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Composing ambiguity : the early music of Morton Feldman /
American composer Morton Feldman is increasingly seen to have been one of the key figures in late-twentieth-century music, with his work exerting a powerful influence into the twenty-first century. At the same time, much about his music remains enigmatic, largely due to long-standing myths about sup...
| Clasificación: | Libro Electrónico |
|---|---|
| Autor principal: | |
| Formato: | Electrónico eBook |
| Idioma: | Inglés |
| Publicado: |
Burlington :
Ashgate,
[2013]
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| Temas: | |
| Acceso en línea: | Texto completo |
MARC
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| 100 | 1 | |a Noble, Alistair. | |
| 245 | 1 | 0 | |a Composing ambiguity : |b the early music of Morton Feldman / |c Alistair Noble. |
| 264 | 1 | |a Burlington : |b Ashgate, |c [2013] | |
| 264 | 4 | |c Ã2013 | |
| 300 | |a 1 online resource (xii, 215 pages) : |b illustrations | ||
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| 504 | |a Includes bibliographical references and index. | ||
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| 520 | 0 | |a American composer Morton Feldman is increasingly seen to have been one of the key figures in late-twentieth-century music, with his work exerting a powerful influence into the twenty-first century. At the same time, much about his music remains enigmatic, largely due to long-standing myths about supposedly intuitive or aleatoric working practices.In Composing Ambiguity, Alistair Noble reveals key aspects of Feldman's musical language as it developed during a crucial period in the early 1950s. Drawing models from primary sources, including Feldman's musical sketches, he shows that Feldman worked deliberately within a two-dimensional frame, allowing a focus upon the fundamental materials of sounding pitch in time. Beyond this, Feldman's work is revealed to be essentially concerned with the 12-tone chromatic field, and with the delineation of complexes of simple proportions in 'crystalline' forms.Through close reading of several important works from the early 1950s, Noble shows that there is a remarkable consistency of compositional method, despite the varied experimental notations used by Feldman at this time. Not only are there direct relations to be found between staff-notated works and grid scores, but much of the language developed by Feldman in this period was still in use even in his late works of the 1980s. | |
| 505 | 0 | |a Cover; Contents; List of Figures and Tables; Acknowledgements; 1 Listening to Process, Playing the System; 2 'to create music as if on a canvas': Intermission 5 (1952); 3 Piano Piece 1952: 'a discipline of vagueness'; 4 Intermission 6 (1953): 'the outlines of becoming'; 5 'Primitive Designs': Hearing and Thinking through Intersection 3; 6 Playing Feldman; Bibliography; Index | |
| 546 | |a English. | ||
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| 600 | 1 | 0 | |a Feldman, Morton, |d 1926-1987 |x Criticism and interpretation. |
| 600 | 1 | 7 | |a Feldman, Morton, |d 1926-1987 |2 fast |
| 650 | 0 | |a Composition (Music) | |
| 650 | 6 | |a Composition (Musique) | |
| 650 | 7 | |a BIOGRAPHY & AUTOBIOGRAPHY |x Composers & Musicians. |2 bisacsh | |
| 650 | 7 | |a MUSIC |x Individual Composer & Musician. |2 bisacsh | |
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| 776 | 0 | 8 | |i Print version: |a Noble, Alistair. |t Composing ambiguity. |d Burlington : Ashgate, 2013 |z 9781409451648 |w (DLC) 2012035941 |w (OCoLC)809456930 |
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