Academic literature on the topic 'Composers, biography'
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Journal articles on the topic "Composers, biography"
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Milin, Melita. "Monographs on composers as a musicological genre." New Sound, no. 56-2 (2020): 92–107. http://dx.doi.org/10.5937/newso2056092m.
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Monographs on composer may considerably diverge from one another, depending on their authors' fundamental views concerning the way and extent to which biographical data should be used in relation to music analysis. So as not to lapse into mere music Biographik, a monograph should encompass the life and works of its subject in a complementary way-with all the necessary contextualization - and bring them into a meaningful relationship in a well thought-out and critical manner. That ideal goal should be pursued, although usually the result is a more or less successful hybrid of a biography and music analysis.
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May, Brittany Nixon, Amy Baird Miner, and Terrell A. Young. "Biography Breaks in the Music Classroom." General Music Today 32, no. 2 (December 17, 2018): 24–30. http://dx.doi.org/10.1177/1048371318814910.
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Children’s picture book biographies on composers and musicians can prompt powerful music learning experiences. Biography breaks are the reading aloud of a picture book biography and the questions or activities the teacher engages students in while and after reading the book. In the music classroom, biography breaks can be used with children of all ages to introduce students to composers, musicians, music elements and concepts, music vocabulary, music genres and styles. Biography breaks provide a groundwork for discussing the historical, social, and cultural context of music, as well as a catalyst for engaging students in meaningful music experiences creating, performing, responding to, and connecting with music.
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Citron, M. J. "Composers in the Movies: Studies in Musical Biography." Music and Letters 88, no. 1 (October 25, 2006): 171–75. http://dx.doi.org/10.1093/ml/gcl078.
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York, Steven. "Composers in the Movies: Studies in Musical Biography (review)." Notes 62, no. 4 (2006): 979–81. http://dx.doi.org/10.1353/not.2006.0080.
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Shcheslavskaya, Maria, and Anastasia Dunaeva. "THE ART OF THE COMPOSER YRII DUNAEV: TRADITION AND MODERNITY." Ученые записки Российской академии музыки имени Гнесиных, no. 45 (2023): 32–48. http://dx.doi.org/10.56620/2227-9997-2023-2-45-32-48.
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The subject of the study is the creative path of composer Yuri Alexandrovich Dunaev (1937– 2022). The article presents: the biography of the composer, the characteristics of his work, as well as a description of the memorial evening at the Moscow House of Composers on December 15, 2022. Musicological analysis was chosen as the main research tool. The author applies a holistic analysis to the study of several works and gives a general description of his work. Previously, the composer's work did not become the subject of consideration. On the example of Yu.A. Dunaev, one can draw a conclusion about the viability of the classical tradition, as well as show how it is refracted in the work of this author.
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Drewniak, Janusz. "Problem autorstwa melodii polskiego Te Deum milenijnego. Spojrzenie retrospektywne i aktualne wyniki badań." Ruch Biblijny i Liturgiczny 63, no. 4 (December 31, 2010): 327. http://dx.doi.org/10.21906/rbl.181.
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The millennium hymn Te Deum has been known and sung in Poland for over forty years. The author of this dissertation presents the complicated circumstances revolving around the creation of this hymn. The inspiration were incorrect notes about the composer of the hymn, which had been published in song-books. In past years it lead people to believe that Te Deum was composed by the priest Antoni Chlondowski. The author, who based his research on that of Maria Wacholc, opposed the idea that the priest Chlondowski had composed the hymn. This article presents analysis of the composing style and the biography of the priest Chlondowski, which contradict his authorship. Next, in the following part of this article the author presented some facts which helped him to find the authentic composers. According to the author of this dissertation the authentic composers of Te Deum were Józef Furmanik and Franciszek Wesołowski. The aim of this article is to emphasize the necessity of the correction of the mistaken information about the composer in the song-books which will be published in the future.This article has the following structure: Te Deum in the history of the Catholic Church; Polish language version of Te Deum used in the liturgy in the XXth century; Polish millennium Te Deum; The controversy around the authorship of the priest Antoni Chlondowski; The controversy around the authorship of Franciszek Wesołowski; The authentic composers – Józef Furmanik and Franciszek Wesołowski.
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Kálló, Krisztián. "Katalin Incze G.: Portrait af a Composer." Studia Universitatis Babeş-Bolyai Musica 67, no. 1 (June 30, 2022): 9–19. http://dx.doi.org/10.24193/subbmusica.2022.1.01.
