A Handbook to Twentieth Century Musical Sketches

This indispensable handbook explains how scholars and students should work with and think about the composer's working manuscripts.

A Handbook to Twentieth Century Musical Sketches

This indispensable handbook explains how scholars and students should work with and think about the composer's working manuscripts.

Music Sketches

The term 'music sketch' relates to the vast variety of documents that are used by composers to work out a musical technique or idea and to prepare their work for performance or publication.

Music Sketches

The term 'music sketch' relates to the vast variety of documents that are used by composers to work out a musical technique or idea and to prepare their work for performance or publication. These documents can often provide crucial insights into authorship, biography, editorial practice and musical analysis. This introduction provides students and scholars with the knowledge and skills they need to embark on research projects involving the study of composers' working documents. Presenting examples of the compositional process over a 400-year period, it includes a selection of detailed case studies on how sketches were created and the techniques that were used, such as transcription and the sorting of loose leaves. Numerous illustrations of manuscripts and autographs, many of which have never been published before, show how these vital documents can be used to better understand compositional processes.

Centre and Periphery Roots and Exile Interpreting the Music of Istv 225 n Anhalt Gy 246 rgy Kurt 225 g and S 225 ndor Veress

This book examines the impact place and displacement can have on the composition and interpretation of Western art music, using as its primary objects of study the work of István Anhalt (1919-) and György Kurtág (1926-), composers of ...

Centre and Periphery  Roots and Exile  Interpreting the Music of Istv  225 n Anhalt  Gy  246 rgy Kurt  225 g  and S  225 ndor Veress

This book examines the impact place and displacement can have on the composition and interpretation of Western art music, using as its primary objects of study the work of Istv?n Anhalt (1919-) and Gy?rgy Kurt?g (1926-), composers of Hungarian origin whose careers followed radically different paths.

Rethinking Prokofiev

... as this exploration is called, started seriously in the 1860s with analyses of Beethoven's music autographs.6 In the twentieth A Handbook to Twentieth-Century Musical Sketches (Cambridge: Cambridge University Press, 2004), 57. 4.

Rethinking Prokofiev

Among major 20th-century composers whose music is poorly understood, Sergei Prokofiev stands out conspicuously. The turbulent times in which Prokofiev lived and the chronology of his travels-he left Russia in the wake of Revolution, and returned at the height of the Stalinist purges-have caused unusually polarized appraisals of his music. While individual, distinctive, and instantly recognizable, Prokofiev's music was also idiosyncratically tonal in an age when tonality was largely passé. Prokofiev's output therefore has been largely elusive and difficult to assess against contemporary trends. More than sixty years after the composer's death, editors Rita McAllister and Christina Guillaumier offer Rethinking Prokofiev as an assessment that redresses this enigmatic composer's legacy. Often more political than artistic, these appraisals have depended not only upon the date of publication but also the geographical location of the writer. Commissioned from some of the most distinguished and rising scholars in the field, this collection highlights the background and context of Prokofiev's work. Contributors delve into the composer's relationship to nineteenth-century Russian traditions, Silver-Age and Symbolist composers and poets, the culture of Paris in the 1920s and '30s, and to his later Soviet colleagues and younger contemporaries. They also investigate his reception in the West, his return to Russia, and the effect of his music on contemporary popular culture. Still, the main focus of the book is on the music itself: his early, experimental piano and vocal works, as well as his piano concertos, operas, film scores, early ballets, and late symphonies. Through an empirical examination of his characteristic harmonies, melodies, cadences, and musical gestures-and through an analysis of the newly uncovered contents of his sketch-books-contributors reveal much of what makes Prokofiev an idiosyncratic genius and his music intriguing, often dramatic, and almost always beguiling.

The Oxford Handbook of Opera

“A Tale of Two Sketchbooks: Reconstructing and deciphering Alban Berg's Sketchbooks for Wozzeck.” In A Handbook to Twentieth-Century Musical Sketches, edited by Patricia Hall and Friedemann Sallis, 102–113.

The Oxford Handbook of Opera

'The Oxford Handbook of Opera' captures the highly charged dynamic between opera and its audience, bringing the complexities of scholarship and the excitement of performance into the mainstream conversation. Fifty essays address an extensive range of topics.

Metamorphosis in Music

Patricia Hall and Friedemann Sallis, eds., A Handbook to Twentieth-Century Musical Sketches (New York: Cambridge University Press, 2004). Hall's work on Berg is exemplary, especially A View of Berg's Lulu through the Autograph Sources ...

