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Journal articles on the topic 'Berg, Alban, Opera'

Author: Grafiati
Published: 4 June 2021
Last updated: 13 February 2022

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1

Dos Santos, Silvio Joséé. "Ascription of Identity: The Bild Motif and the Character of Lulu." Journal of Musicology 21, no. 2 (2004): 267–308. http://dx.doi.org/10.1525/jm.2004.21.2.267.

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The most controversial aspect of Alban Berg's opera Lulu-and one that has generated considerable criticism-is the composer's conception of the protagonist's character. Judith Lochhead, for example, argues that it is impossible to trace "a single, continuous feature that defines Lulu's personality." However, Berg offsets the "typological" element in Lulu's characterization by assigning her complex levels of interaction with her portrait, which is continuously present and symbolizes her sense of self-identity and her perception by others. Thus he changed several aspects of Wedekind's plays and c
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2

Kater, Michael H. "Kurt Weill: The Threepenny Opera by Stephen Hinton, and: Alban Berg: Lulu by Douglas Jarman (review)." Modern Drama 35, no. 3 (1992): 483–84. http://dx.doi.org/10.1353/mdr.1992.0042.

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3

Walton, Chris. "Composer in Interview: Edward Rushton – an Englishman in Switzerland." Tempo, no. 218 (October 2001): 7–10. http://dx.doi.org/10.1017/s0040298200008639.

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A time there was when it was de rigueur for the self-respecting English composer to sample the life and art of our Germanic neighbours. A little time in the Land der Musik, it seemed, might help them make their own a little less ohne. Elgar supped at the springs in the Bavarian Highlands; Sullivan, Stanford and others in the Leipzig low-lands. It remains perplexing to the German mind that a reference to the ‘Frankfurt School’ in conversation with an Englishman can elicit praise for Percy Grainger, Roger Quilter and Co., but not a word about Adorno. Even Britten would have studied with Alban Be
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4

Hall, Patricia, and George Perle. "The Operas of Alban Berg, Volume 2/"Lulu"." Journal of Music Theory 31, no. 1 (1987): 140. http://dx.doi.org/10.2307/843550.

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5

DeVoto, Mark, and George Perle. "The Operas of Alban Berg. Vol. 2: Lulu." Notes 43, no. 4 (1987): 785. http://dx.doi.org/10.2307/898159.

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6

Ronsheim, John, and George Perle. "The Operas of Alban Berg: Volume Two/ Lulu." Antioch Review 43, no. 4 (1985): 496. http://dx.doi.org/10.2307/4611536.

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7

Jarman, Douglas, and George Perle. "The Operas of Alban Berg: Vol. 2, 'Lulu'." Music Analysis 4, no. 3 (1985): 289. http://dx.doi.org/10.2307/854100.

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8

REYNOLDS, CHRISTOPHER. "Porgy and Bess: “An AmericanWozzeck”." Journal of the Society for American Music 1, no. 1 (2007): 1–28. http://dx.doi.org/10.1017/s1752196307070010.

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George Gershwin greatly admired Alban Berg and his operaWozzeck. He visited Berg in Vienna; the score he owned ofWozzeckwas reputedly one of his prize possessions; and he traveled to Philadelphia in 1931 to attend the American premiere. This study argues that Gershwin'sPorgy and Bessis heavily indebted to Berg'sWozzeck. The debts primarily involve structural processes—understanding structure as patterns of discrete events shared by the two operas. Motives and chords play a small role in the discussion, taking their place alongside musical events that range from the large—a fugue or a lullaby—t
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9

Green, Douglass M. "Review: The Operas of Alban Berg, Volume Two: Lulu by George Perle." Journal of the American Musicological Society 40, no. 1 (1987): 122–29. http://dx.doi.org/10.2307/831588.

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10

Baragwanath, N. "Studien zu Alban Bergs Oper 'Lulu'. By Werner Konig." Music and Letters 91, no. 1 (2010): 122–23. http://dx.doi.org/10.1093/ml/gcp040.

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11

Spies, Claudio. "A View of George Perle's The Operas of Alban Berg, Volume Two: “Lulu”." Musical Quarterly LXXI, no. 4 (1985): 520–36. http://dx.doi.org/10.1093/mq/lxxi.4.520.

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12

Görkem AYTİMUR, R. "AN ANALYSIS OF ALBAN BERGS LULU OPERA IN THE CONTEXT OF ADORNO'S NEW MUSIC THOUGHT." Journal of Academic Social Sciences 76, no. 76 (2018): 120–31. http://dx.doi.org/10.16992/asos.13972.

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13

Pople, Anthony. "Alban Berg, Lulu (miniature score), Act 3 realized by Friedrich Cerha. Vienna, Universal Edition, 1985. 2 vols., viii + vi + 1008 pp. - Friedrich Cerha, Arbeitsbericht zur Herstellung des 3. Akts der Oper LULU von Alban Berg. Vienna, Universal Edition, 1979. 52 pp. ISBN 3 7024 0080. - George Perle, The Operas of Alban Berg, ii: Lulu. Berkeley, University of California Press, 1985. x + 315 pp. ISBN 0 520 04502 5." Journal of the Royal Musical Association 114, no. 2 (1989): 251–73. http://dx.doi.org/10.1093/jrma/114.2.251.

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14

Poslavsky, Anton. "Chаmbеr-instrumental style by A. Berg: programmability of "hidden opera", chamberinness and concertity synthesis". Scientific collections of the Lviv National Music Academy named after M.V. Lysenko, 2018, 112–24. http://dx.doi.org/10.33398/2310-0583.2018.4243.112.124.

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The article focuses on the chamber and instrumental ensemble as a special type of musical thinking, as well as distinguishes the style "constants" and "variables" of this artistic phenomenon. The main purpose of the article is to characterize the general and specific features of Second Viennese chamber-ensemble instrumentalism in the person of its representative, Alban Berg. In this connection, we propose the appropriate conclusions regarding the specifics and general patterns of the timbre complex in the chamberinstrumental style of the mentioned author, which was not specifically investigate
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15

Klein, Rudolf. "George Perle: The Operas of Alban Berg." Österreichische Musikzeitschrift 40, no. 1 (1985). http://dx.doi.org/10.7767/omz.1985.40.1.61.

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