Conlon Nancarrow: Studies for Player Piano; Tango; Toccata; Piece No.2 for Small Orchestra; Trio; Sarabande & Scherzo

1994 ◽  
Vol 135 (1812) ◽  
pp. 107
Author(s):  
Gavin Thomas ◽  
Ensemble Modern ◽  
Ingo Meztmacher ◽  
Yvar Mikhashoff
Keyword(s):  
Player Piano ◽  
Small Orchestra

Where’s Waldo: Revisiting the Administrative Novel

Public Voices ◽  
2017 ◽  
Vol 15 (1) ◽  
pp. 1
Author(s):  
George Connor
Keyword(s):  
Organization And Administration ◽  
Player Piano ◽  
Simple Observation ◽  
Novel Approach ◽  
Contemporary Work

In 1968 Dwight Waldo published The Novelist on Organization and Administration: An Inquiry into the Relationships Between the Two Worlds.  His very simple observation was that “one can learn much about administration from novels” (1968, 4). After thirty years, it may be a time to re-examine both the literary and academic side of Waldo’s novel approach. The article offers Kurt Vonnegut’s Player Piano and David Foster Wallace’s The Pale King, one classic and one contemporary work, as vehicles for revisiting Waldo’s pedagogy and reestablishing the linkage between administration and administrative novels.

scholarly journals Whose Voices? The Fate of Luigi Nono's Voci destroying muros

2016 ◽  
Vol 69 (1) ◽  
pp. 179-236 ◽  
Author(s):  
Robert Adlington
Keyword(s):  
Compositional Style ◽  
Antonio Gramsci ◽  
Text Setting ◽  
Factory Workers ◽  
Female Prisoners ◽  
Avant Garde ◽  
Political Music ◽  
Small Orchestra ◽  
The 1960S ◽  
Current Reality

Luigi Nono's Voci destroying muros for female voices and small orchestra was performed for the first and only time at the Holland Festival in 1970. A setting of texts by female prisoners and factory workers, it marks a sharp stylistic departure from Nono's political music of the 1960s by virtue of its audible quotations of revolutionary songs, its readily intelligible text setting, and especially its retention of the diatonic structure of the song on which the piece is based, the communist “Internationale.” Nono's decision, following the premiere, to withdraw the work from his catalogue suggests that he came to regard it as transgressing an important boundary in his engagement with “current reality.” I examine the work and its withdrawal in the context of discourses within the Italian left in the 1960s that accused the intellectuals of the Partito Comunista Italiano of unhelpfully mediating the class struggle. Nono's contentious reading of Antonio Gramsci, offered as justification for his avant-garde compositional style, certainly provided fuel for this critique. But Voci destroying muros suggests receptivity on the part of the composer—albeit only momentary—to achieving a more direct representation of the voices of the dispossessed.

THE PLAYER-PIANO

1925 ◽  
Vol VI (3) ◽  
pp. 236-247
Author(s):  
SYDNEY GREW
Keyword(s):  
Player Piano

Player-Piano Notes

1928 ◽  
Vol 69 (1019) ◽  
pp. 47
Author(s):  
D. G.
Keyword(s):  
Player Piano

A Player-Piano Class at Festivals?

1928 ◽  
Vol 69 (1026) ◽  
pp. 735
Author(s):  
W. R. Anderson
Keyword(s):  
Player Piano

Player-Piano Notes

1930 ◽  
Vol 71 (1043) ◽  
pp. 44
Author(s):  
D. G.
Keyword(s):  
Player Piano

‘Le Paradis Perdu’: in its time

Tempo ◽  
1980 ◽  
pp. 58-60
Author(s):  
Serge Moreux
Keyword(s):  
Chamber Music ◽  
Music Criticism ◽  
Or Groups ◽  
Small Orchestra

In Paris, between 15 October 1935 and 1 July 1936 there were:246 symphony concerts with full orchestra,30 with small orchestra (which is incredibly few),57 with chorus,115 chamber music concerts, not counting either sonata evenings or recitals by various instrumental soloists or groups, which make something like 700 performances to add to the above. Altogether, then, if I am to believe the Guide du Concert (from which I have taken these figures, adding a few concerts that were missed there), 1,144 occasions to exercise the reprehensible and avowedly useless profession of music criticism.

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