The book explores cellular pivots as a new means of progression, functional tonality having disappeared in much of contemporary music. Bela Bartok serves as a kind of father figure to Chen Yi and George Crumb - stylistically, technically, and even philosophically. These affinities provide insight into universal principles of the post-tonal era.
Quellen und Studien zur Musikgeschichte von der Antike bis in die Gegenwart|Band 48|Kang, Monica, ed|The book explores cellular pivots as a new means of progression, functional|tonality having disappeared in much of contemporary music. Béla|Bartók can be seen as a kind of father figure to the other two composers,|Chen Yi and George Crumb, in terms of their stylistic, technical, and|even philosophical connections. The musical affinities of all three composers|reflect a larger body of post-tonal music. Cell constructions and|their pivotal motions span the gamut from traditional/asymmetrical to more|abstract/symmetrical formations. This study provides insight into|universal principles of the post-tonal era and reveals a broader evolution of|the musical language as represented by the three composer
The book explores cellular pivots as a new means of progression, functional tonality having disappeared in much of contemporary music. Béla Bartók serves as a kind of father figure to Chen Yi and George Crumb - stylistically, technically, and even philosophically. These affinities provide insight into universal principles of the post-tonal era.
The book explores cellular pivots as a new means of progression, functional tonality having disappeared in much of contemporary music. Béla Bartók can be seen as a kind of father figure to the other two composers, Chen Yi and George Crumb, in terms of their stylistic, technical, and even philosophical connections. The musical affinities of all three composers reflect a larger body of post-tonal music. Cell constructions and their pivotal motions span the gamut from traditional/asymmetrical to more abstract/symmetrical formations. This study provides insight into universal principles of the post-tonal era and reveals a broader evolution of the musical language as represented by the three composers.
Contents: Late romanticism to post-tonal era - Cellular pivots - Modality and polymodality - Folk tunes and transformations - Cellular transformations - Pentatony - Octatonicism - Hungarian, Chinese, and American musical idioms - East-West musical synthesis - Jazz inspiration.
Monica Kang received her Doctor of Musical Arts degree in Piano Performance from The University of Texas at Austin. She also holds dual bachelor degrees in math and music from Northwestern University. Her research focuses on the affinities between music and other disciplines.
Über den Autor
Monica Kang received her Doctor of Musical Arts degree in Piano Performance from The University of Texas at Austin. She also holds dual bachelor degrees in math and music from Northwestern University. Her research focuses on the affinities between music and other disciplines.
Inhaltsverzeichnis
Contents: Late romanticism to post-tonal era - Cellular pivots - Modality and polymodality - Folk tunes and transformations - Cellular transformations - Pentatony - Octatonicism - Hungarian, Chinese, and American musical idioms - East-West musical synthesis - Jazz inspiration.
Klappentext
The book explores cellular pivots as a new means of progression, functional tonality having disappeared in much of contemporary music. Béla Bartók can be seen as a kind of father figure to the other two composers, Chen Yi and George Crumb, in terms of their stylistic, technical, and even philosophical connections. The musical affinities of all three composers reflect a larger body of post-tonal music. Cell constructions and their pivotal motions span the gamut from traditional/asymmetrical to more abstract/symmetrical formations. This study provides insight into universal principles of the post-tonal era and reveals a broader evolution of the musical language as represented by the three composers.
