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The pastoral in Charles Griffes's music : aesthetic of ambivalence [electronic resources]
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The pastoral in Charles Griffes's music : aesthetic of ambivalence [electronic resources]
상세정보
- 자료유형
- 전자책(국외)
- 미국국회도서관 청구기호
- ML410.G9134-G74 2024
- 자관 청구기호
- 기본표목-개인명
- 표제와 책임표시사항
- The pastoral in Charles Griffess music : aesthetic of ambivalence [electronic resources]/ Taylor A. Greer.
- 발행, 배포, 간사 사항
- 형태사항
- 1 online resource.
- 총서사항
- Musical meaning and interpretation
- 서지 등 주기
- Includes bibliographical references and index.
- 내용주기
- 완전내용Part I: Preliminaries. Biography and style; Philosophical prelude and interpretative method; Pastoral and lament cues -- Part II: Commentaries and analyses. "The dreamy lake" and the unfolding tale of "The white peacock"; The Pleasure-dome, paradox in paradise; Songs of lament and spiritual yearning; "Tears" and "Symphony in yellow"; Lake, Vale, and Bacchanale; Prelude #3, irony goes Wilde; Pastoral postlude.
- 요약 등 주기
- 요약"Charles Tomlinson Griffes was a visionary American composer who at the turn of the twentieth century synthesized highly diverse elements from other musical traditions into his own distinct artistic voice. As American as he was exotic, Griffes was an aesthetic polyglot, combining elements of literature, visual arts, exotic folk melodies, and contemporary European art music into a new musical language. The breadth of his sources of inspiration is breathtaking, including the sensual harmonies of fin-de-sieÌ⁰cle French music, the British Aesthetic Movement, exotic folk music drawn from Arabia and Java as well as a wide range of poets including William Blake, Samuel Taylor Coleridge, and William Sharp. The Pastoral in Charles Griffes's Music explores his music and the rich historical context from which it grew to enrich our understanding of the composer's artistic contribution and reveal new intersections and contradictions in European and American culture during the early twentieth century. Taylor A. Greer critiques the philosophical foundation of topic theory and its relationship to the pastoral in Griffes's music to reflect on the end of the nineteenth century and clarify these artistic influences. With Griffes's conception of the pastoral, he transformed the siciliana-based tradition he inherited from the eighteenth century into a new and vibrant genre that preserved the usual associations of simplicity and tranquility and introduced new elements of conflict to the pastoral ideal including exoticism, paradox, and occasionally aggression."--해제Provided by publisher.
- 요약 등 주기
- 요약"At the turn of the century, visionary composer Charles Tomlinson Griffes synthesized highly diverse elements from other musical traditions into his distinct artistic voice. As American as he was far ranging in his interests, Griffes was an aesthetic polyglot, combining elements of literature, visual arts, global folk melodies, and contemporary European art music into a new musical language. The breadth of his sources of inspiration are breathtaking, including the sensual harmonies of fin-de-sieÌ⁰cle French music, the British Aesthetic Movement, folk music drawn from the Middle East and Java, and a wide range of poets, including William Blake, Samuel Taylor Coleridge, and William Sharp. The Pastoral in Charles Griffes's Music explores both his music and the rich historical context from which it grew to enrich our understanding of the composer's artistic contribution and reveal new intersections and contradictions in European and American culture during the early twentieth century. Taylor A. Greer also critiques the philosophical foundation of topic theory and its relationship to the pastoral in Griffes's music to reflect on the end of the nineteenth century and clarify our understanding of his artistic influences. With Griffes's conception of the pastoral, he transformed the siciliana-based tradition he inherited from the eighteenth century into a new and vibrant genre that preserved the usual associations of simplicity and tranquility and introduced new elements of tension into the pastoral ideal, including global voices, paradox, and occasional conflict."--해제Provided by publisher.
- 주제명부출표목-개인명
- 주제명부출표목-일반주제명
- 주제명부출표목-일반주제명
- 주제명부출표목-일반주제명
- 주제명부출표목-일반주제명
- 주제명부출표목-일반주제명
- 주제명부출표목-일반주제명
- 주제명부출표목-일반주제명
- 기타형태저록
- Print version Greer Taylor Aitken 1955- Pastoral in Charles Griffes's music
- 총서부출표목-통일표제
- Musical meaning and interpretation.
- 전자적 위치 및 접속
- 링크정보보기
MARC
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■003OCoLC
■00520240610213014.0
■006m d
■007cr cnu---unuuu
■010 ▼a 2024001344
■020 ▼a0253069319▼qelectronic book
■020 ▼a9780253069313▼q(electronic bk.)
■020 ▼z9780253069290▼qpaperback
■020 ▼z9780253069283▼qhardcover
■035 ▼a3932587▼b(N$T)
■035 ▼a(OCoLC)1417759065
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■042 ▼apcc
■049 ▼aMAIN
■05000▼aML410.G9134▼bG74 2024
■08200▼a780.92▼223/eng/20240116
■084 ▼aMUS041000▼aMUS020000▼2bisacsh
■090 ▼a전자자료
■1001 ▼aGreer, Taylor Aitken▼d1955-▼eauthor.
