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The music of Hubert Parry : a critical and analytical study
No full textThis study is designed to explore the nature of Hubert Parry's musical style and focuses on four major areas of his output, those being chamber music, orchestral music, works for soloists, chorus and orchestra and songs. The first section discusses Parry's largely neglected contribution to instrumental music, primarily in terms of structure and tonality. The developments of Parry's formative years are assessed, taking into account his musical environment and e The second part is a study of the vocal works devoted primarily to analysis of selected pieces for soloists, chorus and orchestra. Matters of structure are again considered, together with Parry's attitude to the problems of word-setting, and an The final section is a study of other stylistic features such as melody, rhythm, and most notably the formation of an individual harmonic language. This study is supported with references to Parry's own articles, books and, most important of all, his own personal diaries and letters which have, upon fresh scrutiny, provided concrete evidence of works he studied and heard. They have also p</p
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
Constant Lambert: A Critic for Today? A Commentary on Music Ho!
No full text"Lambert was a Roman candle: he flared up brilliantly, then was gone." Stephen Walsh’s assessment epitomizes the generally received view of Constant Lambert (1905–51). The book he was reviewing when he made this remark, Stephen Lloyd’s Constant Lambert: Beyond the Rio Grande (2014), rounds out Lambert’s key musical activities as composer, conductor, and writer in great detail (at times, as Walsh points out, risking overload) in an attempt to encourage interest beyond the work in the title. But it seems likely that, without a parallel champion in the realm of performance, Rio Grande (1927) will indeed continue to be the item from his output by which he is best known, even if its brand of jazz-tinted exoticism induces little of its original effect on an audience of today much more familiar with the idiom. Walsh asserts the case for ‘a handful of works belong[ing] in the repertoire’, including Eight Poems of Li-Po (1926–9) in the ensemble version, Music for Orchestra (1927), and the Concerto for Piano and Nine Players (1930–31). To this might be added his setting of words from Thomas Nashe’s Pleasant Comedy in Summer’s Last Will and Testament (1932–5), despite its failing to transcend the sum of its most striking moments, the latter stages of the purely orchestral sixth movement, Rondo burlesca (King Pest) and the climax and aftermath of the final Saraband. But for all his technical skill and inventiveness, Lambert’s compositional voice lacks sufficient distinctiveness of personality to secure more than an occasional airing. His two other principal activities, conducting and journalism, are ephemeral in the literal sense, though some of the performances he recorded – catalogued by Lloyd over eighteen pages of appendix – are still commercially available and of historical interest. They include the first recording of Walton’s Façade (1922–9, rev. 1942, 1951, 1977), with Edith Sitwell reciting, in 1929 (the Waltons and the Sitwells were his neighbours in Chelsea); the first recording of Warlock’s The Curlew (1920–22) in 1931, a performance that is rather unsteady in rhythm and intonation at times, and marred by traffic noises during the opening bars; a 1946 recording of Delius’s Piano Concerto (in the original 1897 version) with Benno Moiseiwitsch; and selections of ballet music with the Sadler’s Wells and Philharmonia Orchestras
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
Michele Esposito
No full textAn informative and revealing account of the life and career of Michele Esposito, a figure of seminal importance in the history of Irish music of the late nineteenth and early twentieth centuries
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