Metamorphosis in Music

From the mid-1950s through the 1960s, Hungarian composer György Ligeti went through a remarkable period of stylistic transition, from the emulation of his fellow countryman Béla Bartók to his own individual style at the forefront of the Western-European avant-garde. Through careful study of the sketches and drafts, as well as analysis of the finished scores, Metamorphosis in Music takes a detailed look at this compositional evolution. Author Benjamin R. Levy includes sketch studies created through transcriptions and reproductions of archival material-much of which has never before been published-providing new, detailed information about Ligeti's creative process and compositional methods. The book examines all of Ligeti's compositions from 1956 to 1970, analyzing little-known and unpublished works in addition to recognized masterpieces such as Atmosphères, Aventures, the Requieim, and the Chamber Concerto. Discoveries from Ligeti's sketches, prose, and finished scores lead to an enriched appreciation of these already multifaceted works. Throughout the book, Levy interweaves sketch study with comments from interviews, counterbalancing the composer's own carefully crafted public narrative about his work, and revealing lingering attachments to older forms and insights into the creative process. Metamorphosis in Music is an essential treatment of a central figure of the musical midcentury, who found his place in a generation straddling the divide between the modern and post-modern eras.

Music in Germany Since 1968

Feller, Ross, 'E-sketches: Brian Ferneyhough's use of Computer-Assisted Compositional Tools', in A Handbook to Twentieth-Century Musical Sketches, ed. Patricia Hall and Friedemann Sallis (Cambridge University Press, 2004), 176–88.

Music in Germany Since 1968

Alastair Williams argues that the social transformations of 1968 led to a new phase of art music in Germany.

The String Quartets of B la Bart k

rently, she is pursuing her doctorate in curriculum studies, specializing in music education, at the University of ... a book on the early works of György Ligeti; the co-edition of A Handbook to Twentieth-Century Musical Sketches ...

The String Quartets of B  la Bart  k

Béla Bartók (1881-1945) was one of the most important composers and musical thinkers of the 20th century. His contributions as a composer, as a performer and as the father of ethnomusicology changed the course of music history and of our contemporary perception of music itself. At the center of Bartók's oeuvre are his string quartets, which are generally acknowledged as some of the most significant pieces of 20th century chamber music. The String Quartets of Béla Bartók brings together innovative new scholarship from 14 internationally recognized music theorists, musicologists, performers, and composers to focus on these remarkable works from a range of theoretical and methodological perspectives. Focusing on a variety of aspects of the string quartets-harmony and tonality, form, rhythm and meter, performance and listening-it considers both the imprint of folk and classical traditions on Bartók's string quartets, and the ways in which they influenced works of the next generation of Hungarian composers. Rich with notated music examples the volume is complemented by an Oxford Web Music companion website offering additional notated as well as recorded examples. The String Quartets of Béla Bartók, reflecting the impact of the composer himself, is an essential resource for scholars and students across a variety of fields from music theory and musicology, to performance practice and ethnomusicology.

Compositional Process in Elliott Carter s String Quartets

“Elliott Carter's Sketches: Spiritual Exercises and Craftsmanship.” In A Handbook to Twentieth-Century Musical Sketches, eds. Patricia Hall and Friedmann Sallis, 161–175. Cambridge: Cambridge University Press, 2004. Webern, Anton.

Compositional Process in Elliott Carter   s String Quartets

Compositional Process in Elliott Carter’s String Quartets is an interdisciplinary study examining the evolution and compositional process in Elliott Carter’s five string quartets. Offering a systematic and logical way of unpacking concepts and processes in these quartets that would otherwise remain opaque, the book’s narrative reveals new aspects of understanding these works and draws novel conclusions on their collective meaning and Carter’s place as the leading American modernist. Each of Carter’s five string quartets is driven by a new idea that Carter was exploring during a particular period, which allows for each quartet to be examined under a unique lens and a deeper understanding of his oeuvre at large. Drawing on key ideas from a variety of subjects including performance studies, philosophy, music cognition, musical meaning and semantics, literary criticism, and critical theory, this is an informative volume for scholars and researchers in the areas of music theory and musicology. Analyses are supplemented with sketch study, correspondence, text manuscripts, and other archival sources from the Paul Sacher Stiftung, the Library of Congress, and the New York Public Library.

