Understanding the Concert for Piano and Orchestra

2020 ◽  
pp. 402-436
Author(s):  
Martin Iddon ◽  
Philip Thomas
Keyword(s):  
Significant Part ◽  
Musical Form ◽  
Musical Work ◽  
The Way

This chapter considers the way in which the Concert for Piano and Orchestra has been interpreted by commentators, from musicologists and other composers to professional philosophical thinkers. It shows the way in which these interpretations played a part in the initial receptions of the piece, especially in Europe, made a major contribution to discussion of the nature of musical form in the context of openness, and became a significant part of later discussions regarding the nature and limits of the musical work.

John Cage's Concert for Piano and Orchestra

2020 ◽  
Author(s):  
Martin Iddon ◽  
Philip Thomas
Keyword(s):  
Arnold Schoenberg ◽  
Musical Work ◽  
Compositional Process ◽  
Piano Solo ◽  
Comprehensive Examination ◽  
Compositional Practice ◽  
Similar Basis ◽  
The Impact ◽  
The Way

The book is a comprehensive examination of John Cage’s seminal Concert for Piano and Orchestra. It places the piece into its many contexts, examining its relationship with Cage’s compositional practice of indeterminacy more generally, the importance of Cage’s teacher, Arnold Schoenberg, on the development of his structural thought, and the impact of Cage’s (mis)understanding of jazz. It discusses, on the basis of Cage’s sketches and manuscripts, the compositional process at play in the piece. It details the circumstances of the piece’s early performances—often described as catastrophes—its recording and promotion, and the part it played in Cage’s (successful) hunt for a publisher. It examines in detail the various ways in which Cage’s pianist of choice, David Tudor, approached the piece, differing according to whether it was to be performed with an orchestra, alongside Cage delivering the lecture, ‘Indeterminacy’, or as a piano solo to accompany Merce Cunningham’s choreography Antic Meet. It demonstrates the ways in which, despite indeterminacy, the instrumental parts of the piece are amenable to analytical interpretation, especially through a method which exposes the way in which those parts form a sort of network of statistical commonality and difference, analysing, too, the pianist’s part, the Solo for Piano, on a similar basis, discussing throughout the practical consequences of Cage’s notations for a performer. It shows the way in which the piece played a central role, first, in the construction of who Cage was and what sort of composer he was within the new musical world but, second, how it came to be an important example for professional philosophers in discussing what the limits of the musical work are.

Music Material Development Techniques (Lectures in «Principles of Music Analysis») 

2020 ◽  
pp. 53-69
Author(s):  
Р.Х. Лаул
Keyword(s):  
Final Section ◽  
High Efficiency ◽  
Music Analysis ◽  
Detailed Examination ◽  
Musical Composition ◽  
Musical Form ◽  
Musical Work ◽  
Saint Petersburg ◽  
Material Development ◽  
Development Processes

Настоящий материал продолжает серию публикаций лекций Рейна Лаула по анализу музыки в Санкт-Петербургской (Ленинградской) консерватории. Шестая лекция завершает обзор приемов разработочного развития музыкального материала. В нее вошли шесть из двадцати пяти приемов в авторской классификации (эпизодическая тема, производная тема, варьирование, полифонические варианты, приемы подвижного контрапункта, полифонические структуры), способствующей систематизации разработочных процессов. В поле зрения автора включены неспецифически сонатные способы преобразования музыкального материала, благодаря чему сонатность предстает в гибком и взаимодополняющем взаимодействии с иными принципами формообразования. Особое внимание уделено специфике применения полифонических средств развития музыкального материала в контексте сонатного формообразования. В ходе детального рассмотрения финала симфонии В. А. Моцарта Юпитер оказываются тесно связанными технологический, композиционно-драматургический и стилевой аспекты становления музыкальной формы. Заключительный раздел, обобщающий содержание лекции в целом, содержит пример практического применения предлагаемой автором методологии. Тем самым доказывается ее целесообразность и высокая эффективность как в аспекте анализа интонационной драматургии музыкального произведения, так и в достижении главной аналитической цели в формировании объективного представления о содержательной сути каждого этапа в развёртывании музыкальной композиции. This material continues the series of publications of R. H. Lauls lectures on music analysis at the Leningrad (Saint Petersburg) Rimsky-Korsakov State Conservatory. The sixth lecture concludes the review of techniques for developing musical material. It discusses six of the twenty-five techniques in the authors classification (episodic theme, derived theme, variation, polyphonic variants, mobile counterpoint techniques, polyphonic structures), which contributes to systematization of the development processes. The authors field of view includes non-specific Sonata methods of transforming the musical material, so that sonateness appears in a flexible and complementary interaction with other principles of formation. Special attention is paid to the specifics of using polyphonic means of developing musical material in the context of Sonata formation. The detailed examination of the finale of Mozarts Symphony Jupiter, shows that technological, compositional, dramatic, and stylistic aspects of the formation of a musical form appear to be closely related. The final section summarizing the content of the lecture as a whole contains an example of practical application of the methodology proposed by the author, proving its expediency and high efficiency not only in the aspect of analyzing the intonation drama of a musical work, but also of achieving the main analytical goal to form a reasoned judgment about the content of each stage in the deployment of a musical composition.

