Musician, Wrestling (1935–1946)

2018 ◽  
Author(s):  
David Schiff
Keyword(s):  
Large Scale ◽  
Emotional Intensity ◽  
Hart Crane ◽  
Piano Sonata ◽  
Choral Works ◽  
Walter Piston

After his return from Paris, Carter embarked on a composing career, writing a variety of pieces, most of which he soon discarded. Carter’s remaining early works (“pre-Carter”) reflect the opposed influences of Walter Piston (objectivity, craftsmanship) and the poet Hart Crane (experimentation, rebellion). These contravening tendencies appear in the short choral works of the period, most of them written for college choruses, and more ambitious works like the score for the ballet, Pocahontas, and the Symphony no. 1. Balancing craft and expression proved difficult and Carter was often dismayed to find that works which he had intended to be accessible to performers or audiences were deemed too difficult. The Piano Sonata, completed in 1946, finally showed that Carter could bring together the demands of formal clarity and emotional intensity in a personal way and on a large scale.

scholarly journals Schubert’s Experiments with Processual Form

2021 ◽  
Vol 5 (2) ◽  
Author(s):  
Gabriel Venegas Carro
Keyword(s):  
Large Scale ◽  
Structural Features ◽  
Functional Approach ◽  
Piano Sonata ◽  
Detailed Consideration ◽  
Type D ◽  
Analytical Perspective ◽  
Formal Strategy ◽  
Functional Transformations

This article assesses, from a process-oriented analytical perspective, the role of formal reinterpretation in Schubert’s music. The article builds on the work of Janet Schmalfeldt (in turn inspired by the analytical and philosophical processual approaches to form of Theodor W. Adorno and Carl Dahlhaus). It also draws on the form-functional approach of William Caplin, and the dialogical formal perspective of James Hepokoski and Warren Darcy. The article’s first part considers some typical structural features of form-functional transformations and presents a threefold categorization of them: intrathematic (e.g., continuation ? cadential), interthematic (e.g., introduction ? P-theme), and multilevel transformations (e.g., transition ? contrasting middle). In addition to providing examples drawn from Schubert’s works for piano that illustrate these three types of form-functional transformations (D. 899 no. 3, D. 566/I), the second part of the article discusses instances of theme-type (D. 784/I) and exposition-space-and-type (D. 935/I) transformations and form-functional intertextuality (D. 958/I) between Schubert’s and Beethoven’s works. The article concludes with a detailed consideration of the Piano Sonata in B-flat, D.960/I, addressing aspects of large-scale formal implications related to a particular formal strategy in Schubert’s ternary P-themes: the “double-conversion effect,” a process of form-functional transformation that features the reinterpretation of formal functions not once but twice in a self-contained formal zone.

Icarus Soaring: the music of John Pickard

Tempo ◽  
1997 ◽  
pp. 2-5
Author(s):  
Guy Rickards
Keyword(s):  
Large Scale ◽  
String Quartets ◽  
Tone Poem ◽  
Choral Works ◽  
Piano Trio ◽  
The Past ◽  
Chamber Ensembles ◽  
Brass Band ◽  
Orchestral Works ◽  
Almost All

Although John Pickard's music has received a good many performances and radio broadcasts over the past decade, it was the relay of his dazzling orchestral tone poem The Flight of Icarus (1990) during the 1996 Proms1 which brought him to the notice of the wider concert–going and –listening public. There is some justice in that piece attracting such attention, as it is one of his most immediate in impact, while completely representative of his output at large. That output to date encompasses three symphonies (1983–4, 1985–7, 1995–6) and five other orchestral works, three string quartets (1991, 1993, 1994; a fourth in progress), a piano trio (1990), sonatas for piano (1987) and cello and piano (1994–5), vocal and choral works, pieces for orchestral brass (Vortex, 1984–5) and brass band – the exhilarating Wildfire (1991), which crackles, hisses and spits in ferocious near–onomatopoeia, and suite Men of Stone (1995), celebrating four of the most impressive megalithic sites in Britain, one to each season of the year. There are other works for a variety of solo instruments and chamber ensembles, such as the intriguing grouping of flute, clarinet, harpsichord and piano trio in Nocturne in Black and Gold (1983) and the large–scale Serenata Concertante for flute and six instruments of a year later. Still in his mid-thirties – he was born in Burnley in 1963 – Pickard has already made almost all the principal musical forms of the Western Classical tradition his own, with only opera, ballet and the concerto as yet untackled.

