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Author: David Tudor Publisher: A-R Editions, Inc. ISBN: 198720302X Category : Music Languages : en Pages : 403
Book Description
When I think of music, I think of you and vice-versa, John Cage told David Tudor in the summer of 1951. Looking back years later, Cage said that every work he composed in the ensuing two decades was composed for Tudoreven if it was not written for the piano, Tudors nominal instrument. The collaboration of Cage and Tudor reached an apex in the Solo for Piano from Cages Concert for Piano and Orchestra (195758). None of Cages previous works had employed more than a single type of notation. In contrast, the Solo for Piano consists of eighty-four notational types, ranging from standard line-and-staff notation to extravagant musical graphics. The notational complexity of the Solo for Piano led Tudor to write outor realizea performance score, from which he played at the premiere of the Concert for Piano and Orchestra in May 1958. The next spring, when Cage requested music to complement his ninety-minute lecture Indeterminacy, Tudor created a second realization, for which he devised a new temporal structure to implement Cages notations. This edition of Tudors second realization of the Solo for Piano presents Tudors performance score in the spatial-temporal layout of its proportional notation. An introductory essay discusses the early collaborations of Cage and Tudor, as well as the genesis, creative process, and performance history of the Solo for Piano. The critical commentary examines each of Tudors methods of realization; which notations from Cages score Tudor selected and why; how Tudor interpreted Cages often ambiguous performance instructions; how Tudor distributed the resulting sounds temporally; and the ways in which Tudors realization fulfills, transcends, and sometimes contravenes the instructions of Cages score.
Author: David Tudor Publisher: A-R Editions, Inc. ISBN: 198720302X Category : Music Languages : en Pages : 403
Book Description
When I think of music, I think of you and vice-versa, John Cage told David Tudor in the summer of 1951. Looking back years later, Cage said that every work he composed in the ensuing two decades was composed for Tudoreven if it was not written for the piano, Tudors nominal instrument. The collaboration of Cage and Tudor reached an apex in the Solo for Piano from Cages Concert for Piano and Orchestra (195758). None of Cages previous works had employed more than a single type of notation. In contrast, the Solo for Piano consists of eighty-four notational types, ranging from standard line-and-staff notation to extravagant musical graphics. The notational complexity of the Solo for Piano led Tudor to write outor realizea performance score, from which he played at the premiere of the Concert for Piano and Orchestra in May 1958. The next spring, when Cage requested music to complement his ninety-minute lecture Indeterminacy, Tudor created a second realization, for which he devised a new temporal structure to implement Cages notations. This edition of Tudors second realization of the Solo for Piano presents Tudors performance score in the spatial-temporal layout of its proportional notation. An introductory essay discusses the early collaborations of Cage and Tudor, as well as the genesis, creative process, and performance history of the Solo for Piano. The critical commentary examines each of Tudors methods of realization; which notations from Cages score Tudor selected and why; how Tudor interpreted Cages often ambiguous performance instructions; how Tudor distributed the resulting sounds temporally; and the ways in which Tudors realization fulfills, transcends, and sometimes contravenes the instructions of Cages score.
Author: David Tudor Publisher: A-R Editions, Inc. ISBN: 1987203046 Category : Music Languages : en Pages : 101
Book Description
When I think of music, I think of you and vice-versa, John Cage told David Tudor in the summer of 1951. Looking back years later, Cage said that every work he composed in the ensuing two decades was composed for Tudoreven if it was not written for the piano, Tudors nominal instrument. The collaboration of Cage and Tudor reached an apex in the Solo for Piano from Cages Concert for Piano and Orchestra (195758). None of Cages previous works had employed more than a single type of notation. In contrast, the Solo for Piano consists of eighty-four notational types, ranging from standard line-and-staff notation to extravagant musical graphics. The notational complexity of the Solo for Piano led Tudor to write outor realizea performance score, from which he played at the premiere of the Concert for Piano and Orchestra in May 1958. The next spring, when Cage requested music to complement his ninety-minute lecture Indeterminacy, Tudor created a second realization, for which he devised a new temporal structure to implement Cages notations. This edition of Tudors second realization of the Solo for Piano presents Tudors performance score in the spatial-temporal layout of its proportional notation. An introductory essay discusses the early collaborations of Cage and Tudor, as well as the genesis, creative process, and performance history of the Solo for Piano. The critical commentary examines each of Tudors methods of realization; which notations from Cages score Tudor selected and why; how Tudor interpreted Cages often ambiguous performance instructions; how Tudor distributed the resulting sounds temporally; and the ways in which Tudors realization fulfills, transcends, and sometimes contravenes the instructions of Cages score.
