Elliott Carter speaks: unpublished lectures
"These previously unpublished lectures by Elliott Carter date to the summer of 1967, when the acclaimed composer taught at the Contemporary Music Workshop held by the University of Minnesota. Leading an introductory course on orchestra repertoire, Carter gave nine hours of lectures covering pri...
Gespeichert in:
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| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
Urbana ; Chicago ; Springfield
University of Illinois Press
[2021]
|
| Schriftenreihe: | Music in American life
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Zusammenfassung: | "These previously unpublished lectures by Elliott Carter date to the summer of 1967, when the acclaimed composer taught at the Contemporary Music Workshop held by the University of Minnesota. Leading an introductory course on orchestra repertoire, Carter gave nine hours of lectures covering principal topics like how to live with the musical present and whether the symphony orchestra was a relic of the past or a possible active force for new music. But Carter's observations and prompts by audience questions broadened the discussion into areas ranging from electronic music to analyses of works by other artists and himself. Laura Emmery presents the complete text from each session alongside introductions, commentary, and annotated examples that provide valuable context for readers. Expansive and essential, Elliott Carter Speaks opens up the artist's teaching and introspection to new contemporary perspectives on his thought and art"-- |
| Beschreibung: | XIV, 187 Seiten Illustrationen, Notenbeispiele |
| ISBN: | 9780252044205 |
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| 505 | 8 | |a Introduction. On the "Minnesota Workshop" Lectures -- Part I. Basic Needs for a Music Situation That Is Alive. On Artist's Originality ; On Music Tradition ; Composer's Own Training as a Criticism of the Society ; Composer as a Critic of Contemporary Music, Art, and the Audience ; The Historic Relation between the Public and the Music Profession ; Music as a Force of Communication ; The View of Twentieth-Century Music through the Present and the Past ; Composers as Critics of Their Own Works ; Toward "New Virtuosity" ; Toward Metric Virtuosity -- Part II. How to Live with the Musical Present. On Charles Ives ; Luigi Nono's Il canto sospeso ; On Pierre Boulez and Karlheinz Stockhausen ; On Edgard Varèse ; On Krzysztof Penderecki ; What Is the Domain of Serious Music? A Case Study of Olivier Messiaen ; On Musical Thought -- Part III. The Symphony Orchestra: Relic of the Past or Active Force for New Music? Sociological Aspects of the Symphony Orchestra: State-Supported and Privately Funded Orchestras ; Techniques of Orchestration ; Pocahontas (1939) ; Holiday Overture (1944) ; Variations for Orchestra (1953-1955) -- Part IV. Can an Established Musical Form Like the Concerto Have Any Relevance Today? Contextualizing Piano Concertos ; J. S. Bach : Brandenburg Concerto No. 5 in D Major ; Mozart Piano Concerto No. 24 in C Minor, K. 491 ; Beethoven : Piano Concerto No. 4 in G Major ; Alexander Scriabin : Prometheus ; Igor Stravinsky : Concerto for Piano and Wind Instruments and Capriccio for Piano and Orchestra ; Béla Bartók : Piano Concerto No. 1 ; Elliott Carter : The Double Concerto (1959-1961) and Piano Concerto (1964-1965) ; Double Concerto for Harpsichord and Piano ; Piano Concerto (1964-1965) | |
| 520 | 3 | |a "These previously unpublished lectures by Elliott Carter date to the summer of 1967, when the acclaimed composer taught at the Contemporary Music Workshop held by the University of Minnesota. Leading an introductory course on orchestra repertoire, Carter gave nine hours of lectures covering principal topics like how to live with the musical present and whether the symphony orchestra was a relic of the past or a possible active force for new music. But Carter's observations and prompts by audience questions broadened the discussion into areas ranging from electronic music to analyses of works by other artists and himself. Laura Emmery presents the complete text from each session alongside introductions, commentary, and annotated examples that provide valuable context for readers. Expansive and essential, Elliott Carter Speaks opens up the artist's teaching and introspection to new contemporary perspectives on his thought and art"-- | |