scholarly journals Exploring emotional responses to orchestral gestures

2017 ◽  
Vol 23 (1) ◽  
pp. 25-49 ◽  
Author(s):  
Meghan Goodchild ◽  
Jonathan Wild ◽  
Stephen McAdams
Keyword(s):  
Time Series ◽  
Regression Analysis ◽  
Large Scale ◽  
Emotional Responses ◽  
Emotional Reactions ◽  
Emotional Intensity ◽  
Time Series Regression ◽  
And Performance ◽  
Textural Changes ◽  
Instrumental Texture

Research on emotional responses to music indicates that prominent changes in instrumentation and timbre elicit strong responses in listeners. However, there are few theories related to orchestration that would assist in interpreting these empirical findings. This article investigates listeners’ emotional responses to four types of orchestral gestures – large-scale timbral and textural changes that occur in a coordinated, goal-directed manner – through an exploratory experiment that collected continuous responses of emotional intensity for musician and nonmusician listeners. A time series regression analysis was used to predict changes in emotional responses by modeling changes in several musical features, including instrumental texture, spectral centroid, loudness, and tempo. We demonstrate the application of a new visualization tool that compiles the emotional intensity ratings with score-based and performance-based musical features for qualitative and quantitative analysis. The results suggest that the response profiles differ for the four gestural types. Following the increasing growth of instrumental texture and loudness, the emotional intensity ratings climbed steadily for the gradual addition types. The ratings for the sudden addition gestures sharply increased in response to the rapid textural change, peaking toward the end of the excerpt. There was a slight tendency for musicians, but not nonmusicians, to anticipate the moment of sudden addition with heightened emotional responses. The responses to the reductive excerpts, both gradual and sudden, feature a plateau of lingering high emotional intensity, despite the decrease of other musical features. The visualization provided a method to observe the evolution of listeners’ emotional reactions in response to the orchestral gestures and assisted in interpreting the results of the time series regression analysis.

The Bifocal Close and the Evolution of the Viennese Classical Style

1989 ◽  
Vol 42 (2) ◽  
pp. 275-337 ◽  
Author(s):  
Robert S. Winter
Keyword(s):  
Twentieth Century ◽  
Large Scale ◽  
Joseph Haydn ◽  
Piano Concerto ◽  
Piano Sonata ◽  
Structural Symmetry ◽  
Classical Style

The classical half cadence on the dominant in the exposition that becomes tonicized after a decisive articulation has been noted only in passing by twentieth-century writers. Even fewer have noted the parallel usage of this device in the recapitulation, where the same half cadence serves as a local dominant. To this neglect can be added the general disdain with which earlier theorists like Czerny, Reicha, A. B. Marx, and Riemann viewed what can be called "the bifocal close." Contrary to the collective ignorance about, or disapproval of, the bifocal close, it turns out to have played an important role in the evolution of the Viennese classical style, especially in the music of W. A. Mozart. Perhaps drawing on his experiences in Mannheim and Paris (two centers where the bifocal close was first cultivated), Mozart used the bifocal close in almost 150 movements, which span from his first symphony to his last piano concerto. For Mozart it was a device that afforded large-scale dissonance and structural symmetry. Its appeal was much less for Joseph Haydn, whose rare usage of the bifocal close betrayed a desire to conceal rather than underscore symmetries. As the classical style waned, so did the importance of the bifocal close. Nevertheless, it can be found in several of Beethoven's early forays into piano sonata, quartet, overture, and symphony, and even beyond.

