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Nones (Berio)
''Nones'' (1954) is a composition by Luciano Berio scored for orchestra. The piece is named for the poem, "Nones", by W. H. Auden, and was originally intended to be an oratorio, inspired by the poem, representing not only the Passion of Christ, but also the agony of modern man. The purely instrumental piece is predominantly punctual in texture and formally consists of an approximate arch created by "theme" and variations. The tone row used was nontraditional in construction in several respects including number of pitches and consistent emphasis on intervals of major and minor thirds. A note in Berio's sketches confirms that he consciously derived it from the trichordal cell of Webern's Concerto, Op. 24, which it strongly resembles. Its combination of major and minor thirds is also prevalent in Stravinsky, who had been a strong influence on Berio up to this time. Berio's row is symmetrical around the central A, and each trichordal segment of the hexachords flanking that centr ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Musical Composition
Musical composition can refer to an original piece or work of music, either vocal or instrumental, the structure of a musical piece or to the process of creating or writing a new piece of music. People who create new compositions are called composers. Composers of primarily songs are usually called songwriters; with songs, the person who writes lyrics for a song is the lyricist. In many cultures, including Western classical music, the act of composing typically includes the creation of music notation, such as a sheet music "score," which is then performed by the composer or by other musicians. In popular music and traditional music, songwriting may involve the creation of a basic outline of the song, called the lead sheet, which sets out the melody, lyrics and chord progression. In classical music, orchestration (choosing the instruments of a large music ensemble such as an orchestra which will play the different parts of music, such as the melody, accompaniment, counte ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Igor Stravinsky
Igor Fyodorovich Stravinsky (6 April 1971) was a Russian composer, pianist and conductor, later of French (from 1934) and American (from 1945) citizenship. He is widely considered one of the most important and influential composers of the 20th century and a pivotal figure in modernist music. Stravinsky's compositional career was notable for its stylistic diversity. He first achieved international fame with three ballets commissioned by the impresario Sergei Diaghilev and first performed in Paris by Diaghilev's Ballets Russes: ''The Firebird'' (1910), ''Petrushka'' (1911), and ''The Rite of Spring'' (1913). The last transformed the way in which subsequent composers thought about rhythmic structure and was largely responsible for Stravinsky's enduring reputation as a revolutionary who pushed the boundaries of musical design. His "Russian phase", which continued with works such as '' Renard'', ''L'Histoire du soldat,'' and ''Les noces'', was followed in the 1920s by a period ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Compositions For Symphony Orchestra
Composition or Compositions may refer to: Arts and literature *Composition (dance), practice and teaching of choreography *Composition (language), in literature and rhetoric, producing a work in spoken tradition and written discourse, to include visuals and digital space *Composition (music), an original piece of music and its creation *Composition (visual arts), the plan, placement or arrangement of the elements of art in a work * ''Composition'' (Peeters), a 1921 painting by Jozef Peeters * Composition studies, the professional field of writing instruction * ''Compositions'' (album), an album by Anita Baker * Digital compositing, the practice of digitally piecing together a video Computer science *Function composition (computer science), an act or mechanism to combine simple functions to build more complicated ones *Object composition, combining simpler data types into more complex data types, or function calls into calling functions History *Composition of 1867, Austro-Hungaria ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Compositions By Luciano Berio
Composition or Compositions may refer to: Arts and literature *Composition (dance), practice and teaching of choreography *Composition (language), in literature and rhetoric, producing a work in spoken tradition and written discourse, to include visuals and digital space *Composition (music), an original piece of music and its creation *Composition (visual arts), the plan, placement or arrangement of the elements of art in a work * ''Composition'' (Peeters), a 1921 painting by Jozef Peeters * Composition studies, the professional field of writing instruction * ''Compositions'' (album), an album by Anita Baker * Digital compositing, the practice of digitally piecing together a video Computer science *Function composition (computer science), an act or mechanism to combine simple functions to build more complicated ones *Object composition, combining simpler data types into more complex data types, or function calls into calling functions History *Composition of 1867, Austro-Hungaria ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Karlheinz Stockhausen
Karlheinz Stockhausen (; 22 August 1928 – 5 December 2007) was a German composer, widely acknowledged by critics as one of the most important but also controversial composers of the 20th and early 21st centuries. He is known for his groundbreaking work in electronic music, for introducing controlled chance ( aleatory techniques) into serial composition, and for musical spatialization. He was educated at the Hochschule für Musik Köln and the University of Cologne, later studying with Olivier Messiaen in Paris and with Werner Meyer-Eppler at the University of Bonn. One of the leading figures of the Darmstadt School, his compositions and theories were and remain widely influential, not only on composers of art music, but also on jazz and popular music. His works, composed over a period of nearly sixty years, eschew traditional forms. In addition to electronic music—both with and without live performers—they range from miniatures for musical boxes through works for s ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Elliott Carter
