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Author : Cyril Scott
Publisher : Unknown
Page : 360 pages
File Size : 41,6 Mb
Release : 1917
Category : Composers
ISBN : STANFORD:36105042620463
Author : Cyril Scott,Arthur Eaglefield Hull
Publisher : Unknown
Page : 330 pages
File Size : 53,7 Mb
Release : 19??
Category : Composers
ISBN : OCLC:1110401251
Author : Cyril Scott
Publisher : Unknown
Page : 135 pages
File Size : 51,7 Mb
Release : 2013-04-07
Category : Music
ISBN : 1627923993
Author : Cyril Meir Scott
Publisher : Unknown
Page : 128 pages
File Size : 51,9 Mb
Release : 193?
Category : Electronic
ISBN : OCLC:847432278
Author : Cyril 1879-1970 Scott
Publisher : Wentworth Press
Page : 148 pages
File Size : 48,8 Mb
Release : 2016-08-29
Category : History
ISBN : 1374472905
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
Author : Cyril Scott
Publisher : Forgotten Books
Page : 150 pages
File Size : 40,5 Mb
Release : 2017-11-02
Category : Self-Help
ISBN : 0260171751
Excerpt from The Philosophy of Modernism (in Its Connection With Music) Now, as everybody who studies the aesthetics Of art must know, there were until lately two distinct schools of thought, the Classic, just referred to, being one, and the Romantic, its antithesis, being the other; but at the end of last century a third came into being, which its votaries christened the Futuristic, though the term is somewhat ambiguous, as we shall have occasion to see later. 'as to the first, our simile has attempted to show it must lead to creative stagnation, and to nowhere beyond, for it may be regarded as a species of pharisaism in art, a petty adherence to rule and letter, ignoring the true spirit; the value of originality, individuality, and self-expression in its highest sense. In a word, it may be described as a profane contentment, because it is the enemy of divine evolution, and should it vanquish its Opponents, which, of course, it never can do, then no more could a masterpiece be created in the world Of art. The truth is, classicalism is based, at any rate in music, upon a gigantic misconception - the misconception that any great genius was ever classical in Iris day. NO composer of the first rank has ever adhered to traditions; he has always overstepped them. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
Author : Cyril Scott,A. Eaglefield 1876-1928 Hull
Publisher : Palala Press
Page : 356 pages
File Size : 44,6 Mb
Release : 2015-09-01
Category : Electronic
ISBN : 1341105725
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
Author : Cyril Scott,A. Eaglefield Hull
Publisher : Unknown
Page : 334 pages
File Size : 54,8 Mb
Release : 1925*
Category : Electronic
ISBN : OCLC:462331364
Author : Cyril Scott
Publisher : Forgotten Books
Page : 354 pages
File Size : 47,9 Mb
Release : 2018-03-23
Category : Music
ISBN : 0365405698
Excerpt from The Philosophy of Modernism-Its Connection With Music, Cyril Scott: The Man, and His Works N ow, as everybody who studies the aesthetics of art must know, there were until lately two distinct schools of thought, the Classic, just referred to, being one, and the Romantic, its antithesis, being the other; but at the end of last century a third came into being, which its votaries christened the Futuristic, though the term is somewhat ambiguous, as we shall have occasion to see later. As to the first, our simile has attempted to show it must lead to creative stagnation, and to nowhere beyond, for it may be regarded as a species of pharisaism in art, a petty adherence to rule and letter, ignoring the true spirit; the value of originality, individuality, and self-expression in its highest sense. In a word, it may be described as a profane contentment, because it is the enemy of divine evolution, and should it vanquish its opponents, which, of course, it never can do, then no more could a masterpiece be created in the world of art. The truth is, classicalism is based, at any rate in music, upon a gigantic misconception - the misconception that any great genius was ever Classical in Ms day. No composer of the first rank has ever adhered to traditions; he has always overstepped them. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
Author : Suzanne Robinson,Kay Dreyfus
Publisher : Routledge
Page : 287 pages
File Size : 50,7 Mb
Release : 2016-03-09
Category : Music
ISBN : 9781317125020
Unaccountably, Percy Grainger has remained on the margins of both American music history and twentieth-century modernism. This volume reveals the well-known composer of popular gems to be a self-described ’hyper-modernist’ who composed works of uncompromising dissonance, challenged the conventions of folk song collection and adaptation, re-visioned the modern orchestra, experimented with ’ego-less’ composition and designed electronic machines intended to supersede human application. Grainger was far from being a self-sufficient maverick working in isolation. Through contact with innovators such as Ferrucio Busoni, Léon Theremin and Henry Cowell; promotion of the music of modern French and Spanish schools; appreciation of vernacular, jazz and folk musics; as well as with the study and transcription of non-Western music; he contested received ideas and proposed many radical new approaches. By reappraising Grainger’s social and historical connectedness and exploring the variety of aspects of modernity seen in his activities in the British, American and Australian contexts, the authors create a profile of a composer, propagandist and visionary whose modernist aesthetic paralleled that of the most advanced composers of his day, and, in some cases, anticipated their practical experiments.
