9780520205185 - the listening composer: 7 di perle, george (28 risultati)
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Condizione: good. Fast & Free Shipping â" Good condition. It may show normal signs of use, such as light writing, highlighting, or library markings, but all pages are intact and the book is fully readable. A solid, complete copy that's ready to enjoy.
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Paperback. Condizione: Good. No Jacket. Pages can have notes/highlighting. Spine may show signs of wear. ~ ThriftBooks: Read More, Spend Less.
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Paperback. Condizione: Very Good. A bright, clean copy. ; 9.0 X 5.9 X 0.6 inches; 202 pages.
Lingua: Inglese
Editore: University of California Press December 1996, 1996
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paperback. Condizione: Very Good. Connecting readers with great books since 1972! Used books may not include companion materials, and may have some shelf wear or limited writing. We ship orders daily and Customer Service is our top priority.
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paperback. Condizione: Very Good. Connecting readers with great books since 1972! Used books may not include companion materials, and may have some shelf wear or limited writing. We ship orders daily and Customer Service is our top priority.
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Paperback. Condizione: New. George Perle takes us into the composer's workshop as he reevaluates what we call 'twentieth-century music' - a term used to refer to new or modern or contemporary music that represents a radical break from the tonal tradition, or 'common practice', of the preceding three centuries. He proposes that t…his music, in the course of breaking with the tonal tradition, presents coherent and definable elements of a new tradition. In spite of the disparity in their styles, idioms, and compositional methods, he argues, what unites Scriabin, Stravinsky, Bartok, and the Viennese circle (Schoenberg, Berg, and Webern) is more important than what separates them. If we are to understand the connections among these mainstream composers, we also have to understand their connections with the past. Through an extraordinarily comprehensive analysis of a single piece by Varese, Density 21.5 for unaccompanied flute, Perle shows how these composers refer not only to their contemporaries but also to Wagner, Debussy, and Beethoven. Perle isolates the years 1909-10 as the moment of revolutionary transformation in the foundational premises of our musical language.He asks: What are the implications of this revolution, not only for the composer, but also for the listener? What are the consequences for the theory and teaching of music today? In his highly original answers, Perle relates the role of intuition in the listening experience to its role in the compositional process. Perle asserts that the post-Schoenbergian serialists have preoccupied themselves with secondary and superficial aspects of Schoenberg's twelve-tone method that have led it to a dead end but he also exposes the speciousness of current alternatives such as chance music, minimalism, and the so-called return to tonality. He offers a new and more comprehensive definition of 'twelve-tone music' and firmly rejects the notion that accessibility to the new music is reserved for a special class of elite listeners.
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Paperback. Condizione: New. George Perle takes us into the composer's workshop as he reevaluates what we call 'twentieth-century music' - a term used to refer to new or modern or contemporary music that represents a radical break from the tonal tradition, or 'common practice', of the preceding three centuries. He proposes that t…his music, in the course of breaking with the tonal tradition, presents coherent and definable elements of a new tradition. In spite of the disparity in their styles, idioms, and compositional methods, he argues, what unites Scriabin, Stravinsky, Bartok, and the Viennese circle (Schoenberg, Berg, and Webern) is more important than what separates them. If we are to understand the connections among these mainstream composers, we also have to understand their connections with the past. Through an extraordinarily comprehensive analysis of a single piece by Varese, Density 21.5 for unaccompanied flute, Perle shows how these composers refer not only to their contemporaries but also to Wagner, Debussy, and Beethoven. Perle isolates the years 1909-10 as the moment of revolutionary transformation in the foundational premises of our musical language.He asks: What are the implications of this revolution, not only for the composer, but also for the listener? What are the consequences for the theory and teaching of music today? In his highly original answers, Perle relates the role of intuition in the listening experience to its role in the compositional process. Perle asserts that the post-Schoenbergian serialists have preoccupied themselves with secondary and superficial aspects of Schoenberg's twelve-tone method that have led it to a dead end but he also exposes the speciousness of current alternatives such as chance music, minimalism, and the so-called return to tonality. He offers a new and more comprehensive definition of 'twelve-tone music' and firmly rejects the notion that accessibility to the new music is reserved for a special class of elite listeners.
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Paperback or Softback. Condizione: New. The Listening Composer: Volume 7. Book.
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Soft cover. Condizione: Fine. WHITE BLANK STICKER PLACED OVER SOME WRITING ON INSIDE FRONT PAGE.
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Condizione: New. Taking us into a composer's workshop, this title reevaluates what we call 'twentieth-century music' - a term used to refer to modern or contemporary music that represents a radical break from the tonal tradition, or 'common practice', of the preceding three centuries. Series: Ernest Bloch Lectures. Num Pages: 20…2 pages, 149 musical examples. BIC Classification: AVA; AVGC6; AVH. Category: (P) Professional & Vocational. Dimension: 234 x 155 x 16. Weight in Grams: 59. . 1996. Reprint. Paperback. . . . .
