Music Analysis Essays

Music Analysis Essays-6
[9] In chapter 6, Nancy Yunhwa Rao analyzes Chen Yi’s compositional techniques in Symphony No.

[9] In chapter 6, Nancy Yunhwa Rao analyzes Chen Yi’s compositional techniques in Symphony No.

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However, as Rao notes, she departs from these earlier studies, which focus on music of the Western tradition, in that she extends the theories to Chinese culture.

Rao’s essay is the only one in the collection that examines a work by a non-Western and transnational composer, and considers her use of polystylism in the global multiculturalism of the twenty-first century.

With the publication of this much-needed collection of essays—the first of its kind—the editors seek to bring scholarly attention to outstanding female composers of the twentieth and twenty-first centuries and to ignite readers’ interests in this exciting contemporary concert music.

[2] The present collection is the third of four volumes in a set entitled Analytical Essays on Music by Women Composers; the other three volumes, all forthcoming, are focused on secular and sacred music to 1900, concert music from 1900 through 1960, and electroacoustic, multimedia, and experimental music from 1950 through 2015.

Together, the essays cover a wide range of genres: small chamber works such as trios and string quartets; large-scale orchestral music such as concertos and symphonies; and compositions for voice, including songs, song cycles, and choral music.

[3] The detailed theoretical studies adopt a variety of analytical approaches, grouped thematically into three sections. The second section, “Gesture, Identity, and Culture,” includes essays that examine how the identities of Sofia Gubaidulina (b. 1953) reveal the significance of musical gesture in their compositions.The prose is complemented by diagrams and an annotated score, available in high resolution on the book’s companion website.[6] Christoph Neidhöfer’s outstanding study of Beecroft’s 1961 twelve-tone flute concerto, Improvvisazioni Concertanti No. The title itself raises a question: how does integral serialism work within the framework of improvisation? Google(); req('single_work'); $('.js-splash-single-step-signup-download-button').one('click', function(e){ req_and_ready('single_work', function() ); new c. [1] The publication of Analytical Essays on Music by Women Composers: Concert Music, 1960–2000 is timely.Each analysis focuses on a single work (or a movement from a larger work), allowing readers to engage with a composer’s technique in detail by means of a representative case study.[5] Within Part I, chapter 2 opens with Joseph Straus’s analysis of the third movement of Mamlok’s Panta Rhei (Time in Flux), a twelve-tone piano trio from 1981.Thus, it is not so unusual that she explored contemporary trends of total serialization, as well as the concepts of chance music and improvisation, during this period.Neidhöfer has once again (as in 2007, 2009, and 2012) expertly constructed a compelling narrative of a composer’s complex serial techniques informed by study of sketches and other original documents.Each event occurs in such a way as to maximize the concept of difference.Lochhead’s reading of Gubaidulina offers an insight into how the composer thinks, musically, of this concept: as the intertwining of sonic difference and repetition through the passage of time (105), which resonates with Deleuze’s notion of interlinking difference and repetition.

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