Thomas Adès in Five Essays

2020 ◽  
Author(s):  
Drew Massey
Keyword(s):  
Classical Music ◽  
Cultural Practice ◽  
Full Length ◽  
The Third ◽  
The Tempest ◽  
The Absolute ◽  
Concert Life

The British composer, conductor, and pianist Thomas Adès (b. 1971) has achieved a level of recognition and celebrity within the concert world shared by very few living musicians today, and his compositions enjoy a degree of widespread acclaim that places him among the most widely heard composers working now. His critical and popular successes, at least inside the insulated world of classical music, place him within the absolute mainstream of concert life today. Is he merely pecking over the carcass of a tradition, soon to be subsumed by or abandoned in favor of some other cultural practice? Or does his work suggest possibilities for a concert world waiting to be born? This book, which is the first full-length study of Adès’s work as a whole in English, seeks to answer—or at least articulate the terms of response to—these questions and others. In recognition of the diversity of Adès’s output, this book is structured as a series of essays. These essays are organized thematically. The first two essays considers Adès’s arrangements and serialist compositions, respectively. The third looks at how his opera The Tempest illuminates much of his music’s beguiling contradictions. The fourth considers how Adès has been understood as a “surrealist” composer, and the final chapter considers the cosmic sweep of some of his most recent works.

The Third Law of Thermodynamics

2018 ◽  
Author(s):  
Dennis Sherwood ◽  
Paul Dalby
Keyword(s):  
Absolute Zero ◽  
The Third ◽  
Third Law Of Thermodynamics ◽  
Third Law ◽  
The Absolute

The Third Law was introduced in Chapter 9; this chapter develops the Third Law more fully, introducing absolute entropies, and examining how adiabatic demagnetisation can be used to approach the absolute zero of temperature.

The Survival of English Opera in Nineteenth-Century Concert Life

2020 ◽  
pp. 294-315
Author(s):  
William Weber
Keyword(s):  
Nineteenth Century ◽  
Eighteenth Century ◽  
Classical Music ◽  
Critical Commentary ◽  
German Lieder ◽  
English Opera ◽  
Concert Life

This chapter shows how selections from English operas composed between the 1730s and the 1790s—chiefly by Thomas Arne, Charles Dibdin, William Shield, and Stephen Storace—became standard repertory in concerts throughout the nineteenth century. Such pieces were performed at benefit concerts organized by individual musicians and at events given by local ensembles that blended songs with virtuoso pieces and orchestral numbers. Critical commentary on such songs justified their aesthetic legitimacy as groups separate from pieces deemed part of classical music. By 1900, songs by Arne, Storace, and even Dibdin were often sung in recitals along with German lieder and pieces from seventeenth- or eighteenth-century Italy or France. The solidity of this tradition contributed to the revival of the operas themselves from the 1920s, most often Arne’s Artaxerxes (1762). This chapter is paired with Rutger Helmers’s “National and international canons of opera in tsarist Russia.”

Practical prescribing

1987 ◽  
Vol 25 (20) ◽  
pp. 80-80
Author(s):  
Martin J Brodie ◽  
Ian Harrison
Keyword(s):  
Side Effects ◽  
Drug Interactions ◽  
Shelf Life ◽  
Text Book ◽  
The Third ◽  
New Drug ◽  
Making Choices ◽  
Treatment Policies ◽  
Accessible Form

This book is a practical manual for the prescriber rather than a text book. The first chapter usefully explains pharmacological terms which are used later in the book. This is followed by three sections concerned with choosing drugs. The first section gives a list of ‘best buys’ for common complaints, the second looks at treatment policies and the third gives basic pharmacological information to help in making choices. Side-effects and drug interactions are presented in the next two chapters in a readily accessible form. The final chapter, called ‘Cautions,’ has some useful information not readily found elsewhere including data on teratogenesis and shelf-life of formulations. It also suggests which drugs we should stop using, and discusses factors to consider before using a new drug.

Termination for Breach of Contract

2020 ◽  
Author(s):  
Stannard John E ◽  
Capper David
Keyword(s):  
Final Section ◽  
Breach Of Contract ◽  
The Third ◽  
Specific Performance ◽  
The Subject ◽  
Key Topics ◽  
English Law ◽  
The Right ◽  
Legal Consequences

The aims of this book are to set out in detail the rules governing termination as a remedy for breach of contract in English law, to distil the very complex body of law on the subject to a clear set of principles, and to apply the law in a practical context. This book is divided into four parts. The first section sets out to analyse what is involved in termination and looks at some of the difficulties surrounding the topic, before going on to explain the evolution of the present law and its main principles. The second section provides a thorough analysis of the two key topics of breach and termination. The third section addresses the question when the right to terminate for breach arises. And the fourth and final section considers the consequences of the promisee's election whether to terminate or not. The final chapter examines the legal consequences of affirmation, once again both with regard to the promisee and the promisor, with particular emphasis on the extent of the promisee's right to enforce the performance of the contract by way of an action for an agreed sum or an action for specific performance.

Introducing Morphology

2021 ◽  
Author(s):  
Rochelle Lieber
Keyword(s):  
Mental Lexicon ◽  
The Other ◽  
Morphological Data ◽  
Theoretical Frameworks ◽  
The Third ◽  
Hands On ◽  
Morphological Theory ◽  
Basic Concepts ◽  
The One

A lively introduction to morphology, this textbook is intended for undergraduates with relatively little background in linguistics. It shows students how to find and analyze morphological data and presents them with basic concepts and terminology concerning the mental lexicon, inflection, derivation, morphological typology, productivity, and the interfaces between morphology and syntax on the one hand and phonology on the other. By the end of the text students are ready to understand morphological theory and how to support or refute theoretical proposals. Providing data from a wide variety of languages, the text includes hands-on activities designed to encourage students to gather and analyse their own data. The third edition has been thoroughly updated with new examples and exercises. Chapter 2 now includes an updated detailed introduction to using linguistic corpora, and there is a new final chapter covering several current theoretical frameworks.