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"The aim of our study is to examine a complex issue, namely, the scarcity of female composers as a phenomenon, highlighting several historical and social factors that have led to the peculiar situation of our present time: women’s social role has been discriminated against, and they have been excluded from the artistic world. For the longest time in history, art was the privilege of men. This situation has in some ways improved and changed, but to this day, when we talk about composers, we almost certainly think of men. This study analyses the biography and work of Katalin Incze Gergely, a prominent figure in Cluj’s musical life, a composer, conductor, and music director, while also highlighting the fate and role of contemporary women composers in the musical field. The important stages and milestones of her career are mentioned; her relationship with music gives us an insight into what it means to be a woman composer today in a world that once prevented women from pursuing their creative aspirations. Keywords: Katalin Gergely Incze, female composer, composing, contemporary music "
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Li, Yang. "The creative interaction of composers Zhou Wenzhong and Edgar Varese." Культура и искусство, no. 6 (June 2024): 179–87. http://dx.doi.org/10.7256/2454-0625.2024.6.70845.
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The subject of the study is the mutual influence of the compositional ideas of the Chinese-American composer Zhou Wenzhong and the French-American composer Edgar Varese. Edgar Varese, known as a composer and innovator who had a significant influence on the concepts of the post-war avant-garde, was also a brilliant teacher. One of his students was Zhou Wenzhong. Subsequently, Zhou Wenzhong became the editor of Warez's works, his biographer, an indispensable assistant and keeper of the archive. The article presents the facts of Zhou Wenzhong's biography, special attention is paid to the study of the composer's period of study with Varez, the trajectory of his influence, and the pedagogical principles that he adhered to in his teaching. Zhou Wenzhong needed to assimilate the innovations of Varese, form his own compositional style, based on the cultural traditions of China, forming points of intersection with the ideas and concepts of the avant-garde in cross-cultural interaction. The work has an interdisciplinary character, mediated by a key trajectory – the problem of the interaction of musical cultures of the East and the West. The author relies on source-based, analytical, comparative, historical and theoretical methods. Zhou Wenzhong (1923-2019) is one of the most influential and major American-Chinese composers. Despite the importance of this person, his work is still unexplored in Russian musicology, and therefore, filling this gap in the history of the development of new compositional trends in Chinese music, which marked the beginning of the phenomenon of the "New Wave" (after 1978), seems extremely relevant and important. The scientific novelty of the study is associated with the introduction into scientific use of information about the American period of Zhou Wenzhong's work – the time of his studies with Edgar Varese.
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Mishchanchuk, Natalia. "Mykola Lysenko in the intellectua communications of the Shevchenko Scientific society." Scientific Papers of the Kamianets-Podilskyi National Ivan Ohiienko University. History 42 (January 12, 2024): 255–67. http://dx.doi.org/10.32626/2309-2254.2023-42.255-267.
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The article reflects the cooperation of the outstanding Ukrainian composer M. Lysenko with the Shevchenko Scientific Society (SSS) in Lviv. The study aims is to try to determine the nature and essence of the composer’s intellectual communications within an academic institution. The research methodology built on the principles of historicism, system and comprehensiveness. Comparative, problem-chronological, historical-typological, logical, structural-systemic, analytical and generalizing methods used. The scientific novelty of the article consists in the integral reproduction of the page of M. Lysenko’s intellectual biography, connected with his musicological activity as part of the Ethnographic Commission of the Shevchenko Scientific Society. Conclusions. An important aspect of the composer's intellectual biography was his collaboration with the National Academy of Music in Lviv (1873 – 1912). The communication, based on the commonality of scientific research interests and worldviews, maintained an ideological connection with the interpersonal connections of M. Lysenko within the framework of the predecessor of the academic institution – the Shevchenko Literary Society. The intensity and dynamism of scientific interaction was strengthened by the negative manifestations of the cultural and national policy of the Russian tsar, censorship restrictions of Ukrainian life in Trans-Dnieper Ukraine in the second half of the 19 th and early 20 th centuries. The meaningful content of the composer's cooperation with the National Academy of Music was his activity as part of the Society's Ethnographic Commission, publishing and organizational contacts, direct participation in information practices, scientific, cultural, educational projects of the institution. M. Lysenko participated in writing textbooks for Ukrainian schools in Galicia, reviewing the works of young composers, organizing ethnographic field research, anniversary and commemorative events. The significant role of the educational activity of the artist in the formation of a positive cultural image of Ukraine at the international level.
