Composition - Performance - Reception: Studies in the Creative Process in Music

Composition - Performance - Reception: Studies in the Creative Process in Music

by Wyndham Thomas
     
 

ISBN-10: 185928325X

ISBN-13: 9781859283257

Pub. Date: 10/01/1998

Publisher: Ashgate Publishing, Limited

Composers, performers, listeners, critics and theorists all play vital roles in the creation of our music culture; yet often each group can appear to hold widely divergent views of a work's aims and effects. As the title indicates, Composition - Performance - Reception examines the parts played by these participants in the creative process in music and…  See more details below

Overview

Composers, performers, listeners, critics and theorists all play vital roles in the creation of our music culture; yet often each group can appear to hold widely divergent views of a work's aims and effects. As the title indicates, Composition - Performance - Reception examines the parts played by these participants in the creative process in music and explores the interaction between them. In the first of eleven essays, Robert Saxton discusses the difficulty in pin-pointing the moment of inspiration for a new composition. Raymond Warren then looks at the problems facing opera composers and performers, including the tensions that can exist when different disciplines come together in a singje production. The changing perception of the composer's art (in particular attitudes towards arrangement) is charted by Wyndham Thomas, in a wide-ranging survey from the Middle Ages to the present. Two quite different views of the performer's responsibility in communicating the composer's intentions are taken by Charles Roseii and Susan Bradshaw, the latter arguing for the need to bridge the gap between theoretical and practical analysis. In a fascinating case study, Eric Clarke and Jennifer Davidson highlight the ways in which attention to movements of the body in performance can reveal aspects of musical structure. The reception of music is tackled from a variety of perspectives in the booL In his assessment of audience (and performer) reaction to Jonathan Harvey's The Riot, Adrian Beaumont concludes that our response is influenced by a complex web of expectations and previous musical experience. Stephen Walsh and Adrian Thomas explore two milieux of critical reception -the first to the music of Stravinsky, and the second to works composed during the social-realist period in Poland -whereas Nicholas Cook evaluates the aesthetic significance of record sleeves and investigate their function as indicators of musical taste. On a more personal level, Bojan Bujic's essay forms a fitting counterpart to Saxton's in his search for appropriate terms of reference in describing the memory of a youthful musical experience. These absorbing essays offer new insights into our understanding of music making in all its senses, and suggest future ways of approaching works whether as a composer, performers or listener.

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Product Details

ISBN-13:
9781859283257
Publisher:
Ashgate Publishing, Limited
Publication date:
10/01/1998
Pages:
200
Product dimensions:
6.39(w) x 9.47(h) x 0.85(d)

Table of Contents

Acknowledgements
List of examples and illustrations
Notes on contributors
Preface
Introduction
1The Process of Composition from Detection to Confection1
2The Composer and Opera Performance17
3Composing, Arranging and Editing: A Historial Survey35
4A Performer's Responsibility53
5Freedom of Interpretation in Twentieth-century Music66
6The Body in Performance74
7Expectation and Interpretation in the Reception of New Music: A Case Study93
8The Domestic Gesamtkunstwerk, or Record Sleeves and Reception105
9Form and Forming: From Victorian Aesthetics to the Mid-twentieth-century Avant-garde118
10Stravinsky and the Vicious Circle: Some Remarks about the Composer and the Press132
11Mobilising our Man: Politics and Music in Poland during the Decade after the Second World War145
Index of names and titles169

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