Conclusion

2019 ◽  
pp. 283-286
Author(s):  
James Lindley Wilson
Keyword(s):  
The Other ◽  
Significant Part ◽  
Democratic Institutions ◽  
Social Equality ◽  
Equal Status ◽  
Democratic Practices ◽  
The Way

Democracy and equality are intimately linked. We cannot understand or properly respond to one ideal without the other. Democracy’s value stems in significant part from the way it manifests and sustains citizens’ equal status. Social equality requires democratic institutions and practices, because part of what it is for people to relate as equals is to share authority over what they do together. The design of democratic institutions—and our conduct of democratic practices—should be guided by this egalitarian ideal of sharing authority as civic friends. We ought to orient our efforts to establish and maintain equal relations with the democratic constituents of equality in view. We treat people as equals in part by sharing with them authority over how we treat one another. There is risk in granting authority to others. But a society of equals is a great reward....

Listening and Waiting, Excavating Later

2019 ◽  
pp. 177-201
Author(s):  
Peter R. Schmidt
Keyword(s):  
Indigenous Knowledge ◽  
Significant Part ◽  
Oral Traditions ◽  
Community Archaeology ◽  
Ritual Performance ◽  
Epistemic Humility ◽  
Iron Technology ◽  
The Way

Careful listening to oral traditions, a significant part of Tanzanian Haya heritage, for nearly a year led to an ancient shrine where Haya elders encouraged excavations. This was early participatory community archaeology, where indigenous knowledge and the initiative of elders paved the way to significant archaeological finds about iron technology and the enduring qualities of knowledge preserved by ritual performance. Patient apprenticeship to knowledge-keepers during ethnoarchaeological observations of iron technology also led to significant insights into inventive techniques in iron technology that otherwise would have gone unnoticed. Listening with epistemic humility, opening ourselves to other ways of constructing history and heritage, unveils heritage under treat. A forgotten massacre by German colonials, the knowledge of which has been erased by disease and globalization, was revealed and is now preserved only by listening closely to Haya elders five decades ago.

Psychoanalysis and the Treatment of the Psychoses

1971 ◽  
Vol 119 (548) ◽  
pp. 47-52 ◽  
Author(s):  
Thomas Freeman
Keyword(s):  
United Kingdom ◽  
Significant Part ◽  
Psychiatric Practice ◽  
Psychotic Symptoms ◽  
Analytical Treatment ◽  
Classical Form ◽  
Mental Hospitals ◽  
The United Kingdom ◽  
The Subject ◽  
The Way

Psychoanalysis is not regarded as having a significant part to play in the treatment of the psychoses. This view has been strengthened by the ease with which the phenothiazine and other drugs may bring many psychotic symptoms under control. Nevertheless, there are psychiatrists who believe that psychoanalysis, in its classical form or suitably modified, can benefit patients suffering from psychoses. The issues which have been raised by these claims are still the subject of controversy among psychiatrists and psychoanalysts. This paper is not concerned with details of the different kinds of analytical treatment which may be recommended for patients. Such an account would be inappropriate in the circumstances of current psychiatric practice in the United Kingdom. Instead attention will be focused on the way in which psychoanalysis can be integrated into therapeutic regimes presently employed in mental hospitals.

