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Добірка наукової літератури з теми "Crumb, George. – Chamber music"

Автор: Grafiati

Опубліковано: 4 червня 2021

Оновлено: 14 лютого 2022

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Статті в журналах з теми "Crumb, George. – Chamber music"

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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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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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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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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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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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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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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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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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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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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Дисертації з теми "Crumb, George. – Chamber music"

LedBetter, Robert B. "An Examination of the Percussion Writing in the Chamber Works of George Crumb, 1960-1980 with Three Recitals of Selected Works of Bergsma, Kurka, Miyoshi, Niimi, Takemitsu, and Others." Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc278604/.

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In this study, the unique style of percussion writing in the chamber works of George Crumb, written between 1960 and 1980, is examined. The principal aspects examined within this study include: the extended instrumental techniques, the use of percussion within the musical imagery, soloistic treatment, compositional and notational procedures, and specific performance problems pertaining to the chamber work Songs, Drones, and Refrains of Death.

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Krystal, Kuhns R. "Organizational Principles in Two of George Crumb's Chamber Works with Flute: Madrigals, Book II and Federico's Little Songs for Children." Kent State University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=kent1309128280.

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Reeder, Douglas Bell. "Symbolism and textual painting in four vocal works by George Crumb /." The Ohio State University, 1996. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487942739806089.

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Lin, Shuennchin. "The use of the glissando in piano solo and concerto compositions from Domenico Scarlatti to George Crumb." Diss., The University of Arizona, 1997. http://hdl.handle.net/10150/288715.

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This document is a thorough study of the glissando throughout its chronological development, consisting of an examination of differences in the glissando's functions, types, and executions. Examples are extracted from piano solo and piano concerto compositions, which were written by composers from Domenico Scarlatti, born in 1685, to George Crumb, born in 1929. The glissando was used as a formal compositional device in the eighteenth century, beginning with the works of Domenico Scarlatti. It evolved from the Schleifer and was ornamental and occasionally melodic in function. Composers of the C

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MOSELEY, BRIAN CHRISTOPHER. "INTEGRATING ANALYTICAL ELEMENTS THROUGH TRANSPOSITIONAL COMBINATION IN TWO WORKS BY GEORGE CRUMB." University of Cincinnati / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1187014156.

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Inoguchi, Ikuko. "Concepts of time in the works of John Cage, George Crumb, and Toru Takemitsu and implications for performance." Thesis, City University London, 2016. http://openaccess.city.ac.uk/15041/.

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This study explores concepts of time and temporality in the music of three twentiethcentury composers, John Cage (1912-1922), George Crumb (born 1929), and Tōru Takemitsu (1930-1996). This thesis also examines the role that the performer plays in conveying temporal aspects of body of work. These three composers were interested in nonlinear conceptions of time, which they sought to express in musical terms. I have chosen a selection of works by each composer, which epitomize these conceptions, for in-depth study. I also discuss cultural influences upon conceptions of time, and the meanings of n

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Homer, Scott Daniel. "Evoking the Mystery: A Pedagogical Method to Enable an Advanced Violinist to Master George Crumb’s Four Nocturnes (Night Music II)." Thesis, University of North Texas, 2015. https://digital.library.unt.edu/ark:/67531/metadc801940/.

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For more than three centuries, violin pedagogical practices have been extensively developed towards music covering the common practice period. However, a problem arises when a violin student performing avant-garde music needs to find realistic solutions to problems that are not addressed in the standard repertoire. This critical essay offers a pedagogical approach to a work that fits well within this paradigm: Four Nocturnes (Night Music II), George Crumb’s only published work for violin and piano duo. The multi-dimensional aspect of this avant-garde work requires an equally multi-faceted appr

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Hembreiker, Linda-Rose. "Analysis of harp performance issues in Federico's Little Songs for Children by George Crumb." Thesis, connect to online resource. Recital, recorded Mar. 27, 2007, in digital collections. Access restricted to the University of North Texas campus, 2009. http://digital.library.unt.edu/permalink/meta-dc-9848.

