Twentieth-century Music

Compared against volumes I and III of Isaac’s Choralis Constantinus, contrapuntal complexities are more frequently used in the music for the Konstanz cathedral. This could be one of the main reasons for Anton Webern’s fascination with this part of Isaac’s oeuvre. Canons appear in almost every mass, but most of them are rather short and unspectacular, as a complete survey of all canons in this volume makes clear. Some of the canons, however, make use of retrograde, augmentation and mensuration games; examples of double-canons and three and four-part canons can also be found. Inversion does not occur anywhere, nor do we find enigmatic inscriptions. In several cases, textual reasons seem to have influenced the use of canonic procedures.

Nel ghetto che i nazisti durante la seconda guerra mondiale istituirono a Theresienstadt (in ceco Terezín) poco a sud di Praga, Viktor Ullmann fu compositore prolifico e promotore della vita culturale degli internati. Di origini ebraiche e di cultura antroposofica steineriana, Ullmann nell’Andante della sua Sonata per pianoforte n° 5 op. 45, scritta nel 1943, lascia traccia di una resistenza spirituale al nazismo citando alcuni versi della poesia Vor dem Schlaf [Prima del sonno] di Karl Kraus. Il presente articolo illustra come le tecniche compositive di Ullmann, in particolare alcune sue strategie armoniche, nonché una particolarissima notazione enarmonica, possano divenire anch’esse veicolo di espressione per un sentimento di impermeabilità al dominio materiale e culturale perpetrato dal regime hitleriano. Il testo musicale e quello poetico sono discussi nei loro significati potenziali ed espliciti, nel loro rapporto reciproco e in relazione ad altre opere composte da Ullmann a Theresienstadt, come l’opera da camera Der Kaiser von Atlantis [L’imperatore di Atlantide].

Giacomo Manzoni composed his theatrical work Atomtod between 1961 and 1965. It is well known that here the composer resorted to «Stilpluralismus», making use of many different compositional styles and techniques, from jazz to eighteenth century opera’s clichés, to serialism. This article the first in-depth examination of Atomtod’s serialism, and tries as well to contextualize it both within the overall dramatic structure of the work, and in the evolution of Manzoni’s compositional techniques.

CHAPTER 3 of the book. SERBIAN & GREEK ART MUSIC is the first book in the English language to examine the assimilation and development of western art music in Serbia and Greece during the nineteenth and twentieth centuries. The book is thematically concerned with music creation and education in these two neighbouring nations since they gained freedom from the Ottomans in the nineteenth century. The volume explores the efforts made by local musicians and their attempts to synchronize their musical environment with the West and achieve the inclusion of Serbian and Greek music in western music history. An aim that seemed coherent to overall progress and, at various historical stages, achievable, but has never yet been realized. Katy Romanou ‘patches up’ this failure with a breadth of research, at a time when interest in Balkan cultures is becoming increasingly popular among western researchers. Written by seven renowned musicologists, chapters offer fresh perspectives proves invaluable to scholars of Balkan studies and facilitate a more comprehensive perception of the area. The book stresses the interaction between music and politics, and shows how the music culture of the two countries has been affected by the political upheavals that divided and dislocated their populations with catastrophic force and high frequency, impeding cultural evolution.

Giacomo Albert La musica di Marco Stroppa: percorsi paralleli tra tecnologie e pensiero compositivo, 340 pp. Relatore: Prof. Gianmario Borio Università degli Studi di Pavia (Cremona), a.a 2005/ 2006 Title: La musica di Marco Stroppa: percorsi paralleli tra tecnologie e pensiero compositivo Dissertation Abstract: IT: Abstract della tesi: "La musica di Marco Stroppa: percorsi paralleli tra tecnologia e pensiero compositivo"

From the BBC Proms to Bernstein's Young People's Concerts, initiatives to promote classical music were a pervasive feature of twentieth-century musical life. Their goal was rarely just to reach a larger and more diverse audience; many also sought to teach a particular way of listening designed to help the public "appreciate" music. This book examines for the first time why and how music appreciation had such a defining and long-lasting impact-well beyond its origins as a late-Victorian, liberal project in music education. Putting new archival research into dialogue with social, political and cultural histories, it traces the networks of musicians, composers, critics, philanthropists, policy-makers and music educators who sought to shape the new markets for classical music through the central decades of the twentieth century. Both optimistic and anxious about advances in sound reproduction technologies, they worked across diverse forums and media – from concert halls to universities, from radio to cinema – to share the values and methods of music appreciation with aspirational audiences. Far more than the history of a uniquely influential movement in music education, The Art of Appreciation recounts how listening became entangled in a nexus of modern problems around citizenship, leisure and education. In so doing, it reveals a twentieth-century musical culture shaped less by radical rupture than by gradual change. At its heart was a milieu that encapsulated Britain's experience of modernity: the middlebrow.

