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Leader |
LDR
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cam a 00 |
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Control # |
1
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hbl99050175 |
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Control # Id |
3
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GCG |
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Date |
5
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20231005201954.0 |
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Fixed Data |
8
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100928s2011 enka b 001 0deng |
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LC Card |
10
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$a 2010041734 |
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National Bib |
15
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$aGBB0A7474$2bnb |
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Tag 16 |
16
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7 |
$a015644088$2Uk |
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ISBN |
20
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$a9780521514903 (hardback) |
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ISBN |
20
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$a0521514908 (hardback) |
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Local Ctrl # |
35
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$a(OCoLC)ocn667610213 |
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Obsolete |
39
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$a271150$cTLC |
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Cat. Source |
40
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$aDLC$cDLC$dYDX$dERASA$dYDXCP$dCDX$dTDF$dUKM$dBWX$dRCE$dDLC$dGCG |
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LC Call |
50
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00 |
$aML410.B773$bG58 2011 |
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Dewey Class |
82
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00 |
$a780.92$222 |
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ME:Pers Name |
100
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1 |
$aGoldman, Jonathan,$d1972- |
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Title |
245
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14 |
$aThe musical language of Pierre Boulez :$bwritings and compositions /$cJonathan Goldman. |
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Imprint |
260
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$aCambridge, UK ;$aNew York :$bCambridge University Press,$c2011. |
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Phys Descrpt |
300
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$axxii, 244 p. :$bill. ;$c26 cm. |
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Series:Diff |
490
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0 |
$aMusic since 1900 |
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Note:Bibliog |
504
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$aIncludes bibliographical references and index. |
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Note:Content |
505
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0 |
$aIntroduction. Boulez's compositional path ; Sources for theories of musical form ; Serialism as musical structuralism -- Part I. Form as opposition in the writings of Pierre Boulez ; Writings from the first period : serialist doctrine, the open work and strategies of rhetorical displacement ; A portrait of Webern, a self-portrait of Boulez ; The second cantata ; Chronology of writings on Webern and key concepts ; Webern vs. Debussy : observable correspondence or imagined encounter ; The turn towards perception ; Form, thematicism and perceptual categories in the writings from the 1970s to the present ; Lessons for all or personal incantation ; The basic elements of musical language ; The new concepts ; Concept of form in Leçons de musique ; Lessons of Leçons -- Part II. Form as opposition in selected works by Pierre Boulez : Analysis by, of, in and according to Boulez ; Boulezian motivations for analysing Boulez ; False or 'mutilating' analysis ; Boulez analyses The rite of spring ; Boulez for the analyst : the didactic work ; Rituel and the architecture of antiphony ; Presentation ; Form ; Pitch in the Repons ; Structure of verses ; Dérive 1 and harmonic control ; Presentation ; Form ; Six harmonic fields ; Anticipations, suspensions and the recovery of classical categories ; Durations, densities and note hierarchies ; Mémoriale and polar mechanics ; Presentation ; Themes in Mémoriale ; Passage from clear to veiled timbre ; Paradigmatic analysis ; Polar notes ; Analysis of pitch content ; Durations ; Unplugged electronics ; Resonator effects ; Delay/echo effects ; Geometric orchestration ; Rhythmic canons ; Anthèmes and virtual thematics ; Presentation ; The virtual theme ; Discontinuities : 'characters', rhythmic canons and non-retrogradable rhythms ; Passage from Anthèmes 1 to Anthèmes 2 ; Incises and the play of recognition and surprise ; Presentation ; Annunciatory opening ; Treslent sections ; A paradigmatic-syntagmatic approach to Section I, Prestissimo ; Boulezian form in theory and practice ; From system to idea : systematic obscuring ; Formal schemas in a comparative approach. |
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Local Note |
590
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$aRecommended in Resources for College Libraries |
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Subj:Pers |
600
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10 |
$aBoulez, Pierre,$d1925-$xCriticism and interpretation. |
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Subj:Topical |
650
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0 |
$aMusic$y20th century$xHistory and criticism. |
