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| Author | : Tushaar Power |
| Publisher | : |
| Total Pages | : 232 |
| Release | : 1992 |
| Genre | : Musical analysis |
| ISBN | : |
| Author | : Henry Burnett |
| Publisher | : Routledge |
| Total Pages | : 557 |
| Release | : 2017-07-05 |
| Genre | : Music |
| ISBN | : 135157132X |
Musicology, having been transmitted as a compilation of disparate events and disciplines, has long necessitated a 'magic bullet', a 'unified field theory' so to speak, that can interpret the steady metamorphosis of Western art music from late medieval modality to twentieth-century atonality within a single theoretical construct. Without that magic bullet, discussions of this kind are increasingly complicated and, to make matters worse, the validity of any transformational models and ideas of the natural evolution of styles is questioned and even frowned upon today as epitomizing a grotesque teleological bigotry. Going against current thinking, Henry Burnett and Roy Nitzberg claim that the teleological approach to observing stylistic change is still valid when considered from the purely compositional perspective. The authors challenge the traditional understanding of development, and advance a new theory of eleven-pitch tonality as it relates to the corpus of Western composition. The book plots the evolution of tonality and its bearing on style and the compositional process itself. The theory is not based on the diatonic aspect of the various tonal systems exploited by composers; rather, the theory is chromatically based - the chromatically inflected octave being the source not only of a highly ingenious developmental dialectic, but also encompassing the moment-to-moment progression of the musical narrative itself. Even the most profound teachings of Schenker, and the often startlingly original and worthwhile speculations of Riemann, Tovey, Dahlhaus and others, still provide no theory of development and so are ultimately unable to unite the various tendrils of the compositional organism into a unified whole. Burnett and Nitzberg move beyond existing theory and analysis to base their theory from the standpoint of chromatic 'pitch fields'. These fields are the specific chromatic pitch choices that a composer uses to inform and design a complete composition, utilizing
| Author | : Ruth Tatlow |
| Publisher | : Cambridge University Press |
| Total Pages | : |
| Release | : 2015-08-06 |
| Genre | : Music |
| ISBN | : 131635234X |
In eighteenth-century Germany the universal harmony of God's creation and the perfection of its proportions still held philosophical, moral and devotional significance. Reproducing proportions close to the unity (1:1) across compositions could render them beautiful, perfect and even eternal. Using the principles of her groundbreaking theory of proportional parallelism and the latest source study research, Ruth Tatlow reveals how Bach used the number of bars to create numerical perfection across his published collections, and explains why he did so. The first part of the book illustrates the wide-ranging application of belief in the unity, showing how planning a well-proportioned structure was a normal compositional procedure in Bach's time. In the second part Tatlow presents practical demonstrations of this in Bach's works, illustrating the layers of proportion that appear within a movement, a work, between two works in a collection, across a collection and between collections.
| Author | : |
| Publisher | : |
| Total Pages | : 504 |
| Release | : 1992 |
| Genre | : Dissertations, Academic |
| ISBN | : |
| Author | : Lyndon H. LaRouche, Jr. |
| Publisher | : Executive Intelligence Review |
| Total Pages | : 696 |
| Release | : |
| Genre | : Education |
| ISBN | : |
Lyndon LaRouche organized his life around creation of a better future for all humanity. He sought to enable a Renaissance in science, technology, and the arts. Necessarily, much of his work concentrated upon making conscious the methodology of discovery; as he succeeded in becoming more and more self-conscious of his own thought processes, he worked tirelessly to develop pedagogies to evoke the creative capabilities of everyone he met, and the posterity he would never meet. We are pleased to present you with this collection of some of Mr. LaRouche’s most important and influential writings and presentations upon the subject of education, pedagogy, creativity and curriculum. Because he never stopped thinking about the future and uplifting humanity, his entire life’s work revolved around these topical areas. Therefore, we encourage you to continue reading more of Mr. LaRouche’s writings once you have digested this book
| Author | : |
| Publisher | : |
| Total Pages | : 688 |
| Release | : 2008 |
| Genre | : Dissertations, Academic |
| ISBN | : |
| Author | : |
| Publisher | : |
| Total Pages | : 222 |
| Release | : 1996 |
| Genre | : Music |
| ISBN | : |
| Author | : Ruth Tatlow |
| Publisher | : Cambridge University Press |
| Total Pages | : 220 |
| Release | : 1991-02-21 |
| Genre | : Music |
| ISBN | : 9780521361910 |
In 1947 Friedrich Smend published a study claiming that J. S. Bach used a natural-order alphabet (A = 1 to Z = 24) in his works. He demonstrated that Bach incorporated significant words into his music, and provided himself with a symbolic compositional theme. Here, Dr Tatlow investigates the plausibility of Smend's claims with new evidence, challenging Smend's conclusions.
| Author | : Jennifer Burwell |
| Publisher | : Wilfrid Laurier Univ. Press |
| Total Pages | : 427 |
| Release | : 2007 |
| Genre | : Art |
| ISBN | : 088920487X |
In a culture that often understands formal experimentation or theoretical argument to be antithetical to pleasure, Atom Egoyan has nevertheless consistently appealed to wide audiences around the world. If films like The Adjuster, Calendar, Exotica, and The Sweet Hereafter have ensured him international cult status as one of the most revered of all contemporary directors, Egoyan's forays into installation art and opera have provided evidence of his versatility and confirmed his talents. Throughout his career, Atom Egoyan has shown himself to possess the rarest kind of singularity. As Jonathan Romney puts it, Egoyanþs 2preoccupations and tropes have been so consistent that he's practically created his own genre3 (1995, 8). Hrag Vartanian adds, 2Egoyanesque has become a word to film aficionados, commonly understood to mean a cinematic moment that examines sexuality, technology and alienation in the modern world3 (2004). For this singularity, Egoyan is widely hailed as a true auteur, ƯƯsomeone carrying on the legacy of the European art-house traditions of Bergman, Godard, and Truffaut. Certainly, his work bears a most recognizable signatureƯƯthere is no confusing an Egoyan work with anyone elseþs. Like his art-house predecessors, Egoyan clearly intends that his work be, as Dudley Andrew puts it, 2read rather than consumed,3 that is, viewed meditatively, reflected upon, and discussed (2000, 24). And indeed, in this world in which filmmaking has become commonplacewhere, as Egoyan has said, 2what used to be a rarified activity is now available to anyone with a digital camera and a computer3 (2001b, 18) he intends through much of his work to recall an earlier image culture in which artists had an ability to produce something that gained its power precisely through its rarity.
| Author | : Thomas Koshy |
| Publisher | : OUP USA |
| Total Pages | : 439 |
| Release | : 2009 |
| Genre | : Mathematics |
| ISBN | : 019533454X |
This book presents a clear and comprehensive introduction to one of the truly fascinating topics in mathematics: Catalan numbers. They crop up in chess, computer programming and even train tracks. In addition to lucid descriptions of the mathematics and history behind Catalan numbers, Koshy includes short biographies of the prominent mathematicians who have worked with the numbers.