In the course of its triumphant conquest of European stages, Benjamin Britten’s Peter Grimes (1945) received its Austrian premiere – to mixed reviews – during the 1947 Grazer Festwochen, a festival organized in cooperation with British occupying forces and borne out of the latter’s policy of political re-education.

Unlike early observers such as Edmund Wilson, who deemed the opera an allegory of “bombing, machine-gunning, mining, torpedoing, ambushing humanity” (1947), reviewers of the Graz performances opted not to mention the war, and their descriptions of the music certainly intimate the country’s wartime isolation from international musical developments. While Hans Keller diagnosed British resistances to Britten’s music as the result of “group self-contempt” in the face of a dominant Austro-German tradition (1950), a reverse spectacle may be observed in Austrian responses to Peter Grimes within the attendant social context: I will argue that critical resistances were thinly veiled by a distinctly Austrian ethos of the country as an “island of the blessed” (Insel der Seligen) that curbed engagement with the moral questions arising from the new work’s violent themes, incidentally mirroring the image of society portrayed in the opera itself, in which the borough’s hatred towards Grimes is obscured – though, again, thinly – by social homogeneity (“We live and let live, and look / We keep our hands to ourselves”).

A case study in how cultural identity influences aesthetic judgement of opera, this paper fills lacunae in relation to the post-war reception of a key work of the twentieth century.

"Carter's music poses struggles of opposition, for instance in timbre (Double Concerto), space (String Quartet No. 3) or pulse (String Quartet No. 5). His preference for the all-interval tetrachords, 4–Z15 [0, 1, 4, 6] and 4–Z29 [0, 1, 3, 7], is also well known. From these facets of Carter's music, I develop a narrative interpretation of his Petrarch sonnet–inspired solo flute piece, Scrivo in Vento (1991). Specifically, I forge narrative pathways by imagining the two tetrachords as active agents opposed in competition. Previous Scrivo analyses (Capuzzo 2002; Childs 2006) stress continuity by revealing Q-transforms and common-note voice leading between the tetrachords. While acknowledging such features, my analysis emphasises oppositional struggle by tracing the tetrachords as separate entities which cooperate and conflict as they manoeuvre to outdo each other.

The analysis advances three theses: (1) it guides listening to and reading Scrivo in a way which resonates with Carter's concern for the aesthetics of oppositional struggle, his choice of a sonnet as inspiration and his affinity for all-interval tetrachords; (2) it shows that music-analytical detail can be organised into dramatic narratives by (a) projecting dramatic roles onto categories asserted by a formal theory and (b) treating the formal theory's relations metaphorically as actions performed by each role as the musical work unfolds; and (3) it shows how detailed pc-set analysis can support a Heraclitean view of music: a flux of opposing forces seeking and resisting unity."

Many of Alexander Scriabin's preludes feature quixotic or rhythmically inaccurate notation, including time signatures that do not correlate with rhythmic events in the foreground. From the standpoint of performance practice, I introduce an interpretive approach that focusses on rubato as a causal factor of Scriabin's notational idiosyncrasies and argue that they represent an act of selfanalysis, pointing to a conscious imprint of pre-compositional planning on the final product in the choice of metric notation. In this study, preludes are classified according to two criteria: (1) the type of primary metrical dissonance they engender, which includes Type A rubato, i.e., an expressive anticipation or ornamentation of the melodic line against the accompaniment in strict time, and Type B rubato -temporary displacement of the entire texture; and (2) the type of approximation in time signature notation. The focus of this study are the early preludes (up to 1903) as Scriabin's attention in the later preludes appears to increasingly turn toward the harmonic dissonance and away from rubato and hand synchronisation issues. I present notational variants to three preludes from op. 11 that serve as an investigative tool into Scriabin's compositional process. Finally, I offer suggestions regarding performance considerations as well as the historical evaluation of Scriabin's oeuvre in light of the analyses presented in this study.

