Relevant bibliographies by topics / Neoclassicism (Music)

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Neoclassicism (Music)'

Author: Grafiati
Published: 4 June 2021
Last updated: 5 March 2023

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Journal articles on the topic "Neoclassicism (Music)"

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Clausius, Katharina. "Historical Mirroring, Mirroring History." Journal of Musicology 30, no. 2 (2013): 215–51. http://dx.doi.org/10.1525/jm.2013.30.2.215.

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Visualizing his interaction with music’s history in Expositions and Developments, Stravinsky enigmatically describes his early neoclassical work Pulcinella as a “look in the mirror.” This spatial account of Pulcinella’s stylistic imitation reflects the crucial visual contribution of Stravinsky’s collaborators Pablo Picasso and Léonide Massine. The ballet’s humorous and playful collaboration among the arts insists on a thoroughly performative neoclassicism; Pulcinella takes neoclassicism’s conceptual negotiation with time and grounds it in the immediate physical spaces of its music, choreography, and set design. Whereas neoclassicism is often theorized as an overt antagonism between present and past, Pulcinella’s visual aesthetic recasts its historicism as a lighthearted dialogue among the various arts. Written in the same decade as Stravinsky’s ballet, Mikhail Bakhtin’s Author and Hero in Aesthetic Activity draws a compelling image of the visual symbiosis between author and work. This appealingly cooperative model, I argue, offers a new philosophical aesthetic for Pulcinella’s interdisciplinary historicism. I take Bakhtin’s concept of authorship as the basis for an appreciation of Pulcinella’s project to reinstate history as an equal, positive collaborator in its neoclassical interaction.
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Wheeldon, Marianne. "Anti-Debussyism and the Formation of French Neoclassicism." Journal of the American Musicological Society 70, no. 2 (2017): 433–74. http://dx.doi.org/10.1525/jams.2017.70.2.433.

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Much of the literature on neoclassicism in music focuses on Stravinsky or on the Stravinsky-Schoenberg polemic that emerged in the mid-1920s. Yet both approaches to neoclassicism bypass a crucial moment in its early formation: the former neglects Stravinsky's engagement with the musical priorities of postwar Paris, while the latter ignores the fact that many of the themes that would later crystallize under the banner of neoclassicism were first developed in opposition not to Schoenberg's music but to Debussy's. As described by Jacques Rivière in a letter to Stravinsky of 1919, the postwar musical climate was “anti-impressionist, anti-symbolist, and anti-Debussyist.” This article revisits the debates that appeared in the Parisian musical press between 1919 and 1923, a period in which the term “neoclassicism” had not yet been coined but in which a new, anti-Debussyist aesthetic was nevertheless emerging. Recognizing the role of anti-Debussyism in the formation of neoclassicism is necessary if we are to understand the motivation behind the movement, a motivation that was responsible for establishing its compositional priorities, instrumentation, and aesthetic. Regardless of what neoclassicism later came to represent—be it a return to counterpoint, to Bach, or to the eighteenth century—its initial impetus was much more straightforward. Rather than looking to pre-Romantic traditions, its beginnings were to be found closer to home, going no further back than the reaction against Debussy, Debussyism, and the prewar generation.
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Mikić, Vesna. "Constituting Neoclassicism in Serbia or: How and Why Neoclassicism Can Be Understood as Modernism – a Study of Ristić’s Second Symphony." Musicological Annual 43, no. 2 (December 1, 2007): 99–104. http://dx.doi.org/10.4312/mz.43.2.99-104.

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The paper examines the possible re-contextualization of the Serbian musical neoclassicism in the field of (sober) modernism/socialist aestheticism characteristic for Serbian art and literature of the fifties. From that perspective, the Second Symphony (1951) by Milan Ristić is seen as the constitutive piece of neoclassicism/sober modernism, i.e. of artistic tendency that is going to become very important for understanding Serbian music in the second half of the 20th century.
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Taruskin, Richard. "Back to Whom? Neoclassicism as Ideology." 19th-Century Music 16, no. 3 (1993): 286–302. http://dx.doi.org/10.2307/746396.

