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Neue Musik
Neue Musik (English ''new music'', French ''nouvelle musique'') is the collective term for a wealth of different currents in composed Western art music from around 1910 to the present. Its focus is on compositions of 20th century music. It is characterised in particular by – sometimes radical – expansions of tonal, harmonic, melodic and rhythmic means and forms. It is characterised by the search for new sounds, new forms or new combinations of old styles, which is partly a continuation of existing traditions, partly a deliberate break with tradition and appears either as ''progress'' or as ''renewal'' (neo- or post-styles). Roughly speaking, Neue Musik can be divided into the period from around 1910 to the Second World War – often referred to as "modernism" – and the reorientation after the Second World War, which is perceived as "radical" – usually apostrophised as ''avant-garde'' – up to the present. The latter period is sometimes subdivided into the 1950s, 1960s and ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Paul Bekker
Max Paul Eugen Bekker (11 September 1882 – 7 March 1937) was a German music critic and author. Described as having "brilliant style and ..extensive theoretical and practical knowledge," Bekker was chief music critic for both the ''Frankfurter Zeitung'' (1911–1923), and later the ''New Yorker Staats-Zeitung'' (1934–1937). Life and career Max Paul Eugen Bekker was born in Berlin on 11 September 1882 as the only child of Hirsch Nachmann Michel Bekker and Olga Elsner. He studied piano with Alfred Sormann, theory with Benno Horwitz, and violin with Fabian Rehfeld. He began his career as a violinist in the Berlin Philharmonic, before employment as a conductor between 1902 and 1905. He ceased playing violin professionally in 1906, although continued to give lessons privately. After Bekker stopped professional performance he began music criticism, publishing monographs on Oskar Fried (1906/7) and Jacques Offenbach (1909), as well as a successful book on Beethoven in 1911. The ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Equal Temperament
An equal temperament is a musical temperament or tuning system, which approximates just intervals by dividing an octave (or other interval) into equal steps. This means the ratio of the frequencies of any adjacent pair of notes is the same, which gives an equal perceived step size as pitch is perceived roughly as the logarithm of frequency. In classical music and Western music in general, the most common tuning system since the 18th century has been twelve-tone equal temperament (also known as 12 equal temperament, 12-TET or 12-ET; informally abbreviated to twelve equal), which divides the octave into 12 parts, all of which are equal on a logarithmic scale, with a ratio equal to the 12th root of 2 ( ≈ 1.05946). That resulting smallest interval, the width of an octave, is called a semitone or half step. In Western countries the term ''equal temperament'', without qualification, generally means 12-TET. In modern times, 12-TET is usually tuned relative to a standard pitch of ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sonata Form
Sonata form (also ''sonata-allegro form'' or ''first movement form'') is a musical form, musical structure generally consisting of three main sections: an exposition, a development, and a recapitulation. It has been used widely since the middle of the 18th century (the early Classical music era, Classical period). While it is typically used in the first Movement (music), movement of multi-movement pieces, it is sometimes used in subsequent movements as well—particularly the final movement. The teaching of sonata form in music theory rests on a standard definition and a series of hypotheses about the underlying reasons for the durability and variety of the form—a definition that arose in the second quarter of the 19th century. There is little disagreement that on the largest level, the form consists of three main sections: an exposition, a development, and a recapitulation; however, beneath this general structure, sonata form is difficult to pin down to a single model. The st ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Piano Sonata
A piano sonata is a sonata written for a solo piano. Piano sonatas are usually written in three or four movements, although some piano sonatas have been written with a single movement ( Scarlatti, Liszt, Scriabin, Medtner, Berg), others with two movements (Haydn, Beethoven), some contain five (Brahms' Third Piano Sonata) or even more movements. The first movement is generally composed in sonata form. The Baroque keyboard sonata In the Baroque era, the use of the term "sonata" generally referred to either the sonata da chiesa (church sonata) or sonata da camera (chamber sonata), both of which were sonatas for various instruments (usually one or more violins plus basso continuo). The keyboard sonata was relatively neglected by most composers. The sonatas of Domenico Scarlatti (of which there are over 500) were the hallmark of the Baroque keyboard sonata, though they were, for the most part, unpublished during Scarlatti's lifetime. The majority of these sonatas are in one-m ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Aphorism
An aphorism (from Greek ἀφορισμός: ''aphorismos'', denoting 'delimitation', 'distinction', and 'definition') is a concise, terse, laconic, or memorable expression of a general truth or principle. Aphorisms are often handed down by tradition from generation to generation. The concept is generally distinct from those of an adage, brocard, chiasmus, epigram, maxim (legal or philosophical), principle, proverb, and saying; although some of these concepts may be construed as types of aphorism. Often, aphorisms are distinguished from other short sayings by the need for interpretation to make sense of them. In ''A Theory of the Aphorism'', Andrew Hui defined an aphorism as "a short saying that requires interpretation." History The word was first used in the '' Aphorisms'' of Hippocrates, a long series of propositions concerning the symptoms and diagnosis of disease and the art of healing and medicine. The often cited first sentence of this work is: "" - "life is shor ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Fantasia (music)