John McCabe's Psalm-Cantata St John's, Smith Square

Tempo ◽  
2014 ◽  
Vol 68 (267) ◽  
pp. 66-67
Author(s):  
Paul Conway
Keyword(s):  
Significant Role ◽  
Instrumental Music ◽  
Song Cycle ◽  
Large Scale ◽  
Vocal Music ◽  
Choral Works ◽  
Orchestral Repertoire

John McCabe is most closely associated with large-scale orchestral statements, notably in concertante and symphonic forms and in ballet scores, yet chamber and instrumental music has recently played an increasingly significant role within his oeuvre. Of his vocal music, unaccompanied choral works such as the carols have attracted most attention, whilst his major contributions to the choral-orchestral repertoire, such as the large-scale cantata, Voyage (1972) and the extended song cycle for soloists, choir and large orchestra, Songs of the Garden (both Three Choirs Festival commissions, for 1972 and 2009, respectively), are considerably less widely known. It was with keen anticipation and no little curiosity, then, that I attended the first performance of McCabe's latest work for chorus and orchestra on 16 March 2013 at St John's, Smith Square.

scholarly journals Sticker and Emoji Use in Facebook Messenger: Implications for Graphicon Change

2020 ◽  
Vol 25 (3) ◽  
pp. 217-235 ◽  
Author(s):  
Artie Konrad ◽  
Susan C Herring ◽  
David Choi
Keyword(s):  
Large Scale ◽  
Language Change ◽  
Emotional Intensity ◽  
Structured Interviews ◽  
Evolutionary Trajectory ◽  
English Speaking ◽  
Large Scale Survey ◽  
Relationship Of ◽  
The Relationship ◽  
Over Time

Abstract This study posits that graphicon use follows an evolutionary trajectory characterized by stages. Drawing on evidence that the uses and functions of emoticons have changed over time and that the introduction of emoji affected the popularity and usage of emoticons, we examine the uses of the newer types, emoji and stickers, and consider the relationship of stickers to emoji. Adapting the apparent-time method from the sociolinguistic study of language change, we compare sticker and emoji use by English-speaking Facebook Messenger users, exploring how they are used and under what conditions using semi-structured interviews and a large-scale survey. Stickers are argued to be more pragmatically marked for emotional intensity, positivity, and intimacy, characteristic of a more recent stage of evolution, while emoji use exhibits signs of conventionalization and pragmatic unmarking. The identification of patterns that characterize evolutionary stages has implications for future graphicon use.

Still Sings the Voice: A Portrait of Ned Rorem

Tempo ◽  
1985 ◽  
pp. 7-12
Author(s):  
Bret Johnson
Keyword(s):  
Large Scale ◽  
Art Songs ◽  
Choral Works ◽  
Ned Rorem ◽  
The Voice

I Well Remember hearing my first Rorem work—his Symphony No. 3 of 1959, with its wealth of melody and uninhibited joie de vivre. I determined to hear more and soon realized that there has been too little comment on him (not to mention performances!) on this side of the Atlantic. His reputation, earned in the 1950's and 1960's, as ‘America's foremost composer of art songs’ has been consolidated whilst he has been venturing into many other areas of musical terrain. Indeed, he has been a busy man—with more than 30 major works to his credit since 1970: and since his reputation as a composer of large-scale orchestral and choral works is less clearly perceived in this country, I propose to concentrate on this aspect in a brief survey of how his art has developed in recent years.

On Imitation Forms in the Four-Part Divine Service (“Difficult”) by Vasiliy Titov

2020 ◽  
pp. 63-79
Author(s):  
Н.Ю. Плотникова
Keyword(s):  
Large Scale ◽  
18Th Century ◽  
Choral Works ◽  
Wide Range ◽  
Baroque Era

