Modes of communication in Stravinsky's works: sign and expression
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
London ; New York
Routledge
2022
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| Schriftenreihe: | Routledge research in music series
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| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Beschreibung: | 221 Seiten Diagramme (schwarz-weiß) 24 cm |
| ISBN: | 9781032111087 9781032111148 |
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Datensatz im Suchindex
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|---|---|
| adam_text | Contents List offigures List of tables Preface Acknowledgements List of abbreviations Introduction ix xi xiii xv xvii 1 PARTI Sign and expression in communication 1 Prelude 11 13 1.1 The point of departure 13 1.2 Discourses of a musical work 15 2 The multi-layered triad 2.1 Ogden 22 2.2 Agawu 26 2.3 A multi-layered triad 28 2.4 Literacy 29 2.5 Bacon 31 2.6 A complete communication model 33 22 3 Stravinsky’s background and languages 3.1 St. Petersburg 44 3.2 Suisse!France 46 44 3.3 Religion 50 3.4 America 54 4 The Aesthetics 4.1 A grid 60 60
vi Contents 4.2 Quotes from Stravinsky 62 4.3 Comments and critiques of Stravinsky’s aesthetic 67 4.4 Adorno 71 5 The Logics 5.1 The operational grid 83 83 5.2 Some aspects from semiotics and linguistics 84 5.3 Some statements from Stravinsky 91 5.4 Bacons idols 95 6 The Ethics 100 6.1 The ethical grid 100 6.2 The listening process 102 6.3 The composer in action 106 7 Postlude 115 PARTII Modes of communication in Stravinsky’s music 117 8 Notation 119 9 Music notation and literacy in music: a historical approach 127 10 A study of Stravinsky’s notation practice: an empirical approach 10.1 Design 134 10.1.1 The material 134 10.1.2 Structuring the registration of data 134 10.1.3 Registration 136 10.1.4 Vocabulary 137 10.1.5 Research areas 138 10.1.6 Selections 139 10.1.7 Measurements 140 10.2 Results 140 10.2.1 The complete list 140 10.2.1 The originals versus arrangements and revisions 142 10.2.2 The original compositions 143 10.2.3 Work categories 147 10.2.4 . The adjustment indications and nuances of expressive characters 153 134
Contents vii 11 Vocabulary and concepts: a semiotic approach 157 12 Musicians’ music reading practices: a cognitive approach 166 12.1 Music reading 166 12.2 Approaching the music notation 169 12.3 Elements in Stravinsky’s notation practice 171 13 Stravinsky’s recordings and performances: a critical approach 175 13.1 The composer as performer 175 13.2 Some case studies 181 13.2.1 Ideology 181 13.2.2 Nuances of expression 182 13.2.3 Musical-rhetorical figures 183 13.2.4 A comparison of two symphonies recorded in the 1960s 186 13.3 Reliability and validity 188 195 Conclusion Appendix Appendix 1: Appendix 2: Appendix 3: Appendix 4: Index Work categories Vocabulary Works in the Serial period Shortened and stretched note values 201 209 213 214 215
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| adam_txt |
Contents List offigures List of tables Preface Acknowledgements List of abbreviations Introduction ix xi xiii xv xvii 1 PARTI Sign and expression in communication 1 Prelude 11 13 1.1 The point of departure 13 1.2 Discourses of a musical work 15 2 The multi-layered triad 2.1 Ogden 22 2.2 Agawu 26 2.3 A multi-layered triad 28 2.4 Literacy 29 2.5 Bacon 31 2.6 A complete communication model 33 22 3 Stravinsky’s background and languages 3.1 St. Petersburg 44 3.2 Suisse!France 46 44 3.3 Religion 50 3.4 America 54 4 The Aesthetics 4.1 A grid 60 60
