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Author: Siglind Bruhn
Publisher: Pendragon Press
ISBN: 9780945193951
Category : Juvenile Nonfiction
Languages : en
Pages : 464
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Book Description
In our visually-oriented society, music appears to stand apart from other arts. Yet just as a poet can write a poem whose focus is a painting, so musicians have composed scores based on poems, paintings, and other non-musical art forms. In instrumental music such reinterpretations are especially intriguing as the verbal or visual stimulus does not appear in performance but is rendered in musical form. In this study, Siglind Bruhn investigates how three French composers of the twentieth century, Claude Debussy, Maurice Ravel, and Olivier Messiaen, express extra-musical subtexts in their piano works. She shows how the relation between the subtexts and the musical works can be broadly catagorized in terms of pictoriality and interiority. In all cases, Bruhn analyzes each musical piece and each source text in its entirety and in depth, drawing on her broad background in both literary and musical interpretation of the twentieth century. For pianists who seek to better understand an individual work, for scholars in the growing field of musical hermeneutics, and for lovers of music in general, this volume explores and makes explicit connections between music and other arts.
Author: Siglind Bruhn
Publisher: Pendragon Press
ISBN: 9780945193951
Category : Juvenile Nonfiction
Languages : en
Pages : 464
Get Book Here
Book Description
In our visually-oriented society, music appears to stand apart from other arts. Yet just as a poet can write a poem whose focus is a painting, so musicians have composed scores based on poems, paintings, and other non-musical art forms. In instrumental music such reinterpretations are especially intriguing as the verbal or visual stimulus does not appear in performance but is rendered in musical form. In this study, Siglind Bruhn investigates how three French composers of the twentieth century, Claude Debussy, Maurice Ravel, and Olivier Messiaen, express extra-musical subtexts in their piano works. She shows how the relation between the subtexts and the musical works can be broadly catagorized in terms of pictoriality and interiority. In all cases, Bruhn analyzes each musical piece and each source text in its entirety and in depth, drawing on her broad background in both literary and musical interpretation of the twentieth century. For pianists who seek to better understand an individual work, for scholars in the growing field of musical hermeneutics, and for lovers of music in general, this volume explores and makes explicit connections between music and other arts.
Author: Vincent Benitez
Publisher: Routledge
ISBN: 135158913X
Category : Music
Languages : en
Pages : 393
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Book Description
Olivier Messiaen: A Research and Information Guide, Second Edition presents researchers with the most significant and helpful resources on Olivier Messiaen, one of the twentieth century's greatest composers. With multiple indices, this annotated bibliography will serve as an excellent tool for librarians, researchers, and scholars sorting through the massive amount of material in the field. The second edition has been fully revised and updated.
Author: Iannis Xenakis
Publisher: Pendragon Press
ISBN: 9780918728227
Category : Music
Languages : en
Pages : 148
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Book Description
Author:
Publisher: BRILL
ISBN: 9004649212
Category : Art
Languages : en
Pages : 368
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Book Description
The nineteen interdisciplinary essays assembled in WORD AND MUSIC STUDIES I were first presented in 1997 at the founding conference of the International Association for Word and Music Studies (WMA) in Graz, Austria. Diverse in subject matter, theoretical orientation, critical approach, and interpretive strategy, they share a keen scholarly interest in contemporary word-music reflection. Registering the impact of cultural studies on word-music relations, as manifested in the 'new musicology' and other 'historicist' approaches, the volume aims to assess the entire field of word and music studies, to define its subject, objectives, and methodology and to describe the field's state of the art. Within the broader context of generic, structural, performative, and ideological considerations concerning the manifold interrelations between literature and music, contributors explore wide-ranging topics, such as the vexing question of terminology (e.g. 'word and music', 'melopoetics', 'interart', 'intermedial', 'transmedial'); inquiry into the meaning, narrative potential, and verbalization of music; analysis of texted music (the Lied and opera) and instrumental music; and discussion of individual issues (e.g. 'ekphrasis', 'musicalization of fiction', 'word music', and 'verbal music') and interart loanwords (e.g. 'narrativity', 'counterpoint', and 'leitmotif').
Author: Kathryn Porter Aichele
Publisher: Camden House
ISBN: 9781571133434
Category : Art
Languages : en
Pages : 244
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Book Description
Contextual analogies reveal that Klee matched wits with Christian Morgenstern, rose to the provocations of Kurt Schwitters, and gave new form to the Surrealists' "exquisite corpses." By the end of his life Klee discovered his own poetic voice in alphabet drawings that read as anagrams and pictorial poems that challenge conventional distinctions between verbal and visual forms of expression." "Paul Klee, Poet/Painter is a case study in the reciprocity of poetry and painting in early modernist practice. It introduces readers to a little-known facet of Klee's creative activity and re-evaluates his contributions to a modernist aesthetic."--BOOK JACKET.