Василий Титов (ок. 1650 – ок. 1715) — выдающийся русский композитор эпохи барокко, в хоровых произведениях которого для различных составов (от трех до двадцати четырех голосов) ярко представлена имитационная техника. Его «Служба Божия» для двух дискантов и двух басов, созданная в 1680–1690-е годы, в одном из рукописных сборников середины XVIII века получила название «трудная», в первую очередь в связи с большим количеством имитационных форм (простые и канонические имитации, бесконечные каноны и канонические секвенции), а также с необычным для партесного стиля типом тематизма, приближающимся к инструментальному. Особый интерес представляют фугированные формы, помещающиеся в экспозиционных разделах частей крупного многочастного цикла Службы, их канонические структуры и своеобразная ладовая организация. В задачи автора статьи входит выявление и характеристика имитационных форм Службы с опорой на теорию С. И. Танеева и методику современного полифонического анализа, определение роли полифонии в построении крупных тексто-музыкальных форм. Vasiliy Titov (c. 1650 – c. 1715) is an outstanding Russian composer of the Baroque era, who brilliantly used imitation techniques in his choral works for choirs of wide range (from three to twenty-four voices). In one of the manuscript сollections of the mid-18th century, his Divine Service for two treble and two bass voices, composed in the 1680–90s, is referred to as ‘difficult’ — primarily due to the multitude of imitations (both simple and canonic, including perpetual canons and canonic sequences), as well as to the peculiarities of the work’s thematic material, close to the instrumental nature, which is unusual for the partesny style. Of particular interest are the fugue forms that are located in the exposition sections of the parts of a large multi-part cycle of the Service, their canonical structures and a kind of modal organization. The tasks of the author of the article include identifying and characterizing the imitation forms of the Service based on the theory of Sergey I. Taneyev and the methodology of modern polyphonic analysis, and defining the role of polyphony in large-scale vocal forms.

Piano Sonatas I–IV

10.31022/a090 ◽  
2021 ◽  
Author(s):  
Allen Sapp
Keyword(s):  
Critical Edition ◽  
Piano Sonata ◽  
Piano Sonatas ◽  
The Third ◽  
Irving Fine ◽  
Walter Piston

This volume presents a critical edition of Allen Sapp's four earliest piano sonatas, the first written at just age nineteen while he was a student of Walter Piston at Harvard in 1941. Piano Sonatas II, III, and IV were completed while Sapp was on sabbatical from Harvard and living in Rome in 1957. The three Roman piano sonatas are remarkable in that they were composed using serial procedures, yet they were intentionally written to have strong tonal centers (especially the third sonata). Irving Fine, who gave the premiere performance of Piano Sonata I, composed an ossia of a passage in the second movement, which is included in the edition.

scholarly journals Schubert’s Large-Scale Sentences

2021 ◽  
Vol 27 (3) ◽  
Author(s):  
Caitlin G. Martinkus
Keyword(s):  
Nineteenth Century ◽  
String Quartet ◽  
Large Scale ◽  
Franz Schubert ◽  
Common Type ◽  
Piano Sonata ◽  
Surface Level ◽  
String Quintet ◽  
Large Structures ◽  
Formal Expansion

In this article, I share findings from analysis of first-movement sonata forms composed by Franz Schubert from 1810 to 1828. This work builds on prior studies of nineteenth-century sentences (e.g., ".fn_cite($baileyshea_2002).", ".fn_cite($bivens_2018).", ".fn_cite($broman_2007).", ".fn_cite($vandemoortele_2011).", and ".fn_cite($krebs_2013)."), offering an in-depth investigation of Schubert’s use of expanded sentence forms. I theorize the typical qualities of Schubert’s large-scale sentences and highlight a particularly common type, in which the large-scale continuation phrase begins as a third statement of the large-scale basic idea (i.e., a dissolving third statement). I present four examples of this formal type as representative, drawn from the C Major Symphony (D. 944/i), the C Minor Piano Sonata (D. 958/i), the C Major String Quintet (D. 956/i), and the D Minor String Quartet (D. 810/i). My analytical examples invite the reader to contemplate the negotiation of surface-level paratactic repetitions with deeper hypotactic structures. These large structures invite new modes of listening; exemplify the nineteenth-century shift away from the relative brevity of Classical precursors in favor of expanded forms; and problematize facile distinctions between inter- and intrathematic functions. This formal type would eventually flourish over the course of the nineteenth century, underpinning many composers’ strategies for formal expansion.

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