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Messing, Scott. "Polemic as History: The Case of Neoclassicism." Journal of Musicology 9, no. 4 (1991): 481–97. http://dx.doi.org/10.2307/763872.

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Messing, Scott. "Polemic as History: The Case of Neoclassicism." Journal of Musicology 9, no. 4 (October 1991): 481–97. http://dx.doi.org/10.1525/jm.1991.9.4.03a00050.

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Leshkova Zelenkovs, Aida Islam, and Stefanija Leshkova Zelenkovs. "Musical Elements in the Performing Approach: Sonatina in C for Two Pianos from a Macedonian Contemporary Composer." Musicological Annual 52, no. 1 (June 27, 2016): 41–50. http://dx.doi.org/10.4312/mz.52.1.41-50.

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Tomislav Zografski (1934–2000) is one of the representatives of the middle generation of modern Macedonian composers. He introduced into Macedonian art music the basic elements of neoclassicism. Zografski, in some of his works, develops this stylistic direction in the fields of chamber and symphony music.
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Fulcher, Jane F. "The Composer as Intellectual: Ideological Inscriptions in French Interwar Neoclassicism." Journal of Musicology 17, no. 2 (1999): 197–230. http://dx.doi.org/10.2307/763888.

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Fulcher, Jane F. "The Composer as Intellectual: Ideological Inscriptions in French Interwar Neoclassicism." Journal of Musicology 17, no. 2 (April 1999): 197–230. http://dx.doi.org/10.1525/jm.1999.17.2.03a00010.

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Chew, Geoffrey. "Pastoral and neoclassicism: A reinterpretation of Auden's and Stravinsky's Rake's Progress." Cambridge Opera Journal 5, no. 3 (November 1993): 239–63. http://dx.doi.org/10.1017/s0954586700004055.

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It is a commonplace that the poetry best suited to an operatic libretto has fewer pretensions, and more transparency in the range of interpretations that can be placed upon it, than ‘literary’ poetry. Otherwise, it will scarcely bear the weight of the music, much less contribute to the great emotional climaxes that justify opera for many listeners in the first place. And some might mistrust a libretto that is too ‘literary’ or too complicated, for metaphysical and other subtleties are not easily projected across the footlights. No one was more acutely aware of this ‘unliterary’ relationship between words and music in opera than W. H. Auden. Writing in 1948, he stated: ‘Poetry is in its essence an act of reflection, of refusing to be content with the interjections of immediate emotion in order to understand the nature of what is felt. Since music is in essence immediate, it follows that the words of a song cannot be poetry.’
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Dissertations / Theses on the topic "Neoclassicism (Music)"

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Figg, Graham Elliot. "Just Intonation and the Revitalization of Neoclassicism: Three Works for Baroque Instruments." Thesis, connect to online resource, 2008. http://digital.library.unt.edu/permalink/meta-dc-6113.

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Thesis (M.M.)--University of North Texas, 2008.
First work for harpsichord; 2nd work for baroque cello and harpsichord continuo; 3rd work for tenor and baroque ensemble (trumpet, cello, timpani, organ and harpsichord). System requirements: Adobe Acrobat Reader. Includes bibliographical references (p. 48-50).
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Kang, Jin Myung. "An analysis of Stravinsky's Symphony of psalms focusing on tonality and harmony." Columbus, Ohio : Ohio State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1196113148.

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MINOR, JANICE LOUISE. ""WERE THEY TRULY NEOCLASSIC?" A STUDY OF FRENCH NEOCLASSICISM THROUGH SELECTED CLARINET SONATAS BY "LES SIX" COMPOSERS: ARTHUR HONEGGER, GERMAINE TAILLEFERRE, DARIUS MILHAUD, AND FRANCIS POULENC." University of Cincinnati / OhioLINK, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1092930641.

