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How does one go about writing the history of musical composition in the late twentieth century when, on the one hand, so much of it seems impossibly fractured and disassociated, and, on the other, there has been so little certainty about what the notion of 'music history' might entail under the critiques of post-modernism? One of the most productive ways forward is to pursue case studies involving single composers whose music reflects several aspects of recent activity. This enables the discussion of broad issues in a relatively focussed way whilst avoiding the pitfalls of traditional narrative histories and the centrifugal tendencies of the relativistic approach that some have called for. The music of the English-born (1943) and Australia-domiciled composer Roger Smalley is ideal material for such a study, because of his involvement with and response to an unusually large number of the myriad concerns and practices of post-1950s composition, including post-serial constructivism; parody; electro-acoustic composition and the electronic modification of conventionally-produced sound; Moment Form; aleatorism; minimalism; the use of non-Western resources (Aboriginal and South-East Asian sonorities); neo-Romanticism; and, arguably, the 'new classicism', as well as a brief flirtation with rock music in the late '60s. Employing an interview with the composer as a kind of cantus firmus, the book - the first extended single-author study of Smalley's music to be published - incorporates critical commentary on the composer's major works in a chronological narrative that engages with broad issues of central relevance to Smalley's generation, such as the process of learning the craft of composition in the early '60s; the motivation behind the adoption of certain technical and aesthetic positions; the effects on technical and aesthetic orientation of both the changing relationships between composer, performer, and audience and technological change; and the distinction betwe
This Companion celebrates the extraordinary riches of the twentieth-century operatic repertoire in a collection of specially commissioned essays written by a distinguished team of academics, critics and practitioners. Beginning with a discussion of the century's vital inheritance from late-romantic operatic traditions in Germany and Italy, the text embraces fresh investigations into various aspects of the genre in the modern age, with a comprehensive coverage of the work of individual composers from Debussy and Schoenberg to John Adams and Harrison Birtwistle. Traditional stylistic categorizations (including symbolism, expressionism, neo-classicism and minimalism) are reassessed from new critical perspectives, and the distinctive operatic traditions of Continental and Eastern Europe, Russia and the Soviet Union, the United Kingdom and United States are subjected to fresh scrutiny. The volume includes essays devoted to avant-garde music theatre, operettas and musicals, filmed opera, and ends with a discussion of the position of the genre in today's cultural marketplace.
This report--a joint effort of the Federal Reserve's Community Affairs function and the Brookings Institution's Metropolitan Policy Program--examines the issue of concentrated poverty and profiles 16 high-poverty communities from across the country, including immigrant gateway, Native American, urban, and rural communities. Through these case studies, the report contributes to our understanding of the dynamics of poor people living in poor communities, and the policies that will be needed to bring both into the economic mainstream. It is not the intention of this publication to explain poverty causation. Instead, the goal is to add texture to our understanding of where and how concentrated poverty exists, by studying new areas and by interviewing local stakeholders, including residents, community leaders, and government representatives, to understand how concentrated poverty affects both individuals and communities. The report begins with "Concentrated Poverty in America: An Overview" (Alan Berube) and "Introduction to the Case Studies" (Carolina Reid). It then presents the following 16 case studies: (1) Fresno, California: the West Fresno neighborhood (Naomi Cytron); (2) Cleveland, Ohio: the Central neighborhood (Lisa Nelson); (3) Miami, Florida: the Little Haiti neighborhood (Ana Cruz-Taura and Jessica LeVeen Farr); (4) Martin County, Kentucky (Jeff Gatica); (5) Blackfeet Reservation, Montana (Sandy Gerber, Michael Grover, and Sue Woodrow); (6) Greenville, North Carolina: the West Greenville neighborhood (Carl Neel); (7) Atlantic City, New Jersey: the Bungalow Park/Marina District area (Harriet Newburger, John Wackes, Keith Rolland, and Anita Sands); (8) Austin, Texas: the East Austin neighborhood (Elizabeth Sobel); (9) McKinley County, New Mexico: Crownpoint (Steven Shepelwich and Roger Zalneraitis); (10) McDowell County, West Virginia (Courtney Anderson Mailey); (11) Albany, Georgia: the East Albany neighborhood (Jessica LeVeen Farr and Sibyl Slade); (12) El Paso, Texas: the Chamizal neighborhood (Roy Lopez); (13) Springfield, Massachusetts: Old Hill, Six Corners, and the South End neighborhoods (DeAnna Green); (14) Rochester, New York: the Northern Crescent neighborhoods (Alexandra Forter Sirota and Yazmin Osaki); (15) Holmes County, Mississippi (Ellen Eubank); and (16) Milwaukee, Wisconsin: the Northwest neighborhood (Jeremiah Boyle). Following these case studies is "Learning from Concentrated Poverty in America: A Synthesis of Themes from the Case Studies" (Alan Berube, David Erickson, and Carolina Reid). Appended to this report are: (A) References for Comparison Statistics Tables; (B) Literature Review: Federal Reserve System Poverty-Related Research; (C) References for Overview in Alphabetical Order (by First Author); and (D) Photo Credits. (Individual case studies contain tables, figures, and footnotes.).
Rising out of the American art music movement of the late 1950s and 1960s, minimalism shook the foundations of the traditional constructs of classical music, becoming one of the most important and influential trends of the twentieth century. The emergence of minimalism sparked an active writing culture around the controversies, philosophies, and forms represented in the music’s style and performance, and its defenders faced a relentless struggle within the music establishment and beyond. Focusing on how facts about music are constructed, negotiated, and continually remodeled, We Have Always Been Minimalist retraces the story of these battles that—from pure fiction to proven truth—led to the triumph of minimalism. Christophe Levaux’s critical analysis of literature surrounding the origins and transformations of the stylistic movement offers radical insights and a unique new history.