Item description for Order and Disorder. Music-Theoretical Strategies on 20th Century Music (Collected Writings of the Orpheus Institute) by J Dunsby...
Order and Disorder is the result of the first International Orpheus Academy for Music Theory 2003. The motto of this "Academy" were 20th century music and theory, especially after the 1950s. Five guest lecturers discussed theoretical, historical and philosophical aspects of this theme in six articles.
In Music-Analytical Trends of the Twentieth Century, Jonathan Dunsby discusses key features in the development of music analysis from prestructuralist to postmodern times. Joseph N. Straus describes different ways in which intervallic and motivic ideas of the musical surface in atonal music are projected over larger spans. Yves Knockaert investigates the controllability of non-intention in Cage's work, the compositional approach of Morton Feldman's "floating thoughts" and the "raw state" of Wolfgang Rihm's music of the 1980s. In Nature and the Sublime: the Politics of Order and Disorder in Twentieth-Century Music, Max Paddison exposes a history of the concept of nature in relation to music with some references to literature and the visual arts. Konrad Boehmer analyses several aspects of the political economy of music in Music and Politics. In Towards a Terza Prattica he focuses on the perspectives of the paradigmatic change which electric music has caused.
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Studio: Leuven University Press
Est. Packaging Dimensions: Length: 9.21" Width: 5.67" Height: 0.47" Weight: 0.4 lbs.
Release Date Apr 27, 2004
Publisher Leuven University Press
ISBN 9058673693 ISBN13 9789058673695
Availability 3 units. Availability accurate as of May 26, 2017 02:12.
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Reviews - What do customers think about Order and Disorder. Music-Theoretical Strategies on 20th Century Music (Collected Writings of the Orpheus Institute)?
one poor essay Jun 2, 2009
I can only comment on the essay by Yves Knockaert in which my own essay on Feldman's Last Pieces for piano is discussed. All I can say is that this is a shabby piece of work. First of all he often inaccurately represents what is said in my essay which is very carefully constructed and worded. For example, Yves Knockaert states that: "The fact that all sets that DeLio claims to discuss are incomplete..." In the essay on a number of occasions I clearly state that, of the three pitch sets which obviously form and reform throughout the piece, one completes contiguously (twice in key moments of the piece) and the other two complete as well, though not contiguously. Indeed, these sets and the nature of their states of completion constitute one of the central theses of the essay. His discussion suggest that either he did not carefully read the essay, or that his theoretical background is weak and he is not up to the task of synthesizing the content of the essay. Other misstatements about the nature and content of the essay abound. Yves Knockaert also comments upon my reduction of intervals to their smallest form claiming that this ignores register (which, by the way, I often take into account, in several very well discussed charts which are also central to the main points of the analysis). Indeed, I note that this aspect of the analysis changes little when inversions are addressed separately and there is abundant evidence in the analysis that with respect to this aspect of the piece my treatment of the intervals is not only applicable and relevant but also revealing in a deep way about Feldman's approach to sound. But this leads to the most significant flaw in this "critique". If Yves Knockaert has analyzed this piece at all and has evidence that there is another way to look at intervals (or register, or time)which suggests a different structure for the piece he does not reveal it, which is, of course, suspicious. He also states that I do not proceed from an understanding of how this music is perceived. But, as many have noted, I do indeed throughout this and other analyses proceed precisely from this standpoint of perception and develop a careful analysis on the basis of what is heard and how it is heard (which is, of course, not to suggest that how I hear it is the only way to hear it.) Finally, let me mention that he is equally misleading when he addresses other subjects. In a footnote to a very circular discussion of the theorist John Welsh he takes Welsh to task for referring to durations in terms of seconds in his analysis of one of Feldman's graph pieces. Throughout his essay Welsh refers to ictus (which he clearly shows is not equal to a second). In one sentence - an obvious typo he calls the ictus a second. However, in a hundred other references throughout the essay he uses the term ictus being careful to not imply that it is equal to a second. Yves Knockaert seems much more intent upon voicing his own rather suspect opinions than engaging the substance of the essay.