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Klimas, Agnieszka. "Modernization of biographical narratology: Reflections on Arnold Zweig’s artistic novella Symphonie Fantastique." Germanica Wratislaviensia 145 (March 8, 2021): 19–28. http://dx.doi.org/10.19195/0435-5865.145.4.
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This article is devoted to the German-Jewish writer Arnold Zweig’s (1887–1968) biographical novella Symphonie Fantastique (1943), told from the perspective of a young musicologist participating in World War II, applied to the life and work of French composer Hector Berlioz. Arnold Zweig not only writes the biography of one of the most prominent French composers for Harold Breton, but he also confronts the Vichy Regime. The aim of this article is to capture the technique of Arnold Zweig, who combines history and the identification of an artist with a given object.
Dissertations / Theses on the topic "Composers, biography"
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Thompson, Brian. "Calixa Lavallée (1842-1891) : a critical biography /." Hong Kong : University of Hong Kong, 2000. http://sunzi.lib.hku.hk:8888/cgi-bin/hkuto%5Ftoc%5Fpdf?B22359680.
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Wiley, Christopher. "Re-writing composers' lives : critical historiography and musical biography." Thesis, Royal Holloway, University of London, 2008. http://digirep.rhul.ac.uk/items/51c986f5-ea02-d3b8-03e2-6ab2b962a61f/1/.
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Recent musicological discourse, while frequently considering issues of historiography and canonicity, has seldom critically engaged with biography as a genre of documentary significance to reception history for its attempts to shape public opinion of its subjects. In consequence, modern musicology has often taken for granted many tendencies and preoccupations that accumulated in musical biography in the late nineteenth and early twentieth centuries. This thesis presents a historiographical examination of the precedents for and accretions of these assumptions, in terms of the role played by biography both in the establishment and maintenance of ideological canons and in the resultant ‘top-down' conception of music history as dominated by an elite handful of exalted composers. Exploration of the ways in which biographies constructed their subjects as ‘great' and ‘exemplary' – insofar as these concepts were idealized within the communities of readers for whom they were originally written – is conducted through two major studies of the published texts to c.1950 on canonical composers including J. S. Bach, Handel, Haydn, Mozart, Beethoven, Schubert, Mendelssohn, Chopin, Schumann, Wagner, Brahms, and Tchaikovsky. The first investigates the elaboration and distortion of a set of some twenty-five of the most famous myths of musical biography, from their origins in late eighteenth- and early nineteenth-century Continental European texts to their fullest development (and, in many cases, their refutation) in English-language biographies up to the mid-twentieth century. In contrast, the second critically analyzes the twelve volumes of the original ‘Master Musicians' series (1899-1906) as exemplars of the biographical and musical paradigms of composer life-writing, and as late Victorian period pieces of significance to canon formation for their conception as a closed set of monographs of historically-important subjects appropriated to English ends. The conclusion provides a preliminary assessment of the implications to modern musicology of the findings of this thesis through re-evaluation of elements of recent biographical and hermeneutical scholarship, and proposes that the discipline might usefully adopt a more inclusive, self-reflexive approach to the study of musical biography in the future.
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Chin, Brian S. "The music of Daniel Bukvich : a biography, analysis of selected works, and annotated guide to the complete works 1978-2005 /." Thesis, Connect to this title online; UW restricted, 2006. http://hdl.handle.net/1773/11216.
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Conrad, Charles P. "Fred Jewell, 1875-1936 : his life as composer of circus and band music, bandmaster, and publisher." Virtual Press, 1994. http://liblink.bsu.edu/uhtbin/catkey/917839.