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Condizione: New. Taking us into a composer's workshop, this title reevaluates what we call 'twentieth-century music' - a term used to refer to modern or contemporary music that represents a radical break from the tonal tradition, or 'common practice', of the preceding three centuries. Series: Ernest Bloch Lectures. Num Pages: 20…2 pages, 149 musical examples. BIC Classification: AVA; AVGC6; AVH. Category: (P) Professional & Vocational. Dimension: 234 x 155 x 16. Weight in Grams: 59. . 1996. Reprint. Paperback. . . . . Books ship from the US and Ireland.
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Paperback / softback. Condizione: New. New copy - Usually dispatched within 4 working days.
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Condizione: New. In English.
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Condizione: New. pp. 202.
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Condizione: New. pp. 202.
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Paperback. Condizione: Brand New. reprint edition. 202 pages. 9.50x6.50x0.75 inches. In Stock.
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Paperback. Condizione: New. George Perle takes us into the composer's workshop as he reevaluates what we call 'twentieth-century music' - a term used to refer to new or modern or contemporary music that represents a radical break from the tonal tradition, or 'common practice', of the preceding three centuries. He proposes that t…his music, in the course of breaking with the tonal tradition, presents coherent and definable elements of a new tradition. In spite of the disparity in their styles, idioms, and compositional methods, he argues, what unites Scriabin, Stravinsky, Bartok, and the Viennese circle (Schoenberg, Berg, and Webern) is more important than what separates them. If we are to understand the connections among these mainstream composers, we also have to understand their connections with the past. Through an extraordinarily comprehensive analysis of a single piece by Varese, Density 21.5 for unaccompanied flute, Perle shows how these composers refer not only to their contemporaries but also to Wagner, Debussy, and Beethoven. Perle isolates the years 1909-10 as the moment of revolutionary transformation in the foundational premises of our musical language.He asks: What are the implications of this revolution, not only for the composer, but also for the listener? What are the consequences for the theory and teaching of music today? In his highly original answers, Perle relates the role of intuition in the listening experience to its role in the compositional process. Perle asserts that the post-Schoenbergian serialists have preoccupied themselves with secondary and superficial aspects of Schoenberg's twelve-tone method that have led it to a dead end but he also exposes the speciousness of current alternatives such as chance music, minimalism, and the so-called return to tonality. He offers a new and more comprehensive definition of 'twelve-tone music' and firmly rejects the notion that accessibility to the new music is reserved for a special class of elite listeners.
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Kartoniert / Broschiert. Condizione: New. Taking us into a composer s workshop, this title reevaluates what we call twentieth-century music - a term used to refer to modern or contemporary music that represents a radical break from the tonal tradition, or common practice , of the preceding three.
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Paperback. Condizione: New. George Perle takes us into the composer's workshop as he reevaluates what we call 'twentieth-century music' - a term used to refer to new or modern or contemporary music that represents a radical break from the tonal tradition, or 'common practice', of the preceding three centuries. He proposes that t…his music, in the course of breaking with the tonal tradition, presents coherent and definable elements of a new tradition. In spite of the disparity in their styles, idioms, and compositional methods, he argues, what unites Scriabin, Stravinsky, Bartok, and the Viennese circle (Schoenberg, Berg, and Webern) is more important than what separates them. If we are to understand the connections among these mainstream composers, we also have to understand their connections with the past. Through an extraordinarily comprehensive analysis of a single piece by Varese, Density 21.5 for unaccompanied flute, Perle shows how these composers refer not only to their contemporaries but also to Wagner, Debussy, and Beethoven. Perle isolates the years 1909-10 as the moment of revolutionary transformation in the foundational premises of our musical language.He asks: What are the implications of this revolution, not only for the composer, but also for the listener? What are the consequences for the theory and teaching of music today? In his highly original answers, Perle relates the role of intuition in the listening experience to its role in the compositional process. Perle asserts that the post-Schoenbergian serialists have preoccupied themselves with secondary and superficial aspects of Schoenberg's twelve-tone method that have led it to a dead end but he also exposes the speciousness of current alternatives such as chance music, minimalism, and the so-called return to tonality. He offers a new and more comprehensive definition of 'twelve-tone music' and firmly rejects the notion that accessibility to the new music is reserved for a special class of elite listeners.
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Taschenbuch. Condizione: Neu. Neuware - The present volume consists of a series of six public lectures I delivered as Visiting Ernest Bloch Professor of Music at the University of California at Berkeley during the Spring 1989 semester, and of additional material on some of the same topics presented in a concurrent seminar.
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Paperback. Condizione: Brand New. reprint edition. 202 pages. 9.50x6.50x0.75 inches. In Stock. This item is printed on demand.
