Search Results

You are looking at 11 - 20 of 32 items for :

  • "compositional process" x
  • Arts and Humanities x
  • Refine by Access: All Content x
Clear All

's compositional process is a musical demonstration of the same pattern of hybridity found in his writing, abstracting non-European sources and relating them to Balkan ones. As in the Horn Trio, however, the richness of the polyrhythmic textures, now multiplied

Restricted access

the meaning of the neighboring constituents via the Pointwise Functional Application rule in (14) ( Rooth 1992 ), resulting in (13b). This composition process can continue at any distance and is insensitive to island boundaries. Third, at some point in

Open access

modernization of the compositional process during the second half of the twentieth and early twenty-first centuries Transcarpathian composers intensively covered the discourse of the idealization of cultural traditions; in particular – in the form of a

Restricted access

: in the widening or shrinking circle of users, the elaborated modes of use, and the changing meaning and symbolism of the dress. Other romantic national costumes were the result of the contemporary compositional process of compilation. (On the Gaelic

Open access

The gestation period of György Kurtág's Hommage à R. Sch. op. 15d covers a period of approximately fifteen years (1975-1990).  Using sketches and drafts conserved in the Kurtág Collection of the Paul Sacher Foundation, this paper seeks to examine how compositional style and technique change over time and how these changes effected the composer's work concept.  Over the past thirty years, sketch studies have opened up new avenues of research, promising wider knowledge of compositional processes and providing insights into the genesis of specific works.  Nonetheless, they also render problematic our ability to circumscribe work identity.  Rather than focusing on the finite nature of the completed composition as it appears in the published score, the study of sketch material sets the work in a compositional process, revealing not only sources but also half-realised possibilities and unrealised potential.  For all the problems it brings to the study of music, such an approach seems particularly apt for a better understanding of Hommage à R. Sch., which appears to emerge out of a network of both complementary and contradictory tendencies.

Restricted access

The musical sources and the contemporary press reports do not confirm the statement that Bánk bán , the par excellence Hungarian national opera composed by Ferenc Erkel and first performed in 1861, was finished already in 1852 — a date that became current in the international musicological literature. The instrumentation workshop around Erkel which can be traced as a pendant of the Weimar workshop of Liszt, represents less the artistic weakness of the composer, rather a take-off point for the compositional invention. The method of the division between composition and instrumentation was disqualified from art music only at the time when the conception of the organic musical work and compositional process was widely established. From 1940 on, the original version of the work was substituted by a rewriting made in order to create a vernacular historicopolitical music drama modelled on the late Verdi, Mussorgsky or Borodin, a missing link in the Hungarian music history, retrospectively. The first edition of the authentic score of Bánk bán being before publication and made by the author is based of a revised text from 1866 which is probably derived from Erkel and that was unknown till now.

Restricted access

Several newly-discovered manuscripts of unpublished works by Ernő Dohnányi (1877–1960) and other documents in the University Library of Bratislava and the Slovak National Museum — Music Museum Bratislava refute the misconception that this city, the composer’s birthplace, is lacking in sources about him. These manuscripts from the estates of two dedicatees, the Archduchess Isabella and Mártha Rigele, offer fresh insights into Dohnányi’s compositional process, and particularly into the multiple revisions of his String Sextet, originally composed in 1893. Versions 1 and 2 of this Sextet, with geographically divergent manuscript locations in the British Library and at Florida State University, are compared here inasmuch as Dohnányi’s development into a mature composer is clearly demonstrable. The two manuscripts from the estate of the Archduchess Isabella, a set of parts reflecting all known revisions and an autograph transcription provide evidence to support this writer’s hypothesis that the score with title page dated 1896 is probably the final version. The Sonata stands as confirmation that by 1899 the composition had reached its final form in the mind of the composer. Excerpts from Dohnányi’s family letters cited here offer further insights into this period.

Restricted access

bifolios during the compositional process, it was Bartók’s habit to cover discarded versions by paste-ups – sometimes even half- or three-quarter-page-sized paste-ups. Such inserts in the manuscripts which Bartók left in Budapest were opened and studied

Open access

painstaking compositional process in order to offer a convincing outcome in pianistic terms” (p. 42). Take the instrumental cues peppered throughout Liszt's piano scores. Kim understands them to be essential for the pianist, since they encode specific

Restricted access

the poem Das Glasperlenspiel by Hermann Hesse, which served as the basis for the composition. Bischoff's aim is to reconstruct the compositional process in different phases of the creative work. The relevant musical drafts can be found in the

Restricted access