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Fred Jewell was one of the leading composers of band and circus music of the early twentieth century. Born in Worthington, Indiana in 1875, he started his musical career at age sixteen as a baritone player in a circus band. He rose to the position of bandmaster for the Barnum and Bailey, Gentry Brothers, Hagenbeck-Wallace, and Sells-Floto Circuses. He wrote dozens of marches and other pieces of music for the circus. Upon returning to Indiana, he began to concentrate on the concert band, writing music in several genre for that ensemble.He relocated to Iowa from 1918-1923, where he established his publishing company and directed the Iowa Brigade Band. He returned to Worthington in 1923, where he became director at the local high school and the President of the Town Council. His publishing business grew during the 1920s, and he was named director of the Indianapolis Murat Temple Shrine Band, one of the nation's leading Masonic ensembles. Frequently in demand as a guest conductor, he joined the American Bandmasters Association and wrote many marches for the educational market. He guided his publishing company through the depression years until his death in 1936.It is as a composer of marches that Jewell is remembered decades after his death. Several of his marches, including "E Pluribus Unum," "Gentry's Triumphal," "The Screamer," and "Quality-plus" have remained in the repertoire of concert bands. Following Jewell's biography, this study includes a chronological discussion of his works, with each piece of music analyzed brieflyas to instrumentation, form, and facts of publication. Jewell's scoring styles and his publishing career are also discussed.An increased interest in the influence of American bands during Jewell's lifetime has stimulated researchers in that area. Jewell, as one of the leading figures of the time, can be thought of as a model typical of enterprising musicians and composers whose careers spanned a wide spectrum, both geographically and in versatility. Their impact on the artistic development of America is just beginning to be recognized.School of Music
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Soderberg, Karen Amelia Phillips. "A survey of selected contemporary Swedish choral composers and literature." Diss., The University of Arizona, 1991. http://hdl.handle.net/10150/185410.
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This study presents a survey of selected Contemporary Swedish Choral Composers and Literature representative of the trends in contemporary Swedish choral music. The varied compositional styles and techniques of composers Sven-David Sandstrom, Thomas Jennefelt, Karin Rehnqvist and Andres Hillborg exemplify these trends. Little information is readily available about the current generation of choral composers outside of Sweden. Most of the available materials concentrate on the music of composers of the 1940s Monday Group such as Sven-Erik Back and Ingvar Lidholm and Karl-Birger Blomdahl, the works of Gunnar Bucht of the 1950s who reacted against modernism, the 1960s avant-garde styles of Bengt Hambraeus, Sigfriend Naumann, Arne Mellnas and Folke Rabe. This survey discusses the life, career and musical styles of each of the composers and analysis of an a cappella work illustrative of their musical styles. Fundamental to the growth and musical development of the representative composers is an examination of the historical background, foundation and tradition of choral singing in Sweden. The select bibliography, list of works by the composers, catalogs of choral music, list of institutions and organizations, and publishers, is intended to serve as a reference guide.
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Armendarez, Christina Marie. "The influence of Fredrik Melius Christiansen on six Minnesota conductor-composers." Thesis, connect to online resource, 2006. http://www.unt.edu/etd/all/May2006/armendarez%5Fchristina%5Fmarie/index.htm.
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Sander, Katherine Joan. "Johann Walter and Martin Luther, theology and music in the early lutheran church." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0001/MQ28907.pdf.
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Rodriguez-Rios, Lizary. "Twentieth-century Spanish composers for the harp: A study of Spanish folk elements in selected solo harp works of Jesus Guridi, Gerardo Gombau and Victorino Echevarria." Diss., The University of Arizona, 2004. http://hdl.handle.net/10150/284326.
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The purpose of this document is to examine the Spanish folk elements used in original compositions for the harp written by the Spanish composers Jesus Guridi, Gerardo Gombau and Victorino Echevarria. The document demonstrates that the harp is particularly suitable to convey the essence of the rhythmic, harmonic and melodic elements of traditional Spanish folk music. Spanish composers, particularly Jesus Guridi (Viejo Zortzico) Gerardo Gombau (Apunte Betico) and Victorino Echevarria (Capricho Andaluz), adapted elements of Spanish folk music such as cante jondo to create original nationalistic music that is idiomatic for the harp, resulting in effective concert pieces for the instrument's repertoire. The first chapter is devoted to the arrival and development of the harp in Spain. The second chapter discusses a history of the harp department at the Real Conservatorio Superior de Musica of Madrid which was established in 1830. This chapter also includes biographical and historical information about harp professors that taught there and the role that this conservatory played in developing distinctive Spanish compositions for the modern harp. Chapter three will discuss the harpists who inspired twenty-century Spanish composers. The subsequent three chapters will cover Jesus Guridi's, Gerardo Gombaus and Victorino Echevarria's lives, influences, and an analysis of their harp compositions: Viejo Zortzico , Apunte Betico and Capricho Andaluz respectively, highlight the Spanish folk elements used, and how composers incorporated these elements into their compositions to create a distinctive sound and fascinating show pieces for the concert harpist.
