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The stylistic traits of Charles Griffes's piano music: "Roman Sketches", Op. 7 and Piano Sonata (1917--1918)
No full textLike most composers, Charles Griffes's piano works display certain recurring stylistic traits. These traits transcend the three periods in which his music is categorized. A comparison of two of his best known piano works, Roman Sketches, Op. 7 and the Piano Sonata (1917--18), illustrates the significant compositional techniques that he continued to use as his style matured. Examples from other piano works are included in this document although the focus is primarily on these two. The comparisons also highlight the traits that Griffes added or abandoned in his later years.*
*Originally published in DAI, Vol 62, No. 7. Reprinted here with corrected author name
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Celestial
No full textThis piece for chamber orchestra explores the superimposition of musical fragments upon others of different metrical values. The title of the piece refers to the closing section in which three different musical ideas of three conflicting underlying metrical values run simultaneously to produce an effect similar to the "clockwork of the universe". These three fragments are explored first separately in the exposition. Each is given development both individually and alongside others. The final section of the piece combines all three simultaneously in their original forms
Henri Temianka Correspondence; (applebaum)
Get PDFThis collection contains material pertaining to the life, career, and activities of Henri Temianka, violin virtuoso, conductor, music teacher, and author. Materials include correspondence, concert programs and flyers, music scores, photographs, and books.https://digitalcommons.chapman.edu/temianka_correspondence/3320/thumbnail.jp
"Etudes pour piano, premier livre" of Gyorgy Ligeti: Studies in composition and pianism
No full textIn Ligeti's own description of the Piano Etudes, he says, they are "Etudes in a compositional and pianistic sense"1 that "behave like growing organisms."2 Upon more detailed analysis, Ligeti's complex ideas of organic structure and illusion are revealed. However, the complicated, yet highly organized configuration does not detract from poetic expression. In this respect, they are like the Etudes of Chopin and Debussy.
Although Chopin, Debussy, African idioms, Nancarrow and jazz are compositional influences in Ligeti's Piano Etudes, these pieces are altogether unique. By revealing his musical and extra-musical inspiration, Ligeti is only referring to the musical/aesthetic environment in which he composes. In his Piano Etudes, Ligeti has uniquely assimilated this environment and the result is music that breathes and communicates on a personal level. Their directness of communication, innovative rhythmic texture, and virtuosic pianism place them among the most attractive and important works of contemporary piano literature.
1In an introductory lecture for a performance of Desordre in Gutersloh on May 5, 1990 as described in liner notes to Erato ECD 75555, 1990 (Notes translated by Sid McLauchlan, performed by Pierre-Laurent Aimard). 2Gyorgy Ligeti, translated by David Feurzeig and Annelies McVoy in the liner notes to "Works for Piano, Volume 3: Etudes, Musica ricercata," Sony Classical SK 62308, 1997 (Pierre-Laurent Aimard)
Wet Crimson on Chiricahua
No full textThe acoustic scale, derived as it is from the overtone series lends both a tonally functional power and harmonic clarity to my work for large orchestra. The fact that the overtone series, through its first 14 members sounded simultaneously, produces an X 7 9 11 13 chord, which has a powerful dominant function, insures that a "pan-diatonic" use of a pitch field comprised of these pitch-classes will have a forward-pushing harmonic tension. The close relationship which these notes have to the octatonic and whole-tone scales justifies my pitch-field modulations from the acoustic scale to these modes. These secondary modes also produce strong dominant sonorities. Additionally, because of their symmetrical construction, they are useful to create harmonically static and ambiguous passages. Finally, harmonic resolution can be reserved for the use of diatonic pitch-fields (owing to the asymmetry of their construction).
I have attempted to maintain harmonic clarity through the greater part of the work by using triadic constructions as opposed to overly dense pitch-clusters. The contrasting of a triad from one mode against a triad from another mode produces greater chromaticism and tension than sonorities derived from a single pitch-set.
This work represents for me a response to the over-fragmentation of materials resulting from unrelenting non-functional harmony which dominates much music today. Specifically, the Chant and Organum sections serve to bring a sense of resolution to the ambiguous symmetrical harmonies which precede them. Resolution of instability is, I think, a necessary process in music which is fundamental to most people's ontological conception of the world. The Coda allows the material to drift back into "uncertainty" which is again, for most of us, the human condition. I have attempted to satisfy an internal and abstract sense of esthetic balance without resorting to purely cerebral means
Dual Origins
No full textDual Origins is a through-composed poem for orchestra, which addresses a series of oppositions and extreme contrasts. Among these contrasts are the dynamic (loud vs. soft) and registral (high vs. low) extremes of the orchestra, the ensemble's varying timbres (strings, winds, and percussion), the music's degrees of dissonance and consonance, and the existence of a tonal center versus what's commonly referred to as tonal ambiguity. The majority of the musical material is derived from the simple whole-step motive that opens the piece, and in the absence of any traditional formal structure, this motivic unity creates an alternate type of cohesion that serves as the glue between the individual sections. The last of these sections is a climactic conclusion, at which point the piece's various conflicts have all found either compromise or conquest
Variations on the Author
Get PDF“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
Appropriate Similarity Measures for Author Cocitation Analysis
Get PDFWe provide a number of new insights into the methodological discussion about author cocitation analysis. We first argue that the use of the Pearson correlation for measuring the similarity between authors’ cocitation profiles is not very satisfactory. We then discuss what kind of similarity measures may be used as an alternative to the Pearson correlation. We consider three similarity measures in particular. One is the well-known cosine. The other two similarity measures have not been used before in the bibliometric literature. Finally, we show by means of an example that our findings have a high practical relevance.information science;Pearson correlation;cosine;similarity measure;author cocitation analysis
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