Collaboration between Statistics Poland and the Institute of Social Economy in the field of social research in 1920–1939

2020 ◽  
Vol 65 (7) ◽  
pp. 47-64
Author(s):  
Bożena Łazowska
Keyword(s):  
Social Research ◽  
Social Economy ◽  
Social Situation ◽  
Significant Part ◽  
Historical Sources ◽  
Research Teams ◽  
Household Budget Survey ◽  
The Social ◽  
Household Budget ◽  
The Way

The article presents the collaboration between Statistics Poland (GUS) and the Institute of Social Economy (IGS) in the field of social research in the period of the Second Polish Republic. On the basis of historical sources and studies it was possible to determine the scope of research undertaken by both institutions in this field and the way of organisation of their joint projects, the most important of which was the household budget survey. The smooth cooperation between the IGS and Statistics Poland was possible mostly thanks to the fact that a significant part of Statistics Poland’s managerial and research teams worked for IGS. The collaboration between both institutions yielded over one hundred publications, a majority of which concerned the social situation in Poland.

scholarly journals Against Nature? or, Confessions of a Darwinian Modernist

2014 ◽  
Vol 75 ◽  
pp. 151-182
Author(s):  
Murray Smith
Keyword(s):  
Final Section ◽  
Aesthetic Experience ◽  
Classical Music ◽  
The Other ◽  
Musical Form ◽  
Musical Expression ◽  
Musical Sound ◽  
Musical Sounds ◽  
Western Classical Music ◽  
The Way

A few years ago I gave a paper on the aesthetics of ‘noise,’ that is, on the ways in which non-musical sounds can be given aesthetic shape and structure, and thereby form the basis of significant aesthetic experience. Along the way I made reference to Arnold Schoenberg's musical theory, in particular his notion ofKlangfarbenmelodie, literally ‘sound colour melody,’ or musical form based on timbre or tonal colour rather than on melody, harmony or rhythm. Schoenberg articulated his ideas aboutKlangfarbenmelodiein the final section of hisHarmonielehre(1911). ‘Pitch is nothing else but tone colour measured in one direction,’ wrote Schoenberg. ‘Now, if it is possible to create patterns out of tone colours that are differentiated according to pitch, patterns we call ‘melodies’…then it must also be possible to make such progressions out of the tone colours of the other dimension, out of that which we simply call “tone colour.”’ In other words, traditional melodies work by abstracting and structuring the dominant pitch characterizing a musical sound, while ‘sound colour melodies’ work, Schoenberg argues, by structuring the combined set of pitches contained in a given musical sound (the overtones as well as the dominant pitch). Schoenberg is emphatic that, although a neglected and underdeveloped possibility within Western classical music, ‘sound colour melody’ is a perfectly legitimate and viable form of musical expression; indeed for Schoenberg it is a musical form with enormous potential.

scholarly journals Deus ex machina, czyli o doświadczeniu fonografii w poezji Stanisława Barańczaka / DEUS EX MACHINA, OR THE EXPERIENCE OF PHONOGRAPHY IN THE POETRY OF STANISŁAW BARAŃCZAK

2013 ◽  
Vol 54 (4-5) ◽  
pp. 477-494
Author(s):  
Iwona Puchalska
Keyword(s):  
20Th Century ◽  
Musical Work ◽  
Work Of Art ◽  
New Techniques ◽  
New Approaches ◽  
The World ◽  
The Way

Summary This article deals with a new range of musical topoi that entered the literature of the 20th century following the invention of new techniques of recording and copying of sound. The phonographic revolution led to a wide-ranging revision of traditional musical terms and opened the way for new approaches to the problem of ontology of the musical work of art. Its ripples also reached the realm of poetry, giving rise to new motifs and themes of ‘poetic musicology’. Stanisław Barańczak is without doubt a typical phonographic poet, and his work both reflects the general developments in the world of music and shows a uniquely personal literary-musical profile.