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Brlecic, Maja. "Old and New Directions in Stravinsky’s Les Noces: Venturing into Neoclassicism through the Avenues of Eurasianism, Exoticism, and Primitivism." University of Cincinnati / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1592137262344743.

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Morris, Allan Scott. "The wellsprings of neo-classicism in music, the nineteenth-century suite and serenade." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape11/PQDD_0011/NQ41477.pdf.

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Jeon, Eun Deok. "A Study of Neoclassical Elements in Ernst Krenek's George Washington Variations, op. 120." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc849780/.

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The purpose of this study is to explore neoclassical elements present in Krenek’s George Washington Variations. By identifying the stylistic features associated with the eighteenth and twentieth centuries, the study will examine Krenek’s application of his neoclassical tendencies. Key neoclassical elements include musical form and structure, key relationships, melody and harmony, and chromaticism. Since at this time there is little research on Krenek’s piano works, and none on the George Washington Variations, the result of this examination provides pianists and instructors with historically constructive information about Krenek’s musical style, as well as a deeper understanding of Krenek’s Neoclassicism in his George Washington Variations.
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Noronha, Lina Maria Ribeiro de. "Darius Milhaud : o nacionalismo francês e a conexão com o Brasil /." São Paulo, 2012. http://hdl.handle.net/11449/104021.

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Orientador: Dorotéa Machado Kerr
Banca: Viviana Mónica Vermes
Banca: Manoel Aranha Corrêa do Lago
Banca: Paulo de Tarso Camargo Cambraia Salles
Banca: Lutero Rodrigues da Silva
Resumo: Este é um trabalho de história da música que traz um estudo sobre o compositor francês Darius Milhaud, sua inserção no cenário musical nacionalista francês e a conexão com o Brasil. Pretende-se mostrar o lugar de Milhaud como compositor francês sob a ótica das teorias do nacionalismo, do autor inglês Anthony D. Smith, e das teorias sociológicas de Pierre Bourdieu, sobre o campo de produção simbólica no âmbito da música erudita. Aborda-se também a interferência do cenário musical brasileiro na formação de Milhaud como compositor francês cuja obra teve grande repercussão na França durante o período do entreguerras. Destaca-se a importância da estada de Milhaud no Brasil, de 1917 a 1918, como um período decisivo no que concerne às suas experimentações composicionais e ao delineamento da sua carreira como compositor. Aborda-se também sua conexão com a tradição e com o Neoclassicismo. Conecta-se a apropriação da música popular brasileira na sua obra com as concepções da vanguarda europeia da época. Busca-se estabelecer a relação entre Milhaud e Villa-Lobos a partir das diretrizes estéticas trazidas pelo nacionalismo e a estética neoclássica das décadas de 1920 e 1930
Abstract: This is a paper in music history presenting a study on French composer Darius Milhaud, his position in the French Nationalist music scene and his connection with Brazil. The paper will attempt to show Milhaud's status as a French composer as viewed through the lens of the Nationalism theories by English author, Anthony D. Smith, and the sociological theories by Pierre Bourdieu concerning the field of symbolic production in classical music. The pap er also covers the influence of the Brazilian music scene on Milhaud's background as a French composer whose oeuvre attracted attention in France during the Interbellum period. A special emphasis is given to the key role that Milhaud's stay in Brazil between 1917 and 1918 played in his compositional experimentations and in the establishment of his career as a composer. Additionally, the paper looks at his connection with tradition and Neoclassicism, and considers a link between the appropriation of Brazilian popular music in Milhaud's oeuvre and the concepts behind the European avant-garde of the time. The paper also sets out to establish a relationship between Milhaud and Villa-Lobos, based on the aesthetics ideals from both Nationalism and the aesthetics of Neoclassicism, during the 1920s and the 1930s
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Gonçalves, Fernando Rauber. "Neoclassicismo e nacionalismo no Segundo Concerto para Piano e Orquetra de Camargo Guarnieri." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2009. http://hdl.handle.net/10183/16081.

