Berio's Sequenzas
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portes grátis
Berio's Sequenzas
Essays on Performance, Composition and Analysis
Halfyard, Janet K.
Taylor & Francis Ltd
08/2007
332
Dura
Inglês
9780754654452
15 a 20 dias
793
Descrição não disponível.
Contents: Foreword; Introduction, David Osmond-Smith. Part 1 Performance Issues: Rhythm and timing in the two versions of Sequenza I for flute solo: psychological and musical differences in performance, Cynthia Folio and Alexander Brinkman; Rough romance: Sequenza II for harp as study and statement, Kirsty Whatley; Phantom rhythms, hidden harmonies: the use of the Sostenuto pedal in Berio's Sequenza IV for piano, leaf and sonata, Zoe Browder Doll; A dress or a straightjacket? Facing the questions of structure and periodicity posed by the notation of Berio's Sequenza VII for oboe, Patricia Alessandrini; Shadow boxing: Sequenza X for trumpet and piano resonance, Jonathan Impett. Part 2 Berio's Compositional Process and Aesthetics: Provoking acts: the theatre of Berio's Sequenzas, Janet K. Halfyard; The Chemins series, Paul Roberts; The compass of communications in Sequenza VIII for violin, Eugene Montague; Sequenza IX for clarinet: text, pre-text, con-text, Andrea Cremaschi; Proliferations and limitations: Beroi's reworking of the Sequenzas, Edward Venn. Part 3 Analytical Approaches: Vestiges of twelve-tone practice as compositional process in Berio's Sequenza I for solo flute, Irna Priore; Sonic complexity and harmonic syntax in Sequenza IV for piano, Didier Guigue and MarcA-lio Fagner Onofre; The nature of expressivity in Berio's Sequenza VI for viola, Amanda Bayley; A polyphonic type of listening in and out of focus: Berio's Sequenza XI for guitar, Mark D. Porcaro; ...and so a chord consoles us: Berio's Sequenza XIII (Chanson) for accordion, Thomas Gartmann. Bibliography; Discography; Index.
Este título pertence ao(s) assunto(s) indicados(s). Para ver outros títulos clique no assunto desejado.
Sequenza VI;luciano;Sequenza IV;harmonic;Dense;fields;Harmonic Fields;berios;Berio's Sequenzas;work;Superimposed;sostenuto;Sostenuto Pedal;pedal;Berio's Work;umberto;Spatial Notation;eco;Piano Resonance;music;Middle Pedal;Played Back;Follow;Metronome Marking;Alto Saxophone;Tremolo Chords;Laborintus II;Vice Versa;Superb;Berio's Sequenza;Bach's Chaconne;Proportional Notation;Solo Violin;Eco's Theory;Persona
Contents: Foreword; Introduction, David Osmond-Smith. Part 1 Performance Issues: Rhythm and timing in the two versions of Sequenza I for flute solo: psychological and musical differences in performance, Cynthia Folio and Alexander Brinkman; Rough romance: Sequenza II for harp as study and statement, Kirsty Whatley; Phantom rhythms, hidden harmonies: the use of the Sostenuto pedal in Berio's Sequenza IV for piano, leaf and sonata, Zoe Browder Doll; A dress or a straightjacket? Facing the questions of structure and periodicity posed by the notation of Berio's Sequenza VII for oboe, Patricia Alessandrini; Shadow boxing: Sequenza X for trumpet and piano resonance, Jonathan Impett. Part 2 Berio's Compositional Process and Aesthetics: Provoking acts: the theatre of Berio's Sequenzas, Janet K. Halfyard; The Chemins series, Paul Roberts; The compass of communications in Sequenza VIII for violin, Eugene Montague; Sequenza IX for clarinet: text, pre-text, con-text, Andrea Cremaschi; Proliferations and limitations: Beroi's reworking of the Sequenzas, Edward Venn. Part 3 Analytical Approaches: Vestiges of twelve-tone practice as compositional process in Berio's Sequenza I for solo flute, Irna Priore; Sonic complexity and harmonic syntax in Sequenza IV for piano, Didier Guigue and MarcA-lio Fagner Onofre; The nature of expressivity in Berio's Sequenza VI for viola, Amanda Bayley; A polyphonic type of listening in and out of focus: Berio's Sequenza XI for guitar, Mark D. Porcaro; ...and so a chord consoles us: Berio's Sequenza XIII (Chanson) for accordion, Thomas Gartmann. Bibliography; Discography; Index.
Este título pertence ao(s) assunto(s) indicados(s). Para ver outros títulos clique no assunto desejado.
Sequenza VI;luciano;Sequenza IV;harmonic;Dense;fields;Harmonic Fields;berios;Berio's Sequenzas;work;Superimposed;sostenuto;Sostenuto Pedal;pedal;Berio's Work;umberto;Spatial Notation;eco;Piano Resonance;music;Middle Pedal;Played Back;Follow;Metronome Marking;Alto Saxophone;Tremolo Chords;Laborintus II;Vice Versa;Superb;Berio's Sequenza;Bach's Chaconne;Proportional Notation;Solo Violin;Eco's Theory;Persona