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Datensatz im Suchindex
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| adam_text |
Contents Preface.ix Acknowledgments. xiii Introduction.1 On the “Minnesota Workshop” Lectures. 12 PART I. BASIC NEEDS FOR A MUSIC SITUATION THAT IS ALIVE. 17 On Artists Originality. 18 On Music Tradition.21 Composer’s Own Training as a Criticism of the Society. 22 Composer as a Critic of Contemporary Music, Art, and the Audience.27 The Historic Relation between the Public and the Music Profession.35 Music as a Force of Communication. 36 The View of Twentieth-Century Music through the Present and the Past.40 Composers as Critics of Their Own Works.50
Toward “New Virtuosity”. 52 Toward Metric Virtuosity. 57 PART II. HOW TO LIVE WITH THE MUSICAL PRESENT. 61 On Charles Ives. 64 Luigi Nonos II canto sospeso.67 On Pierre Boulez and Karlheinz Stockhausen. 74 On Edgard Varèse.76 On Krzysztof Penderecki. 80 What Is the Domain of Serious Music? A Case Study of Olivier Messiaen. 87 On Musical Thought.89 PART III. THE SYMPHONY ORCHESTRA: RELIC OF THE PAST OR ACTIVE FORCE FOR NEW MUSIC?. 105 Sociological Aspects of the Symphony Orchestra: State-Supported and Privately Funded Orchestras.106 Techniques of Orchestration. 109 Pocahontas
(1939). 109 Holiday Overture (1944). 118 Variations for Orchestra (1953-T955). 120 PART IV. CAN AN ESTABLISHED MUSICAL FORM LIKE THE CONCERTO HAVE ANY RELEVANCE TODAY?. 127 Contextualizing Piano Concertos. 128 J. S. Bach: Brandenburg Concerto No. 5 in D Major. 128 Mozart Piano Concerto No. 24 in C Minor, K. 491.133 Beethoven: Piano Concerto No. 4 in G Major. 135 Alexander Scriabin: Prometheus. 135
Igor Stravinsky: Concerto for Piano and Wind Instruments and Capriccio for Piano and Orchestra. 138 Béla Bartók: Piano Concerto No. 1. 143 Elliott Carter: The Double Concerto (1959-1961) and Piano Concerto (1964-1965). 143 Double Concerto for Harpsichord and Piano.143 Piano Concerto (1964-1965). 150 Notes. 165 Bibliography.175 Index. 183 |
| adam_txt |
Contents Preface.ix Acknowledgments. xiii Introduction.1 On the “Minnesota Workshop” Lectures. 12 PART I. BASIC NEEDS FOR A MUSIC SITUATION THAT IS ALIVE. 17 On Artists Originality. 18 On Music Tradition.21 Composer’s Own Training as a Criticism of the Society. 22 Composer as a Critic of Contemporary Music, Art, and the Audience.27 The Historic Relation between the Public and the Music Profession.35 Music as a Force of Communication. 36 The View of Twentieth-Century Music through the Present and the Past.40 Composers as Critics of Their Own Works.50
Toward “New Virtuosity”. 52 Toward Metric Virtuosity. 57 PART II. HOW TO LIVE WITH THE MUSICAL PRESENT. 61 On Charles Ives. 64 Luigi Nonos II canto sospeso.67 On Pierre Boulez and Karlheinz Stockhausen. 74 On Edgard Varèse.76 On Krzysztof Penderecki. 80 What Is the Domain of Serious Music? A Case Study of Olivier Messiaen. 87 On Musical Thought.89 PART III. THE SYMPHONY ORCHESTRA: RELIC OF THE PAST OR ACTIVE FORCE FOR NEW MUSIC?. 105 Sociological Aspects of the Symphony Orchestra: State-Supported and Privately Funded Orchestras.106 Techniques of Orchestration. 109 Pocahontas
(1939). 109 Holiday Overture (1944). 118 Variations for Orchestra (1953-T955). 120 PART IV. CAN AN ESTABLISHED MUSICAL FORM LIKE THE CONCERTO HAVE ANY RELEVANCE TODAY?. 127 Contextualizing Piano Concertos. 128 J. S. Bach: Brandenburg Concerto No. 5 in D Major. 128 Mozart Piano Concerto No. 24 in C Minor, K. 491.133 Beethoven: Piano Concerto No. 4 in G Major. 135 Alexander Scriabin: Prometheus. 135
Igor Stravinsky: Concerto for Piano and Wind Instruments and Capriccio for Piano and Orchestra. 138 Béla Bartók: Piano Concerto No. 1. 143 Elliott Carter: The Double Concerto (1959-1961) and Piano Concerto (1964-1965). 143 Double Concerto for Harpsichord and Piano.143 Piano Concerto (1964-1965). 150 Notes. 165 Bibliography.175 Index. 183 |
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| author | Carter, Elliott 1908-2012 |
| author2 | Emmery, Laura |
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| author_GND | (DE-588)119086964 (DE-588)1037146808 |
