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Relevant bibliographies by topics / Crumb, George. – Chamber music / Journal articles

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Journal articles on the topic 'Crumb, George. – Chamber music'

Author: Grafiati

Published: 4 June 2021

Last updated: 14 February 2022

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1

Pearsall, Edward. "George Crumb piano music." Tempo 58, no. 230 (2004): 78–79. http://dx.doi.org/10.1017/s0040298204240335.

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GEORGE CRUMB: The Complete Piano Music. Makrokosmos 1; Makrokosmos 2; Five Pieces for Piano; Gnomic Variations; Processional; A Little Suite for Christmas Philip Mead (pno). Metier MSV CD92067 (2-CD Set).

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2

Borroff, Edith, and Don Gillespie. "George Crumb: Profile of a Composer." American Music 6, no. 1 (1988): 102. http://dx.doi.org/10.2307/3448354.

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3

Bass, Richard. "Models of Octatonic and Whole-Tone Interaction: George Crumb and His Predecessors." Journal of Music Theory 38, no. 2 (1994): 155. http://dx.doi.org/10.2307/843771.

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4

Pearsall, Edward. "SYMMETRY AND GOAL-DIRECTED MOTION IN MUSIC BY BÉLA BARTÓK AND GEORGE CRUMB." Tempo 58, no. 228 (2004): 32–40. http://dx.doi.org/10.1017/s0040298204000129.

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Two of the most important goals for music composition during the past century were innovation and originality. In reaching for these goals, many composers abandoned tonal protocol, looking instead for new ways to generate coherence in their music. In the absence of traditional voice leading based on tonic/dominant harmony, some composers gravitated toward the use of symmetry. By symmetry I mean the projection of a series of events above and below, or forward and backward from a central axis, with a one-to-one correspondence between events on one side of the axis and those on the other. In this

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5

Adamenko, Victoria. "George Crumb and the Alchemy of Sound: Essays on His Music (review)." Notes 64, no. 1 (2007): 72–73. http://dx.doi.org/10.1353/not.2007.0097.

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6

Lukomsky, Vera. "‘The Eucharist in my fantasy’: Interview with Sofia Gubaidulina." Tempo, no. 206 (October 1998): 29–35. http://dx.doi.org/10.1017/s0040298200006707.

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In the process of my research on the topic ‘The Soviet Avant-Garde from the 1970s to the present’, I learned that one of the heroes (actually, the heroine) of my studies, Sofia Gubaidulina, had been invited by San Jose State University School of Music for a festival of her music. The annual festivals in the SJSU, called ‘The Annual Guest Composers Series’, are each dedicated to the music of a specific contemporary composer. The guests of previous ‘Series’ were Morton Subotnik (1993) and Mario Davidowsky (1994); the festival in 1995 was devoted to Gubaidulina; George Crumb was selected for the

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7

Conway, Paul. "Presteigne Festival 2012." Tempo 67, no. 263 (2013): 86–89. http://dx.doi.org/10.1017/s0040298212001465.

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For six lively and exhilarating days at the end of August 2012, the Presteigne Festival's thirtieth anniversary was celebrated in 16 concerts featuring no fewer than nine new specially commissioned pieces, most of them from composers already closely associated with this much-anticipated annual event held in and around a modest borders town in Powys. Composer-in-residence Sally Beamish was well represented with a generous selection from her output for instrumental and chamber forces, including the premières of two new arrangements of her earlier works. Each concert was programmed with exemplary

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8

Lister, Rodney. "Bolcom, Gann and other Americans." Tempo 60, no. 235 (2006): 37–39. http://dx.doi.org/10.1017/s0040298206260042.