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Yu, Julie. "Alberto Grau the composer, selected works, and influence upon the Venezuelan and international choral community /." Thesis, connect to online resource, 2007. http://digital.library.unt.edu/permalink/meta-dc-3898.
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Thesis (D.M.A.)--University of North Texas, 2007.System requirements: Adobe Acrobat Reader. Accompanied by 3 recitals, recorded Nov. 17, 2005, Apr. 2, 2006, and May 14, 2006. Includes bibliographical references (p. 51-53).
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Roos, Hilde. "Hendrik Hofmeyr : lewe en werk, 1957-1999." Thesis, Stellenbosch : University of Stellenbosch, 2000. http://hdl.handle.net/10019.1/51787.
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Thesis (MMus) -- University of Stellenbosch, 2000.ENGLISH ABSTRACT: The topic of this thesis is the life and music of Hendrik Hofmeyr, from his birth in 1957 until July 1999. The discussion on his life focusses on the events that influenced the establishment of his works and also those that had an effect on the style in which Hofmeyr composes. Although he experienced a steady development and growth as a composer, Hofmeyr's ten year stay in Italy and the event of the 1997 Queen Elisabeth of Belgium Composition Competition can be mentioned as major influences on his life and thus on his work. Hofmeyr's ideas on music are discussed in Chapter 2. To understand the intention of his music, it is important to know something of Hofmeyr's approach to music. The chapter concludes that Hofmeyr can be described as a 'romantic' composer which provides the reason why he has always been outspoken against the avant-garde which characterises much of the artmusic of the zo" century. The style analysis of the following chapter looks at three important parameters of any composer's style: harmony, melody and form. It further also discusses Hofmeyr's use of counterpoint and the specific playing techniques he requires of instruments. These two aspects stand out as particular to the composer's style. Due to the scope of the thesis, these aspects are dealt with in a limited way. A more detailed discussion of two compositions follow, the song cycle Alleenstryd and the String Quartet. Besides an analysis of both works, attention is also given to how the composer's ideas on music are manifested in these works. The thesis concludes with a detailed list of works including all works composed up to July 1999. 50 compositions are listed. To allow for maximum exposure of each work, the duration as well as a description of each work are added to the otherwise standard information.
AFRIKAANSE OPSOMMING: Hierdie tesis behandel Hendrik Hofmeyr se lewe en werk as komponis vanaf sy geboorte (1957) tot en met Julie 1999. Die beskrywing van sy lewe is daarop gerig om aan te dui hoe die gebeure in sy lewe die totstandkoming van sy komposisies en die styl van sy musiek beïnvloed het. Hoewel daar 'n geleidelike ontwikkeling in sy groei as komponis bestaan, kan sy tienjarige verblyf in Italië en die Koningin Elisabeth van België Komposisiekompetisie in 1997 as belangrike invloede uitgelig word. In hoofstuk 2 word Hofmeyr se idees oor musiek bespreek. Om die intensie en gedaante van Hofmeyr se musiek te verstaan, is dit belangrik om hierdie uitgangspunte van die komponis te begryp. In die hoofstuk word die gevolgtrekking gemaak dat Hofmeyr in wese 'n 'romantikus' is en dat hy daarom reeds sedert sy studentejare sterk uitgesproke is teen die avant-garde wat 20ste eeuse kunsmusiek kenmerk. Die stylanalise wat daarna gemaak word, behandel drie belangrike parameters van enige komponis se styl: harmonie, melodie en vorm. Verder sluit dit ook Hofmeyr se gebruik van kontrapunt in en die spesifieke speeltegnieke wat hy van instrumente verlang. Hierdie twee aspekte staan uit as besondere eienskappe van die komponis se musiek. Vanweë die omvang van die tesis, is die bespreking van hierdie aspekte redelik beperk. In Meer gedetaileerde bespreking van twee werke volg, naamlik die sangsiklus Alleenstryd en die Strykkwartet. Buiten 'n analise word ook na ander aspekte van hierdie werke gekyk, soos byvoorbeeld die wyse waarop die komponis se uitgangspunte oor musiek in hierdie werke tot uiting kom. Die tesis sluit af met 'n volledige werklys wat alle werke tot en met Julie 1999 insluit. Daar is altesaam 50 werke. Om soveel as moontlik inligting te verskaf, word buiten die standaard-inligting, ook die tydsduur en 'n beskrywende paragraaf oor elke komposisie ingesluit.
