Zachary Bernstein
Thinking in and about Music
Analytical Reflections on Milton Babbitt's Music and Thought
Zachary Bernstein
Thinking in and about Music
Analytical Reflections on Milton Babbitt's Music and Thought
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Thinking In and About Music offers a new look at Milton Babbitt's music, one which brings to bear theories of gesture and embodiment, rhetoric, text setting, and temporality in order to provide a multi-faceted look at one of the twentieth century's most fascinating musical minds.
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Thinking In and About Music offers a new look at Milton Babbitt's music, one which brings to bear theories of gesture and embodiment, rhetoric, text setting, and temporality in order to provide a multi-faceted look at one of the twentieth century's most fascinating musical minds.
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Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Produktdetails
- Produktdetails
- Verlag: Oxford University Press
- Seitenzahl: 324
- Erscheinungstermin: 10. Mai 2021
- Englisch
- Abmessung: 239mm x 163mm x 30mm
- Gewicht: 635g
- ISBN-13: 9780190949235
- ISBN-10: 0190949236
- Artikelnr.: 60598702
- Herstellerkennzeichnung
- Libri GmbH
- Europaallee 1
- 36244 Bad Hersfeld
- 06621 890
- Verlag: Oxford University Press
- Seitenzahl: 324
- Erscheinungstermin: 10. Mai 2021
- Englisch
- Abmessung: 239mm x 163mm x 30mm
- Gewicht: 635g
- ISBN-13: 9780190949235
- ISBN-10: 0190949236
- Artikelnr.: 60598702
- Herstellerkennzeichnung
- Libri GmbH
- Europaallee 1
- 36244 Bad Hersfeld
- 06621 890
Zachary Bernstein is Assistant Professor of Music Theory at the Eastman School of Music. His writings on twentieth-century music have appeared in Music Theory Spectrum, Journal of Music Theory, Perspectives of New Music, Music Theory Online, Theory and Practice, and Oxford Bibliographies Online .
* Preface
* Acknowledgments
* Permissions
* About the companion website
* Chapter 1 On Milton Babbitt, Schenkerian
* Introduction
* Goethe, Schenker, and Hierarchical Organicism
* Babbitt and Schenker
* The Implications of the Series
* Analepsis and Prolepsis
* Conclusion
* Chapter 2 Construction, Cognition, and the Role of the Surface
* A Way into Emblems
* Rudolf Carnap and Phenomenalistic Construction
* George Miller, Information Processing, and Memory
* Babbitt's Cognitively Informed Compositional Techniques
* Organicism as Cognitive Heuristic: The "Schenker Memorative Approach"
* "The Requirements"--and Responsibilities--"of Cognitive
Communication"
* Conclusion: Babbitt's Psychology and the Analysis of His Music
* Chapter 3 The Seam in Babbitt's Compositional Development:
Composition for Tenor and Six Instruments
* "My Most Difficult Piece"
* Trichordal and All-Partition Arrays
* "Nearly Divine" Proportions
* Generative Polyvocality
* Extending the Trichordal Array
* The Arrays of Composition for Tenor and Six Instruments
* "Invariants of Order Embedded in Invariants of Content"
* Chapter 4 The Surface and the Series in Composition for Four
Instruments
* Chapter 5 Poetic Form and Psychological Portraiture in Babbitt's
Early Texted Works
* Introduction
* "The Widow's Lament in Springtime"
* Du
* Two Sonnets
* Vision and Prayer
* Philomel
* Conclusion
* Chapter 6 Completeness and Temporality
* Introduction
* Over-, Under-, and Multiple Completeness
* Signals and Verticality
* Conclusion: "Sounds of Relations"
* Chapter 7 Babbitt's Gestural Dialectics
* Introduction: The First Measure of Post-Partitions
* Sources of Embodied Energetics: Kinesthetic Empathy and Musical
Forces
* The Gestural Function of Virtuosity
* Liminal Periodicity and the Threat of Discontinuity
* Serial Anomalies and Text Setting
* Rhetorical Closing Gestures in Three Late Piano Pieces
* Conclusion: Babbitt's Gestural Music and Formalist Discourse
* Afterword: "Anything Vital is Problematical"
* Glossary
* References
* Acknowledgments
* Permissions
* About the companion website
* Chapter 1 On Milton Babbitt, Schenkerian
* Introduction
* Goethe, Schenker, and Hierarchical Organicism
* Babbitt and Schenker
* The Implications of the Series
* Analepsis and Prolepsis
* Conclusion
* Chapter 2 Construction, Cognition, and the Role of the Surface
* A Way into Emblems
* Rudolf Carnap and Phenomenalistic Construction
* George Miller, Information Processing, and Memory
* Babbitt's Cognitively Informed Compositional Techniques
* Organicism as Cognitive Heuristic: The "Schenker Memorative Approach"
* "The Requirements"--and Responsibilities--"of Cognitive
Communication"
* Conclusion: Babbitt's Psychology and the Analysis of His Music
* Chapter 3 The Seam in Babbitt's Compositional Development:
Composition for Tenor and Six Instruments
* "My Most Difficult Piece"
* Trichordal and All-Partition Arrays
* "Nearly Divine" Proportions
* Generative Polyvocality
* Extending the Trichordal Array
* The Arrays of Composition for Tenor and Six Instruments
