"Maximum clarity" and other writings on music /

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Described by New York Times critic John Rockwell as "one of the best non-famous composers this country has to offer," Ben Johnston reconceives familiar idioms--ranging from neoclassicism and serialism to jazz and southern hymnody--using just intonation. Johnston studied with Darius Milhaud...

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Detalles Bibliográficos
Clasificación:Libro Electrónico
Autor principal: Johnston, Ben
Otros Autores: Gilmore, Bob, 1961-2015
Formato: Electrónico eBook
Idioma:Inglés
Publicado: Urbana : University of Illinois Press, [2006]
Colección:Music in American life.
Temas:
Johnston, Ben > Criticism and interpretation.
Johnston, Ben.
1900-1999
Music > History and criticism.
Musique > Histoire et critique.
MUSIC > Genres & Styles > Classical.
MUSIC > Reference.
BIOGRAPHY & AUTOBIOGRAPHY > Composers & Musicians.
Music.
Criticism, interpretation, etc.
Acceso en línea:Texto completo

MARC

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245 1 0 |a "Maximum clarity" and other writings on music /  |c Ben Johnston ; edited by Bob Gilmore. 
264 1 |a Urbana :  |b University of Illinois Press,  |c [2006] 
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490 1 |a Music in American life 
504 |a Includes bibliographical references (pages [263]-265), discography (pages [267]-269), and index. 
588 |a Description based on print version record. 
505 0 |a Front cover -- Title Page -- Copyright Page -- Table of Contents -- Editor's Achnowledgments -- Introduction -- Ben Johnston: A Chronology -- I. ON MUSIC THEORY -- Aesthetic Theory; Philosophical Background for Mathematical Theory; Musical Background for Application of Mathematical Theory 1959-60 -- Scalar Order as a Compositional Resource -- Proportionality and Expanded Musical Pitch Relations -- Microtonal Resources -- Tonality Regained -- Music Theory -- Rational Structure in Music -- A Notation System for Extended Just Intonation 
505 8 |a II. ON MUSICAL AESTHETICS AND CULTUREMusical Intelligibiliity: Where Are We? -- A Talk on Contemporary Music -- Festivals and New Music -- Three Attacks on a Problem -- On Context -- Contribution to IMC Panel -- How to Cook an Albatross -- Art and Survival -- On Bridge-Building -- Seventeen Items -- Art and Religion -- Extended Just Intonation: A Position Paper -- A.S.U.C. Keynote Address -- Just Intonation and Mere Intonation -- Without Improvement -- Maximum Clarity -- III. SOME COMPOSITIONS -- On String Quartet no. 2 
505 8 |a On Sonata for Microtonal PianoThe Genesis of Knocking Piece -- Quintet for Groups: A Reminiscence -- On Carmilla -- On Crossings (String Quartet no. 3 and String Quartet no. 4) -- On the Age of Surveillance -- On String Quartet no. 5 -- On String Quartet no. 6 -- On Journeys -- On Sleep and Waking -- IV. ON OTHER COMPOSERS -- Letter from Urbana -- To Perspectives of New Music Re. John Cage -- The Corporealism of Harry Partch -- Harry Partch/John Cage -- Harry Partch's Cloud-Chamber Music -- Beyond Harry Partch -- Regarding La Monte Young 
505 8 |a Notes on SourcesBibliography -- Discography -- Index -- back cover 
520 |a Described by New York Times critic John Rockwell as "one of the best non-famous composers this country has to offer," Ben Johnston reconceives familiar idioms--ranging from neoclassicism and serialism to jazz and southern hymnody--using just intonation. Johnston studied with Darius Milhaud, Harry Partch, and John Cage, and is best known for his String Quartet No. 4, a complex series of variations on Amazing Grace. This collection of Johnston's writings spans his whole career and shows him to be a truly literate composer who writes about music, his own and that of others, with eloquence and charm. _x000B__x000B_"Maximum Clarity" and Other Writings on Music spans forty years and brings together forty-one of Johnston's most important writings, including many rare and several previously unpublished selections. They include position papers, theoretical treatises, program notes, historical reflections, lectures, excerpts from interviews, and letters, and they cover a broad spectrum of concerns--from the technical exegesis of microtonality to the personal and the broadly humanistic. The volume concludes with a discography of all commercially available recordings of Johnston's music. 
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