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Punctualism
Punctualism (commonly also called "pointillism" or "point music") is a style of musical composition prevalent in Europe between 1949 and 1955 "whose structures are predominantly effected from tone to tone, without superordinate formal conceptions coming to bear". In simpler terms: "music that consists of separately formed particles—however complexly these may be composed—s calledpunctual music, as opposed to linear, or group-formed, or mass-formed music", bolding in the source). This was accomplished by assigning to each note in a composition values drawn from scales of pitch, duration, dynamics, and attack characteristics, resulting in a "stronger individualizing of separate tones". Another important factor was maintaining discrete values in all parameters of the music. Punctual dynamics, for example mean that all dynamic degrees are fixed; one point will be linked directly to another on the chosen scale, without any intervening transition or gesture. Line-dynamics, on t ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Punctuality
Punctuality is the characteristic of being able to complete a required task or fulfill an obligation before or at a previously designated time. "Punctual" is often used synonymously with "on time". An opposite personality trait is tardiness. According to each culture, there is often an understanding about what is considered an acceptable degree of punctuality. Usually, a small amount of lateness is acceptable; this is commonly about five to ten minutes in most Western cultures, but this is not the case in such instances as doctor's appointments. Some cultures have an unspoken understanding that actual deadlines are different from stated deadlines, for example with African time. For example, it may be understood in a particular culture that people will turn up an hour later than advertised. In this case, since everyone understands that a 9 pm party will actually start at around 10 pm, no-one is inconvenienced when everyone arrives at 10 pm. In cultures that value punctuality ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sonata For Two Pianos (Goeyvaerts)
Sonata for Two Pianos (1950–51), also called simply Opus 1 or Nummer 1, is a chamber music work by Belgian composer Karel Goeyvaerts, and a seminal work in the early history of European serialism. History Goeyvaerts composed the sonata during the winter of 1950–51, and brought the score with him when he attended the Darmstädter Ferienkurse in the Summer of 1951. There he met Karlheinz Stockhausen, five years his junior and at the time and a student in his last year at the Cologne Conservatory. Goeyvaert's and Stockhausen's analysis and performance of the second movement of the Sonata in Theodor W. Adorno's composition seminar had considerable significance for those young composers eager to develop serial thinking. The influence of the Sonata is also evident in Stockhausen's early serial compositions, particularly '' Kreuzspiel'', which Stockhausen began composing on his way home from Darmstadt and finished on 4 November 1951. Adorno, however, did not appreciate the qualities ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Kreuzspiel
(Crossplay) is a composition by Karlheinz Stockhausen written for oboe, bass clarinet, piano and four percussionists in 1951 (it was later revised for just three percussionists, along with other changes). It is assigned the number 1/7 in the composer's catalogue of works. History Stockhausen regarded ''Kreuzspiel'' as his first original composition, as opposed to the style-imitation exercises he did as part of his music studies. According to the composer, it was influenced by Olivier Messiaen's " Mode de valeurs et d'intensités" (1949) and Karel Goeyvaerts's Sonata for Two Pianos (1950), and is one of the earliest examples of "point" music. ''Kreuzspiel'' was premièred at the Darmstädter Ferienkurse in the summer of 1952, conducted by the composer. According to Stockhausen, the performance "ended in a scandal". Analysis ''Kreuzspiel'' has been analysed in print more often than any other work by Stockhausen, though all but one restrict themselves to just the first of its thre ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Serialism
In music, serialism is a method of Musical composition, composition using series of pitches, rhythms, dynamics, timbres or other elements of music, musical elements. Serialism began primarily with Arnold Schoenberg's twelve-tone technique, though some of his contemporaries were also working to establish serialism as a form of atonality, post-tonal thinking. Twelve-tone technique orders the twelve notes of the chromatic scale, forming a tone row, row or series and providing a unifying basis for a composition's melody, harmony, structural progressions, and variation (music), variations. Other types of serialism also work with set (music), sets, collections of objects, but not necessarily with fixed-order series, and extend the technique to other musical dimensions (often called "parameter (music), parameters"), such as duration (music), duration, Dynamics (music), dynamics, and timbre. The idea of serialism is also applied in various ways in the visual arts, design, and architectu ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Luigi Nono
Luigi Nono (; 29 January 1924 – 8 May 1990) was an Italian avant-garde composer of classical music. Biography Early years Nono, born in Venice, was a member of a wealthy artistic family; his grandfather was a notable painter. Nono began music lessons with Gian Francesco Malipiero at the Venice Conservatory in 1941, where he acquired knowledge of the Renaissance madrigal tradition, amongst other styles. After graduating with a degree in law from the University of Padua, he was given encouragement in composition by Bruno Maderna. Through Maderna, he became acquainted with Hermann Scherchen—then Maderna's conducting teacher—who gave Nono further tutelage and was an early mentor and advocate of his music. Scherchen presented Nono's first acknowledged work, the ''Variazioni canoniche sulla serie dell'op. 41 di A. Schönberg'' in 1950, at the Internationale Ferienkurse für Neue Musik Darmstadt. The ''Variazioni canoniche'', based on the twelve-tone series of Arnold Sc ... [...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] |