vi Contents 4.2 Quotes from Stravinsky 62 4.3 Comments and critiques of Stravinsky’s aesthetic 67 4.4 Adorno 71 5 The Logics 5.1 The operational grid 83 83 5.2 Some aspects from semiotics and linguistics 84 5.3 Some statements from Stravinsky 91 5.4 Bacons idols 95 6 The Ethics 100 6.1 The ethical grid 100 6.2 The listening process 102 6.3 The composer in action 106 7 Postlude 115 PARTII Modes of communication in Stravinsky’s music 117 8 Notation 119 9 Music notation and literacy in music: a historical approach 127 10 A study of Stravinsky’s notation practice: an empirical approach 10.1 Design 134 10.1.1 The material 134 10.1.2 Structuring the registration of data 134 10.1.3 Registration 136 10.1.4 Vocabulary 137 10.1.5 Research areas 138 10.1.6 Selections 139 10.1.7 Measurements 140 10.2 Results 140 10.2.1 The complete list 140 10.2.1 The originals versus arrangements and revisions 142 10.2.2 The original compositions 143 10.2.3 Work categories 147 10.2.4 . The adjustment indications and nuances of expressive characters 153 134
Contents vii 11 Vocabulary and concepts: a semiotic approach 157 12 Musicians’ music reading practices: a cognitive approach 166 12.1 Music reading 166 12.2 Approaching the music notation 169 12.3 Elements in Stravinsky’s notation practice 171 13 Stravinsky’s recordings and performances: a critical approach 175 13.1 The composer as performer 175 13.2 Some case studies 181 13.2.1 Ideology 181 13.2.2 Nuances of expression 182 13.2.3 Musical-rhetorical figures 183 13.2.4 A comparison of two symphonies recorded in the 1960s 186 13.3 Reliability and validity 188 195 Conclusion Appendix Appendix 1: Appendix 2: Appendix 3: Appendix 4: Index Work categories Vocabulary Works in the Serial period Shortened and stretched note values 201 209 213 214 215 |
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| author | Dahl, Per 1952- |
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| discipline | Musikwissenschaft |
| discipline_str_mv | Musikwissenschaft |
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| index_date | 2024-07-03T19:35:45Z |
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| isbn | 9781032111087 9781032111148 |
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| spelling | Dahl, Per 1952- Verfasser (DE-588)1029080003 aut Modes of communication in Stravinsky's works sign and expression Per Dahl London ; New York Routledge 2022 221 Seiten Diagramme (schwarz-weiß) 24 cm txt rdacontent n rdamedia nc rdacarrier Routledge research in music series Stravinsky, Igor 1882-1971 (DE-588)118642545 gnd rswk-swf Komposition Musik (DE-588)4133320-2 gnd rswk-swf Ausdruck (DE-588)4003698-4 gnd rswk-swf Notenschrift (DE-588)4135339-0 gnd rswk-swf Stravinsky, Igor / 1882-1971 / Criticism and interpretation Stravinsky, Igor 1882-1971 (DE-588)118642545 p Komposition Musik (DE-588)4133320-2 s Notenschrift (DE-588)4135339-0 s Ausdruck (DE-588)4003698-4 s DE-604 Erscheint auch als Online-Ausgabe, EPUB 978-1-003-21846-3 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=033324948&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Dahl, Per 1952- Modes of communication in Stravinsky's works sign and expression Stravinsky, Igor 1882-1971 (DE-588)118642545 gnd Komposition Musik (DE-588)4133320-2 gnd Ausdruck (DE-588)4003698-4 gnd Notenschrift (DE-588)4135339-0 gnd |
| subject_GND | (DE-588)118642545 (DE-588)4133320-2 (DE-588)4003698-4 (DE-588)4135339-0 |
| title | Modes of communication in Stravinsky's works sign and expression |
| title_auth | Modes of communication in Stravinsky's works sign and expression |
| title_exact_search | Modes of communication in Stravinsky's works sign and expression |
| title_exact_search_txtP | Modes of communication in Stravinsky's works sign and expression |
| title_full | Modes of communication in Stravinsky's works sign and expression Per Dahl |
| title_fullStr | Modes of communication in Stravinsky's works sign and expression Per Dahl |
| title_full_unstemmed | Modes of communication in Stravinsky's works sign and expression Per Dahl |
| title_short | Modes of communication in Stravinsky's works |
| title_sort | modes of communication in stravinsky s works sign and expression |
| title_sub | sign and expression |
| topic | Stravinsky, Igor 1882-1971 (DE-588)118642545 gnd Komposition Musik (DE-588)4133320-2 gnd Ausdruck (DE-588)4003698-4 gnd Notenschrift (DE-588)4135339-0 gnd |
| topic_facet | Stravinsky, Igor 1882-1971 Komposition Musik Ausdruck Notenschrift |
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