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WILLIAM BOLCOM: Songs of Innocence and of Experience. Christine Brewer, Measha Brueggergosman, Hana Davidson, Linda Hohenfeld, Carmen Pelton (sops), Joan Morris (mezzo-sop), Marietta Simpson (con), Thomas Young (ten), Nmon Ford (bar), Nathan Lee Graham (speaker/vocals), Tommy Morgan (harmonica), Peter ‘Madcat’ Ruth (harmonica and vocals), Jeremy Kittel (fiddle), The University of Michigan Musical Society Choral Union, Chamber Choir, University Choir, Orpheus Singers, Michigan State University Children’s Choir, Contemporary Directions Ensemble, University Symphony Orchestra c. Leonard Slatkin.

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9

Hwi, L. P., and J. W. Ting. "36. Practicing medicine and music II: Ophthalmology and music." Clinical & Investigative Medicine 30, no. 4 (2007): 46. http://dx.doi.org/10.25011/cim.v30i4.2796.

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Cecil Cameron Ewing (1925-2006) was a lecturer and head of ophthalmology at the University of Saskatchewan. Throughout his Canadian career, he was an active researcher who published several articles on retinoschisis and was the editor of the Canadian Journal of Ophthalmology. For his contributions to Canadian ophthalmology, the Canadian Ophthalmological Society awarded Ewing a silver medal. Throughout his celebrated medical career, Ewing maintained his passion for music. His love for music led him to be an active member in choir, orchestra, opera and chamber music in which he sang and played t

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10

Warnaby, John. "Maxwell Davies's ‘Resurrection’: Origins, Themes, Symbolism." Tempo, no. 191 (December 1994): 6–13. http://dx.doi.org/10.1017/s0040298200003855.

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Peter Maxwell Davies originally conceived the opera Resurrection in 1963, in response to the commercialism he encountered while studying in the United States. He regarded it as a sequel to Taverner, even before the completion of his first opera. Despite the intervention of two important chamber operas (The Martyrdom of St. Magnus and The Lighthouse), his decision to settle in the Orkney Islands, and the various changes in his compositional style – encouraged by his involvement with the writings ot George Mackay Brown – Maxwell Davies has retained the main elements of his inspiration. There app

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11

Conway, Paul. "John McCabe - JOHN MCCABE: Les martinets noirs1; Rainforest II for trumpet and strings2; Rainforest I for chamber ensemble3; Caravan for string orchestra4. 1Retorica (Harriet Mackenzie and Philippa Mo) (vlns), 2Angela Whelen (tpt), 1,2,4Orchestra Nova, 3Orchestra Nova Ensemble c. George Vass. Dutton Epoch CDLX 7290." Tempo 67, no. 264 (2013): 92–93. http://dx.doi.org/10.1017/s0040298213000259.

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12

McBurney, Gerard. "Seeking the Soul – The Music of Alfred Schnittke compiled by George Odam. Guildhall School of Music & Drama Research Studies 1. Ashgate, £20.00 (contains a CD of chamber works). VALENTIN SILVESTROV. Metamusik; Postludium. Alexei Lubimov (pno), Vienna Radio SO c. Dennis Russell Davies. ECM New Series 1790." Tempo 58, no. 229 (2004): 68–70. http://dx.doi.org/10.1017/s0040298204000233.

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13

Vasiliu, Laura Otilia. "Ancient Greek Myths in Romanian Opera. Pascal Bentoiu’s Jertfirea Ifigeniei [The Sacrifice of Iphigenia]." Artes. Journal of Musicology 19, no. 1 (2019): 108–23. http://dx.doi.org/10.2478/ajm-2019-0006.

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Abstract Romanian composers’ interest in Greek mythology begins with Enescu’s peerless masterpiece – lyrical tragedy Oedipe (1921-1931). The realist-postromantic artistic concept is materialised in the insoluble link between text and music, in the original synthesis of the most expressive compositional means recorded in the tradition of the genre and the openness towards acutely modern elements of musical language. The Romanian opera composed in the knowledge of George Enescu’s score, which premiered in Bucharest in 1958, reflect an additional interest in mythological subject-matter in the poe

