1,721,254 research outputs found
Entretiens avec Elliott Carter
No full textNé le 11 décembre 1908 à New York, Elliott Carter doit sa vocation musicale à son intérêt pour la musique moderne dans les années vingt, lié à une immense curiosité pour toutes les manifestations artistiques nouvelles. Sa rencontre avec Charles Ives en 1925 fut décisive. Dans les années trente, sous la pression des événements politiques et sous l'influence de l'enseignement de Nadia Boulanger, Carter se rapprocha du style néo-classique. Ce n'est qu'à la fin des années quarante qu'il développa..
Entretiens avec Elliott Carter
No full textNé le 11 décembre 1908 à New York, Elliott Carter doit sa vocation musicale à son intérêt pour la musique moderne dans les années vingt, lié à une immense curiosité pour toutes les manifestations artistiques nouvelles. Sa rencontre avec Charles Ives en 1925 fut décisive. Dans les années trente, sous la pression des événements politiques et sous l'influence de l'enseignement de Nadia Boulanger, Carter se rapprocha du style néo-classique. Ce n'est qu'à la fin des années quarante qu'il développa..
The Musical Style of Elliott Carter: The analysis of the Piano Sonata (1945-46)
No full textThe purpose of this paper focuses on American composer Elliott Carter and his Piano Sonata (1945-46). Elliot Carter’s Piano Sonata is a representative example of his distinctive modernist style. After his early works written largely in Neoclassical idiom, Carter embarked on a new musical path in this work. His innovative approach to form, harmony, thematic design, metric elements, sound, and timing according to the common sonata structures differ significantly from the traditional approaches to this form. The compositional aesthetic of this work has become one of the hallmarks of American musical modernism, foreshadowing the compositional direction of piano sonatas in the latter half of the twentieth century. Carter’s music has known for his metrical complexity, in which metric modulation and polyrhythmic application largely emerged after 1948. The trademark is specifically launched in his Cello Sonata (1948). The 1945 Piano Sonata is the piece a few years earlier in which rhythmical complexity began to expose. Author demonstrates the layer of rhythmical pulse through the method of thematic analysis, rather than merely focusing on metric modulation technique. In contrast to most scholarships that have a rigorous study for Carter’s eclectic deed on the fusion of European neoclassicism and American avant-garde, the author discusses the composer’s new compositional approach in the Sonata. Finally, author’s analysis concentrates on specific innovative aspects that make the work unconventional, showing why Carter is one of the most important voices of American modernism
Elliott Carter Now
No full textAnyone writing about Elliott Carter today must deal with the lack of a critical biography and the reticence and occasional inaccuracies of his own biographical statements, and the lack of a consensus about his music as evidenced in particular by the respect his work finds in Europe as opposed to a decline in critical reputation and performances in the USA. Unique qualities in the music become clearer if attention is paid to its opposition of dark and light themes, and to the role played by quasi-mathematical calculations in Carter’s compositional process. A better understanding of his entire career will arise only as the extraordinary output of his last decades becomes more familiar.</p
Implementation of metric modulations and polyrhythms from 8 pieces for timpani by Elliott Carter.
No full textEste trabajo aborda el estudio de las modulaciones métricas y la creación de polirritmias a partir del análisis musical formal de la obra "8 piezas para timpani" de Elliott Carter con el fin de lograr la creación de talleres y una cartilla de ejercicios de enseñanza para su posterior implementación en la batería.Licenciado en MúsicaPregradoThis work addresses the study of metric modulations and the creation of polyrhythms resulting from the formal musical analysis of the work "8 pieces for timpani" by Elliott Carter in order to create workshops and a book of teaching exercises to be applied to the drumset
Encounters with Composers: A Concert of Works by Elliott Carter, February 22, 1984
Get PDFThis is the concert program of the Encounters with Composers: A Concert of Works by Elliott Carter performance on Wednesday, February 22, 1984 at 8:00 p.m., at the Concert Hall, 855 Commonwealth Avenue. Works performed were the following by Elliott Carter: Eight Pieces for Four Timpani, Woodwind Quintet, and Night Fantasies. Digitization for Boston University Concert Programs was supported by the Boston University Humanities Library Endowed Fund
La Dimension du temps
No full textÀ travers une activité critique qui a commencé en 1937 dans la revue Modem Music, et qui fut consacrée quasi exclusivement à la musique contemporaine, Elliott Carter n'a cessé de réfléchir aux questions fondamentales de la composition et de l'esthétique musicales. Par ses appréciations sur les œuvres entendues en création, ses hommages à des compositeurs comme Stravinsky, Varèse, Ives ou Wolpe, qu'il a bien connus, et ses essais sur le rythme et le temps musical, Carter se situe de façon orig..
ALECK KARIS, Piano in a concert of works by OLIVIER MESSIAEN ELLIOTT CARTER and FREDERIC CHOPIN Sunday, April 10, 2011 3:00 p.m. Lillian H. Duncan Recital Hall
No full textPresented by SyzygyPROGRAM: L'Alouette Calandrelle from Book V, Catalogue of the Birds / Olivier Messiaen -- Intermittences / Elliott Carter -- La Bouscarle from Book V, Catalogue of the Birds / Olivier Messiaen -- Catenaires / Elliott Carter -- Le Traquet Stapazin from Book II, Catalogue of the Birds / Olivier Messiaen -- 3 Nouvelle Etudes -- Etudes, Op. 25 / Frederic Chopi
Tempo modulation and simultaneity in works of Elliott Carter
Get PDFTato práce se zabývá tempovou modulací v díle Elliotta Cartera, a zároveň rytmickou stratifikací, pro jejíž pojmenování je použit termín Jonathana Bernarda „simultaneita“. Simultaneitě může být rozuměno jako situaci, ve které se dva nebo více procesů odehrává v jasně odlišených vrstvách současně. Nicméně v rámci této práce je pojem simultaneity redukován pouze na složku časovou.This thesis concerns about tempo modulation in works of Elliott Carter, and about rhythmic stratification for which Jonathan Bernard’s term “simultaneity” is used. Simultaneity can be construed as a situation in which two or more processes in clearly differentiated layers are happening simultaneously. Nonetheless, within this thesis, the term simultaneity is reduced to the time aspect only
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