|
Showing 1 - 11 of
11 matches in All Departments
Over the past fifty years Roger Sessions has developed, in
articles, lectures, and addresses, various themes that reflect the
stages of his own musical and intellectual growth. These themes
form the basis of the present collection of essays. Many of the
essays deal with specific problems that musicians, especially
composers, have faced during the past five decades: problems
related to new musical styles and techniques, to the position of
composers in society, to their responsibilities as teachers, to
their role during the period of the world wars, to the mutual
reactions of composer and audience, and to the basic questions of
musical form and expression. The collection also includes a set of
critical essays on such seminal figures as Bloch, Schoenberg, and
Stravinsky. Roger Sessions is the composer of a recently recorded
cantata on Whitman's "When Lilacs Last in the Dooryard Bloom'd" as
well as numerous other works. He is the author of The Musical
Experience of Composer, Performer, and Listener (Princeton).
Originally published in 1979. The Princeton Legacy Library uses the
latest print-on-demand technology to again make available
previously out-of-print books from the distinguished backlist of
Princeton University Press. These editions preserve the original
texts of these important books while presenting them in durable
paperback and hardcover editions. The goal of the Princeton Legacy
Library is to vastly increase access to the rich scholarly heritage
found in the thousands of books published by Princeton University
Press since its founding in 1905.
Over the past fifty years Roger Sessions has developed, in
articles, lectures, and addresses, various themes that reflect the
stages of his own musical and intellectual growth. These themes
form the basis of the present collection of essays. Many of the
essays deal with specific problems that musicians, especially
composers, have faced during the past five decades: problems
related to new musical styles and techniques, to the position of
composers in society, to their responsibilities as teachers, to
their role during the period of the world wars, to the mutual
reactions of composer and audience, and to the basic questions of
musical form and expression. The collection also includes a set of
critical essays on such seminal figures as Bloch, Schoenberg, and
Stravinsky. Roger Sessions is the composer of a recently recorded
cantata on Whitman's "When Lilacs Last in the Dooryard Bloom'd" as
well as numerous other works. He is the author of The Musical
Experience of Composer, Performer, and Listener (Princeton).
Originally published in 1979. The Princeton Legacy Library uses the
latest print-on-demand technology to again make available
previously out-of-print books from the distinguished backlist of
Princeton University Press. These editions preserve the original
texts of these important books while presenting them in durable
paperback and hardcover editions. The goal of the Princeton Legacy
Library is to vastly increase access to the rich scholarly heritage
found in the thousands of books published by Princeton University
Press since its founding in 1905.
Perspectives on Schoenberg and Stravinsky is an analytical and
historical study of the twentieth century's most influential
figures, by Milton Babbitt, Arthur Berger, Edward T. Cone, Robert
Craft, Claudio Spies, and others; with new bibliographic and
discographic studies prepared especially for this revised edition.
Originally published in 1968. The Princeton Legacy Library uses the
latest print-on-demand technology to again make available
previously out-of-print books from the distinguished backlist of
Princeton University Press. These editions preserve the original
texts of these important books while presenting them in durable
paperback and hardcover editions. The goal of the Princeton Legacy
Library is to vastly increase access to the rich scholarly heritage
found in the thousands of books published by Princeton University
Press since its founding in 1905.
Music, we are often told, is a language. But if music is a
language, then who is speaking? The Composer's Voice tries to
answer this obvious but infrequently raised question. In so doing,
it puts forward a dramatistic theory of musical expression, based
on the view that every composition is a symbolic utterance
involving a fundamental act of impersonation. The voice we hear is
not that of the composer himself, but of a persona--a musical
projection of his consciousness that experiences and communicates
the events of the composition. Developing his argument by reference
to numerous examples ina wide variety of styles, Mr. Cone moves
from song and opera through program music to absolute instrumental
music. In particular, he discusses the implications of his theory
for performance. According to the dramatistic view, not only every
singer but every instrumentalist as well becomes a kind of actor,
assuming a role that functions both autonomously and as a component
of the total musical persona. In his analysis of the problems
inherent in this dual nature of the performer's job, Mr. Cone
offers guidance that will prove of practical value to every
performing musician. He has much to say to the listener as well. He
recommends an imaginative participation in the component roles of
musical work, leading to a sense of identification with the persona
itself, as the path to complete musical understanding. And this
approach is shown to be relevant to a number of specialized kids of
listening as well--those applicable to analysis, historical
scholarship, and criticism. The dance, too, is shown to depend on
similar concepts. Although The Composer's Voice involves an
investigation of how music functions as a form of communication, it
is not primarily concerned with determine, or interpreting, the
"content" of the message. A final chapter, however, puts forward a
tentative explanation of musical "meaning" based on an
interpretation of the art as a coalescence of symbolic utterance
and symbolic gesture. While not essential to the main lines of the
argument, it suggests interesting possibilities for further
development of the dramatistic theory. This title is part of UC
Press's Voices Revived program, which commemorates University of
California Press's mission to seek out and cultivate the brightest
minds and give them voice, reach, and impact. Drawing on a backlist
dating to 1893, Voices Revived makes high-quality, peer-reviewed
scholarship accessible once again using print-on-demand technology.