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Neste trabalho, analiso o Segundo Concerto para Piano e Orquestra (1946) de Camargo Guarnieri (1907-1993) tendo como pano de fundo uma contextualização sobre o nacionalismo e o neoclassicismo na obra de Guarnieri. Se, por um lado, o nacionalismo oriundo dos movimentos modernistas vinculava-se a uma proposta de "normalização dos caracteres étnicos permanentes da musicalidade brasileira" (Neves, 1981), também visava à inserção do país em um contexto mundial (Travassos, 1999), proposta refletida na adoção de uma estética musical neoclássica. Em minha análise, identifico no Segundo Concerto reflexos do ideário formado em torno desse nacionalismo e vinculações estéticas com as tendências da música produzida internacionalmente.
In this work, I present an analysis of Camargo Guarnieri's Segundo Concerto para Piano e Orquestra (1946) taking into account the manifestations of the nationalistic and neoclassical trends in the work of this composer. If, on the one hand, the nationalism steemed from Brazilian early twentieth-century modernists movements aimed to "normalize the permanent ethnical characteristics of the brazilian musicality" (Neves, 1981), on the other hand it also aspired to integrate the country in a global context (Travassos, 1999), a goal which can be detected in the influence of neoclassical aesthetics. In my analysis of the Segundo Concerto, elements which can be traced to the ideas and proposals of the nacionalismo modernista are identified, as well as aesthetical links with the international music trends.
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Noronha, Lina Maria Ribeiro de [UNESP]. "Darius Milhaud: o nacionalismo francês e a conexão com o Brasil." Universidade Estadual Paulista (UNESP), 2012. http://hdl.handle.net/11449/104021.

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Made available in DSpace on 2014-06-11T19:32:56Z (GMT). No. of bitstreams: 0 Previous issue date: 2012-09-05Bitstream added on 2014-06-13T20:44:19Z : No. of bitstreams: 1 noronha_lmr_dr_ia.pdf: 869193 bytes, checksum: e1bebafd8a3785a8fe6533086cf1d0f9 (MD5)
Este é um trabalho de história da música que traz um estudo sobre o compositor francês Darius Milhaud, sua inserção no cenário musical nacionalista francês e a conexão com o Brasil. Pretende-se mostrar o lugar de Milhaud como compositor francês sob a ótica das teorias do nacionalismo, do autor inglês Anthony D. Smith, e das teorias sociológicas de Pierre Bourdieu, sobre o campo de produção simbólica no âmbito da música erudita. Aborda-se também a interferência do cenário musical brasileiro na formação de Milhaud como compositor francês cuja obra teve grande repercussão na França durante o período do entreguerras. Destaca-se a importância da estada de Milhaud no Brasil, de 1917 a 1918, como um período decisivo no que concerne às suas experimentações composicionais e ao delineamento da sua carreira como compositor. Aborda-se também sua conexão com a tradição e com o Neoclassicismo. Conecta-se a apropriação da música popular brasileira na sua obra com as concepções da vanguarda europeia da época. Busca-se estabelecer a relação entre Milhaud e Villa-Lobos a partir das diretrizes estéticas trazidas pelo nacionalismo e a estética neoclássica das décadas de 1920 e 1930
This is a paper in music history presenting a study on French composer Darius Milhaud, his position in the French Nationalist music scene and his connection with Brazil. The paper will attempt to show Milhaud's status as a French composer as viewed through the lens of the Nationalism theories by English author, Anthony D. Smith, and the sociological theories by Pierre Bourdieu concerning the field of symbolic production in classical music. The pap er also covers the influence of the Brazilian music scene on Milhaud's background as a French composer whose oeuvre attracted attention in France during the Interbellum period. A special emphasis is given to the key role that Milhaud's stay in Brazil between 1917 and 1918 played in his compositional experimentations and in the establishment of his career as a composer. Additionally, the paper looks at his connection with tradition and Neoclassicism, and considers a link between the appropriation of Brazilian popular music in Milhaud's oeuvre and the concepts behind the European avant-garde of the time. The paper also sets out to establish a relationship between Milhaud and Villa-Lobos, based on the aesthetics ideals from both Nationalism and the aesthetics of Neoclassicism, during the 1920s and the 1930s
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Vazzoler, Luciano Ferrara. "Stravinsky neoclássico : uma análise dos procedimentos composicionais /." São Paulo : [s.n.], 2008. http://hdl.handle.net/11449/93747.