Books on the topic "Composers, biography"
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V, Raghavan. Composers. Edited by India. Ministry of Information and Broadcasting. Publications Division. New Delhi: Publications Division, Ministry of Information and Broadcasting, Govt. of India, 2000.
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Kurtz, Michael. Sofia Gubaidulina: A biography. Bloomington: Indiana University Press, 2007.
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1933-, Gowri Kuppuswamy, and Hariharan M. 1951-, eds. Great composers. Trivandrum, India: CBH Publications, 1994.
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Maria, Mascheroni Anna, Marchesi G, Melanotte Alberta, Orselli C, Rescigno Eduardo, Tedeschi Rubens, and Thorne Stephen (Tr ), eds. Classic composers. Leicester: Magna Bks., 1993.
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Daphne, Woodward, ed. Essex composers. Chelmsford [England]: Essex Libraries, 1985.
Find full textBook chapters on the topic "Composers, biography"
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Sawicki, Bernard Łukasz. "10. The Concept of ‘Atmosphere’ as a Bridge between Music and Spirituality." In Music and Spirituality, 209–32. Cambridge, UK: Open Book Publishers, 2024. http://dx.doi.org/10.11647/obp.0403.10.
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The notion of atmosphere adds a new dimension to metaphors and symbols attempting to describe both musical and spiritual experience. Speaking of atmosphere, the discourse on music or spirituality itself moves from the purely descriptive sphere into the realm of experience, shedding new light on its specificity and effects. Consequently, one can speak of a reinterpretation of such key concepts for spirituality and theology as the body, incarnation, transformation (conversion). Music can help to understand and express them better. In this chapter, the above theses will be presented according to the following scheme: 1) A general outline of the philosophical and aesthetic significance of the concept of 'atmosphere'; 2) A presentation of the potential 'dimensions of atmosphere' in music (tonality, the event of performance, the context of listening to the music, the role of the title and the biography of the composer or performer); 3) A presentation of the potential 'dimensions' of spirituality (prayer and its context, celebration, the eloquence and expression of texts, encounter); 4) A demonstration of the common 'atmospheric' elements of music and spirituality: the experience of perception, moving, touching, the presence of the Other, encounter. One cannot deny that the concept of atmosphere functions best in the spirituality of religions based on personal contact with God. If so, it is not merely descriptive but can have a practical dimension, stimulating both the musical or spiritual experience as well as facilitating its interpretation by opening it up, through synesthesia, to the sensations and language of other arts.
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Girdharn, Jane. "Biography." In English Opera In Late Eighteenth-Century London, 3–36. Oxford University PressOxford, 1997. http://dx.doi.org/10.1093/oso/9780198162544.003.0001.
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Abstract Stephen John Seymour Storace (1762-96) was one of the leading English composers in the last decade of the eighteenth century. Studies in Italy led to opera commissions in Vienna and a friendship with Mozart, then to a career as house composer at the Theatre Royal, Drury Lane, until his early death at the age of nearly 34. His brief career was both prolific and successful.
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Anderson, Virginia. "Daniel Lentz (b. 1942)." In Interviews with American Composers, 185–200. University of Illinois Press, 2022. http://dx.doi.org/10.5622/illinois/9780252043994.003.0012.
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Anderson places the interview within Lentz’s works, just before his first “California Sound” piece, Song(s) of the Sirens (1973). The interview is fragmentary due to tape failure, but it is also light-hearted. Lentz and Childs light-heartedly discuss Lentz’s biography and education; his works as performed in Europe and differences in reception; electronic and tape music. They explore style and value; masterpiece culture and Perspectives of New Music; historical differences between American and European music; performers and self-performance; juvenilia and legacy, and notation. Lentz mentions Tanglewood and study with Roger Sessions; serial music; jazz; popular music; the impact of listening; “problems” in composition; comparison between poetry and composition; analogies with winemaking; the Vietnam War and politics; and the English wit and compositional games.
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Gevorkyan, Armen V. "Circle of Merezhkovsky-Gippius: Russian Symbolists and Russian Composers." In Merezhkovskys’ Circle: On the Occasion of the 150th Anniversary of Z.N. Gippius, 251–74. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2021. http://dx.doi.org/10.22455/978-5-9208-0679-6-251-274.