A fantasia (; also English language, English: ''fantasy'', ''fancy'', ''fantazy'', ''phantasy'', german: Fantasie, ''Phantasie'', french: fantaisie) is a musical composition with roots in improvisation. The fantasia, like the impromptu, seldom follows the textbook rules of any strict musical form. History The term was first applied to music during the 16th century, at first to refer to the imaginative musical "idea" rather than to a particular compositional genre. Its earliest use as a title was in German keyboard manuscripts from before 1520, and by 1536 is found in printed tablatures from Spain, Italy, Germany, and France. From the outset, the fantasia had the sense of "the play of imaginative invention", particularly in lute or vihuela composers such as Francesco Canova da Milano and Luis de Milán. Its form and style consequently ranges from the freely improvisatory to the strictly contrapuntal, and also encompasses more or less standard sectional forms. One of the most impo ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Rhapsody (music)
A rhapsody in music is a one- movement work that is episodic yet integrated, free-flowing in structure, featuring a range of highly contrasted moods, colour, and tonality. An air of spontaneous inspiration and a sense of improvisation make it freer in form than a set of variations. The word ''rhapsody'' is derived from the gr, ῥαψῳδός, ''rhapsōidos'', a reciter of epic poetry (a rhapsodist), and came to be used in Europe by the 16th century as a designation for literary forms, not only epic poems, but also for collections of miscellaneous writings and, later, any extravagant expression of sentiment or feeling. In the 18th century, literary rhapsodies first became linked with music, as in Christian Friedrich Daniel Schubart's ''Musicalische Rhapsodien'' (1786), a collection of songs with keyboard accompaniment, together with a few solo keyboard pieces. The first solo piano compositions with the title, however, were Václav Jan Tomášek’s fifteen Rhapsodies, the firs ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ivan Vyshnegradsky
Ivan Alekseyevich Vyshnegradsky (russian: Ива́н Алексе́евич Вышнегра́дский, 1 January 1832 – 6 April 1895) was a Russian Imperial financial adviser, priest and scientist who specialized in mechanics. He served as the Russian Finance minister from 1887 to 1892. Early life Born in a priest's family, Ivan Vyshnegradsky graduated from the Tver Theological Seminary and later from the Main Pedagogical Institute. He later taught maths and mechanics at St. Petersburg military educational institutions. He specialized in mechanics and among his contributions was a set of criteria for identifying the stability of steam engine speed governors. By the time he was appointed a government minister his fortune was nearly a million roubles due to his participation in several joint-stock companies as well as being a renowned and talented entrepreneur. In 1884 Ivan Vyshnegradsky became a member of the Council of Ministers of Public Instruction and drew up a progra ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Alexander Mossolov
Alexander Vasilyevich MosolovMosolov's name is transliterated variously and inconsistently between sources. Alternative spellings of Alexander include Alexandr, Aleksandr, Aleksander, and Alexandre; variations on Mosolov include Mossolov and Mossolow (as in German). ( rus, Алекса́ндр Васи́льевич Мосоло́в, Aleksandr Vasil'evič Mosolov; – 11 July 1973) was a composer of the early Soviet era, known best for his early futurist piano sonatas, orchestral episodes, and vocal music. Mosolov studied at the Moscow Conservatory and achieved his greatest fame in the Soviet Union and around the world for his 1926 composition, ''Iron Foundry''. Later conflicts with Soviet authorities led to his expulsion from the Composers' Union in 1936 and imprisonment in the Gulag in 1937. Following an early release, which had been argued for by his Conservatory teachers, Mosolov turned his attention to setting Turkmen and Kyrgyz folk tunes for orchestra. His later mu ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Arthur Lourié
Arthur-Vincent Lourié, born ''Naum Izrailevich Luria'' (russian: Наум Израилевич Лурья), later changed his name to ''Artur Sergeyevich Luriye'' (russian: Артур Серге́евич Лурье) (14 May 1892 in Propoysk – 12 October 1966 in Princeton, New Jersey) was a significant Russian composer. Lourié played an important role in the earliest stages of the organization of Soviet music after the 1917 Revolution but later went into exile. His music reflects his close connections with contemporary writers and artists, and also his close relationship with Igor Stravinsky. Russian career Born into a prosperous Jewish family, he converted to Catholicism while still in Russia. An admirer of van Gogh, from whom he derived the name 'Vincent', Lourié was partly self-taught, but also studied piano with Barinova and composition with Glazunov at the Saint Petersburg Conservatory, graduating in 1913. He became friendly with the Futurist poets and particularly Anna ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Nikolai Roslavets
Nikolai Andreevich Roslavets (russian: link=no, Никола́й Андре́евич Ро́славец; in Surazh, Chernigov Governorate, Russian Empire – 23 August 1944 in Moscow) was a significant Ukrainian modernist composer of Belorussian and Ukrainian origin. Roslavets was a convinced modernist and cosmopolitan thinker; his music was officially suppressed from 1930 onwards. Among his works are five symphonic poems (three of them are lost), two violin concertos, five string quartets, two viola sonatas, two cello sonatas, six violin sonatas, and five piano trios. Life There are three autobiographies by Roslavets that differ considerably from one another. In one of them, published 1924, the composer deliberately misrepresented his biographyLobanova 1997, 25ff. in order to prevent the attacks by the "Proletarian Musician" faction. There are differing accounts of Roslavets' birthplace, some indicating that he was born in Dushatyn to a peasant family, while he actually w ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Quartal Harmony
In music, quartal harmony is the building of harmonic structures built from the intervals of the perfect fourth, the augmented fourth and the diminished fourth. For instance, a three-note quartal chord on C can be built by stacking perfect fourths, C–F–B. : Quintal harmony is harmonic structure preferring the perfect fifth, the augmented fifth and the diminished fifth. For instance, a three-note quintal chord on C can be built by stacking perfect fifths, C–G–D. : Properties Use of the terms ''quartal'' and ''quintal'' arises from a contrast, compositional or perceptual, with traditional tertian harmonic constructions. Listeners familiar with music of the European common practice period perceive tonal music as that which uses major and minor chords and scales, wherein both the major third and minor third constitute the basic ''structural elements'' of the harmony. Regarding chords built from perfect fourths alone, composer Vincent Persichetti writes that: ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
