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This is the first complete publication of the late composer and
scholar Ruth Crawford Seeger's major work on American folksongs. It
preserves them as well as demonstrates how they should be played so
that they remain a living partof the American musical tradition.
This is the first publication of an annotated monograph by the
noted composer and folksong scholar Ruth Crawford Seeger.
Originally written as a foreword for the 1940 book Our Singing
Country, it was considered too longand was replaced by a much
shorter version. According to her stepson, Pete Seeger, when the
original was not included "Ruth suffered one of the biggest
disappointments of the last ten years of her life. It just killed
her . . .She was trying to analyze the whole style and problem of
performing this music." Along with her children Mike and Peggy
Seeger, he has long desired to see this work in print as it was
meant to be read. The manuscript hasbeen edited from several
varying sources by Larry Polansky, with the assistance of Seeger's
biographer Judith Tick. It is divided into two sections: I. "A Note
on Transcription" and II. "Notes on the Songs and on Manners of
Singing." Seeger examines all aspects of the relationship between
singer, song, notation, the eventual performer, and the
transcriber. In Section I, Seeger develops a complex and
well-organized system of notation for these songs which is meant to
be both descritive [transcription as cultural preservation] and
prescriptive [she intended that others would be able to perform
these songs]. In Section II, she provides an interpretive theory
for performance of this music, and suggests how performers might
make the songs "their own" through a deep knowledge of the original
styles. Ruth Crawford Seeger considered this work to be both a
major accomplishment and a central statement of herownideas on the
topic. Larry Polansky is Associate Professor of Music at Dartmouth
College, and a well-known composer and theorist on American music.
Judith Tick is Professor of Music at Northeastern University and
author of the first major biography of Ruth Crawford Seeger.
One of the twentieth century's most important musical thinkers,
James Tenney did pioneering work in multiple fields, including
computer music, tuning theory, and algorithmic and
computer-assisted composition. From Scratch is a collection of
Tenney's hard-to-find writings arranged, edited, and revised by the
self-described "composer/theorist." Selections focus on his
fundamental concerns--"what the ear hears"--and include thoughts
and ideas on perception and form, tuning systems and especially
just intonation, information theory, theories of harmonic space,
and stochastic (chance) procedures of composition.
One of the twentieth century's most important musical thinkers,
James Tenney did pioneering work in multiple fields, including
computer music, tuning theory, and algorithmic and
computer-assisted composition. From Scratch arranges, edits, and
revises Tenney's hard-to-find writings into one indispensable
collection. Selections focus on his fundamental concerns—"what
the ear hears"—and include thoughts and ideas on perception and
form, tuning systems and especially just intonation, information
theory, theories of harmonic space, and stochastic (chance)
procedures of composition.
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