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Relevant bibliographies by topics / Sorabji

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Journal articles

Academic literature on the topic 'Sorabji'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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Journal articles on the topic "Sorabji"

1

East, Leslie. "Sorabji." Musical Times 129, no. 1740 (1988): 90. http://dx.doi.org/10.2307/964437.

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2

Mossman, Mary Jane. "Gender and Professionalism in Law: The Challenge of (Women’s) Biography." Windsor Yearbook of Access to Justice 27, no. 1 (2009): 20. http://dx.doi.org/10.22329/wyaj.v27i1.4561.

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This paper explores the story of a woman who “created” her life in the law in the late nineteenth and early twentieth centuries. Although now almost unknown, Cornelia Sorabji achieved prominence as a woman pioneer in the legal profession, who provided legal services to women clients in northern India, the Purdahnashins. Sorabji’s experiences as a woman in law were often similar to the stories of other first women lawyers in a number of different jurisdictions at the end of the nineteenth century: all of these women had to overcome gender barriers to gain admission to the legal professions, and

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3

Garvey, James. "Richard Sorabji interview." Philosophers' Magazine, no. 60 (2013): 66–74. http://dx.doi.org/10.5840/tpm20136019.

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4

Rapoport, Paul. "Sorabji Piano Music." Tempo 59, no. 232 (2005): 55–56. http://dx.doi.org/10.1017/s0040298205250155.

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SORABJI: Two Piano Pieces; Fantaisie espagnole; Valse-Fantaisie: Hommage à Johann Strauss; Three Pastiches; Le jardin parfumé; Nocturne Jami; Gulistan; Introito and Preludio corale from Opus clavicembalisticum; Prelude, Interlude, and Fugue; Fragment for Harold Rutland; Fantasiettina sul nome illustre dell'egregio poeta Christopher Grieve ossia Hugh M'Diarmid; Quære reliqua hujus materiei inter secretiora; St. Bertrand de Comminges: ‘He was Laughing in the Tower’. HABERMANN: À la manière de Sorabji: ‘Au clair de la lune’. Michael Habermann (pno). BMS 427CD–429CD (3-CD set).SORABJI: Piano Sonat

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5

Butti de Lima, Paulo. "Richard Sorabji (éd." Anabases, no. 27 (April 1, 2018): 239–41. http://dx.doi.org/10.4000/anabases.7330.

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6

Andrew Mead. "Gradus ad Sorabji." Perspectives of New Music 54, no. 2 (2016): 181–218. http://dx.doi.org/10.1353/pnm.2016.0004.

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7

Lennox, James G. "Commentary on Sorabji." Proceedings of the Boston Area Colloquium of Ancient Philosophy 4, no. 1 (1988): 64–75. http://dx.doi.org/10.1163/2213441788x00064.

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8

Inglis, Brian. "FRUITS OF SORABJI'S INDIAN SUMMER: ‘IL TESSUTO D'ARABESCHI’ AND ‘FANTASIETTINA ATEMATICA’." Tempo 64, no. 254 (2010): 41–49. http://dx.doi.org/10.1017/s0040298210000410.

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The Anglo-Indian composer Kaikhosru Shapurji Sorabji (1892–1988) is best known for his virtuosic, highly decorative and complex style of piano music and vast post-Romantic scale, as typified by his magnum opus, Opus Clavicembalisticum. In his last creative period (post-1973), however, he composed a number of more concise works which depart from the idiom of the piano. This article examines two of these works, Il tessuto d'arabeschi (1979) for flute and string quartet, and Fantasiettina Atematica (1981) for wind trio. It looks primarily at the place of these two works in Sorabji's oeuvre as a w

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9

Hamelin, Marc-Andre, and Paul Rapoport. "Sorabji: A Critical Celebration." Notes 51, no. 1 (1994): 150. http://dx.doi.org/10.2307/899208.

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10

Wright, David, and Paul Rapoport. "Sorabji: A Critical Celebration." Musical Times 134, no. 1805 (1993): 397. http://dx.doi.org/10.2307/1003097.

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