* "Invariants of Order Embedded in Invariants of Content"
* Chapter 4 The Surface and the Series in Composition for Four
Instruments
* Chapter 5 Poetic Form and Psychological Portraiture in Babbitt's
Early Texted Works
* Introduction
* "The Widow's Lament in Springtime"
* Du
* Two Sonnets
* Vision and Prayer
* Philomel
* Conclusion
* Chapter 6 Completeness and Temporality
* Introduction
* Over-, Under-, and Multiple Completeness
* Signals and Verticality
* Conclusion: "Sounds of Relations"
* Chapter 7 Babbitt's Gestural Dialectics
* Introduction: The First Measure of Post-Partitions
* Sources of Embodied Energetics: Kinesthetic Empathy and Musical
Forces
* The Gestural Function of Virtuosity
* Liminal Periodicity and the Threat of Discontinuity
* Serial Anomalies and Text Setting
* Rhetorical Closing Gestures in Three Late Piano Pieces
* Conclusion: Babbitt's Gestural Music and Formalist Discourse
* Afterword: "Anything Vital is Problematical"
* Glossary
* References
* Preface
* Acknowledgments
* Permissions
* About the companion website
* Chapter 1 On Milton Babbitt, Schenkerian
* Introduction
* Goethe, Schenker, and Hierarchical Organicism
* Babbitt and Schenker
* The Implications of the Series
* Analepsis and Prolepsis
* Conclusion
* Chapter 2 Construction, Cognition, and the Role of the Surface
* A Way into Emblems
* Rudolf Carnap and Phenomenalistic Construction
* George Miller, Information Processing, and Memory
* Babbitt's Cognitively Informed Compositional Techniques
* Organicism as Cognitive Heuristic: The "Schenker Memorative Approach"
* "The Requirements"--and Responsibilities--"of Cognitive
Communication"
* Conclusion: Babbitt's Psychology and the Analysis of His Music
* Chapter 3 The Seam in Babbitt's Compositional Development:
Composition for Tenor and Six Instruments
* "My Most Difficult Piece"
* Trichordal and All-Partition Arrays
* "Nearly Divine" Proportions
* Generative Polyvocality
* Extending the Trichordal Array
* The Arrays of Composition for Tenor and Six Instruments
* "Invariants of Order Embedded in Invariants of Content"
* Chapter 4 The Surface and the Series in Composition for Four
Instruments
* Chapter 5 Poetic Form and Psychological Portraiture in Babbitt's
Early Texted Works
* Introduction
* "The Widow's Lament in Springtime"
* Du
* Two Sonnets
* Vision and Prayer
* Philomel
* Conclusion
* Chapter 6 Completeness and Temporality
* Introduction
* Over-, Under-, and Multiple Completeness
* Signals and Verticality
* Conclusion: "Sounds of Relations"
* Chapter 7 Babbitt's Gestural Dialectics
* Introduction: The First Measure of Post-Partitions
* Sources of Embodied Energetics: Kinesthetic Empathy and Musical
Forces
* The Gestural Function of Virtuosity
* Liminal Periodicity and the Threat of Discontinuity
* Serial Anomalies and Text Setting
* Rhetorical Closing Gestures in Three Late Piano Pieces
* Conclusion: Babbitt's Gestural Music and Formalist Discourse
* Afterword: "Anything Vital is Problematical"
* Glossary
* References
* Acknowledgments
* Permissions
* About the companion website
* Chapter 1 On Milton Babbitt, Schenkerian
* Introduction
* Goethe, Schenker, and Hierarchical Organicism
* Babbitt and Schenker
* The Implications of the Series
* Analepsis and Prolepsis
* Conclusion
* Chapter 2 Construction, Cognition, and the Role of the Surface
* A Way into Emblems
* Rudolf Carnap and Phenomenalistic Construction
* George Miller, Information Processing, and Memory
* Babbitt's Cognitively Informed Compositional Techniques
* Organicism as Cognitive Heuristic: The "Schenker Memorative Approach"
* "The Requirements"--and Responsibilities--"of Cognitive
Communication"
* Conclusion: Babbitt's Psychology and the Analysis of His Music
* Chapter 3 The Seam in Babbitt's Compositional Development:
Composition for Tenor and Six Instruments
* "My Most Difficult Piece"
* Trichordal and All-Partition Arrays
* "Nearly Divine" Proportions
* Generative Polyvocality
* Extending the Trichordal Array
* The Arrays of Composition for Tenor and Six Instruments
* "Invariants of Order Embedded in Invariants of Content"
* Chapter 4 The Surface and the Series in Composition for Four
Instruments
* Chapter 5 Poetic Form and Psychological Portraiture in Babbitt's
Early Texted Works
* Introduction
* "The Widow's Lament in Springtime"
* Du
* Two Sonnets
* Vision and Prayer
* Philomel
* Conclusion
* Chapter 6 Completeness and Temporality
* Introduction
* Over-, Under-, and Multiple Completeness
* Signals and Verticality
* Conclusion: "Sounds of Relations"
* Chapter 7 Babbitt's Gestural Dialectics
* Introduction: The First Measure of Post-Partitions
* Sources of Embodied Energetics: Kinesthetic Empathy and Musical
Forces
* The Gestural Function of Virtuosity
* Liminal Periodicity and the Threat of Discontinuity
* Serial Anomalies and Text Setting
* Rhetorical Closing Gestures in Three Late Piano Pieces
* Conclusion: Babbitt's Gestural Music and Formalist Discourse
* Afterword: "Anything Vital is Problematical"
* Glossary
* References