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] |
Die Glückliche Hand
' (''The Hand of Fate''), Op. 18, is a ''Drama mit Musik'' ("drama with music") by Arnold Schoenberg in four scenes. It was composed between 1910 and 1913. Like ''Erwartung'', composed a year earlier, it was heavily influenced by Otto Weininger's book ''Sex and Character''.Schiff, David (8 August 1999)"Schoenberg's Cool Eye For the Erotic" ''The New York Times'' Unlike ''Erwartung'', Schoenberg wrote the libretto for ''Die glückliche Hand'' himself. The first performance took place at the Vienna Volksoper on 24 October 1924. The underlying message of the piece is the idea that man continues to repeatedly make the same mistakes, and the plot is developed from events in Schoenberg's personal life. Composition history The subject of the drama was influenced by personal circumstances in Schoenberg's life. Schoenberg's music was not as well received as it had been in previous years. Also, two years before the composition of the piece, Mathilde, Schoenberg's wife, had an affair with the ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Erwartung
' (''Expectation''), Opus number, Op. 17, is a one-act monodrama in four scenes by Arnold Schoenberg to a libretto by . Composed in 1909, it was not premiered until 6 June 1924 in Prague conducted by Alexander von Zemlinsky, Alexander Zemlinsky with Marie Gutheil-Schoder as the soprano. The opera takes the unusual form of a monologue for solo soprano accompanied by a large orchestra. In performance, it lasts for about half an hour. It is sometimes paired with Béla Bartók's opera ''Bluebeard's Castle'' (1911), as the two works were roughly contemporary and share similar psychological themes. Schoenberg described ''Erwartung'', saying "the aim is to represent in slow motion everything that occurs during a single second of maximum spiritual excitement, stretching it out to half an hour." Philip Friedheim has described ' as Schoenberg's "only lengthy work in an Theme (music)#I different types of music, athematic style", where no musical material returns once stated over the course of ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Arnold Schoenberg
Arnold Schoenberg or Schönberg (, ; ; 13 September 187413 July 1951) was an Austrian-American composer, music theorist, teacher, writer, and painter. He is widely considered one of the most influential composers of the 20th century. He was associated with the expressionist movement in German poetry and art, and leader of the Second Viennese School. As a Jewish composer, Schoenberg was targeted by the Nazi Party, which labeled his works as degenerate music and forbade them from being published. He immigrated to the United States in 1933, becoming an American citizen in 1941. Schoenberg's approach, bοth in terms of harmony and development, has shaped much of 20th-century musical thought. Many composers from at least three generations have consciously extended his thinking, whereas others have passionately reacted against it. Schoenberg was known early in his career for simultaneously extending the traditionally opposed German Romantic styles of Brahms and Wagner. Later, hi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Impressionism
Impressionism was a 19th-century art movement characterized by relatively small, thin, yet visible brush strokes, open Composition (visual arts), composition, emphasis on accurate depiction of light in its changing qualities (often accentuating the effects of the passage of time), ordinary subject matter, unusual visual angles, and inclusion of movement as a crucial element of human perception and experience. Impressionism originated with a group of Paris-based artists whose independent exhibitions brought them to prominence during the 1870s and 1880s. The Impressionists faced harsh opposition from the conventional art community in France. The name of the style derives from the title of a Claude Monet work, ''Impression, soleil levant'' (''Impression, Sunrise''), which provoked the critic Louis Leroy to coin the term in a Satire, satirical review published in the Parisian newspaper ''Le Charivari''. The development of Impressionism in the visual arts was soon followed by analogo ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Paul Signac
Paul Victor Jules Signac ( , ; 11 November 1863 – 15 August 1935) was a French Neo-Impressionist painter who, working with Georges Seurat, helped develop the Pointillist style. Biography Paul Signac was born in Paris on 11 November 1863. He followed a course of training in architecture before, at the age of 18, deciding to pursue a career as a painter, after attending an exhibit of Monet's work. He sailed on the Mediterranean Sea, visiting the coasts of Europe and painting the landscapes he encountered. In later years, he also painted a series of watercolors of French harbor cities. In 1884 he met Claude Monet and Georges Seurat. He was struck by the systematic working methods of Seurat and by his theory of colors and he became Seurat's faithful supporter, friend, and heir with his description of Neo-Impressionism and Divisionism method. Under Seurat's influence he abandoned the short brushstrokes of Impressionism to experiment with scientifically-juxtaposed small dots ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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