The Macroform in Post-Tonalmusic. Listening and Analysis

2003 ◽  
Vol 7 (2) ◽  
pp. 219-240 ◽  
Author(s):  
Mario Baroni
Keyword(s):  
Twentieth Century ◽  
Classical Music ◽  
Extreme Points ◽  
Musical Time ◽  
The Third ◽  
The Past ◽  
Hierarchical Levels ◽  
Twentieth Century Music ◽  
Recorded Performance ◽  
A Performance

Form in classical music is fundamentally a question of organising musical time in order to facilitate a listening corresponding to author's expectations. In the past this was obtained by coordinating different parameters towards a single goal. In twentieth century music, the more detached relationship between the composer and the listener meant that less importance was given to the idea of “correct” listening and to the coordination of parameters. This article is devoted to one of the extreme points in this process: A quartet by Bruno Maderna composed in 1956 under the influence of the ideologies of Darmstadt. The quartet was examined by three different groups of analysts. The first group examined the score of the quartet, while the third group only had a recorded performance at its disposal; the second group analyzed both the score and the performance. The three groups had to describe the form of the piece in terms of three hierarchical levels: Its microform {i.e. the organisation of minimal units not divisible into smaller parts); its macroform (i.e. its division into the minimum possible number of parts); the medium form {i.e. a collection of minimal units that could also be interpreted as an acceptable division of the parts at a macroformal level). Two basic criteria were used: Segmentation (local parametric discontinuity between two adjacent parts) and similarity (coherence between the parameters within each part). The results of the three analyses were somewhat diverse, thus demonstrating the tendency to relax the sense of form in such a quartet, as well as the presence of different procedures used when listening to a performance and analysing a score.

As If That Look Must Be the Last

Last Things ◽  
2018 ◽  
Author(s):  
Jacques Khalip
Keyword(s):  
The Third ◽  
The World ◽  
End Of The World ◽  
As If ◽  
Politics Of Life

The final chapter reads the third-to-last line of Shelley’s The Triumph of Life, “as if that look must be the last,” as an aside that asks what occurs after that last look. In a post-Waterloo poem that imagines a hallucinatory end-of-the-world scenario amidst several last things, including a kiss, Shelley explores the adjacencies opened up by his unfinished late piece. Drawing on Jean-Jacques Rousseau’s Julie, an illustration from that book by Nicolas Monsiau, and a photograph by Peter Hujar, Shelley’s poetic experiment is characterized as tacitly queer insofar as it refuses to endorse a normative politics of life, and imagines bodies and pleasures as scintillatingly regressive, inoperative, and disappearing.

The Dilemma of Defining Abduction

2012 ◽  
pp. 199-219
Keyword(s):  
Theoretical Model ◽  
Logical Operation ◽  
The Third ◽  
Model Based

Although Peirce states that abduction is the “only logical operation which introduces any new idea,” many, if not most, explanatory hypotheses offer nothing new at all. They do not seem to be, in the sense Peirce means, abductively derived. In various writings, Peirce provides at least four different descriptions of abduction. Italian computational philosopher Lorenzo Magnani proposes three types of abduction: theoretical, model-based, and creative (the final chapter of this book discusses the third type). In her 2005 paper for Semiotica (“Abduction as an Aspect of Retroduction”), Chiasson points out that Peirce uses two distinct and contradictory terms to signify these processes. The purpose of this chapter is to clarify the various ways abduction has been defined. In addition to defining abduction as an aspect of retroduction, the authors discuss induction, with which abduction is often confounded. This discussion of induction includes the concepts diagnosis and inference to the best explanation, both of which can be achieved inductively (and deductively as well, though deduction will not be addressed here), as well as abductively.

Brahms, Symphony No. 1 in C Minor, op. 68/iv, finale (Adagio; Allegro non troppo, ma con brio)

2021 ◽  
pp. 233-266
Author(s):  
James Hepokoski
Keyword(s):  
Classical Tradition ◽  
Current Practice ◽  
The State ◽  
Sonata Theory ◽  
The Third ◽  
Close Analysis

This final chapter subdivides into three broad sections. The first makes the case for a nuanced applicability of Sonata Theory to romantic form, where deviations from the classical norms are frequent and often highly striking, sometimes to the point where the concept of “sonata” itself can seem strained. Even under these conditions, though, Sonata Theory’s analytical apparatus, forged in the centered norms of an earlier era, continues to serve heuristically productive ends: What is new, transgressive, or experimental in these later works has its impact maximized when read against the backdrop of the classical tradition deployed as a persistent, serviceable interpretive code, even though several of those once-vigorous norms, merely stale if perpetuated as reflex, academic conventions, were no longer binding in current practice. The second section provides an extended historical backdrop to the state of the Austro-Germanic symphony, c. 1840–75, and the importance of Brahms’s work in revitalizing that tradition. The third section is a close analysis of the finale of Brahms’s First Symphony that reads the movement, an expanded Type 1 sonata encased in a broad introduction and coda, as a commentary on the difficulties involved with its own coming-into-being. The work is thus self-reflective—or rather, its staged musical struggles and themes (filled with suggestive historical allusions and topical traditions) run parallel with Brahms’s own anxieties with regard to bringing this work into being, embedding within it, for instance, a “dedication emblem” to Clara Schumann: the famous alphorn theme of the introduction.

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