Author: Martin Iddon Publisher: ISBN: 0190938471 Category : Music Languages : en Pages : 481
Book Description
Looking at one of the twentieth century's most notorious musical masterpieces, John Cage's Concert for Piano and Orchestra examines Cage's compositional process, its infamous performance history, and its influence on philosophical ideas of what music actually is.
Author: David W. Bernstein Publisher: University of Chicago Press ISBN: 0226044874 Category : Music Languages : en Pages : 322
Book Description
This volume looks at the creative work of the great avant-gardist John Cage from an exciting interdisciplinary perspective, exploring his activities as a composer, performer, thinker, and artist. The essays in this collection grew out of a pivotal gathering during which a spectrum of participants including composers, music scholars, and visual artists, literary critics, poets, and filmmakers convened to examine Cage's extraordinary artistic legacy. Beginning with David Bernstein's introductory essay on the reception of Cage's music, the volume addresses topics ranging from Cage's reluctance to discuss his homosexuality, to his work as a performer and musician, and his forward-looking, provocative experimentation with electronic and other media. Several of the essays draw upon previously unseen sketches and other source materials. Also included are transcripts of lively panel discussions among some of Cage's former colleagues. Taken together, this collection is a much-needed contribution to the study of one of the most significant American artists of the twentieth century.
Author: Martin Iddon Publisher: Cambridge University Press ISBN: 1107014328 Category : Art Languages : en Pages : 241
Book Description
Martin Iddon discusses one of the twentieth century's most provocative musical collaborations: between composer John Cage and pianist David Tudor.
Author: You Nakai Publisher: Oxford University Press ISBN: 0190686766 Category : Music Languages : en Pages : 769
Book Description
David Tudor is remembered today as an extraordinary pianist of post-war avant-garde music who worked closely with composers like John Cage and Karlheinz Stockhausen and as a founding figure of live-electronic music. His bold reinterpretation of Cage's Variations II and his idiosyncratic performances using homemade modular instruments inspired a whole generation of musicians. But his reticence, his unorthodox approaches, and the diversity of his creative output-which began with the organ and ended with visual art-have kept Tudor a puzzle. Reminded by the Instruments sets out to solve the puzzle of David Tudor by applying Tudor's own methods for approaching the materials of others to the vast archive of materials that he himself left behind. Author You Nakai deftly patches together instruments, electronic circuits, sketches, diagrams, recordings, letters, receipts, customs declaration forms, and testimonies like modular pieces of a giant puzzle to reveal a new perspective on Tudor's creative process. Rejecting the established narrative of Tudor as a performer-turned-composer, this book presents a lively portrait of an artist whose work always merged both of these roles. In reading Tudor's electronic devices as musicological 'texts' and examining his dissection of electronic circuits, Nakai transcends discourses on sound and illuminates our understanding of the instruments behind the sounds in post-war experimental music.
Author: Norm Cohen Publisher: A-R Editions, Inc. ISBN: 1987207289 Category : Music Languages : en Pages : 597
Book Description
This edition brings together representative transcriptions of folk songs and ballads in the British-Irish-American oral tradition that have enjoyed widespread familiarity throughout twentieth-century America. Within are the one hundred folk songs that most frequently occurred in a methodical survey of Roud’s Folk Song Index, catalogues of commercial early country (or "hillbilly") recordings, and relevant archival collections. The editors selected sources for transcriptions in a broad range of singing styles and representing many regions of the United States. The selections attempt to avoid the biases of previous collections and provide a fresh group of examples, many heretofore unseen in print. The sources for the transcriptions are recordings of traditional musicians from the 1920s through the early 1940s drawn from (1) commercial recordings of "hillbilly" musicians, and (2) field recordings in the collection of the Library of Congress’s Archive of American Folk Song, now part of the Archive of Folk Culture. Each transcription is accompanied by a brief contextualizing essay discussing the song’s history and influence, recording and performance information (whenever available), and an examination of the tune. The edition begins with a substantive essay about the history of folk song recordings and folk song scholarship, and the nature of traditional vocal music in the United States.