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Wang, Serena. "The Aesthetics of Silence in the Works of Federico Mompou, Chou Wen Chung, and George Crumb." University of Cincinnati / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1378195060.

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Fouse, Kathryn. "Surrealism in the Piano Music of Representative Twentieth-Century American Composers: With Three Recitals of Selected Works of Ives, Cowell, Crumb, Cage, Antheil, and Others." Thesis, University of North Texas, 1992. https://digital.library.unt.edu/ark:/67531/metadc332492/.

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This study is an examination of the Surrealist movement and its influence on the piano music of twentieth century American composers. The first chapter explores the philosophies of the Surrealists as well as the characteristics found in Surrealist art and literature. The characteristics discussed include: 1) the practice of automatism; 2) the juxtaposition of unrelated themes or images; and 3) the creation of dream-like atmospheres.

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Книги з теми "Crumb, George. – Chamber music"

Ciobanu, Luminita, ed. George Enescu, destinul unui geniu / George Enescu, the Destiny of a Genius. Editura Muzicala, 2005.

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Untersuchungen zu George Onslows Kammermusik. Bärenreiter, 1985.

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Handel as Orpheus: Voice and desire in the chamber cantatas. Harvard University Press, 2001.

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George Crumb: A Bio-Bibliography (Bio-Bibliographies in Music). Greenwood Press, 2002.

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1957-, Bruns Steven, Ben-Amots Ofer, and Grace Michael D, eds. George Crumb & the alchemy of sound: Essays on his music. Colorado College Music Press, 2005.

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Lott, Marie Sumner. Creating “Progressive” Communities through Programmatic Chamber Music. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039225.003.0005.

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This chapter examines three programmatic works for strings, each with a different relationship to the cultural and political scene of its day: George Onslow's string quintet “The Bullet” deals with a hunting accident; Niels Gade's string quartet “Willkommen und Abschied” (Welcome and departure) interprets a Goethe poem; and Bedřich Smetana's string quartet “From My Life” provides a politically charged autobiography in tones. In all three cases, the composer has addressed a particular group of performers or listeners by using musical style and the written word to create a narrative that would r

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Preston, Katherine K. George Frederick Bristow. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043420.001.0001.

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George Frederick Bristow (1825-1898), a pillar of the nineteenth-century New York musical community, was educated, lived, and worked in New York for his entire life. A skilled performer (piano, organ, violin, conducting), he was a decades-long member of the Philharmonic Societies of New York and Brooklyn, and conducted the Harmonic Society, Mendelssohn Union, numerous church choirs, and pickup choral and instrumental ensembles organized for special events. He taught music privately and in the public school system. Bristow’s professional activities were those of a highly skilled urban journeyma

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Частини книг з теми "Crumb, George. – Chamber music"

Siwe, Thomas. "Sonorism." In Artful Noise. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043130.003.0010.

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In this chapter, the use by twentieth-century composers of tone color, or timbre is explained with examples by those who made its use central to their compositional output. Poland, freed from the bonds of communism and the Soviet state, relaxed controls over the arts and in 1956 initiated the Warsaw Autumn festival where avant-garde Polish and Western music could be heard. Kazimierz Serocki cofounded the festival, contributing to the percussion canon his timbre-based sextet, Continuum. In the United States, the American composer George Crumb definitely had an ear for timbre coupled with a love for percussion evident in the works discussed. A young Polish/American composer, Marta Ptaszynska, created a number of works for both solo and ensemble percussion in the latter half of the century. Her work Siderals was conceived as an audio-visual, or mixed-media work utilizing ten percussionists, magnetic tape playback, and lighting. The three composers highlighted in this chapter approached the use of timbre in differing ways.

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Тези доповідей конференцій з теми "Crumb, George. – Chamber music"

Octavian, Velescu. "GEORGE CRUMB AND THE MUSIC OF STARS: MAKROKOSMOS." In 2nd International Multidisciplinary Scientific Conference on Social Sciences and Arts SGEM2015. Stef92 Technology, 2015. http://dx.doi.org/10.5593/sgemsocial2015/b41/s13.012.

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