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| contents | Introduction. On the "Minnesota Workshop" Lectures -- Part I. Basic Needs for a Music Situation That Is Alive. On Artist's Originality ; On Music Tradition ; Composer's Own Training as a Criticism of the Society ; Composer as a Critic of Contemporary Music, Art, and the Audience ; The Historic Relation between the Public and the Music Profession ; Music as a Force of Communication ; The View of Twentieth-Century Music through the Present and the Past ; Composers as Critics of Their Own Works ; Toward "New Virtuosity" ; Toward Metric Virtuosity -- Part II. How to Live with the Musical Present. On Charles Ives ; Luigi Nono's Il canto sospeso ; On Pierre Boulez and Karlheinz Stockhausen ; On Edgard Varèse ; On Krzysztof Penderecki ; What Is the Domain of Serious Music? A Case Study of Olivier Messiaen ; On Musical Thought -- Part III. The Symphony Orchestra: Relic of the Past or Active Force for New Music? Sociological Aspects of the Symphony Orchestra: State-Supported and Privately Funded Orchestras ; Techniques of Orchestration ; Pocahontas (1939) ; Holiday Overture (1944) ; Variations for Orchestra (1953-1955) -- Part IV. Can an Established Musical Form Like the Concerto Have Any Relevance Today? Contextualizing Piano Concertos ; J. S. Bach : Brandenburg Concerto No. 5 in D Major ; Mozart Piano Concerto No. 24 in C Minor, K. 491 ; Beethoven : Piano Concerto No. 4 in G Major ; Alexander Scriabin : Prometheus ; Igor Stravinsky : Concerto for Piano and Wind Instruments and Capriccio for Piano and Orchestra ; Béla Bartók : Piano Concerto No. 1 ; Elliott Carter : The Double Concerto (1959-1961) and Piano Concerto (1964-1965) ; Double Concerto for Harpsichord and Piano ; Piano Concerto (1964-1965) |
| ctrlnum | (OCoLC)1311972119 (DE-599)BVBBV047877776 |
| discipline | Musikwissenschaft |
| discipline_str_mv | Musikwissenschaft |
| era | Geschichte 1967 gnd |
| era_facet | Geschichte 1967 |
| format | Book |
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| illustrated | Illustrated |
| index_date | 2024-07-03T19:21:39Z |
| indexdate | 2024-09-23T16:18:43Z |
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| isbn | 9780252044205 |
| language | English |
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| publisher | University of Illinois Press |
| record_format | marc |
| series2 | Music in American life |
| spelling | Carter, Elliott 1908-2012 Verfasser (DE-588)119086964 aut Elliott Carter speaks unpublished lectures edited and with an introduction by Laura Emmery Urbana ; Chicago ; Springfield University of Illinois Press [2021] © 2021 XIV, 187 Seiten Illustrationen, Notenbeispiele txt rdacontent n rdamedia nc rdacarrier Music in American life Introduction. On the "Minnesota Workshop" Lectures -- Part I. Basic Needs for a Music Situation That Is Alive. On Artist's Originality ; On Music Tradition ; Composer's Own Training as a Criticism of the Society ; Composer as a Critic of Contemporary Music, Art, and the Audience ; The Historic Relation between the Public and the Music Profession ; Music as a Force of Communication ; The View of Twentieth-Century Music through the Present and the Past ; Composers as Critics of Their Own Works ; Toward "New Virtuosity" ; Toward Metric Virtuosity -- Part II. How to Live with the Musical Present. On Charles Ives ; Luigi Nono's Il canto sospeso ; On Pierre Boulez and Karlheinz Stockhausen ; On Edgard Varèse ; On Krzysztof Penderecki ; What Is the Domain of Serious Music? A Case Study of Olivier Messiaen ; On Musical Thought -- Part III. The Symphony Orchestra: Relic of the Past or Active Force for New Music? Sociological Aspects of the Symphony Orchestra: State-Supported and Privately Funded Orchestras ; Techniques of Orchestration ; Pocahontas (1939) ; Holiday Overture (1944) ; Variations for Orchestra (1953-1955) -- Part IV. Can an Established Musical Form Like the Concerto Have Any Relevance Today? Contextualizing Piano Concertos ; J. S. Bach : Brandenburg Concerto No. 5 in D Major ; Mozart Piano Concerto No. 24 in C Minor, K. 491 ; Beethoven : Piano Concerto No. 4 in G Major ; Alexander Scriabin : Prometheus ; Igor Stravinsky : Concerto for Piano and Wind Instruments and Capriccio for Piano and Orchestra ; Béla Bartók : Piano Concerto No. 1 ; Elliott Carter : The Double Concerto (1959-1961) and Piano Concerto (1964-1965) ; Double Concerto for Harpsichord and Piano ; Piano Concerto (1964-1965) "These previously unpublished lectures by Elliott Carter date to the summer of 1967, when