Elliott Carter Studies
Herausgeber: Boland, Marguerite; Link, John
Schade – dieser Artikel ist leider ausverkauft. Sobald wir wissen, ob und wann der Artikel wieder verfügbar ist, informieren wir Sie an dieser Stelle.
Elliott Carter Studies
Herausgeber: Boland, Marguerite; Link, John
- Gebundenes Buch
- Merkliste
- Auf die Merkliste
- Bewerten Bewerten
- Teilen
- Produkt teilen
- Produkterinnerung
- Produkterinnerung
An international team of scholars presents historic, philosophic, philological and theoretical perspectives on Carter's extensive musical repertoire.
An international team of scholars presents historic, philosophic, philological and theoretical perspectives on Carter's extensive musical repertoire.
Produktdetails
- Produktdetails
- Verlag: Cambridge University Press
- Seitenzahl: 364
- Erscheinungstermin: 24. September 2013
- Englisch
- Abmessung: 250mm x 175mm x 24mm
- Gewicht: 809g
- ISBN-13: 9780521113625
- ISBN-10: 0521113628
- Artikelnr.: 34888326
- Verlag: Cambridge University Press
- Seitenzahl: 364
- Erscheinungstermin: 24. September 2013
- Englisch
- Abmessung: 250mm x 175mm x 24mm
- Gewicht: 809g
- ISBN-13: 9780521113625
- ISBN-10: 0521113628
- Artikelnr.: 34888326
Preface Marguerite Boland and John Link; Part I. Overview: Music Early and
Late: 1. The true significance of Elliott Carter's early works Jonathan
Bernard; 2. Elliott Carter's late music John Link; Part II. Analysis and
Aesthetics: 3. The search for order: Carter's late-modern thematicism
Arnold Whittall; 4. Ritornello form in Carter's Boston and ASKO concertos
Marguerite Boland; 5. 'The matter of human cooperation' in Carter's mature
style John Roeder; 6. Time management: rhythm as a formal determinant in
certain works of Elliott Carter Andrew Mead; 7. 'I try to write music that
will appeal to an intelligent listener's ear': on Elliott Carter's string
quartets Dörte Schmidt; 8. Composition with intervals: melodic invention in
Elliott Carter's recent concertos Stephen Heinemann; Part III. Sketch
Studies: 9. Left by the wayside: Elliott Carter's unfinished sonatina for
oboe and harpsichord Felix Meyer; 10. At the edge of creation: Elliott
Carter's sketches in the Library of Congress Stephen Soderberg; Part IV.
Music and Text: 11. Three Illusions ... and maybe a fourth: a hermeneutic
approach to Carter's music Max Noubel; 12. Layers of meaning: expression
and design in Carter's songs Brenda Ravenscroft; 13. 'It's as if our voices
made no sound': irony in episodes 10-15 of What Next? Guy Capuzzo; 14.
Words and music in The Defense of Corinth Annette van Dyck-Hemming;
Bibliography.
Late: 1. The true significance of Elliott Carter's early works Jonathan
Bernard; 2. Elliott Carter's late music John Link; Part II. Analysis and
Aesthetics: 3. The search for order: Carter's late-modern thematicism
Arnold Whittall; 4. Ritornello form in Carter's Boston and ASKO concertos
Marguerite Boland; 5. 'The matter of human cooperation' in Carter's mature
style John Roeder; 6. Time management: rhythm as a formal determinant in
certain works of Elliott Carter Andrew Mead; 7. 'I try to write music that
will appeal to an intelligent listener's ear': on Elliott Carter's string
quartets Dörte Schmidt; 8. Composition with intervals: melodic invention in
Elliott Carter's recent concertos Stephen Heinemann; Part III. Sketch
Studies: 9. Left by the wayside: Elliott Carter's unfinished sonatina for
oboe and harpsichord Felix Meyer; 10. At the edge of creation: Elliott
Carter's sketches in the Library of Congress Stephen Soderberg; Part IV.
Music and Text: 11. Three Illusions ... and maybe a fourth: a hermeneutic
approach to Carter's music Max Noubel; 12. Layers of meaning: expression
and design in Carter's songs Brenda Ravenscroft; 13. 'It's as if our voices
made no sound': irony in episodes 10-15 of What Next? Guy Capuzzo; 14.
Words and music in The Defense of Corinth Annette van Dyck-Hemming;
Bibliography.
Preface Marguerite Boland and John Link; Part I. Overview: Music Early and
Late: 1. The true significance of Elliott Carter's early works Jonathan
Bernard; 2. Elliott Carter's late music John Link; Part II. Analysis and
Aesthetics: 3. The search for order: Carter's late-modern thematicism
Arnold Whittall; 4. Ritornello form in Carter's Boston and ASKO concertos
Marguerite Boland; 5. 'The matter of human cooperation' in Carter's mature
style John Roeder; 6. Time management: rhythm as a formal determinant in
certain works of Elliott Carter Andrew Mead; 7. 'I try to write music that
will appeal to an intelligent listener's ear': on Elliott Carter's string
quartets Dörte Schmidt; 8. Composition with intervals: melodic invention in
Elliott Carter's recent concertos Stephen Heinemann; Part III. Sketch
Studies: 9. Left by the wayside: Elliott Carter's unfinished sonatina for
oboe and harpsichord Felix Meyer; 10. At the edge of creation: Elliott
Carter's sketches in the Library of Congress Stephen Soderberg; Part IV.
Music and Text: 11. Three Illusions ... and maybe a fourth: a hermeneutic
approach to Carter's music Max Noubel; 12. Layers of meaning: expression
and design in Carter's songs Brenda Ravenscroft; 13. 'It's as if our voices
made no sound': irony in episodes 10-15 of What Next? Guy Capuzzo; 14.
Words and music in The Defense of Corinth Annette van Dyck-Hemming;
Bibliography.
Late: 1. The true significance of Elliott Carter's early works Jonathan
Bernard; 2. Elliott Carter's late music John Link; Part II. Analysis and
Aesthetics: 3. The search for order: Carter's late-modern thematicism
Arnold Whittall; 4. Ritornello form in Carter's Boston and ASKO concertos
Marguerite Boland; 5. 'The matter of human cooperation' in Carter's mature
style John Roeder; 6. Time management: rhythm as a formal determinant in
certain works of Elliott Carter Andrew Mead; 7. 'I try to write music that
will appeal to an intelligent listener's ear': on Elliott Carter's string
quartets Dörte Schmidt; 8. Composition with intervals: melodic invention in
Elliott Carter's recent concertos Stephen Heinemann; Part III. Sketch
Studies: 9. Left by the wayside: Elliott Carter's unfinished sonatina for
oboe and harpsichord Felix Meyer; 10. At the edge of creation: Elliott
Carter's sketches in the Library of Congress Stephen Soderberg; Part IV.
Music and Text: 11. Three Illusions ... and maybe a fourth: a hermeneutic
approach to Carter's music Max Noubel; 12. Layers of meaning: expression
and design in Carter's songs Brenda Ravenscroft; 13. 'It's as if our voices
made no sound': irony in episodes 10-15 of What Next? Guy Capuzzo; 14.
Words and music in The Defense of Corinth Annette van Dyck-Hemming;
Bibliography.