Author: Siglind Bruhn
Publisher: Rodopi
ISBN: 9789042008007
Category : Art
Languages : en
Pages : 240
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Book Description
In 1923, the twenty-seven-year-old Paul Hindemith published a composition for voice and piano, entitled Das Marienleben, based on Rainer Maria Rilke's poetic cycle of 1912. Twenty-five years later, the composer presented a thoroughly revised, partially rewritten version. The outcome of this revision has been highly controversial. Ever since its first publication, musicologists have argued for or against the value of such a decisive rewriting. They do so both by comparing the two compositions on purely musical grounds, and by attempting to assess whether the more strictly organized tonal layout and dynamic structuring of Marienleben II is more or less appropriate for the topic of a poetic cycle on the Life of Mary. This study is the first to analyze the messages conveyed in the two versions with an emphasis on their implicit aesthetic, philosophical, and spiritual significance. Acknowledging the compositions as examples of musical ekphrasis ("a representation in one artistic medium of a message originally composed in another medium"), the author argues in exhaustive detail that the young Hindemith of 1922-23 and the mature composer of 1941-48 can be seen as setting two somewhat different poetic cycles. This volume is of interest for musicologists and music lovers, scholars of German literature and lovers of Rilke's poetry, as well as for readers interested in the interartistic relationships of music and literature.
Author: Maurice Hinson
Publisher: Indiana University Press
ISBN: 9780253211453
Category : Music
Languages : en
Pages : 340
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Book Description
"This useful volume should be on every pianist's bookshelf." --Piano & Keyboard "... a unique and valuable tool for teachers, students, performers... " --Library Journal The Pianist's Bookshelf comes to the rescue of pianists overwhelmed by the abundance of books, videos, and other works about the piano. In this clear, easy-to-use presentation, Maurice Hinson surveys hundreds of resource materials, providing clear, practical annotations for each item, thus saving the user hours of precious library time. In addition to the main listing of entries, the book has several topical indexes.
Author: Siglind Bruhn
Publisher: Siglind Bruhn
ISBN: 157647139X
Category : Biography & Autobiography
Languages : en
Pages : 231
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Book Description
Three of Olivier Messiaen's later works, La Transfiguration de Notre-Seigneur Jésus-Christ, Méditations sur le mystère de la Sainte Trinité, and Saint François d'Assise, are linked by the fact that the composer refers to and quotes from Thomas Aquinas. The composer's reception of Thomistic texts is one of the principles guiding the interpretations in this study. On the one hand, Messiaen had been pondering Thomas's thoughts on the role of music in the life of a Christian and on music's possible spiritual content all through his professional life; on the other hand, the oratorio, the organ meditations, and the opera are the only works in which Messiaen quotes extensive Thomistic sentences addressing purely theological subject matter. The first aspect, Messiaen's appropriation of or felicitous congruence with the medieval theologian's views on music underlies all analyses as a kind of background fabric. The second aspect, Messiaen's quotations from the Summa theologica and their musical translation, determines segments of a larger discussion that, in the book's three main chapters, attempts to do justice to the compositions as a whole. While Thomas' theological aesthetics appears as a thread woven through a texture in a way that brings it only periodically to the foreground, the statements from Thomas's writings provide essential foundations determining the works' content and its musical rendering. This book is part of Siglind Bruhn's Messiaen Trilogy.
Author: Gareth Healey
Publisher: Routledge
ISBN: 1317097122
Category : Music
Languages : en
Pages : 224
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Book Description
Despite Messiaen's position as one of the greatest technical innovators of the twentieth century, his musical language has not been comprehensively defined and investigated. The composer's 1944 theoretical study, The Technique of My Musical Language, expounds only its initial stages, and while his posthumously published Traité de rythme, de couleur, et d'ornithologie contains detailed explanations of selected techniques, in most cases the reader is left to define these more precisely by observing them in the context of Messiaen's analyses of his own works. Technical processes are nevertheless in many cases the primary components of a work or movement. For instance, personnages dominate 'Joie du sang des étoiles' from the Turangalîla-symphonie, and in certain cases, such as 'L'échange' from the Vingt regards sur l'Enfant-Jésus, the process (asymmetric augmentation) is the only structuring element present. Given this reliance on idiosyncratic techniques, clear comprehension of the music is impossible without a detailed knowledge of Messiaen's methods. Gareth Healey charts their development and interconnections, considers their relationship with formal structures, and applies them in refined and extended form to works for which Messiaen himself left no published analysis.
Author: Siglind Bruhn
Publisher: Pendragon Press
ISBN: 9781576470893
Category : Juvenile Nonfiction
Languages : en
Pages : 330
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Book Description
The relationship between music and religion has long been a clearly delineated one. Up to the late Middle Ages, music employed for ritual expressions of faith in sacred contexts was contrasted with secular music, then mostly played in open spaces. The former was believed to aid in the communication of divine truths, while the latter was suspected of arousing sensuality and thus potentially leading away from the spiritual perspective of life. In subsequent centuries, music entered first the courtly salons, then the concert hall and the home. Such music, created for virtuoso performance or for the enjoyment in private chambers, occasionally made room for an expression of religious experiences outside the dedicated spaces of worship. This aspect is particularly intriguing in instrumental music, where allusions to extra-musical messages are at best hinted at in titles or explanatory notes, and in those cases of vocal music where it can be shown that the musical language adds significant nuances to the verbal text. On the basis of various case studies that transcend a music-analytical approach in the direction of the hermeneutic perspective, this volume explores in which ways the musical language in itself, independently of an explicitly sacred context, communicates the ineffable. The discussion focuses on the musical means and devices employed to this effect and on the question what the presence of religious messages in certain works of secular music tells us about the spirituality of an era.
