Ralph Shapey and the Search for a New Concept of Musical Continuity, 1954-1958.
During the 1950s, Ralph Shapey attempted to reformulate the concept of musical continuity. In a series of works, he gradually abandoned traditional procedures of musical development based on the unfolding of motives or themes. He created a music in which contrast and continuity are produced mainly t...
| Publicado en: | Contemporary Music Review Vol. 27; no. 4/5; pp. 451 - 477 |
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| Formato: | Artículo |
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Taylor & Francis Ltd
2008
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=34716721&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 34716721 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 07494467 7VR jtl: Contemporary Music Review issn: 07494467 maglogo: N pubinfo: dt: 2008 vid: 27 iid: 4/5 pid: 377 pub: Taylor & Francis Ltd artinfo: ui: 34716721 10.1080/07494460802367007 ppf: 451 ppct: 26 formats: fmt: – @attributes: type: T – @attributes: type: P size: 1.8MB tig: atl: Ralph Shapey and the Search for a New Concept of Musical Continuity, 1954-1958. aug: au: Wiener, Barry su: Shapey, Ralph Music theory Chamber music Clarinet music Violin music Concerto sug: subj: Shapey, Ralph Music theory Chamber music Clarinet music Violin music Concerto keyword: Orchestral Music Percussion String Quartet Varèse, Edgard Varèse, Edgard Varese, Edgard Wolpe, Stefan ab: During the 1950s, Ralph Shapey attempted to reformulate the concept of musical continuity. In a series of works, he gradually abandoned traditional procedures of musical development based on the unfolding of motives or themes. He created a music in which contrast and continuity are produced mainly through variation of register, density, texture and timbre. Although he worked out many of his ideas within the medium of chamber music, he focused primarily on the creation of a new way of writing for the orchestra in which he was able to fully realize the implications of his new musical language. This article traces the evolution of Shapey's ideas from the Concerto for Clarinet and Chamber Group (1954) to their full realization in Ontogeny (1958) and the Invocation-Violin Concerto (1958). pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Contemporary Music Review is the property of Taylor & Francis Ltd and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Contemporary Music Review holder: Taylor & Francis Ltd dt: @attributes: year: 2008 holdings: @attributes: islocal: N |
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