scholarly journals Antara Teori Formula Albert B Lord dan Musikologi

2018 ◽  
Vol 1 (1) ◽  
pp. 23
Author(s):  
Nugrahanstya Cahya Widyanta
Keyword(s):  
Data Analysis ◽  
Data Reduction ◽  
Qualitative Method ◽  
Theoretical Formula ◽  
Musical Form ◽  
Oral Literature ◽  
Data Display ◽  
Musical Taste ◽  
The Way

ABSTRAKKajian sastra lisan dan musikologi memiliki keterkaitan yang belum banyak diungkapkan. Tulisan ini ingin menunjukkan bahwa musik merupakan bingkai kelisanan untuk menggiring sebuah keteraturan dalam pengkalimatan karya sastra lisan Yugoslavia. Hal tersebut diteliti dengan menggunakan metode kualitatif. Analisis data dilakukan melalui tiga tahap, yaitu reduksi data, penyajian data, dan mengambil kesimpulan kemudian melakukan verifikasi. Data yang diperoleh bersumber dari buku The Singer of Tales tulisan Albert B Lord yang mencakup penjelasan mengenai teori formula dalam sastra lisan Yugoslavia. Data tersebut dianalisis menggunakan teori bentuk dan struktur musikal Leon Stein. Komposisi dalam karya kelisanan tersebut dikaji melalui teori formula Lord. Dalam hal ini, pelantun mengingat perulangan dan menciptakan melalui analogi dengan perulangan kata, frasa, klausa, dan larik yang telah ada. Terdapat proses akumulasi, kombinasi, dan pemodelan kembali terhadap formula yang telah ada. Dengan demikian setiap pelantun memiliki gayanya masing-masing dalam penceritaan karya sastra lisan tersebut, namun setiap pelantun selalu memiliki jumlah suku kata yang sama dalam setiap pengkalimatan.  Hal ini dapat terjadi dikarenakan rasa musikal yang dipakai. Para pelantun tidak pernah menghitung jumlah suku kata yang ada namun keteraturan tersebut dapat terjadi karena adanya rasa musikal. Kata kunci: teori formula, Albert B Lord, sastra lisan, musikologi. ABSTRACTStudy of oral literature and a discipline named musicology have a linkage that has never been very often expressed yet. This paper is to reveal that music is an oral frame to bring a regularity in making sentences of oral literature  works in Yugoslavia. Such a thing is researched using a qualitative method. Data analysis is done through three steps, they are data reduction, data display, and conclusion and verification. The data is taken from a book entitled The Singer by Albert B Lord containing his theoretical formula concerning the oral literature in Yugoslavia. It is analysed by using a theory of musical form and structure by Leon Stein. Compositions in the oral literature is seen using Lord’s theory of formula. In this case, a singer remembers the repetition and creates it by analogy by the way of repeating  the existing words, phrases, clauses, and arrays. There is a process of re-accumulating,  re-combinating, and re-modelling the existing formula. So, the singer has his or her own style in expressing the works of the oral literature, but he or she always has the same number of syllables in every sentence. This can happen due to the musical taste used. The singer never count the number of syllables that exists but such regularity can occur due to the musical taste.Keywords: formula theory, Albert B Lord, musicology, oral literature.

scholarly journals Managing solids residuals from pulp and paper production at STORA

2019 ◽  
pp. 253-262
Author(s):  
Per G. Broman
Keyword(s):  
Environmental Quality ◽  
Small Proportion ◽  
Pulp And Paper ◽  
Significant Part ◽  
Forest Industry ◽  
Quality Work ◽  
Paper Production ◽  
Potential Value ◽  
Solid Residuals ◽  
The Way

Solid residuals form a significant part of the flow of materials in forest industry processes. These residuals, are important sources of energy, primarily, and are therefore efficiently utilized. Only a small proportion of the residuals is deposited. Developments are moving toward an even greater degree of utilization of the residuals' potential value. The paper reviews the way STORA uses its resources, the residuals that are generated and how they are utilized. It also intends to provide a picture of how work on residuals forms one part of the environmental quality work that STORA sums up in the word Ecobalance.

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