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More than forty years after the composer's death, the music of
Roberto Gerhard (1896-1970) continues to be recorded and performed
and to attract international scholarly interest. The Roberto
Gerhard Companion is the first full length scholarly work on this
composer noted for his sharp intellect and original, exploring
mind. This book builds on the outcomes of two recent international
conferences and includes contributions by scholars from Spain, the
USA and UK. The essays collected here explore themes and trends
within Gerhard's work, using individual or groups of works as case
studies. Among the themes presented are the way Gerhard's work was
shaped by his Catalan heritage, his education under Pedrell and
Schoenberg, and his very individual reaction to the latter's
teaching and methods, notably Gerhard's very distinctive approach
to serialism. The influence of these and other cultural and
literary figures is an important underlying theme that ties essays
together. Exiled from Catalonia from 1939, Gerhard spent the
remainder of his life in Cambridge, England, composing a string of
often ground-breaking compositions, notably the symphonies and
concertos composed in the 1950s and 1960s. A particular focus in
this book is Gerhard's electronic music. He was a pioneer in this
genre and the book will contain the first rigorous studies of this
music as well as the first accurate catalogue of this electronic
output. His ground-breaking output of incidental music for radio
and the stage is also given detailed consideration.
This book celebrates a number of artistic endeavours: music,
painting and the skill of making in general with particular
reflection upon Japanese aesthetics. Composer, Monty Adkins and
visual artist, Pip Dickens (through a Leverhulme Trust Award
collaboration) investigate commonality and difference between the
visual arts and music exploring aspects of rhythm, pattern, colour
and vibration as well as outlining processes utilised to evolve new
works within these practices. The hand-cut paper Katagami stencil:
a beautiful utilitarian object once used to apply decoration on to
Japanese kimonos, is used as a poignant symbol the hand-made
machine - by Adkins and Dickens both within the production of
paintings and sound compositions and as a thematic link throughout
the book. The book reviews examples of a number of contemporary
artists and craftspeople and their individual approaches to making
things well. It explores the balance between hand skills and
technology within a works production with particular reference to
Richard Sennetts review of material culture in The Craftsman.
Shibusa includes contributing essays by arts writer, Roy Exley, who
examines convergence and crossover within the arts and an in-depth
history, and review, of the kimono making industry by Kyoto
designer, Makoto Mori.
This collection of essays has been assembled and developed from
papers given at the Ambient@40 International Conference held in
February 2018 at the University of Huddersfield. The original
premise of the conference was not merely to celebrate Enos work and
the landmark release of Music for Airports in 1978, but to consider
the development of the genre, how it has permeated our wider
musical culture, and what the role of such music is today given the
societal changes that have occurred since the release of that
album. In the context of the conference, ambient was considered
from the perspectives of aesthetic, influence, appropriation,
process, strategy and activity. A detailed consideration of each of
these topics could fill many volumes. With that in mind, this book
does not seek to provide an in-depth analysis of each of these
topics or a comprehensive history of the last 40 years of ambient
music. Rather it provides a series of provocations, observations
and reflections that each open up seams for further discussion. As
such, this book should be read as a starting point for future
research, one that seeks to critically interrogate the very meaning
of ambient, how it creates its effect, and how the genre can remain
vital and relevant in twenty-first century music-making.
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