Elliott Cook Carter Jr. (December 11, 1908 – November 5, 2012) was an American modernist composer. One of the most respected composers of the second half of the 20th century, he combined elements of European modernism and American "ultra-modernism" into a distinctive style with a personal harmonic and rhythmic language, after an early neoclassical phase. His compositions are performed throughout the world, and include orchestral, chamber music, solo instrumental, and vocal works. The recipient of many awards, Carter was twice awarded the Pulitzer Prize. Born in New York City, Carter had developed an interest in modern music in the 1920s. He was later introduced to Charles Ives, and he soon came to appreciate the American ultra-modernists. After studying at Harvard University with Edward Burlingame Hill, Gustav Holst and Walter Piston, he studied with Nadia Boulanger in Paris in the 1930s, then returned to the United States. Carter was productive in his later years, pub ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bruno Maderna
Bruno Maderna (21 April 1920 – 13 November 1973) was an Italian conductor and composer. Life Maderna was born Bruno Grossato in Venice but later decided to take the name of his mother, Caterina Carolina Maderna.Interview with Maderna‘s three children Caterina, Claudia and Andreas Maderna, Heidelberg 2019 At the age of four he began studying the violin with his grandfather. "My grandfather thought that if you could play the violin you could then do anything, even become the biggest gangster. If you play the violin you are always sure of a place in heaven." As a child he played several instruments (violin, drums and accordion) in his father's small variety band. A child prodigy, in the early thirties he was not only performing violin concertos, he was already conducting orchestral concerts: first with the orchestra of La Scala in Milan, then in Trieste, Venice, Padua and Verona. He was originally Jewish. Orphaned at the age of four,. Maderna was adopted by a wealthy woman fro ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
The Musical Quarterly
''The Musical Quarterly'' is the oldest academic journal on music in America. Originally established in 1915 by Oscar Sonneck, the journal was edited by Sonneck until his death in 1928. Sonneck was succeeded by a number of editors, including Carl Engel (1930–1944), Gustave Reese (1944-45), Paul Henry Lang, who edited the journal for over 25 years, from 1945 to 1973, Joan Peyser (1977–84), Eric Salzman who served as editor from 1984 to 1991 and several others. Since 1993 ''The Musical Quarterly'' has been edited by Leon Botstein, president of Bard College and principal conductor of the American Symphony Orchestra. Originally published by G. Schirmer, Inc., it is published by Oxford University Press. References External links * Articles published before 1923at the Internet Archive The Internet Archive is an American digital library with the stated mission of "universal access to all knowledge". It provides free public access to collections of digitized materials, i ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Perspectives Of New Music
''Perspectives of New Music'' (PNM) is a peer-reviewed academic journal specializing in music theory and analysis. It was established in 1962 by Arthur Berger and Benjamin Boretz (who were its initial editors-in-chief). ''Perspectives'' was first published by the Princeton University Press, initially supported by the Fromm Music Foundation.David Carson Berry, "''Journal of Music Theory'' under Allen Forte's Editorship," ''Journal of Music Theory'' 50/1 (2006), 21, n49. The first issue was favorably reviewed in the ''Journal of Music Theory'', which observed that Berger and Boretz had produced "a first issue which sustains such a high quality of interest and cogency among its articles that one suspects the long delay preceding the yet-unborn Spring 1963 issue may reflect a scarcity of material up to their standard". However, as the journal's editorial "perspective" coalesced, Fromm became—in the words of David Gable—disenchanted with the "exclusive viewpoint hatcame to dominate" ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Hexachord
In music, a hexachord (also hexachordon) is a six-note series, as exhibited in a scale (hexatonic or hexad) or tone row. The term was adopted in this sense during the Middle Ages and adapted in the 20th century in Milton Babbitt's serial theory. The word is taken from the gr, ἑξάχορδος, compounded from ἕξ (''hex'', six) and χορδή (''chordē'', string f the lyre whence "note"), and was also the term used in music theory up to the 18th century for the interval of a sixth ("hexachord major" being the major sixth and "hexachord minor" the minor sixth). Middle Ages The hexachord as a mnemonic device was first described by Guido of Arezzo, in his ''Epistola de ignoto cantu''. In each hexachord, all adjacent pitches are a whole tone apart, except for the middle two, which are separated by a semitone. These six pitches are named ''ut'', ''re'', ''mi'', ''fa'', ''sol'', and ''la'', with the semitone between ''mi'' and ''fa''. These six names are derived from the fir ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Trichord
In music theory, a trichord () is a group of three different pitch classes found within a larger group. A trichord is a contiguous three-note set from a musical scale or a twelve-tone row. In musical set theory there are twelve trichords given inversional equivalency, and, without inversional equivalency, nineteen trichords. These are numbered 1–12, with symmetrical trichords being unlettered and with uninverted and inverted nonsymmetrical trichords lettered A or B, respectively. They are often listed in prime form, but may exist in different voicings; different inversions at different transpositions. For example, the major chord, 3-11B (prime form: ,4,7, is an inversion of the minor chord, 3-11A (prime form: ,3,7. 3-5A and B are the Viennese trichord (prime forms: ,1,6and ,5,6. Historical Russian definition In late-19th to early 20th-century Russian musicology, the term trichord (трихорд ()) meant something more specific: a set of three pitches, each at least ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