This title was originally published in 1974.
Perspectives on Schoenberg and Stravinsky is an analytical and
historical study of the twentieth century's most influential
figures, by Milton Babbitt, Arthur Berger, Edward T. Cone, Robert
Craft, Claudio Spies, and others; with new bibliographic and
discographic studies prepared especially for this revised edition.
Originally published in 1968. The Princeton Legacy Library uses the
latest print-on-demand technology to again make available
previously out-of-print books from the distinguished backlist of
Princeton University Press. These editions preserve the original
texts of these important books while presenting them in durable
paperback and hardcover editions. The goal of the Princeton Legacy
Library is to vastly increase access to the rich scholarly heritage
found in the thousands of books published by Princeton University
Press since its founding in 1905.
Edward T. Cone was one of the most important and influential
music critics of the twentieth century. He was also a master
lecturer skilled at conveying his ideas to broad audiences.
"Hearing and Knowing Music" collects fourteen essays that Cone gave
as talks in his later years and that were left unpublished at his
death. Edited and introduced by Robert Morgan, these essays cover a
broad range of topics, including music's position in culture,
musical aesthetics, the significance of opera as an art, setting
text to music, the nature of twentieth-century harmony and form,
and the practice of musical analysis. Fully matching the quality
and style of Cone's published writings, these essays mark a
critical addition to his work, developing new ideas, such as the
composer as critic; clarifying and modifying older positions,
especially regarding opera and the nature of sung utterance; and
adding new and often unexpected insights on composers and ideas
previously discussed by Cone. In addition, there are essays, such
as one on Debussy, that lead Cone into areas he had not previously
examined. "Hearing and Knowing Music" represents the final
testament of one of our most important writers on music.
Music, we are often told, is a language. But if music is a
language, then who is speaking? The Composer's Voice tries to
answer this obvious but infrequently raised question. In so doing,
it puts forward a dramatistic theory of musical expression, based
on the view that every composition is a symbolic utterance
involving a fundamental act of impersonation. The voice we hear is
not that of the composer himself, but of a persona--a musical
projection of his consciousness that experiences and communicates
the events of the composition. Developing his argument by
reference to numerous examples ina wide variety of styles, Mr. Cone
moves from song and opera through program music to absolute
instrumental music. In particular, he discusses the implications of
his theory for performance. According to the dramatistic view, not
only every singer but every instrumentalist as well becomes a kind
of actor, assuming a role that functions both autonomously and as a
component of the total musical persona. In his analysis of the
problems inherent in this dual nature of the performer's job, Mr.
Cone offers guidance that will prove of practical value to every
performing musician. He has much to say to the listener as
well. He recommends an imaginative participation in the component
roles of musical work, leading to a sense of identification with
the persona itself, as the path to complete musical understanding.
And this approach is shown to be relevant to a number of
specialized kids of listening as well--those applicable to
analysis, historical scholarship, and criticism. The dance, too, is
shown to depend on similar concepts. Although The Composer's
Voice involves an investigation of how music functions as a form of
communication, it is not primarily concerned with determine, or
interpreting, the "content" of the message. A final chapter,
however, puts forward a tentative explanation of musical "meaning"
based on an interpretation of the art as a coalescence of symbolic
utterance and symbolic gesture. While not essential to the main
lines of the argument, it suggests interesting possibilities for
further development of the dramatistic theory. This title is
part of UC Press's Voices Revived program, which commemorates
University of California Press's mission to seek out and cultivate
the brightest minds and give them voice, reach, and impact. Drawing
on a backlist dating to 1893, Voices Revived makes high-quality,
peer-reviewed scholarship accessible once again using
print-on-demand technology. This title was originally published in
1974.
This new series of Norton books, devoted to informed discussion of
contemporary music, draws principally upon articles first published
in Perspectives of New Music, which Richard Kostelanetz has
described as "among the most consistently interesting magazines in
America." The Perspectives books will comprise a repository of the
clearest thinking and most serious writing about twentieth-century
music, forming an essential addition to the libraries of both
professionals and amateurs concerned with understanding recent
developments.
This series of Norton books, devoted to informed discussion of
contemporary music, draws principally upon articles first published
in Perspectives of New Music, which Richard Kostelanetz has
described as "among the most consistently interesting magazines in
America." The Perspectives books comprise a repository of the
clearest thinking and most serious writing about twentieth-century
music, forming an essential addition to the libraries of both
professionals and amateurs concerned with understanding recent
developments.
This new series of Norton books, devoted to informed discussion of
contemporary music, draws principally upon articles first published
in Perspectives of New Music, which Richard Kostelanetz has
described as "among the most consistently interesting magazines in
America." The Perspectives books will comprise a repository of the
clearest thinking and most serious writing about twentieth-century
music, forming an essential addition to the libraries of both
professionals and amateurs concerned with understanding recent
developments.
|
|