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14

Burrows, D. "George Frideric Handel, The Chamber Music: Vol I, The Flute Sonatas; Vol. II, The Violin Sonatas; The OBOE Sontas, Vol. III, The Trio Sonatas OP 2, Vol. IV, The Trio Sonatas OP 5; Vol V, Trio Sonatas for Two Violins and Basso Continuo; Vol VI, The Recorder Sonatas, L' Ecole d'Orphee CRD 3373-78 (six CDs, issued 1992) Trio Sonatas OP.2 London Baroque Harmoma Mundi HMC 901379 (rec 1991) Trio Sonatas OP.5, London Baroque Harmoma Mundi HMC 901389 (rec 1991); Trio Sonatas OP.5, La Stravaganza Salzburg, directed by Siegbert Rampe, Saphir INT 830.882 (rec 1990)." Early Music XXI, no. 1 (1993): 153–55. http://dx.doi.org/10.1093/em/xxi.1.153.

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15

Kager, Reinhard. "George Crumb an der Musikhochschule Wien." Österreichische Musikzeitschrift 49, no. 3-4 (1994). http://dx.doi.org/10.7767/omz.1994.49.34.241.

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16

Leydon, Rebecca. "Clean as a Whistle." Music Theory Online 18, no. 2 (2012). http://dx.doi.org/10.30535/mto.18.2.4.

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This essay attempts to develop an interpretative framework for effects of timbre in selected twentieth-century instrumental music. My approach draws on ethnomusicologist Cornelia Fales’s concept of “perceptualization” in order to establish expressive associations of transparency and turbidity with sinusoidal purity and spectral noise, respectively. I explore how these sonic tokens of purity and impurity are in turn mapped onto concepts of spirituality and corporeality in music of Varèse, Stockhausen, Messiaen, Gubaidulina, and especially George Crumb, whose workBlack Angelsis singled out for a

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17

Cook, Robert C. "Nature’s Voice in Crumb’sAn Idyll for the Misbegotten." Music Theory Online 23, no. 1 (2017). http://dx.doi.org/10.30535/mto.23.1.1.

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George Crumb prefaces the score toAn Idyll for the Misbegottenwith a note identifying humankind as the “misbegotten,” rulers of an environmentally “dying world.” Crumb’s piece responds to these thoughts by evoking the “voice of nature.” To have a voice is to have acoustic agency, to have one’s presence acknowledged and heard. In this article, I explore what it means for nature and music to have voice in this sense, and how Crumb’sIdyllmay be heard to sing in nature’s voice. I investigate the role played in the work by a quotation of Debussy’sSyrinx, pertinent themes of voice and nature in the

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18

Cuningham, Phillip Lamarr, and Melinda Lewis. "“Taking This from This and That from That”: Examining RZA and Quentin Tarantino’s Use of Pastiche." M/C Journal 16, no. 4 (2013). http://dx.doi.org/10.5204/mcj.669.

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In his directorial debut, The Man with the Iron Fists (2012), RZA not only evokes the textual borrowing techniques he has utilised as a hip-hop producer, but also reflects the influence of filmmaker Quentin Tarantino, who has built a career upon acknowledging mainstream and cult film histories through mise-en-scene, editing, and deft characterisation. The Man with the Iron Fists was originally to coincide with Tarantino’s rebel slave narrative Django Unchained (2012), which Tarantino has discussed openly as commentary regarding race in contemporary America. In 2011, Variety reported that RZA h

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19

Hutcheon, Linda. "In Defence of Literary Adaptation as Cultural Production." M/C Journal 10, no. 2 (2007). http://dx.doi.org/10.5204/mcj.2620.

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   Biology teaches us that organisms adapt—or don’t; sociology claims that people adapt—or don’t. We know that ideas can adapt; sometimes even institutions can adapt. Or not. Various papers in this issue attest in exciting ways to precisely such adaptations and maladaptations. (See, for example, the articles in this issue by Lelia Green, Leesa Bonniface, and Tami McMahon, by Lexey A. Bartlett, and by Debra Ferreday.) Adaptation is a part of nature and culture, but it’s the latter alone that interests me here. (However, see the article by Hutcheon and Bortolotti for a discussi

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