Relatives of restoration period style

2020 ◽  
pp. 205-254
Author(s):  
Robert Barton
Keyword(s):  
Period Style

Examining Keyboard Bitonality in the Middle-Period Music of Karol Szymanowski

2020 ◽  
Vol 42 (2) ◽  
pp. 305-325
Author(s):  
Alan Reese
Keyword(s):  
Violin Concerto ◽  
Pitch Class ◽  
Black And White ◽  
Period Style ◽  
Middle Period ◽  
Karol Szymanowski

Abstract A characteristic technique of Karol Szymanowski’s middle-period style (1914–18) is “keyboard bitonality”: the juxtaposition of the black-key pentatonic and white-key diatonic scales. To explore Szymanowski’s treatment of keyboard bitonality, I introduce the scalar alignment network, a biscalar landscape of all possible pairings of black- and white-key pitch classes that highlights the effects of a particular alignment, such as the resultant pitch-class pairings and intervallic patterns. To accomplish this, I employ a variety of transformational tools, including diatonic transpositions, Julian Hook’s (2007) interscalar transformations, and what I call SHIFT transformations. Analyzed works include: Masks (1916), Métopes (1915), Myths (1915), Twelve Etudes (Op. 33, 1916), and Violin Concerto No. 1 (1916).

scholarly journals Goa, India 2005

2006 ◽  
Author(s):  
Siraj Syed
Keyword(s):  
21St Century ◽  
Dark Side ◽  
Film Festival ◽  
Technical Problems ◽  
Period Style ◽  
Bright Side ◽  
Digital Sound

INTERNATIONAL FILM FESTIVAL OF INDIA, GOA 2005 At the inaugural function of International Film Festival of India 2005, on 24 November, there were some more high points and some lessons to be learnt. On the dark side were the disappointing audio-visual, the technical problems with digital sound, wrong cues and the length of the show itself. Sound played havoc for nearly half an hour, crackling and going silent in turns. Choice of the items and costumes ranged from the kathak dance, Mughal period style, to Bollywood item numbers of the 21st century, to a rap-kathak fusion! On the bright side, octogenarian actor-director-producer Dev Anand, known for his now jaded romantic on-screen escapades with actresses one-fourth his age, gave a compact speech, without the stylised diction he is known for. It was not easy getting a seat at the screenings held at the INOX multiplex cinemas, especially built at the...

At the Ballet

Tempo ◽  
1947 ◽  
pp. 20-23
Author(s):  
W. H. Haddon Squire
Keyword(s):  
Common Element ◽  
The Past ◽  
Period Style

Distance in time or space, it has been said, gilds formulas and styles; we turn to what is far away and ask for inspiration. By the light reflected from the past the artist endeavours to forge something new in harmony with his own period. Thus the great styles, always new and original, have in them at the same time something which we recognize as a common element. Style is not only the man himself but also his period. Style, therefore, is not merely an opinion but a fact.

Restoration period style

2020 ◽  
pp. 165-202
Author(s):  
Robert Barton
Keyword(s):  
Period Style

Greek period style

2020 ◽  
pp. 69-98
Author(s):  
Robert Barton
Keyword(s):  
Period Style

Late Modernism

2018 ◽  
Author(s):  
Simon D. Trub
Keyword(s):  
Art Criticism ◽  
Literary Studies ◽  
Late Modernism ◽  
High Modernism ◽  
Period Style ◽  
Time Periods ◽  
Charles Jencks ◽  
Literary Period

Late Modernism is a critics’ term rather than one that artists used themselves. Introducing it in the late 1970s, architectural critic Charles Jencks was probably the first to use ‘Late Modernism’ systematically. In addition to architectural scholarship, the term can be found in art criticism and musicology, but it is most firmly established in the field of literary studies. Late Modernism, like Modernism, can refer to a literary period, style, or genre and is exceedingly difficult to pinpoint. Accordingly, various literary critics use ‘Late Modernism’ to refer to different time periods or sets of writers from roughly the 1930s up to the present. Invariably, however, Late Modernism describes literature that continues characteristics associated with Modernism beyond the culmination of high Modernism. Hence, Late Modernism exists at a distance to the modernisms of the 1910s and 1920s. It marks a point at which modernist artists become self-consciously modernist, or at which modernist aesthetics become less effective or more difficult to continue.

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