Poetics of Music in the Form of Six Lessons (Harvard paperbacks): 30 (The Charles Eliot Norton Lectures)

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Of course, the instruction and education of the pub-lic have not kept pace with the evolution of technique. All creation presupposes at its origin a sort of appe-tite that is brought on by the foretaste of discovery. For the only form of scenic art that sets itself, as its cornerstone, the tasks of beauty, and nothing else, is ballet. Whereas history deals with things that took place in the past, tragedy concerns itself with what might occur, or could be imagined to happen.

Musiktheater in Wien um 1900 - Gustav Mahler und seine Zeitgenossen: Wissenschaftliche Tagung Wien, 24. Reading Stravinsky’s analyses of the function of the critic, the requirements of the interpreter, the state of Russian music and musical taste and snobbery, I remain awake and cognizant of all that I have read in Stravinsky’s lectures/book. To calculate the overall star rating and percentage breakdown by star, we don’t use a simple average.

consistently inconsistent"—if a character always behaves foolishly it is strange if he suddenly becomes intelligent. clarification needed] For example: if the play has "beautiful" costumes and "bad" acting and "bad" story, there is "something wrong" with it. Sanat tarihinde, devrimci diye nitelenebilecek bir olguya rastlamak imkânsızdır; Sanat, özü gereği yapıcıdır. But it was Stravinsky’s book, which I read much later of course, that became a sort of ‘bible’ for me. The more constraints one imposes, the more one frees one’s self of the chains that shackle the spirit.

appropriate—if a character is supposed to be wise, it is unlikely he is young (supposing wisdom is gained with age).Some things seemed downright contradictory, like his view that music should only try to be music and never try to be something else (for instance, trying to tell a story like tone poems), while he has no problem with Opera or Ballet. In 1909 the ballet impresario Serge Diaghilev heard a performance of one of Stravinsky's symphonic works and commissioned him to compose three ballets for his Ballets Russes in Paris. After all when we say to ourselves that ‘music is life’, it means exactly that: there cannot be life without music – at least for me no matter what and how many curve balls life threw at me – and I feel sure for many others as well. Wilson offers a masterful reappraisal of German militarism and warfighting over the last five centuries, leading to the rise of Prussia and the world wars. He opines throughout, and his thoughts are interesting, but he doesn't go deep enough to justify them to the audience.

This was followed by five other chapters: ‘The Phenomenon of Music’, ‘The Composition of Music’, ‘Musical Typology’, ‘The Avatars of Russian Music’ and ‘The Performance’ of Music’. There are composers like Arnold Schoenberg and Pierre Boulez who are also gifted communicators and insightful students of music history and theory. Half the book is concerned with music in general,focusing on the phenomenon of music, its composition, the various types of music and aspects of musical style.Kitapta bana çağrışımlar da yaptıran, altını çizdiğim, gerek katıldığım gerekse üzerine halâ düşündüğüm kısımları da buraya ekleyeyim. The music and noise manifestos of the Italian Futurists formed a blueprint for sonic warfare waged against traditionalism, a radical new agenda played out with machines primed for maximal acoustic destruction and aimed at the negation of all existing value systems.

Later, he summarizes his concerns regarding harnessing the rapacious creative instinct, warning of the pitfalls of letting a curious mind wander free, a quote which is greatly more pertinent in our contemporary age of information tech: "That is why I find it pointless and dangerous to over-refine techniques of discovery. The second talks about what he believes music is, what it isn't, and provides great insight into what Stravinsky believes is important in the art of music and what corrupts it. Also, the reader will need to go to the various conversation books Stravinsky did with Robert Craft to get later clarification and further insight into what he was saying. There is less unity in the imitation of the epic poets (plurality of actions) and this is proved by the fact that an epic poem can supply enough material for several tragedies.

why read on the subject of some art by a critic rather than artist, who can reveal the thought process and energy that goes into the actual creation? Stravinsky was still alive and kicking when Disney turned his Rite of Spring into a prequel to the Land Before Time.