Per Dahl

Modes of Communication in Stravinsky's Works

Sign and Expression

• Gebundenes Buch

Produktbeschreibung

Igor Stravinsky left behind a complex heritage of music and ideas. Per Dahl presents a model of communication that unveils a clear and logical understanding of Stravinsky's heritage, based on the extant material available.

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Produktdetails

• Routledge Research in Music
• Verlag: Taylor & Francis Ltd
• Seitenzahl: 242
• Erscheinungstermin: 17. Dezember 2021
• Englisch
• Abmessung: 240mm x 161mm x 18mm
• Gewicht: 506g
• ISBN-13: 9781032111087
• ISBN-10: 1032111089
• Artikelnr.: 62799523

Autorenporträt

Per Dahl is Professor of Music at the University of Stavanger, Norway.

Inhaltsangabe

Introduction
Part I: Sign and expression in communication
1 Prelude
1.1. The point of departure
1.2. Discourses of a musical work
2 The multi-layered triad
2.1 Ogden
2.2 Agawu
2.3 A multi-layered triad
2.4 Literacy
2.5 Bacon
2.6 A complete communication model
3 Stravinsky's background and languages
3.1 St. Petersburg
3.2 Suisse/France
3.3 Religion
3.4 America
4 The Aesthetics
4.1 A grid
4.2 Quotes from Stravinsky
4.3 Comments and critiques of Stravinsky's aesthetics
4.4 Adorno
5 The Logics
5.1 The operational grid
5.2 Some aspects from semiotics and linguistics
5.3 Some statements from Stravinsky
5.4 Bacon's idols
6 The Ethics
6.1 The ethical grid
6.2 The listening process
6.3 The composer in action
7 Postlude
Part II: Modes of Communication in Stravinsky's music
8 Notation
9 Music notation and literacy in music: a historical approach
10 A study of Stravinsky's notation practice: an empirical approach
10.1 Design
10.2 Results
11 Vocabulary, concepts and adjustments: a semiotic approach
12 Musicians' music reading practices: a cognitive approach
12.1 Music reading
12.2 Approaching the music notation
12.3 Elements in Stravinsky's notation practice
13 Stravinsky's recordings and performances: a critical approach
13.1 The composer as performer
13.2 Some case studies
13.3 Reliability and validity
Conclusion
Appendices:
1 Work categories
2 Vocabulary
3 Works in the Serial period
4 Shorted and stretched notes

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Introduction

Part I: Sign and expression in communication

1 Prelude

1.1. The point of departure

1.2. Discourses of a musical work

2 The multi-layered triad

2.1 Ogden

2.2 Agawu

2.3 A multi-layered triad

2.4 Literacy

2.5 Bacon

2.6 A complete communication model

3 Stravinsky's background and languages

3.1 St. Petersburg

3.2 Suisse/France

3.3 Religion

3.4 America

4 The Aesthetics

4.1 A grid

4.2 Quotes from Stravinsky

4.3 Comments and critiques of Stravinsky's aesthetics

4.4 Adorno

5 The Logics

5.1 The operational grid

5.2 Some aspects from semiotics and linguistics

5.3 Some statements from Stravinsky

5.4 Bacon's idols

6 The Ethics

6.1 The ethical grid

6.2 The listening process

6.3 The composer in action

7 Postlude

Part II: Modes of Communication in Stravinsky's music

8 Notation

9 Music notation and literacy in music: a historical approach

10 A study of Stravinsky's notation practice: an empirical approach

10.1 Design

10.2 Results

11 Vocabulary, concepts and adjustments: a semiotic approach

12 Musicians' music reading practices: a cognitive approach

12.1 Music reading

12.2 Approaching the music notation

12.3 Elements in Stravinsky's notation practice

13 Stravinsky's recordings and performances: a critical approach

13.1 The composer as performer

13.2 Some case studies

13.3 Reliability and validity

Conclusion

Appendices:

1 Work categories

2 Vocabulary

3 Works in the Serial period

4 Shorted and stretched notes