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The article examines historical and literary aspects of the compilation of annotated indexes of Russian Symbolists on the example of D.S. Merezhkovsky and Z. Gippius. The problems included in the title presuppose its research in the literary aspect — the study of the facts of the biography of poets, their personal and creative relationships with composers, epistolary, communication in various circles and organizations, reviews and responses in periodicals to the transposition of their works to music. Research can also significantly supplement the existing chronologies of the cultural and literary life of Russia at the end of the 19th and beginning of the 20th centuries, chronicles. Moreover, research can also reveal previously unknown translations of literary texts (it is known that the notebooks of the musical publishing house of P. Jurgenson were not published only by the original text of the work, translated into music, but also their translation into one of the European languages, usually German or French). The appendix contains L. Esbeer’s translations of V.Ya. Bryusov and D.S. Merezhkovsky.
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Stinson, Russell. "Introduction." In Bach's Legacy, 1–5. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190091224.003.0001.
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This book deals with J. S. Bach’s posthumous role in music history. Combining the disciplines of history, biography, and musical analysis, it considers how four of the greatest composers of the nineteenth and twentieth centuries engaged with Bach’s legacy. Special emphasis is given to Felix Mendelssohn’s and Robert Schumann’s reception of Bach’s organ works, Schumann’s encounter with the St. Matthew and St. John Passions, Richard Wagner’s musings on the Well-Tempered Clavier, and Edward Elgar’s (resoundingly negative) thoughts on Bach’s vocal works.
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Harrán, Don. "The Man." In Salamone Rossi, 11–41. Oxford University PressOxford, 1999. http://dx.doi.org/10.1093/oso/9780198162711.003.0002.
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Abstract What is known about Salamone Rossi the man is considerably less than what is not. The sources are too fragmentary and their reading often too uncertain to allow one to construct a running biography. Where blanks exist, and there are many, the only way to fill them in is by relying on circumstantial evidence and, for all its inadequacy, on imagination, stirred by probability. The documentation on early music composers is habitually riddled with difficulties, and here Rossi fares no worse perhaps than his esteemed Mantuan colleagues Giaches de Wert, Benedetto Pallavicino, and Giovanni Gastoldi. Even the biography of the illustrious Monteverdi, in its Mantuan phase, leaves much to be desired; and if there is any consolation from a scholarly standpoint, leaves much to be explored. Rossi, like Monteverdi, has ever been, and will no doubt remain, a promising subject for research.
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Weiss, Piero. "Der Freischütz: A German Triumph." In Opera, 175–78. Oxford University PressNew York, NY, 2002. http://dx.doi.org/10.1093/oso/9780195116373.003.0028.
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Abstract Der Freischiitz had its first performance on 18 June 1821 at the newly erected Royal Playhouse in Berlin. Musical politics attended the birth of Weber’s most famous opera. Spontini’s Olympia, reworked specifically for Berlin and translated into German by E. T. A. Hoffmann, had had its premiere at the Berlin Opera shortly before, on 14 May, with much scenic splendor. Spontini was the favorite composer of King Frederick William Ill and had just been appointed General musikdirektor over the opposition of much of the German public; indeed the Court Theater Intendant, Count Bruhl, had hoped to install Weber in that position. Weber’s triumph obliterated Olympia, and in the end both composers were the losers: Berlin remained closed to Weber for the rest of his short life, and Spontini, though he remained there until 1842, never won over the public. Heine, a witness to both operatic premieres, reported gleefully on the party politics surrounding them; and Weber’s son, born the following year, pictured the political situation vividly in the extract given below, from the biography of his father (published in 1864).
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Schwartz, Arthur. "Style is the Man." In Singers and the Song II, 53–58. Oxford University PressNew York, NY, 1998. http://dx.doi.org/10.1093/oso/9780195115567.003.0004.
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Abstract If the best American songs came out of Broadway musical theater and the movies, it was because the best young composers gravitated to these media, which promised performance of their work and, if they made it, enormous incomes. No slot machine pays off like Broadway when the lemons at last line up. But it was always a gamble in which only the rich could indulge. Countless Hollywood movies have applied the Horatio Alger rags-to-riches fantasy to musical theater-including My Gal Sal (1942), a putative biography of Paul Dresser starring Victor Mature that had little to do with Dresser’s reality. Irving Berlin seemed to embody it, but he was an exception.
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Bernstein, Lawrence F. "Setting the Stage for the Second Symphony." In Inside Mahler's Second Symphony, 3–22. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780197575635.003.0001.