B atavus Droogstoppel, 'makelaar in koffij' in de Max Havelaar, wist niet goed wat hij moest denken van de 147 teksten die hij aantrof in het bij hem aan de Lauriergracht afgegeven pak van Sjaalman. 'Onzedelijke verzen' natuurlijk, maar toch ook stukken 'die ik wel niet alle begreep, maar die werkelijk kennis van zaken aantoonden'.

This thesis analyzes selected dream ballets, examining their appearances and investigating how they were used throughout their existence, offering a new perspective on an often-neglected dramatic device of American music theater. Each chapter analyzes the dream ballet from a different interrelated perspective: (1) as a transformative, liminal stage in the course of plot through which the main character(s) undergo some rite of passage (e.g., a “coming of age” ritual); (2) as a device of theatrical artifice rather than an engine of dramatic action; and (3) as a vehicle of political agency. My study analyzes four iconic examples: the dream ballet sequences of Oklahoma! (1943), Carousel (1945), West Side Story (1957), and Billy Elliot the Musical (London, 2005).

A relatively unexamined field in academic discourse, the dream ballet has rarely been the focus of scholarly investigation. Many of the secondary sources I use in this paper are either studies of the genre generally or of specific productions or biographies on significant figures of my research. My primary sources are housed in archival manuscript collections at the New York Library for the Performing Arts or the Library of Congress, where I conducted my research during the summer of 2016. I integrate such sources with theoretical approaches derived from psychology, cultural anthropology, gender studies, and other fields—Sigmund Freud’s classic formulations in The Interpretation of Dreams (1899), Victor Turner’s anthropological concept of liminality, and Ellen Koskoff’s work on performing gender—to move beyond the specific case studies toward a broader musicological consideration of the dream ballet as a dramatic device. Through this approach, I bring the dream ballet to the fore of musicological thought, both creating a theoretical framework through which to interpret the device and revealing new insights into the musical, cultural, and performative dimensions of music theater.

An aesthetic definition of 'Symbolism' that is not specific to music, and therefore does not submit to the vague romanticised rhetoric that is usually found in that discourse, would describe it as applying to art works that seek a relationship with an object or idea that is absent, and cannot be directly depicted (see Kristeva 2166). As an approach to music, it is exemplified by the mature works of Debussy, who saw himself consciously breaking from earlier traditions (Debussy 161 and passim), and therefore needs to be distinguished from the more primitive notion of 'programme music', a compositional approach that relies on 'depiction' of scene or narrative, and which can be found developing as a recognised form from at least the early-nineteenth century (Scruton 285).

С 56 Современная камерная музыка: Тембр, жанр, форма [Текст]: учебная программа дисциплины / авт.-сост. Н. Ю. Афонина, М. А. Долгова.-2-е изд., перераб. и доп.-СПб.: Скифия-принт, 2018.-51 с. Авторы-составители: кандидат искусствоведения, профессор Н. Ю. АФОНИНА преподаватель М. А. ДОЛГОВА Рецензенты: кандидат искусствоведения, доцент В. В. ГОРЯЧИХ кандидат искусствоведения, доцент Л. П. ИВАНОВА доцент Н. И. КУЗЬМИНА Учебная программа дисциплины «Современная камерная музыка: Тембр, жанр, форма» составлена на основании требований ФГОС ВО по специ альности 53.05.01 Искусство концертного исполнительства (уровень специалитета), специализация №4 «Концертные духовые и ударные инструменты».

Il caso di Gavino Gabriel (1881-1980) offre l’occasione per riconsiderare uno dei nodi più problematici ma anche più fecondi del primo Novecento musicale italiano, legato al difficile rapporto di convivenza tra la retorica del nazionalismo e una rinnovata coscienza dei valori culturali locali. Apprezzato cantore e interprete delle musiche tradizionali della sua terra d’origine, la Sardegna, Gabriel fu anche un compositore, un etnografo ante litteram e un pionieristico promotore delle tecnologie di riproduzione del suono per la documentazione scientifica e per la didattica dell’educazione musicale.
Dopo un’assidua frequentazione dei cenacoli artistici e intellettuali legati alla rivista «La Voce», Gabriel avviò rapporti di collaborazione con Giuseppe Prezzolini, Gabriele d’Annunzio, Ildebrando Pizzetti, Umberto Giordano e Giovanni Gentile; partecipò al dibattito sulla costruzione dell’identità nazionale rivendicando la centralità della musica e dei patrimoni culturali, e nel 1932 divenne il primo direttore della Discoteca di Stato. Nella sua opera di teatro musicale, La Jura, sperimentò una prassi compositiva dettata da un’originalissima poetica “ecologica” ispirata dall’ambiente geografico e dalle pratiche di vita comunitaria della sua isola.
Con il contributo di studiosi attivi in ambiti disciplinari diversi, e attraverso l’esame di un ampio corpus di fonti inedite, il volume presenta un quadro organico dell’esperienza di Gabriel e approfondisce le implicazioni più attuali della sua eredità di pensiero, ripercorrendo alcuni momenti decisivi del rapporto tra musica e identità nella storia del Novecento italiano.

