Documents found
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1131.
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1132.
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1133.More information
Based on the practice of transcription in the analysis of electroacoustic music, this article lays the foundation for a new form of musical representation. Starting at the very heart of musical analysis methodology, analytical representation allows us to construct a symbolic system within complex visualizations that represent a work's acoustic and musical properties. The system's modular and open character makes it a very flexible tool, both for analysis of existing works and for composition.
Keywords: représentation musicale, transcription, analyse musicale, musique électroacoustique, sonagramme, forme symbolique, musical representation, transcription, musical analysis, electroacoustic, music, sonogram, symbolic form
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1134.More information
Keywords: Musique pop, Theodor W. Adorno, esthétique musicale, popularité, musiques du monde, Popular music, Theodor W. Adorno, aesthetics of music, popularity, world music
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1136.More information
AbstractStockhausen's artistic identity emerged during, and is rooted in, the postwar period between 1948 and 1950. In these years he was creatively active, chiefly with literary work, which spurred him to seek an orientation that he found in Hesse. In 1949, a few days after his 21st birthday, Stockhausen sent Hesse a six-page letter introducing himself and enclosing one of his poems. This letter, the poem, and Hesse's encouraging reply are analyzed here. Also examined are subsequent letters between the two, a number of letters from Stockhausen to his friend Karel Goeyvaerts in which he discusses Hesse's novel Das Glasperlenspiel, and a second Stockhausen poem. Stockhausen's works are shown to expand on thematic concepts and goals developed during this period.
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1138.More information
This is a French translation of a paper given by pianist and musicologist Peter Stadlen at the 1972 Webern Conference in Vienna. The author first demonstrates that in several of Webern's late works, the composer's predilection for musical palindromes plays an important role in the organisation of series of both pitches and durations. But for all those who see Webern as a cold, abstract mathematician, the author has first-hand evidence to the contrary. During his time with Webern, working on Variations for piano, op. 27 in preparation for the work's premiere (Vienna, October 26, 1937) the author discovered in Webern a veritable "lyric poet," one who was always concerned with the expressiveness of his compositions.