Search Results for critic

...Stephen Blum Stephen Blum is professor of ethnomusicology at the Graduate Center of the City University of New York. Rothfarb Lee A. August Halm: A Critical and Creative Life in Music Eastman Studies in Music . University of Rochester Press , 2009 : xix + 293 pp. $85.00...

... pratique (1760), with particular attention to the extensive discussion of the topic in the “Art de la basse fondamentale” (c. 1737–43). To a considerable degree, Rameau’s conception of supposition was worked out in dialogue with his critics. Retracing that dialogue helps to clarify a number of points...

...Franklin Cox Cavell's influential mid-1960s critique of the “new music” of the postwar era poses significant challenges for contemporary composers who value this music. As with postmodernist critics, he has ably identified shortcomings in justifications for recent modernist music. With the benefit...

..., and a heuristic framework of dialectical topics derived from late-style criticism. Comparison with several of Schumann's chamber works in A minor, and with his Piano Concerto, underscores the technical refinements of the Cello Concerto. These comparisons also suggest that Schumann may have composed in something...

... this argument, confronting the role of criticism as a responsibility the modernist object bears toward a skeptical listener. Ligeti's Apparitions (1959) deals specifically with serialism as both a modernist legacy and a hindrance to the composer's “seriousness and... sincerity” that Cavell considers of central...

...Jonathan Guez Despite differences in critical alignment, epistemological underpinnings, and reportorial coverage, studies of sonata forms nevertheless tend to share one feature: they devote the least amount of space to recapitulations. Two presuppositions might explain this neglect: (1...

...John Roeder Arvo Pärt's strict and elemental compositional procedures, which have been described and evaluated critically by several scholars, are here expressed via a mathematical formalism drawn from theories of musical transformations. The analytical opportunities that this perspective provides...

...Matthew L. C. Boyle Abstract The critical reception of early nineteenth-century Italian opera has long focused on its supposed cloying sweetness. This sweetness, often framed as amorous, shaped the discourse and affective experiences of primo ottocento opera. Stendhal, for instance, likened...

..., intersubjective acknowledgment, and personal responsibility over one's critical language are introduced as central themes. One of Cavell's “scenes” involves David Lewin, and the friendship of these two figures is subsequently discussed. Lastly, these themes are related to the various articles in the issue, which...

...-garde art) from its more stringent critics. I then explain how my early work, while sharing Cavell's general aims, diverges from his specific claims. This involves considering some ways in which false beliefs can contribute to human flourishing. I then explore general objections to redemptive narratives...

... modernism. Cavell's commitment to intentions, his frustration with the preponderance of precompositional schema sustained by rationalized composition, and his preoccupation with the practice of criticism lead him to develop a humanist metaphysics built around the responsibility of third parties to determine...

... in Bellini of tonal pairing, usually (but not always) involving relative keys. The sonorità or focal melodic pitch, long associated with Verdi’s operas, is found to play a unifying role in the second-act finale of Norma . Issues of reception history, text criticism, and analytical methodology are also...

...Seth Monahan For centuries, metaphors of agency have pervaded music-analytical writing. Today, as in generations past, critics routinely vivify their analytical narrations by ascribing sentience, emotion, and volition to musical works, their internal elements (pitch classes, contrapuntal voices...

... . `` Re: Joyce Hatto: Compelling Evidence of an Elaborate Musical Hoax? '' Rec.music.classical.recordings . http://groups.google.com/group/rec.music.classical.recordings/msg/77336542e2299d8a?dmode=source ( accessed September 21, 2009 ). Cameron Sam . 1995 . `` On the Role of Critics...

... Braxton . Mosaic MD8-242, compact disc . Braxton Anthony . 2014 . Composition 76 . Score. Tri-Centric Foundation . Broomer Stuart . 2008 . “ Pitch into Time: Notes on Anthony Braxton’s Lower Register .” Critical Studies in Improvisation 4 / 1 : 1 – 2 . Cage John . 1939...

... . Playing With Signs: A Semiotic Interpretation of Classic Music . Princeton: Princeton University Press. Almén, Byron. 1998 . “Narrative Archetypes in Music: A Semiotic Approach.” Ph.D. diss., Indiana University. Alpers, Paul. 1992 . “Lyrical Modes.” In Music and Text: Critical Inquiries . Ed...

... . 1995 . “Women’s Music: A Twentieth-Century Perspective .” In The Norton/Grove Dictionary of Women Composers , edited by Sadie Anne Samuel Rhian , xiii – xviii . New York : Macmillan . Showalter Elaine . 1981 . “ Feminist Criticism in the Wilderness .” Critical Inquiry 8 / 2...

... to Brahms , ed. Michael Musgrave, 98 -132. Cambridge: Cambridge University Press. Cone, Edward T. 1986 . “Schubert's Promissory Note: An Exercise in Musical Hermeneutics.” In Schubert: Critical and Analytical Studies , ed. Walter Frisch, 13 -30. Lincoln: University of Nebraska Press. Cook...

... Patterns in Rock Music .” Music Theory Spectrum 32 , no. 2 : 95 ∓ 110 . Björnberg Alf . 1989 . “ On Aeolian Harmony in Contemporary Popular Music .” In Critical Essays in Popular Musicology , edited by Moore Allan , 275 – 82 . Burlington VT. : Ashgate . Brown, Matthew...

... . 1989 . Alban Berg: Wozzeck . Cambridge : Cambridge University Press . Kinderman William . 2009 . “ Introduction: Genetic Criticism and the Creative Process .” In Genetic Criticism and the Creative Process: Essays from Music, Literature, and Theater , 1 – 6 , ed. Kinderman William...