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This chapter summarizes Mahler’s early biography, concentrating on his musical activities in Leipzig in 1888 and on his earlier studies at the Conservatory and University of Vienna. The impact upon him of the reading circles in Vienna of which he was a member and of his intellectual bond with Sigfried Lipiner is explored. Several early works are discussed—the A Minor Piano Quartet, Das klagende Lied, and the First Symphony—characterizing the emergence of his musical style and of his transformative ideas about what he called the New Symphony. The conservative side of Mahler’s musical training at the Vienna conservatory is contrasted to the influence on him of the music of composers like Anton Bruckner and Richard Wagner. Adam Mickiewicz’s dramatic poem about mourning rituals, Dziady (entitled Todtenfeier in Lipiner’s German translation), is discussed in anticipation of linking it to the music of the first movement in subsequent chapters.
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Youens, Susan. "“In this elusive language”." In The Songs of Fanny Hensel, 93–110. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190919566.003.0006.
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That composers of vocal music respond to verbal sound and rhythm has become a matter of analysis both by literary and musical scholars. Perhaps influenced by Goethe’s admiration for the brief comet that was Byron, Fanny Hensel studied his poetry in order to improve her English; in early 1837, she set three of his poems to music in English. She could not, she told her brother in 1834, quite understand the sense of the poetry but was captivated by the sounds and rhythms. Here, I consider both Byron’s word-music and his treatment of rhythm in the first song, “There be none of Beauty’s daughters,” and Hensel’s musical responses to his subtleties. I also discuss other features of this song, including a possible reference to Mozart’s “Voi che sapete,” and speculate that she might have read Wilhelm Müller’s biography of Byron in her quest for further information about him.
Conference papers on the topic "Composers, biography"
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DUMITRIU, Leonard. "Šárka, a Legendary Female Character, in Two Lesser Known Czech Operas. Overtures and Compositional Techniques." In The International Conference of Doctoral Schools “George Enescu” National University of Arts Iaşi, Romania. Artes Publishing House UNAGE Iasi, 2023. http://dx.doi.org/10.35218/icds-2023-0005.
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The lyrical works of Czech composers from the end of the 19th century and the beginning of the 20th century are very little known, and not just to Romanian musicians. Even when it comes to composers who have gained notoriety, such as Bedřich Smetana, Antonín Dvořák or Leoš Janáček, without consulting a dictionary, we cannot name more than one of their titles: Smetana’s Prodaná nevěsta, Dvořák’s Rusalka and Janáček’s Jenůfa, even though each of them wrote countless other works dedicated to the opera. When we think of composers like Zdeněk Fibich and Otakar Ostrčil, obscurity is almost total. Beyond the fact that this study attempts to make a contribution to the knowledge in this field, other objectives include analyzing the compositional language that two composers embraced in homonymous operas and observing the manner in which they related to the mythology of their people. One of the major characters of the Czech national mythology is called Šárka, a title that both Leoš Janáček and Zdeněk Fibich have attributed to one of their operas. In studying the action of the two stage works, this research also turns to the Czech writers of that period and the manner in which they reflected the fundamental Czech myths in their literary works. Details related to the time of appearance of the operas and, in the case of Zdeněk Fibich, brief but welcome information on his biography and creation are also presented. The original contribution of this study consists in analyzing the overtures of the two homonymous operas in terms of compositional techniques, elements of construction and musical expression and, last but not least, observing the similarities and differences of vision between the two creators.
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Panchenko, Oleg V. "On the Literary Work of Chudovsky Deacon Job, a Student of the Leichoudis Brothers, during His Exile to the Solovki in 1701-1703." In Лихудовские чтения — 2022. НовГУ им. Ярослава Мудрого, 2023. http://dx.doi.org/10.34680/978-5-89896-832-8/2023.readings.05.
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e article recounts a little-known episode in the biography of the Chudov deacon Job, a disciple of the Leichoudis brothers, who was exiled to Solovki in 1701. Having witnessed Peter the Great's visit to the Solovetsky monastery in 1702, he compiled a text about this and the previous visit of the Tsar to Solovki (in 1694 and 1702), placed in the Peter's Chapel. Aerwards this story was included in the Solovetsky Chronicle of the 1st Extended redaction. Another product of Job's literary work was the book e Salvation Garden (1703) which is a collection of lives, services and panegyrics for the founders of the Solovetsky monastery. In the preface to this work Job included an eulogy to the synaxis of the Solovetsky saints composed by him and a brief chronological account of the biographies of the 12 most venerated ascetics. His work subsequently became the primary source for all XIX century writings on Solovetsky hagiology.