В статье предлагается новый взгляд на процесс развития музыкального искусства ХХ века. Центральное место Стравинского в этом процессе характеризуется на основе морфологического анализа его сочинений 1900–1910 годов. Вводится в научный обиход и применяется в характеристике музыкальных образов русского мастера категориальная пара морфема — морф.


Ключевые слова: И. Ф. Стравинский, «Весна священная», «Весна (монастырская)», А. Шенберг, избирательность, морфологический анализ, морфема, морф.


This article proposes a new view on the development process of musical art of the 20
th Century. Stravinsky's central place in this process is characterized on the basis of morphological analysis of his works from 1900–1910. The categorical pair of morpheme — morph is introduced into scientific use and used in the characterization of musical images of the Russian master.


Keywords: I. F. Stravinsky, The Rite of Spring, Spring (Monastery Song), A. Schoenberg, selectivity, morphological analysis, morpheme, morph.

JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org. This content downloaded from 150.210.226.99 on Sat, 24 Oct 2015 10:34:44 UTC All use subject to JSTOR Terms and Conditions Ives's "Piano-Drum" Chords by J. Philip Lambert Among the structures and techniques described by Charles Ives in his Mentos are various uses of the piano to simulate drum sounds. Ives recalls the origins of this "piano-drum playing" in activities of his youth:

How did a circle of twentieth-century queer composers around Aaron Copland and Virgil Thomson manage to forge a long-awaited American national sound during the most homophobic period in U.S. history? The answer given in my 2004 book, *The Queer Composition of America's Sound*, is homophobia—along with hard work, talent, and certain other factors. This 2013 journal article is the closest thing I've written to a single-essay distillation of *Queer Composition*.

ÖZET Tarih sahnesinden, farklı biçimlerde yorumlanan, mirası farklı boyutlarda değerlendirilenler yalnızca siyasi kişilikler ya da Napolyon gibi askeri portreler değildir. Çoğu zaman kültürel aktörler, müzisyenler örneğinde olduğu gibi benzer bir yaklaşımla karşı karşıya kalırlar. Türk musikisinde icra alanında en önemli portreyi oluşturan Tanburî Cemil Bey de kimilerine göre bir gelenek yıkıcı kimilerine göre ise geleneğin benzersiz sesi olarak değerlendirilebilir. Tanburî Cemil Bey, yaşadığı dönemde yarattığı tüm sıra dışı etkiye rağmen sonraki yıllarda büyük bir ihmale uğramış, adeta unutulmaya terk edilmiştir. Oysa 1950'li yıllarda Niyazi Sayın ve Necdet Yaşar gibi değerli genç icracılar onu yeniden plakları üzerinden keşfetmişler, müzikal mirasını yorumlayarak modern çağa taşımışlardır. Bu genç kaşifler Cemil Bey'i yeniden, müziğin anlam dünyasında var edebilmişlerdir. Özellikle Niyazi Sayın, Tıpkı Cemil Bey'in yaptığı gibi klasik tavrın dışına çıkarak yeni bir tavır inşa edebilmiştir. Kısacası yaratıcı sanatçılarda ortak bir özellik olarak nitelendirilen " yaratıcı yıkıcılık " süreciyle bir geleneği yıkmış, yerine çok etkili olacak yeni bir gelenek kurabilmiştir. Bu tebliğde Neyzen Niyazi Sayın'ın Cumhuriyet döneminde Cemil Bey'in müziğinin kültürel taşıyıcılarından biri ve aynı zamanda kaynağa yönelik kâşif bir portre olarak analizi yapılacaktır. ABSTRACT It is not only political personalities or military portraits like Napoleon, which are interpreted in different forms and interpreted in different dimensions of history. Often, cultural actors face a similar approach, as is the case with musicians. Tanburî Cemil Bey who constitutes the most important portrait in the field of performing in Turkish musicals, according to some he is destroyer of tradition and according to others he is as an unique voice according to tradition. Tanburî Cemil Bey suffered a great deal of neglect in the following years despite all the extraordinary effects he had created in his life, and he was almost forgotten. However, in the 1950s, valuable young performers like Niyazi Sayın and Necdet Yaşar discovered it again on their recordings and interpreted the musical heritage and moved to modern age. These young explorers have been able to bring Cemil Bey back to the meaning of music again. Niyazi Sayın, in particular, was able to build a new attitude out of the classical attitude just as Cemil Bey did. Shortly, in the process of "creative destructiveness", which is described as a common feature in creative artists, a tradition has been able to break down a tradition and become a new and very effective one. In this paper, Neyzen Niyazi Sayın will be analyzed as one of the cultural bearers of Cemil Bey's music during the Republican period and as an explorative portrayal of the source at the same time.