Author: Aaron Copland Publisher: A-R Editions, Inc. ISBN: 1987204581 Category : Music Languages : en Pages : 295
Book Description
Appalachian Spring is perhaps the most popular work by Aaron Copland (19001990). Composed as a ballet for the renowned choreographer Martha Graham (18941991), it was the result of a close collaboration between Copland and Graham, and the music quickly took on a life of its own. However, the best known versions of the score, those most frequently recorded and heard in concert, differ in form and musical content from the original ballet, which was scored for a chamber ensemble of thirteen instruments and premiered by the Martha Graham Dance Company at the Library of Congress on 30 October 1944. This edition presents the first completed engraving of the original version of Appalachian Spring, providing musicians and scholars access to the score as it has been performed for more than 75 years by the Graham Company. On each page of the score, the editors have included stills from the 1958 film of the ballet, with Graham dancing the lead role, in order to highlight the connection between music and dance. An introductory essay explores the creation of the work, the musical structure, the origins of and differences among multiple versions of the score, and the continued significance and influence of Coplands music. The critical commentary draws on manuscript and published sources, as well as Graham Company performance practice, to illuminate editorial decisions. The edition also includes appendices that present a comparison of historical tempi, markings from the Graham tradition for augmenting the orchestration, and a selected discography of different versions of the score.
Author: Peter C. Muir Publisher: A-R Editions, Inc. ISBN: 1987208854 Category : Music Languages : en Pages : 567
Book Description
This volume is a critical edition of early blues-related sheet music, including forty-three known blues songs and instrumental compositions from the first four years of the blues industry, 1912–15, and twenty-four pre-1912 proto-blues; that is, published works stylistically related to the emerging blues style (for instance, using a twelve-bar blues sequence) from 1850–1912. The purpose of the edition is to present in systematic form, and for the first time, the rise of popular blues culture. Up until 1920, sheet music was the dominant medium of blues dissemination. The first blues recordings did not appear until 1914, two years after the appearance of sheet music; furthermore, almost all the recordings of blues that did appear before 1920 were of pre-existent published compositions. This situation only changed with the rise of the race record industry in the 1920s when the identity of blues became increasingly linked to recordings. For this earliest period of blues history, the documentation offered by sheet music is crucial. A majority of this music has not been reissued since its original publication, while some has never been published at all, and exists only as copyright deposits in the Library of Congress. As a body of work, it is little known to historians and musicians despite its importance to the understanding of the evolution of blues and popular music.
Author: Gary McPherson Publisher: Oxford University Press ISBN: 0190056282 Category : Education Languages : en Pages : 737
Book Description
The two-volume 'Oxford Handbook of Music Performance' provides the most comprehensive and authoritative resource for musicians, educators and scholars currently available. It is aimed primarily for practicing musicians, particularly those who are preparing for a professional career as performers and are interested in practical implications of psychological and scientific research for their own music performance development; educators with a specific interest or expertise in music psychology, who will wish to apply the concepts and techniques surveyed in their own teaching; undergraduate and postgraduate students who understand the potential of music psychology for informing music education; and researchers in the area of music performance who consider it important for the results of their research to be practically useful for musicians and music educators.
Author: David Tudor
Author: David Tudor
Author: David Tudor
Author: Martin Iddon
Author: David W. Bernstein
Author: Martin Iddon
Author: You Nakai
Author: Norm Cohen
Author: Aaron Copland
Author: Peter C. Muir
Author: Gary McPherson