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Eric Gross: Klavierstucke II (1980-86)
No full text"Even though each of Eric Gross's Klavierstucke was composed on a quite separate occasion - the three pieces were written in 1980, 1983 and 1986 respectively - they do form a unified set, as the pieces all display similar fonnal devices ar1d stylistic characteristics. Formally, each of the Klavierstucke can be seen to be based upon the principle of variation set within contrasting sectional structures involving the development and metamorphosis of different thematic or motivic cells. Therefore, a modular or lattice-like structure is generated in which predominantly self contained musical fragments reappear in a modified, expanded or truncated form within a musical context quite different from that in which they first appeared. One may find, for example, two variants of different musical cells placed together even though the original cells appeared earlier in quite different sections of the piece. Such cells as well as wholes sections within each Klavierstuck are quite clearly defined and are frequently separated by a caesura or ritardando, or a sudden change in dynamic. The fundamental principle of variation, as a generator of musical material, is, of course, firmly rooted in the jazz tradition. Furthermore, even though each of the pieces has a clearly audible musical logic, the feeling of discontinuity caused by this mosaic variation structure tends to negate any sense of the classical notions of climax and repose. Several stylistic traits readily derivable from various jazz idioms may be seen at work in the Klavierstucke. From the softer, lyrical, jazz ballad and night club styles comes an often flexible approach to rhythm and tempo. Also common are arpeggio-derived or thick, lush and frequently dissonant chordal textures covering a large part of the piano keyboard." -- Ian Shanaha
Eric Gross: Klavierstucke I (1980-86)
No full text"Even though each of Eric Gross's Klavierstucke was composed on a quite separate occasion - the three pieces were written in 1980, 1983 and 1986 respectively - they do form a unified set, as the pieces all display similar fonnal devices ar1d stylistic characteristics. Formally, each of the Klavierstucke can be seen to be based upon the principle of variation set within contrasting sectional structures involving the development and metamorphosis of different thematic or motivic cells. Therefore, a modular or lattice-like structure is generated in which predominantly self contained musical fragments reappear in a modified, expanded or truncated form within a musical context quite different from that in which they first appeared. One may find, for example, two variants of different musical cells placed together even though the original cells appeared earlier in quite different sections of the piece. Such cells as well as wholes sections within each Klavierstuck are quite clearly defined and are frequently separated by a caesura or ritardando, or a sudden change in dynamic. The fundamental principle of variation, as a generator of musical material, is, of course, firmly rooted in the jazz tradition. Furthermore, even though each of the pieces has a clearly audible musical logic, the feeling of discontinuity caused by this mosaic variation structure tends to negate any sense of the classical notions of climax and repose. Several stylistic traits readily derivable from various jazz idioms may be seen at work in the Klavierstucke. From the softer, lyrical, jazz ballad and night club styles comes an often flexible approach to rhythm and tempo. Also common are arpeggio-derived or thick, lush and frequently dissonant chordal textures covering a large part of the piano keyboard." -- Ian Shanaha
ROSENTHAL, Eric Inventory of documents
No full textCOVERAGE 1904; 1 File; 011 metre.Private papers of Eric Rosenthal, author, journalist and broadcaster
tritrophic-dispersal-model: Code used for creating figures for "Non-hierarchical dispersal promotes stability and resilience in a tri-trophic metacommunity"
No full text<p>This is the commented code used for creating figures for the paper. Any questions regarding the code should be directed to the corresponding author and repository owner (Eric Pedersen). </p>
Eric Velazquez Spanish Language Picture Book Award 2022 Acceptance Speech
No full textAuthor Eric Velazquez gives his Silver Medal acceptance speech for Pulpo Guisado (Holiday House)https://educate.bankstreet.edu/spanishlanguageaward/1001/thumbnail.jp
Eric C. Lincoln, Professor of Sociology and Religion, 1971
No full textThis is an interview with Eric C. Lincoln. Eric was a Professor of Sociology and religion, Union Theological Seminary and author of many books and articles on Negro history. In this recording the contributors discuss local memphis politics, sociology, and race relations compared to that of other cities in the South and the rest of the country
Interview with Eric Bentley, author, drama critic, and playwright
No full textDistinguished drama critic and Bertolt Brecht scholar, Eric Bentley is interviewed by WTMJ-TV host Jim Peck and John B. Fuegi, associate professor of Comparative Literature. Bentley recalls his association with Brecht, the critical and creative aspects of literature, and his interest in writing plays for the theater.GrayscaleSoun
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