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Orientador: Florivaldo Menezes Filho
Banca: Eduardo Seincman
Banca: Marcos Pupo Nogueira
Resumo: Nesta pequisa estuda-se a fase neoclássica do compositor Igor Stravinsky, identificando procedimentos composicionais específicos presentes em tal fase do compositor russo. Tais procedimentos estão estreitamente conectados com modelos referenciais da música da tradição tonal e apontam para interessante e pertinente diálogo entre contextos musicais bastante contrastantes. O objetivo desta dissertação, a partir da constatação de possíveis relações entre a fase neoclássica e a fase russa de Stravinsky, é discutir e analisar os procedimentos técnicos composicionais presentes na música da fase neoclássica. Para identificar tais procedimentos serão analisadas duas peças neoclássicas de Stravinsky: a Sonata para piano (1924) e o Capriccio para piano e Orquestra (1929).
Abstract: This research is a study of Stravinsky's neoclassical period in order to identify specific compositional procedures. These procedures are closely connected with models of tonal reference and point to an interesting dialogue through contrasting musicals contexts. The objective of this dissertation is to investigate possible relationships between the neoclassical and the russian period of Stravinsky's music, discussing mainly the technical procedures found in the neoclassical phase. To identify these procedures it will be analyzed two pieces of Stravinsky: Sonata for piano (1924) and Capriccio for piano and Orchestra (1929).
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Books on the topic "Neoclassicism (Music)"

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David, Bryant, and Fondazione "Giorgio Cini ", eds. Il Novecento musicale italiano: Tra neoclassicismo e neogoticismo. Firenze: L.S. Olschki, 1988.

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Carr, Maureen A. Multiple masks: Neoclassicism in Stravinsky's works on Greek subjects. Lincoln: University of Nebraska Press, 2002.

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Diepgen, Gereon. Innovation oder Ruckgriff?: Studien zur Begriffsgeschichte des musikalischen Neoklassizismus. Frankfurt am Main: Peter Lang, 1998.

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Volgogradskiĭ munit︠s︡ipalʹnyĭ institut iskusstv im. P.A. Serebri︠a︡kova., ed. Neoklassit︠s︡istskie balety I.F. Stravinskogo: K probleme voploshchenii︠a︡ orficheskoĭ kont︠s︡ept︠s︡ii : monografii︠a︡. Volgograd: Volgogradskiĭ gos. universitet, 2008.

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Messing, Scott. Neoclassicism in music: From the genesis of the concept through the Schoenberg/Stravinsky polemic. Ann Arbor, Mich: UMI Research Press, 1988.

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Varunt͡s, Viktor. Muzykalʹnyĭ neoklassit͡sizm: Istoricheskie ocherki. Moskva: "Muzyka", 1988.

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Shevli︠a︡kov, E. G. Muzykalʹnyĭ neoklassit︠s︡izm XX veka. Moskva: Vuzovskai︠a︡ kniga, 2004.

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Neoclassicism in music: From the genesis of the concept through the Schoenberg/Stravinsky polemic. Ann Arbor, Mich: UMI Research Press, 1988.

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Messing, Scott. Neoclassicism in music: From the genesis of the concept through the Schoenberg/Stravinsky polemic. Rochester, NY: University of Rochester Press, 1996.