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Камерная инструментальная музыка ХХ-ХХ1 веков: вопросы истории и теории жанра Учебное пособие по курсу «Современная камерная музыка: тембр, жанр, форма» (для студентов духового и струнного отделений оркестрового факультета консерватории) Саратов 2019 УДК 78.03 ББК 85.315 А 94 А 94 Афонина Н. Ю. Камерная инструментальная музыка ХХ-ХХ1 веков: вопросы истории и теории жанра: учебное пособие.-Санкт-Петер бургская государственная консерватория имени Н. А. Римского-Кор сакова. Кафедра теории музыки.-Саратов : Амирит, 2019. Изд. 2-е, испр. и доп.-80 с. Рецензенты: кандидат искусствоведения, доцент В. В. ГОРЯЧИХ кандидат искусствоведения, профессор Е. В. ТИТОВА Учебное пособие содержит материалы вводных лекций учебного курса «Современная камерная музыка: тембр, жанр, форма». В пособии рас крываются отдельные аспекты становления и эволюции камерных жан ров в инструментальной музыке, специфика камерной музыки как жанра, дается обзор инструментальных составов в музыке ХХ-ХХ1 вв., ставятся вопросы тембровой характерности инструментов. Пособие адресовано студентам духового и струнного отделений оркестрового факультета кон серваторий и всем интересующимся историей и теорией камерной инст рументальной музыки. Печатается по решению Редакционно-издательского совета СПбГК

Диссертация выполнена на кафедре истории зарубежной музыки в Московской государственной консерватории им. П.И.Чайковского. Научный консультант - доктор искусствоведения, профессор Крауклис Г.В. Защита состоялась 23 мая 1996 г. на заседании диссертационного совета Московской консерватории

Официальные оппоненты: доктор искусствоведения, профессор Лаул Р.Г.; доктор искусствоведения Паисов Ю.И.; доктор искусствоведения, профессор Тараканов М.Е.

Автореферат диссертации В.В.Гливинского характеризует работу как первую в мировом музыковедении попытку создания целостного представления о произведениях Стравинского 50-60-х годов ХХ века.

С позиций диалогичности художественного мышления композитора, обусловленной его принадлежностью линии русского западничества, рассматривается его отношение к музыкальному авангарду 50-60-х годов ХХ века.

На основе анализа эскизов из Фонда Пауля Захера дается развернутая характеристика особенностей серийно-ротационной техники Стравинского, выявляется специфика его творческих контактов с музыкой эпохи Возрождения.

Особое внимание уделено произведениям библейской и мемориальной тематики, жанру обработки.

Работа адресована музыкантам-специалистам, студентам музыкальных вузов, а также всем, кто интересуется творчеством Стравинского.

Consideraciones estilísticas acerca de una de las primeras aproximaciones al serialismo de Arnold Schoenberg: la Serenata, Op. 24. Realizadas en base al análisis de estilo propuesto por el musciólogo Jan LaRue, basado en Sonido, Armonía, Melodía, Ritmo y Crecimiento.

Le fonds Marc Danval a été créé au sein des collections musi-cales de la Bibliothèque royale de Belgique au mois de mars 2010, suite à l'achat de la collection personnelle de l'animateur radio, journaliste et écrivain bruxellois. Cette constitution concrétisait le souhait de Marc Danval de voir sa collection, construite avec passion tout au long de sa vie, rejoindre de son vivant les rayonnages de la Bibliothèque royale de Belgique, afin que son unité soit préservée et son accessibilité garantie. Pour l'institution, l'acquisition de cet ensemble remarquable permettait aux collections musicales de s'ouvrir davantage aux répertoires " non classiques " , jusqu'ici peu représentés.