Composers Alfred Schnittke and Valentin Silvestrov brought us some of the most memorable music of the late Soviet Union. Sonic Overload traces these composers' attempts to embrace all aspects of the contemporary soundscape, including influences of popular music, rock, and jazz, before they ultimately retreated to more refined sonic structures.
Composers Alfred Schnittke and Valentin Silvestrov brought us some of the most memorable music of the late Soviet Union. Sonic Overload traces these composers' attempts to embrace all aspects of the contemporary soundscape, including influences of popular music, rock, and jazz, before they ultimately retreated to more refined sonic structures.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Peter J. Schmelz is Professor of Musicology at Arizona State University, and author of Alfred Schnittkeâs Concerto Grosso No. 1 (OUP, 2019) and Such Freedom, If Only Musical: Unofficial Soviet Music During the Thaw (OUP, 2009)
Inhaltsangabe
A Note on Transliterations and Translations Abbreviations Introduction Part 1. Origins 1. The Soviet Culture of Collage 2. Schnittke's Path to Polystylism 3. Silvestrov the Centaur and Polystylism in the 1970s Part 2. Embracing Polystylism 4. Kitsch 5. Popular Music, the Devil, and Aerobics 6. The Collage Wave Crests Part 3. Rejecting Polystylism 7. Eschatology 8. Ghosts and Shadow Sounds 9. The Collage Wave Breaks: Late Thinking, Idiots, a Final Waltz 10. Legacies of Polystylistic Tendencies (Today, Tomorrow, Yesterday) Conclusion. Genre, Style, Oblivion Appendices Bibliography Index
A Note on Transliterations and Translations Abbreviations Introduction Part 1. Origins 1. The Soviet Culture of Collage 2. Schnittke's Path to Polystylism 3. Silvestrov the Centaur and Polystylism in the 1970s Part 2. Embracing Polystylism 4. Kitsch 5. Popular Music, the Devil, and Aerobics 6. The Collage Wave Crests Part 3. Rejecting Polystylism 7. Eschatology 8. Ghosts and Shadow Sounds 9. The Collage Wave Breaks: Late Thinking, Idiots, a Final Waltz 10. Legacies of Polystylistic Tendencies (Today, Tomorrow, Yesterday) Conclusion. Genre, Style, Oblivion Appendices Bibliography Index
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