■24514▼aThe pastoral in Charles Griffes's music :▼baesthetic of ambivalence ▼h[electronic resources]/▼cTaylor A. Greer.
■260 ▼aBloomington, Indiana▼bIndiana University Press▼c2024.
■300 ▼a1 online resource.
■336 ▼atext▼btxt▼2rdacontent
■337 ▼acomputer▼bc▼2rdamedia
■338 ▼aonline resource▼bcr▼2rdacarrier
■4901 ▼aMusical meaning and interpretation
■504 ▼aIncludes bibliographical references and index.
■5050 ▼aPart I: Preliminaries. Biography and style; Philosophical prelude and interpretative method; Pastoral and lament cues -- Part II: Commentaries and analyses. "The dreamy lake" and the unfolding tale of "The white peacock"; The Pleasure-dome, paradox in paradise; Songs of lament and spiritual yearning; "Tears" and "Symphony in yellow"; Lake, Vale, and Bacchanale; Prelude #3, irony goes Wilde; Pastoral postlude.
■520 ▼a"Charles Tomlinson Griffes was a visionary American composer who at the turn of the twentieth century synthesized highly diverse elements from other musical traditions into his own distinct artistic voice. As American as he was exotic, Griffes was an aesthetic polyglot, combining elements of literature, visual arts, exotic folk melodies, and contemporary European art music into a new musical language. The breadth of his sources of inspiration is breathtaking, including the sensual harmonies of fin-de-sieÌ⁰cle French music, the British Aesthetic Movement, exotic folk music drawn from Arabia and Java as well as a wide range of poets including William Blake, Samuel Taylor Coleridge, and William Sharp. The Pastoral in Charles Griffes's Music explores his music and the rich historical context from which it grew to enrich our understanding of the composer's artistic contribution and reveal new intersections and contradictions in European and American culture during the early twentieth century. Taylor A. Greer critiques the philosophical foundation of topic theory and its relationship to the pastoral in Griffes's music to reflect on the end of the nineteenth century and clarify these artistic influences. With Griffes's conception of the pastoral, he transformed the siciliana-based tradition he inherited from the eighteenth century into a new and vibrant genre that preserved the usual associations of simplicity and tranquility and introduced new elements of conflict to the pastoral ideal including exoticism, paradox, and occasionally aggression."--▼cProvided by publisher.
■520 ▼a"At the turn of the century, visionary composer Charles Tomlinson Griffes synthesized highly diverse elements from other musical traditions into his distinct artistic voice. As American as he was far ranging in his interests, Griffes was an aesthetic polyglot, combining elements of literature, visual arts, global folk melodies, and contemporary European art music into a new musical language. The breadth of his sources of inspiration are breathtaking, including the sensual harmonies of fin-de-sieÌ⁰cle French music, the British Aesthetic Movement, folk music drawn from the Middle East and Java, and a wide range of poets, including William Blake, Samuel Taylor Coleridge, and William Sharp. The Pastoral in Charles Griffes's Music explores both his music and the rich historical context from which it grew to enrich our understanding of the composer's artistic contribution and reveal new intersections and contradictions in European and American culture during the early twentieth century. Taylor A. Greer also critiques the philosophical foundation of topic theory and its relationship to the pastoral in Griffes's music to reflect on the end of the nineteenth century and clarify our understanding of his artistic influences. With Griffes's conception of the pastoral, he transformed the siciliana-based tradition he inherited from the eighteenth century into a new and vibrant genre that preserved the usual associations of simplicity and tranquility and introduced new elements of tension into the pastoral ideal, including global voices, paradox, and occasional conflict."--▼cProvided by publisher.
■588 ▼aDescription based on online resource; title from digital title page (viewed on June 04, 2024).
■590 ▼aAdded to collection customer.56279.3
■60010▼aGriffes, Charles Tomlinson▼d1884-1920▼xCriticism and interpretation.
■650 0▼aMusic▼y20th century▼xAnalysis, appreciation.
■650 0▼aMusic▼y20th century▼xHistory and criticism.
■650 0▼aPastoral music (Secular)▼xHistory and criticism.
■650 6▼aMusique▼y20e siècle▼xAnalyse et appréciation.
■650 6▼aPastorales (Musique)▼xHistoire et critique.
■650 7▼aMUSIC / Instruction & Study / Theory.▼2bisacsh
■650 7▼aMUSIC / History & Criticism.▼2bisacsh
■77608▼iPrint version▼aGreer, Taylor Aitken, 1955-▼tPastoral in Charles Griffes's music▼dBloomington, Indiana : Indiana University Press, 2024▼z9780253069290▼w(DLC) 2024001343
■830 0▼aMusical meaning and interpretation.
■85640▼3EBSCOhost▼uhttps://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&db=nlabk&AN=3932587
■938 ▼aEBSCOhost▼bEBSC▼n3932587
■994 ▼a92▼bN$T