Music as Creative Practice

Feller, R., 2004: 'E-sketches: Brian Ferneyhough's use of computer-assisted compositional tools', in P. Hall and F. Sallis, eds., A Handbook to TwentiethCentury Musical Sketches (Cambridge: Cambridge University Press), pp. 176–88.

Music as Creative Practice

Until recently, ideas of creativity in music revolved around composers in garrets and the lone genius. But the last decade has witnessed a sea change: musical creativity is now overwhelmingly thought of in terms of collaboration and real-time performance. Music as Creative Practice is a first attempt to synthesize both perspectives. It begins by developing the idea that creativity arises out of social interaction-of which making music together is perhaps the clearest possible illustration-and then shows how the same thinking can be applied to the ostensively solitary practices of composition. The book also emphasizes the contextual dimensions of musical creativity, ranging from the prodigy phenomenon, long-term collaborative relationships within and beyond the family, and creative learning to the copyright system that is supposed to incentivize creativity but is widely seen as inhibiting it. Music as Creative Practice encompasses the classical tradition, jazz and popular music, and music emerges as an arena in which changing concepts of creativity-from the old myths about genius to present-day sociocultural theory-can be traced with particular clarity. The perspective of creativity tells us much about music, but the reverse is also true, and this fifth and last instalment of the Studies in Musical Performance as Creative Practice series offers an approach to musical creativity that is attuned to the practices of both music and everyday life.

Centre and Periphery Roots and Exile

Interpreting the Music of István Anhalt, György Kurtág, and Sándor Veress Friedemann Sallis, Robin Elliott, Kenneth DeLong ... He is the co-editor of A Handbook to Twentieth-Century Musical Sketches (2004).

Centre and Periphery  Roots and Exile

This book examines the impact place and displacement can have on the composition and interpretation of Western art music, using as its primary objects of study the work of István Anhalt (1919–2012) György Kurtág (1926–) and Sándor Veress (1907–92). Although all three composers are of Hungarian origin, their careers followed radically different paths. Whereas, Kurtág remained in Budapest for most of his career, Anhalt and Veress left: the former in 1946 and immigrated to Canada and the latter in 1948 and settled in Switzerland. All three composers have had an extraordinary impact in the cultural environments within which their work took place. In the first section, “Place and Displacement,” contributors examine what happens when composers and their music migrate in the culturally complex world of the late twentieth century. The past one hundred years produced record numbers of refugees, and this fact is now beginning to resonate in the study of music. As Anhalt himself forcefully asserts, however, not all composers who emigrate should be understood as exiles. The first chapters of this book explore some of the problems and questions surrounding this issue. Essays in the second section, “Perspectives on Reception, Analysis, and Interpretation,” look at how performing acts of interpretation on music implies bringing the time, place, and identity of the musician, the analyst, and the teacher to bear on the object of study. Like Kodály, Kurtág considers his work to be “naturally” embedded in Hungarian culture, but he is also a quintessentially European artist. Much of his production—he is one of the twentieth century’s most prolific composers of vocal music—involves the setting of Hungarian texts, but in the late 1970s his cultural horizons expanded to include texts in Russian, German, French, English, and ancient Greek. The book explores how musicologists’ divergent cultural perspectives impinge on the interpretation of this work. The final section, “The Presence of the Past and Memory in Contemporary Music,” examines the impact time and memory can have on notions of place and identity in music. All living art taps into the personal and collective past in one way or another. The final four chapters look at various aspects of this relationship.

Teaching Stravinsky

A Handbook to Twentieth-Century Musical Sketches. Cambridge, UK: Cambridge University Press, 2004. Harris, Carole Jean. “The French Connection: The Neoclassical Influence of Stravinsky, through Boulanger, on the Music of Copland, Talma, ...

Teaching Stravinsky

It was her love of music - especially Stravinsky's music - that drew them together. This book tells the story of the ever-changing nature of Boulanger and Stravinsky's relationship from Boulanger's perspective, tracing their interactions from 1931 to 1971. Throughout, it asks how Boulanger's professional activity during the turbulent twentieth century intersected with her efforts on behalf of Stravinsky and how this facilitated her own influential conversations with the composer about his works while also drawing her into close contact with his family.

The Creative Process in Music from Mozart to Kurtag

See Friedemann Sallis, “Coming to Terms with the Composer's Working Manuscripts,” in A Handbook to TwentiethCentury Musical Sketches, ed. Patricia Hall and Friedemann Sallis (Cambridge: Cambridge University Press, 2004), 56757.