Author : Alastair Williams
Publisher : Routledge
Page : 187 pages
File Size : 54,8 Mb
Release : 2017-07-05
Category : Music
ISBN : 9781351556477
Since 1945 the emphasis in new music has lain in a desire for progress, a concept challenged by postmodernist aesthetics. In this study, Alastair Williams identifies and explores the recurring issues and problems presented by post-war music. Part one examines the German philosopher, Theodor Adorno's portrayal of modernity and his understanding of modernism in music. This is followed by a survey of the developments in music from late Beethoven to Schoenberg, the two composers whose works provided the main anchor points for Adorno's philosophy of music. Parts two and three indicate the ways in which Adorno's aesthetics are pertinent to an understanding of new music. Part two comprises a close examination of the music of Pierre Boulez and John Cage, composers who represent extreme, though related, aspects of contemporary music thought: the primacy of structure versus dissolution. Williams' views the music of Ligeti as an exploration of the interface between these two extremes, personifying Adorno's advocation of an aesthetic which attempts to embrace all its dissimilar parts. In part three the consequences of modernism and the aesthetic approaches of Derrida and de Mann are considered, together with the music of Wolfgang Rihm. Williams concludes with a survey of contemporary music and the postmodernist desire to include a range of compositional references.
Author : Anonim
Publisher : Unknown
Page : 1074 pages
File Size : 42,7 Mb
Release : 1917
Category : International relations
ISBN : UCAL:C2752061
Author : Brian K. Etter
Publisher : Routledge
Page : 409 pages
File Size : 54,8 Mb
Release : 2019-07-30
Category : Social Science
ISBN : 9781351735070
This title was first published in 2001. The last century has witnessed the ascendancy of the avant-garde in music. From Schoenberg to Boulez to Stockhausen, the avant-garde has defined the modern conception of musical creativity. Contemporary serious music demands the "new" in terms of style, form and ways of listening and hearing. Implicit in this approach is the rejection of the "old", from the baroque to the music of the later 19th-century symphonists. Paradoxically, however, it is this "old" repertoire which contiues to dominate concert programmes. An exploration of this dichotomy lies at the heart of this book. Drawing on a wealth of European philosophical and musical texts, the author examines the origins of the avant-garde and its relation to modernity in tandem with the history of the tonal tradition.
Author : Laura Seddon
Publisher : Routledge
Page : 248 pages
File Size : 45,7 Mb
Release : 2016-04-15
Category : Music
ISBN : 9781317171348
This is the first full-length study of British women's instrumental chamber music in the early twentieth century. Laura Seddon argues that the Cobbett competitions, instigated by Walter Willson Cobbett in 1905, and the formation of the Society of Women Musicians in 1911 contributed to the explosion of instrumental music written by women in this period and highlighted women's place in British musical society in the years leading up to and during the First World War. Seddon investigates the relationship between Cobbett, the Society of Women Musicians and women composers themselves. The book’s six case studies - of Adela Maddison (1866-1929), Ethel Smyth (1858-1944), Morfydd Owen (1891-1918), Ethel Barns (1880-1948), Alice Verne-Bredt (1868-1958) and Susan Spain-Dunk (1880-1962) - offer valuable insight into the women’s musical education and compositional careers. Seddon’s discussion of their chamber works for differing instrumental combinations includes an exploration of formal procedures, an issue much discussed by contemporary sources. The individual composers' reactions to the debate instigated by the Society of Women Musicians, on the future of women's music, is considered in relation to their lives, careers and the chamber music itself. As the composers in this study were not a cohesive group, creatively or ideologically, the book draws on primary sources, as well as the writings of contemporary commentators, to assess the legacy of the chamber works produced.
Author : Samuel Jay Keyser
Publisher : MIT Press
Page : 240 pages
File Size : 42,9 Mb
Release : 2020-03-03
Category : Science
ISBN : 9780262043496
An argument that Modernism is a cognitive phenomenon rather than a cultural one. At the beginning of the twentieth century, poetry, music, and painting all underwent a sea change. Poetry abandoned rhyme and meter; music ceased to be tonally centered; and painting no longer aimed at faithful representation. These artistic developments have been attributed to cultural factors ranging from the Industrial Revolution and the technical innovation of photography to Freudian psychoanalysis. In this book, Samuel Jay Keyser argues that the stylistic innovations of Western modernism reflect not a cultural shift but a cognitive one. Behind modernism is the same cognitive phenomenon that led to the scientific revolution of the seventeenth century: the brain coming up against its natural limitations. Keyser argues that the transformation in poetry, music, and painting (the so-called sister arts) is the result of the abandonment of a natural aesthetic based on a set of rules shared between artist and audience, and that this is virtually the same cognitive shift that occurred when scientists abandoned the mechanical philosophy of the Galilean revolution. The cultural explanations for Modernism may still be relevant, but they are epiphenomenal rather than causal. Artists felt that traditional forms of art had been exhausted, and they began to resort to private formats—Easter eggs with hidden and often inaccessible meaning. Keyser proposes that when artists discarded their natural rule-governed aesthetic, it marked a cognitive shift; general intelligence took over from hardwired proclivity. Artists used a different part of the brain to create, and audiences were forced to play catch up.
