)4124256-7 s Musiktheorie (DE-588)4040876-0 s Digitalisierung BSB München - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=033019489&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Wagemans, Peter-Jan 1952- The big composers cookery book strategies and structures in new music from 1900-present Stil (DE-588)4124256-7 gnd Komposition (DE-588)4032012-1 gnd Musiktheorie (DE-588)4040876-0 gnd Klassische Musik (DE-588)4164043-3 gnd Komponist (DE-588)4032009-1 gnd |
| subject_GND | (DE-588)4124256-7 (DE-588)4032012-1 (DE-588)4040876-0 (DE-588)4164043-3 (DE-588)4032009-1 |
| title | The big composers cookery book strategies and structures in new music from 1900-present |
| title_auth | The big composers cookery book strategies and structures in new music from 1900-present |
| title_exact_search | The big composers cookery book strategies and structures in new music from 1900-present |
| title_exact_search_txtP | The big composers cookery book strategies and structures in new music from 1900-present |
| title_full | The big composers cookery book strategies and structures in new music from 1900-present Peter-Jan Wagemans ; vertaald Leo Reijnen |
| title_fullStr | The big composers cookery book strategies and structures in new music from 1900-present Peter-Jan Wagemans ; vertaald Leo Reijnen |
| title_full_unstemmed | The big composers cookery book strategies and structures in new music from 1900-present Peter-Jan Wagemans ; vertaald Leo Reijnen |
| title_short | The big composers cookery book |
| title_sort | the big composers cookery book strategies and structures in new music from 1900 present |
| title_sub | strategies and structures in new music from 1900-present |
| topic | Stil (DE-588)4124256-7 gnd Komposition (DE-588)4032012-1 gnd Musiktheorie (DE-588)4040876-0 gnd Klassische Musik (DE-588)4164043-3 gnd Komponist (DE-588)4032009-1 gnd |
| topic_facet | Stil Komposition Musiktheorie Klassische Musik Komponist |
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