The Creative Process in Music from Mozart to Kurtag

In this intriguing study, William Kinderman opens the door to the composer's workshop, investigating not just the final outcome but the process of creative endeavor in music. Focusing on the stages of composition, Kinderman maintains that the most rigorous basis for the study of artistic creativity comes not from anecdotal or autobiographical reports, but from original handwritten sketches, drafts, revised manuscripts, and corrected proof sheets. He explores works of major composers from the eighteenth century to the present, from Mozart's piano music and Beethoven's Piano Trio in F to Kurtág's Kafka Fragments and Hommage à R. Sch. Other chapters examine Robert Schumann's Fantasie in C, Mahler's Fifth Symphony, and Bartók's Dance Suite. Revealing the diversity of sources, rejected passages and movements, fragmentary unfinished works, and aborted projects that were absorbed into finished compositions, The Creative Process in Music from Mozart to Kurtág illustrates the wealth of insight that can be gained through studying the creative process.

Perspectives on the Music of Christopher Fox

Hall, Patricia and Friedemann Sallis, A Handbook to Twentieth-Century Musical Sketches (Cambridge, England: Cambridge University Press, 2004). Harrison, Jonty, 'What I Did on My Holidays: The Concrete and the Ephemeral in Acousmatic ...

Perspectives on the Music of Christopher Fox

Christopher Fox (1955) has emerged as one of the most fascinating composers of the post-war generation. His spirit of experimentalism pervades an oeuvre in which he has blithely created his own version of a range of contemporary musical practices. In his work many of the major expressions of European cultural activity - Darmstadt, Fluxus, spectralism, postminimalism and more - are assimilated to produce a voice which is uniquely resonant and multifaceted. In this, the first major study of his work, musicologists, composers, thinkers and practitioners scrutinize aspects of Christopher Fox's music, each exploring elements that relate to their own distinct areas of practice, tracing Fox's compositional trajectory and situating it within post-war contemporary European music practice. Above all this book addresses the question: How can one person dip his fingers into so many paint pots and yet retain a coherent compositional vision? The range of Fox's musical concerns make his work of interest to anyone who wants to study the development of so-called new music spanning the latter twentieth century into the twenty first century.

Brian Ferneyhough

from the sketches to suggest that this is indeed how he works at the 'surface'. ... 108 Ross Feller, “E-sketches: Brian Ferneyhough's use of computer-assisted compositional tools,” in A Handbook to Twentieth-Century Musical Sketches, ed ...

Brian Ferneyhough

One of contemporary music’s most significant and controversial figures, Brian Ferneyhough's complex and challenging music draws inspiration from painting, literature and philosophy, as well as music from the recent and distant past. His dense, multi-layered compositions intrigue musicians while pushing performer and instrument to the limits of their abilities. A wide-ranging survey of his life and work to date, Brian Ferneyhough examines the critical issues fundamental to understanding the composer as both musician and thinker. Debuting in celebration of Ferneyhough’s 70th birthday in 2013, this book balances critical analysis of the music and close scrutiny of its aesthetic and philosophical contexts, making possible a more rounded view of the composer than has been available hitherto.

Alban Berg

Reviewed by Joseph Auner, Journal of Music Theory 58 (2014): 57–65; William R. Braun, Opera News 76/3 (2011): 88; Nick Chadwick, ML 94/2 (2013): 358–60; Dave Headlam, ... In A Handbook to Twentieth-Century Musical Sketches, 197. 198.

Alban Berg

Alban Berg: A Research and Information Guide, Third Edition is an annotated bibliography highlighting both the nature of primary sources related to the composer and the scope and significance of the secondary sources that deal with Berg, his compositions, and his influence as a composer. It is a reliable, complete, and useful resource and a starting point for anyone—performer, teacher, student, or scholar—wanting to learn about Berg’s life, works, and cultural milieu. The third edition has 162 additional citations since the publication of the second edition, many arising after the expiration of copyright of Berg’s musical and archival works 2005. Many important new, primary sources of information have appeared, most notably the letter exchanges with his wife, recently published in a three-volume critical edition (in German), as well as letter exchanges with Alma Mahler and Erich Kleiber, and later correspondences with Anton Webern. There has also been a notable increase in the availability of commercial video recordings of Berg's operas, Wozzeck and Lulu.

