9781316632178 - stravinsky's piano: genesis of a musical language (music since 1900) von griffiths, graham (3 Ergebnisse)
Sprache: Englisch
Verlag: Cambridge University Press, 2016
Serie: Music since 1900, Buch 4 von 28. Buch 4 von 28 - Music since 1900
- Softcover
Anbieter: Ria Christie Collections, Uxbridge, Vereinigtes KönigreichRia Christie Collections
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Zustand: New. In.
Sprache: Englisch
Verlag: Cambridge University Press, 2016
Serie: Music since 1900, Buch 4 von 28. Buch 4 von 28 - Music since 1900
- Softcover
Anbieter: Kennys Bookstore, Olney, MD, USAKennys Bookstore
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Zustand: New. An unprecedented exploration of Stravinsky's use of the piano as the genesis of all his music - Russian, neoclassical and serial. Series: Music Since 1900. Num Pages: 354 pages, 10 b/w illus. 59 music examples. BIC Classification: AVGC6; AVH; AVRG. Category: (P) Professional & Vocational. Dimension: 174 x 244 x 21.… Weight in Grams: 624. . 2016. Paperback. . . . . Books ship from the US and Ireland.
Sprache: Englisch
Verlag: Cambridge University Press, 2016
Serie: Music since 1900, Buch 4 von 28. Buch 4 von 28 - Music since 1900
- Softcover
Anbieter: AHA-BUCH GmbH, Einbeck, DeutschlandAHA-BUCH GmbH
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Taschenbuch. Zustand: Neu. Druck auf Anfrage Neuware - Printed after ordering - Stravinsky's reinvention in the early 1920s, as both neoclassical composer and concert-pianist, is here placed at the centre of a fundamental reconsideration of his whole output - viewed from the unprecedented perspective of his relationship with the… piano. Graham Griffiths assesses Stravinsky's musical upbringing in St Petersburg with emphasis on his education at the hands of two extraordinary teachers whom he later either ignored or denounced: Leokadiya Kashperova, for piano and Rimsky-Korsakov, for instrumentation. Their message, Griffiths argues, enabled Stravinsky to formulate from that intensely Russian experience an internationalist brand of neoclassicism founded upon the premises of objectivity and craft. Drawing directly on the composer's manuscripts, Griffiths addresses Stravinsky's lifelong fascination with counterpoint and with pianism's constructive processes. Stravinsky's Piano presents both of these as recurring features of the compositional attitudes that Stravinsky consistently applied to his works, whether Russian, neoclassical or serial, and regardless of idiom and genre.