the acclaimed composer taught at the Contemporary Music Workshop held by the University of Minnesota. Leading an introductory course on orchestra repertoire, Carter gave nine hours of lectures covering principal topics like how to live with the musical present and whether the symphony orchestra was a relic of the past or a possible active force for new music. But Carter's observations and prompts by audience questions broadened the discussion into areas ranging from electronic music to analyses of works by other artists and himself. Laura Emmery presents the complete text from each session alongside introductions, commentary, and annotated examples that provide valuable context for readers. Expansive and essential, Elliott Carter Speaks opens up the artist's teaching and introspection to new contemporary perspectives on his thought and art"-- Geschichte 1967 gnd rswk-swf Orchestermusik (DE-588)4131523-6 gnd rswk-swf USA (DE-588)4078704-7 gnd rswk-swf Orchestral music / 20th century / History and criticism Orchestral music / 20th century / Analysis, appreciation Orchestra Concerto Orchestral music Orchestral music / Analysis, appreciation 1900-1999 Criticism, interpretation, etc (DE-588)4143413-4 Aufsatzsammlung gnd-content USA (DE-588)4078704-7 g Orchestermusik (DE-588)4131523-6 s Geschichte 1967 z DE-604 Emmery, Laura (DE-588)1037146808 edt win 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=033260169&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Carter, Elliott 1908-2012 Elliott Carter speaks unpublished lectures Introduction. On the "Minnesota Workshop" Lectures -- Part I. Basic Needs for a Music Situation That Is Alive. On Artist's Originality ; On Music Tradition ; Composer's Own Training as a Criticism of the Society ; Composer as a Critic of Contemporary Music, Art, and the Audience ; The Historic Relation between the Public and the Music Profession ; Music as a Force of Communication ; The View of Twentieth-Century Music through the Present and the Past ; Composers as Critics of Their Own Works ; Toward "New Virtuosity" ; Toward Metric Virtuosity -- Part II. How to Live with the Musical Present. On Charles Ives ; Luigi Nono's Il canto sospeso ; On Pierre Boulez and Karlheinz Stockhausen ; On Edgard Varèse ; On Krzysztof Penderecki ; What Is the Domain of Serious Music? A Case Study of Olivier Messiaen ; On Musical Thought -- Part III. The Symphony Orchestra: Relic of the Past or Active Force for New Music? Sociological Aspects of the Symphony Orchestra: State-Supported and Privately Funded Orchestras ; Techniques of Orchestration ; Pocahontas (1939) ; Holiday Overture (1944) ; Variations for Orchestra (1953-1955) -- Part IV. Can an Established Musical Form Like the Concerto Have Any Relevance Today? Contextualizing Piano Concertos ; J. S. Bach : Brandenburg Concerto No. 5 in D Major ; Mozart Piano Concerto No. 24 in C Minor, K. 491 ; Beethoven : Piano Concerto No. 4 in G Major ; Alexander Scriabin : Prometheus ; Igor Stravinsky : Concerto for Piano and Wind Instruments and Capriccio for Piano and Orchestra ; Béla Bartók : Piano Concerto No. 1 ; Elliott Carter : The Double Concerto (1959-1961) and Piano Concerto (1964-1965) ; Double Concerto for Harpsichord and Piano ; Piano Concerto (1964-1965) Orchestermusik (DE-588)4131523-6 gnd |
| subject_GND | (DE-588)4131523-6 (DE-588)4078704-7 (DE-588)4143413-4 |
| title | Elliott Carter speaks unpublished lectures |
| title_auth | Elliott Carter speaks unpublished lectures |
| title_exact_search | Elliott Carter speaks unpublished lectures |
| title_exact_search_txtP | Elliott Carter speaks unpublished lectures |
| title_full | Elliott Carter speaks unpublished lectures edited and with an introduction by Laura Emmery |
| title_fullStr | Elliott Carter speaks unpublished lectures edited and with an introduction by Laura Emmery |
| title_full_unstemmed | Elliott Carter speaks unpublished lectures edited and with an introduction by Laura Emmery |
| title_short | Elliott Carter speaks |
| title_sort | elliott carter speaks unpublished lectures |
| title_sub | unpublished lectures |
| topic | Orchestermusik (DE-588)4131523-6 gnd |
| topic_facet | Orchestermusik USA Aufsatzsammlung |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=033260169&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
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