The orchestral music of Michael Tippett: creative development and the compositional process

2015 ◽  
Vol 52 (08) ◽  
pp. 52-4118-52-4118
Keyword(s):  
Orchestral Music ◽  
Compositional Process ◽  
Creative Development ◽  
Michael Tippett

scholarly journals The Influence of Recording Technologies on the Early Development of Electroacoustic Music

2003 ◽  
Vol 13 ◽  
pp. 5-10 ◽  
Author(s):  
Peter Manning
Keyword(s):  
Early Development ◽  
Digital Technology ◽  
Electroacoustic Music ◽  
Compositional Process ◽  
Creative Development ◽  
Key Aspects ◽  
Musique Concrete ◽  
Formative Years

From the earliest experiments with the manipulation of 78-rpm disks during the 1920s, the technology of recording has played a major role in the evolution of electroacoustic music. This has extended not only to the recording and reproduction of materials but also to key components of the compositional process itself. Although such influences have become less prominent with the advent of digital technology, their impact during the formative years of electroacoustic music was significant and far-reaching. This article examines some key aspects of the pioneering era of creative development through the early 1950s, with particular reference to the Bauhaus sound artists, Pierre Schaeffer and musique concrète, and the Cologne studio for elektronische Musik

Maxim Berezovsky C-dur symphony in a context of new biographical scenario of artist’s life-creativity

2018 ◽  
pp. 13-25
Author(s):  
Olha Shumilina
Keyword(s):  
Eighteenth Century ◽  
Instrumental Music ◽  
Analytical Approach ◽  
Spiritual Direction ◽  
Theoretical Research ◽  
Orchestral Music ◽  
Musical Life ◽  
Analysis And Synthesis ◽  
Mental Modeling ◽  
Independent Work

Relevance of the study. The article studies recently found symphony of the prominent Ukrainian composer of the second half of the eighteenth century Maxim Berezovsky. He is widely known now as the author of cyclic spiritual concerts written for the Orthodox worship, and is practically unknown as a musician instrumentalist associated with the imperial theater and the court musical life. The work of M. Berezovsky as a secular musician determined the creative interest in composing instrumental music intended for secular chamber and orchestral music. Main objective of the article is a clarification of M.Berezovsky symphony as one of secular field artworks in the light of new summaries about artist’s life-creativity. Methodology. Taking into account peculiarities of the material and the analytical approach to its study, the methods of theoretical research have been chosen(abstraction, analysis and synthesis, induction and deduction, mental modeling, ascension from abstract to concrete, etc.). Conclusions. As a result of a study the symphony analysis in a context of new authentic statements about M.Berezovsky’s life-creativity. It was stated that this artwork was written not accidentally and detects absolute awareness of the artist in all composer’s niceties – how to build a topic and build a homophonic construction based on it, in a technique of orchestral construction, form creations of that time and etc. From the beginning of his creative career, M. Berezovsky was well aware of the possibilities of the orchestra as a performer, attached to the Italian opera and instrumental music. Symphony enriches our imagination about the works of M. Berezovsky in the field of secular instrumental and operatic music and extends the range of works of the artist beyond the spiritual direction. Some signs indicate that the Symphony was not an independent work, but an overture to the opera Demofont.

Maxim Berezovsky C-dur symphony in a context of new biographical scenario of artist’s life-creativity

2018 ◽  
pp. 13-25
Author(s):  
Olha Shumilina
Keyword(s):  
Eighteenth Century ◽  
Instrumental Music ◽  
Analytical Approach ◽  
Spiritual Direction ◽  
Theoretical Research ◽  
Orchestral Music ◽  
Musical Life ◽  
Analysis And Synthesis ◽  
Mental Modeling ◽  
Independent Work

Relevance of the study. The article studies recently found symphony of the prominent Ukrainian composer of the second half of the eighteenth century Maxim Berezovsky. He is widely known now as the author of cyclic spiritual concerts written for the Orthodox worship, and is practically unknown as a musician instrumentalist associated with the imperial theater and the court musical life. The work of M. Berezovsky as a secular musician determined the creative interest in composing instrumental music intended for secular chamber and orchestral music. Main objective of the article is a clarification of M.Berezovsky symphony as one of secular field artworks in the light of new summaries about artist’s life-creativity. Methodology. Taking into account peculiarities of the material and the analytical approach to its study, the methods of theoretical research have been chosen(abstraction, analysis and synthesis, induction and deduction, mental modeling, ascension from abstract to concrete, etc.). Conclusions. As a result of a study the symphony analysis in a context of new authentic statements about M.Berezovsky’s life-creativity. It was stated that this artwork was written not accidentally and detects absolute awareness of the artist in all composer’s niceties – how to build a topic and build a homophonic construction based on it, in a technique of orchestral construction, form creations of that time and etc. From the beginning of his creative career, M. Berezovsky was well aware of the possibilities of the orchestra as a performer, attached to the Italian opera and instrumental music. Symphony enriches our imagination about the works of M. Berezovsky in the field of secular instrumental and operatic music and extends the range of works of the artist beyond the spiritual direction. Some signs indicate that the Symphony was not an independent work, but an overture to the opera Demofont.

The Sephardic Voice of Elias Canetti

2000 ◽  
Vol 33 (1) ◽  
pp. 109-117
Author(s):  
Maria Esformes
Keyword(s):  
Nobel Prize ◽  
Way Of Life ◽  
Creative Development ◽  
Jewish Communities ◽  
Social Critic ◽  
Elias Canetti ◽  
Intellectual Autobiography ◽  
The Way

One of the most fascinating memoirs to appear in recent years is that of Elias Canetti, recipient of the 1981 Nobel Prize in Literature. his three-volume spiritual and intellectual autobiography is a complex and insightful rendering of his personal background and his creative development as a novelist, philosopher, and social critic. However, Canetti's autobiography is much more than a compelling account of the development of a great artist – it is a portrait of the tragic character of an entire era that witnessed the destruction of cultures and the way of life o many Jewish communities throughout Europe.

A.S. PUSHKIN’S LITERARY WORLD IN THE CREATIVE PERCEPTION BY A.T. TVARDOSKY AND A.A. KULESHOV

2020 ◽  
pp. 18-32
Author(s):  
Dmirij Bestolkov
Keyword(s):  
Creative Development ◽  
Poetic Tradition ◽  
The Relationship ◽  
Study Hypothesis

The article is devoted to the creative development of A.S. Pushkin’s poetic tradition in the works by A.T. Tvardovsky and A.A. Kuleshov. The material of the research is based on the lyrics, criticism and journalism of the writers worked in different years. According to the study hypothesis, the models of A.S. Pushkin's tradition realization in A. Tvardovsky’s and A. Kuleshov’s literary worlds are characterized by a wide variety and adaptation at several levels such as a theme of the work, a poetic motif, a literary image, a genre and principles of literary thinking. In conclusion of the study, it is argued that the relationship between the works by A.A. Kuleshov and A.T. Tvardovsky is manifested (from the perspective of different themes, motives, genres, images) through A.S. Pushkin's perceived assessment of reality, i.e. «A.S. Pushkin's individual world-attitude» (according to V.D. Skvoznikov). «Pushkin's individual world-attitude» is understood as skills to perceive and reflect not only the global historic events, but also everyday phenomena of a trivial order, an ability not only to identify themselves in these various events, but also to assess the course of these events in their own poetic world.

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