MARC Record from harvard_bibliographic_metadata

LEADER: 03222cam a2200349 a 4500
001 012760181-3
005 20110603192212.0
008 100928s2011 enka b 001 0deng
010 $a 2010041734
015 $aGBB0A7474$2bnb
016 7 $a015644088$2Uk
020 $a9780521514903 (hardback)
020 $a0521514908 (hardback)
035 0 $aocn667610213
040 $aDLC$cDLC$dYDX$dERASA$dYDXCP$dCDX$dTDF$dUKM$dBWX
050 00 $aML410.B773$bG58 2011
082 00 $a780.92$222
100 1 $aGoldman, Jonathan,$d1972-
245 14 $aThe musical language of Pierre Boulez :$bwritings and compositions /$cJonathan Goldman.
260 $aCambridge, UK ;$aNew York :$bCambridge University Press,$c2011.
300 $axxii, 244 p. :$bill. ;$c26 cm.
490 0 $aMusic since 1900
504 $aIncludes bibliographical references and index.
505 0 $aIntroduction. Boulez's compositional path ; Sources for theories of musical form ; Serialism as musical structuralism -- Part I. Form as opposition in the writings of Pierre Boulez ; Writings from the first period : serialist doctrine, the open work and strategies of rhetorical displacement ; A portrait of Webern, a self-portrait of Boulez ; The second cantata ; Chronology of writings on Webern and key concepts ; Webern vs. Debussy : observable correspondence or imagined encounter ; The turn towards perception ; Form, thematicism and perceptual categories in the writings from the 1970s to the present ; Lessons for all or personal incantation ; The basic elements of musical language ; The new concepts ; Concept of form in Leçons de musique ; Lessons of Leçons --
505 0 $aPart II.
505 0 $aForm as opposition in selected works by Pierre Boulez : Analysis by, of, in and according to Boulez ; Boulezian motivations for analysing Boulez ; False or 'mutilating' analysis ; Boulez analyses The rite of spring ; Boulez for the analyst : the didactic work ; Rituel and the architecture of antiphony ; Presentation ; Form ; Pitch in the Repons ; Structure of verses ; Dérive 1 and harmonic control ; Presentation ; Form ; Six harmonic fields ; Anticipations, suspensions and the recovery of classical categories ; Durations, densities and note hierarchies ; Mémoriale and polar mechanics ; Presentation ; Themes in Mémoriale ; Passage from clear to veiled timbre ; Paradigmatic analysis ; Polar notes ; Analysis of pitch content ; Durations ; Unplugged electronics ; Resonator effects ; Delay/echo effects ; Geometric orchestration ; Rhythmic canons ; Anthèmes and virtual thematics ; Presentation ; The virtual theme ; Discontinuities : 'characters',
505 0 $arhythmic canons and non-retrogradable rhythms ; Passage from Anthèmes 1 to Anthèmes 2 ; Incises and the play of recognition and surprise ; Presentation ; Annunciatory opening ; Treslent sections ; A paradigmatic-syntagmatic approach to Section I, Prestissimo ; Boulezian form in theory and practice ; From system to idea : systematic obscuring ; Formal schemas in a comparative approach.
600 10 $aBoulez, Pierre,$d1925-$xCriticism and interpretation.
650 0 $aMusic$y20th century$xHistory and criticism.
988 $a20110503
049 $aHMUU
906 $0DLC