Modes of Communication in Stravinsky’s Works

Sign and Expression

AvPer Dahl

Häftad, Engelska, 2023

Del i serien Routledge Research in Music

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Beskrivning

Igor Stravinsky left behind a complex heritage of music and ideas. There are many examples of discrepancies between his literate statements about music and musicians and his musical compositions and activity. Per Dahl presents a model of communication that unveils a clear and logical understanding of Stravinsky's heritage, based on the extant material available. From this, Dahl argues the case for Stravinsky’s music and his ideas as separate entities, representing different modes of communication. As well as describing a triangular model of communication, based on a tilted and extended version of Ogden's triangle, Dahl presents an empirical investigation of Stravinsky's vocabulary of signs and expressions in his published scores - his communicative mode towards musicians. In addition to simple statistics, Dahl compares the notation practice in the composer’s different stylistic epochs as well as his writing for different sizes of ensembles. Dahl also considers Stravinsky’s performances and recordings as modes of communication to investigate whether the multi-layered model can soften the discrepancies between Stravinsky the literary and Stravinsky the musician.

Produktinformation

Utgivningsdatum:2023-09-25
Mått:156 x 234 x 17 mm
Vikt:400 g
Format:Häftad
Språk:Engelska
Serie:Routledge Research in Music
Antal sidor:222
Förlag:Taylor & Francis Ltd
ISBN:9781032111148

Utforska kategorier

Klassisk musik, konstmusik och orkestermusik inom Kultur
Musikvetenskap inom Kultur
Tonsättare och låtskrivare inom Kultur

Mer om författaren

Per Dahl is Professor of Music at the University of Stavanger, Norway.

Innehållsförteckning

IntroductionPart I: Sign and expression in communication1 Prelude1.1. The point of departure1.2. Discourses of a musical work2 The multi-layered triad2.1 Ogden2.2 Agawu2.3 A multi-layered triad2.4 Literacy2.5 Bacon2.6 A complete communication model3 Stravinsky’s background and languages3.1 St. Petersburg3.2 Suisse/France3.3 Religion3.4 America4 The Aesthetics4.1 A grid4.2 Quotes from Stravinsky4.3 Comments and critiques of Stravinsky’s aesthetics4.4 Adorno5 The Logics5.1 The operational grid5.2 Some aspects from semiotics and linguistics5.3 Some statements from Stravinsky5.4 Bacon’s idols 6 The Ethics6.1 The ethical grid6.2 The listening process6.3 The composer in action 7 PostludePart II: Modes of Communication in Stravinsky’s music8 Notation9 Music notation and literacy in music: a historical approach10 A study of Stravinsky’s notation practice: an empirical approach10.1 Design10.2 Results11 Vocabulary, concepts and adjustments: a semiotic approach12 Musicians’ music reading practices: a cognitive approach12.1 Music reading12.2 Approaching the music notation12.3 Elements in Stravinsky’s notation practice13 Stravinsky’s recordings and performances: a critical approach 13.1 The composer as performer13.2 Some case studies13.3 Reliability and validityConclusionAppendices:1 Work categories 2 Vocabulary3 Works in the Serial period4 Shorted and stretched notes

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