| Description |
xii, 215 pages : illustrations, music ; 24 cm |
| Contents |
Machine generated contents note: 1.Listening to Process, Playing the System -- 2.̀to create music as if on a canvas': Intermission 5 (1952) -- 3.Piano Piece 1952: ̀A discipline of vagueness' -- 4.Intermission 6 (1953): ̀the outlines of becoming' -- 5.̀Primitive Designs': Hearing and Thinking through Intersection 3 -- 6.Playing Feldman |
| Summary |
American composer Morton Feldman is increasingly seen to have been one of the key figures in late-twentieth-century music, with his work exerting a powerful influence into the twenty-first century. At the same time, much about his music remains enigmatic, largely due to long-standing myths about supposedly intuitive or aleatoric working practices. This book reveals key aspects of Feldman's musical language as it developed during a crucial period in the early 1950s. Drawing models from primary sources, including Feldman's musical sketches, he shows that Feldman worked deliberately within a two-dimensional frame, allowing a focus upon the fundamental materials of sounding pitch in time. Beyond this, Feldman's work is revealed to be essentially concerned with the 12-tone chromatic field, and with the delineation of complexes of simple proportions in 'crystalline' forms.Through close reading of several important works from the early 1950s, Noble shows that there is a remarkable consistency of compositional method, despite the varied experimental notations used by Feldman at this time. Not only are there direct relations to be found between staff-notated works and grid scores, but much of the language developed by Feldman in this period was still in use even in his late works of the 1980s |
| Analysis |
Australian |
| Notes |
Formerly CIP. Uk |
| Bibliography |
Includes bibliographical references and index |
| Subject |
Feldman, Morton, 1926-1987 -- Criticism and interpretation.
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|
Composition (Music)
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| LC no. |
2012035941 |
| ISBN |
9781409451648 (hardback) |
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