Musicology The Key Concepts

Hall, P. and Sallis, F. (eds) (2005) A Handbook to Twentieth-Century Musical Sketches , Cambridge, Cambridge University Press. Hallman, D.R. (2002) Opera, Liberalism, and Anti-Semitism in Nineteenth-Century France: The Politics of ...

Musicology  The Key Concepts

Musicology: the Key Concepts provides a vital reference guide for students of contemporary musicology. Its clear and accessible entries cover a comprehensive range of terms including: - aesthetics - canon - culture - deconstruction - ethnicity - identity - subjectivity - value - work Fully cross-referenced and with suggestions for further reading, this is an essential resource for all students of music.

Elliott Carter Studies

The Musical Times 136/1828 (1995), 285-88. ... Tyrrell (eds), The New Grove Dictionary of Music and Musicians. 2nd edn. ... In Patricia Hall and Friedemann Sallis (eds), A Handbook to Twentieth-Century Musical Sketches.

Elliott Carter Studies

An international team of scholars presents historic, philosophic, philological and theoretical perspectives on Carter's extensive musical repertoire.

After the Rite

In A Handbook to Twentieth-Century Musical Sketches, edited by Patricia Hall and Friedemann Sallis, 131–35. Cambridge: Cambridge University Press, 2004. Messing, Scott. “Neoclassicism and Stravinsky: 1914–1923.

After the Rite

The riot that erupted during the 1913 debut of Igor Stravinsky's The Rite of Spring at the Théâtre des Champs-Élysées in Paris has long been one of the most infamous and intriguing events of modern musical history. The third in a series of works commissioned for Sergei Diaghalev's famed Ballets Russes, the piece combined disjunct tonalities, provocative rhythms, and radical choreography that threw spectators and critics into a literal fury. In the century following its premiere, The Rite of Spring has demonstrated its earth-shattering impact on music and dance as well as its immortalizing effect on Stravinsky and his career. Having gained international attention by the age of 30, what direction could Stravinsky's path forward take after the momentus events of 1913? After the Rite: Stravinsky's Path to Neoclassicism (1914-1925) traces the evolution of Stravinsky's compositional style as he searched for his own voice in the explosive musical world of the early 20th century as he responded to harsh criticisms of his work. Throughout the book, author Maureen Carr presents new transcriptions and sophisticated analyses of selected musical sketches to show the genesis of Stravinsky's musical ideas as he forayed into surrealism, classicism, and abstraction to develop his signature Neoclassical style. Exploring these annotated compositional experiments--such as the earliest evidence of Stravinsky's appropriation of the "rag idiom" and the development of his so-called "sound blocks"--After the Rite provides new insight into how Stravinsky challenged and guided the musical developments of the decade after that legendary Paris premiere. Enlightening visual metaphors, such as the contemporary paintings of Paul Klee and those of the Russian futurists, supplement discussion of the musical sketches throughout, offering a comprehensive artistic context for Carr's unprecedented and rigorous examination. A treasure trove of outstanding material for scholars, musicians, students, and general readers alike, After the Rite offers a much-needed delineation of the concept of musical neoclassicism. Maureen Carr's innovative and detailed examination of the metamorphosis of Igor Stravinsky's compositional style after The Rite of Spring is an invaluable contribution to the literature concerning this iconic 20th century composer.

Gamelan Gong Kebyar

The most ambitious work on gamelan since Colin McPhee's classic Music in Bali, this book will interest musicians of all kinds and anyone interested in the art and culture of Southeast Asia, Indonesia, and Bali.

Gamelan Gong Kebyar

The Balinese gamelan, with its shimmering tones, breathless pace, and compelling musical language, has long captivated musicians, composers, artists, and travelers. Here, Michael Tenzer offers a comprehensive and durable study of this sophisticated musical tradition, focusing on the preeminent twentieth-century genre, gamelan gong kebyar. Combining the tools of the anthropologist, composer, music theorist, and performer, Tenzer moves fluidly between ethnography and technical discussions of musical composition and structure. In an approach as intricate as one might expect in studies of Western classical music, Tenzer's rigorous application of music theory and analysis to a non-Western orchestral genre is wholly original. Illustrated throughout, the book also includes nearly 100 pages of musical transcription (in Western notation) that correlate with 55 separate tracks compiled on two accompanying compact discs. The most ambitious work on gamelan since Colin McPhee's classic Music in Bali, this book will interest musicians of all kinds and anyone interested in the art and culture of Southeast Asia, Indonesia, and Bali.