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Neoclassicism in music: From the genesis of the concept through the Schoenberg/Stravinsky polemic. Rochester, NY: University of Rochester Press, 1996.

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Book chapters on the topic "Neoclassicism (Music)"

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Hamer, Laura. "Beyond neoclassicism." In Historical Interplay in French Music and Culture, 1860–1960, 119–38. Abingdon, Oxon; New York, NY: Routledge, 2018.: Routledge, 2017. http://dx.doi.org/10.4324/9781315586847-7.

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van den Toorn, Pieter C. "Neoclassicism and Its Definitions." In The Music of Stravinsky, 159–89. New York: Jenny Stanford Publishing, 2023. http://dx.doi.org/10.1201/9781003359166-5.

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Sumelius-Lindblom, Eveliina. "Adorno’s Ideas on Stravinsky’s Neoclassicism Meet the Pianist’s Work: Reflecting Playing Experience with Adorno’s Key Concepts." In Music as Cultural Heritage and Novelty, 195–211. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-11146-4_10.

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Chapin, Keith. "Classicism/neoclassicism." In Aesthetics of Music, 144–69. Routledge, 2014. http://dx.doi.org/10.4324/9780203136348-7.

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Alwes, Chester L. "Neoclassicism." In A History of Western Choral Music, Volume 2, 199–226. Oxford University Press, 2016. http://dx.doi.org/10.1093/acprof:oso/9780199376995.003.0008.

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"Surrealism, Neoclassicism, and Postmodernism." In Postmodern Music, Postmodern Listening. Bloomsbury Academic, 2016. http://dx.doi.org/10.5040/9781501306051.ch-009.

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Oja, Carol J. "Neoclassicism: “Orthodox Europeanism” or Empowering Internationalism?" In Making Music Modern, 231–36. Oxford University Press, 2000. http://dx.doi.org/10.1093/acprof:oso/9780195058499.003.0014.

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Taruskin, Richard. "“Un Cadeau Très Macabre”." In Russian Music at Home and Abroad. University of California Press, 2016. http://dx.doi.org/10.1525/california/9780520288089.003.0021.

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Jane F., Fulcher. "The Composer as Intellectual: Ideological Inscriptions in French Interwar Neoclassicism." In Music and Ideology, 179–212. Routledge, 2017. http://dx.doi.org/10.4324/9781315090979-9.

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Mawer, Deborah. "The Édition Classique and French Neoclassicism:." In Accenting the Classics: Editing European Music in France, 1915-1925, 289–322. Boydell & Brewer Ltd, 2023. http://dx.doi.org/10.2307/j.ctv2x4kpb8.19.

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Conference papers on the topic "Neoclassicism (Music)"

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Agafita, Mihail. "Concierto de Aranjuez for modern classical guitar and symphony orchestra by Joaquín Rodrigo Vidre: stylistic and genre features." In Patrimoniul cultural: cercetare, valorificare, promovare. Institute of Cultural Heritage, Republic of Moldova, 2021. http://dx.doi.org/10.52603/9789975351379.02.

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Concierto de Aranjuez for classical guitar and symphony orchestra written by the Spanish composer Joaquín Rodrigo Vidre in 1939 is in the author’s spotlight. The traditional tripartite structure with the tempo correlation Allegro con spirito-Adagio-Allegro gentile fits perfectly into the genre canons of a classical concert: not coincidentally this concert is considered an eloquent example of Spanish Neoclassicism. The particular significance is the sound concept of the second movement based on the melodic legitimacy of saelta, a religious song appeared as an imitation of the psalmody of the canonical religious service. The texts of saelta reflect events and emotions of the Holy Week. Thanks to the fact that a genre of secular music involves the concepts and means of musical expression of a religious genre, adds to the second part an enormous depth and sensitivity, provoking a very strong emotional reaction of the listener. We mention in parentheses that Concierto de Aranjues is one of the most performed concerts for modern classical guitar in the world, while the second part is very often performed as an autonomous creation.
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