MARC Record from marc_columbia

LEADER: 03226cam a2200313 a 4500
001 8625454
005 20160415132330.0
008 100928s2011 enkag b 001 0deng
010 $a 2010041734
020 $a9780521514903 (hardback)
020 $a0521514908 (hardback)
024 $a40019232922
035 $a(OCoLC)ocn667610213
035 $a(OCoLC)667610213
035 $a(NNC)8625454
040 $aDLC$cDLC$dYDX$dERASA$dYDXCP$dCDX$dNhCcYBP
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., music ;$c26 cm.
490 1 $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 -- Part II. Form 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', rhythmic 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 $aBoulez, Pierre,$d1925-2016$xCriticism and interpretation.
650 0 $aMusic$y20th century$xHistory and criticism.
830 0 $aMusic since 1900.
852 00 $bmus$hML410.B773$iG58 2011