The Cambridge Companion to Stravinsky (Cambridge Companions to Music)

Stravinsky's paintings spanned the main a part of the twentieth-century and used to be engaged with approximately all its vital compositional advancements. Reflecting the breadth of his extra special fulfillment, this spouse includes a wide variety of essays in 3 huge sections masking the contexts in which Stravinsky worked--Russian, modernist and compositional, along with his key compositions--Russian, neoclassical and serial, and with the reception of his ideas--through functionality, research and feedback. the quantity concludes with an interview with the composer Louis Andriessen and a tremendous re-assessment of "Stravinsky and us" via Richard Taruskin.

Show description

Preview of The Cambridge Companion to Stravinsky (Cambridge Companions to Music) PDF

Similar Criticism books

Nothing If Not Critical: Selected Essays on Art and Artists

From Holbein to Hockney, from Norman Rockwell to Pablo Picasso, from sixteenth-century Rome to Nineteen Eighties SoHo, Robert Hughes seems to be with love, loathing, heat, wit and authority at quite a lot of paintings and artists, sturdy, undesirable, prior and present.   As artwork critic for Time journal, across the world acclaimed for his research of recent paintings, The surprise of the hot, he's maybe America’s most generally learn and popular author on artwork.

Louis Armstrong's Hot Five and Hot Seven Recordings (Oxford Studies in Recorded Jazz)

For jazz historians, Louis Armstrong's sizzling 5 and scorching Seven recordings mark the 1st revolution within the background of a tune riven via upheaval. but few strains of this revolution are available within the old list of the past due Twenties, whilst the discs have been made. Even black newspapers lined Armstrong as only one identify between many, and outlines of his taking part in, whereas laudatory, endure little resemblance to these of at the present time.

Surface: Matters of Aesthetics, Materiality, and Media

What's the position of materiality—the expression or situation of actual substance—in our visible age of quickly altering fabrics and media? How is it formed within the arts or manifested in digital kinds? In floor, cultural critic and theorist Giuliana Bruno deftly explores those questions, trying to comprehend materiality within the modern global.

Extreme Poetry: The South Asian Movement of Simultaneous Narration (South Asia Across the Disciplines)

Starting within the 6th century C. E. and carrying on with for greater than one thousand years, a rare poetic perform used to be the trademark of an incredible literary flow in South Asia. Authors invented a distinct language to depict either the obvious and hidden facets of disguised or twin characters, after which used it to relate India's significant epics, the Ramayana and the Mahabharata, at the same time.

Additional resources for The Cambridge Companion to Stravinsky (Cambridge Companions to Music)

Show sample text content

The 1st vertical constantly includes six situations of a unmarried be aware, and that word will take place nowhere else within the array. Stravinsky frequently emphasises this word as one of those pitch centre in passages in accordance with those arrays. No different vertical is as redundant as that one, yet often many will comprise not less than a few doubling of notes. Stravinsky usually displays this doubling in his instrumental settings, as within the chords of Ex. eight. 10. the following, as in different elements of his serial strategy, Stravinsky welcomes the opportunity of stressing a few notes as a fashion of shaping the musical movement. The array verticals even have an inversionally symmetrical association created through the rotational-transpositional constitution of the array, and 170 The works Ex. eight. eleven Requiem Canticles, ‘Exaudi’, bars 71–80 12 eleven 10 nine eight 7 6 five four three 2 , Hn 1 seventy five Harp S. advert te, advert te om nis ca ro ve ni et, ve ni advert te, advert te om nis ca ro ve ni et, ve ni advert te, advert te om nis ca ro ve ni et, ve ni advert te, advert te om nis ca ro ve ni et, ve ni A. refrain T. eight B. serially improper: may be E 1 Harp serially wrong: may be A S. et. A. et. refrain T. eight et. 6 B. five four three 2 eighty et. 1 Vns { 2 Vla Vcl. (harm. ) Cb. 1 171 Stravinsky the serialist Ex. eight. eleven (cont. ) four-part array 1 2 three four five 6 7 eight nine 10 eleven 12 P F G D E F C B C D A G A R A G A D C B C F E D G F I F D G F E A B A G C D C IR A C B F G A G D E E C D * * * * * * * * A R ( = first hexachord of Retrograde) 1 2 three four five 6 A G A D C B A B E D C C A D C C B A A G G F E F A A G F G C A A G G C B self sufficient of the actual producing hexachord. The word within the first vertical defines an axis of symmetry for the array as an entire. round that axis, vertical 2 balances vertical 6, vertical three balances vertical five, and vertical four balances itself. The chords therefore convey, in a refined manner, an analogous experience of inversional stability round G that exists within the melodies. as well as the rotational arrays, Stravinsky makes use of what are known as ‘fourpart arrays’ to create serial concord, quite in chordal passages. In arrays of this type he traces up his 4 easy sequence varieties – a chief, its inversion starting at the similar word, its retrograde and the inversion of the retrograde, starting at the similar word – and extracts twelve four-note chords as vertical slices during the array. The passage in Ex. eight. eleven starts with twelve chords, which easily paintings throughout the four-part array from final to first. just like the rotational arrays, the four-part arrays have many attention-grabbing homes. 23 They include pairs of inversionally comparable varieties: P and that i, comparable through inversion round their shared first notice (in this situation F), and R and IR, similar through inversion 172 The works round their shared first word (in this situation A ). there's hence one of those skewed inversional symmetry embodied in those arrays, as within the rotational arrays. The four-part arrays have a stunning propensity to generate wholetone harmonies: all the chords indicated with an asterisk are subsets of the whole-tone scale.

Download PDF sample

Rated 4.90 of 5 – based on 25 votes