Aaron Copland-A Guide to Research. New York: Routledge, Copland, Aaron and Perlis, Vivian. Copland Since New York: Liveright Publishing, Dickinson, Peter. Copland Connotations. Dorbin, Arnold. Aaron Copland, His Life and Times. New York: Thomas Y. Crowell Co. These words of abstract expressionist painter, Mark Rothko, begin to illuminate the interconnection of painting and music in the late twentieth century. Between Time and Space.
In my term paper, I intend to explore the influence of Mark Rothko's paintings upon Morton Feldman's music. In particular, I would like to investigate the connection between the art and architecture of Rothko's Chapel with Morton Feldman's piece, Rothko Chapel. Impact of visual art on Feldman — association with expressionist artists in New York. Baldridge, Wilson. Autumn, : Hughes, Edward. Johnson, Steven. Summer, : Orton, Fred. Anfam, David. Mark Rothko: The Chapel Commission.
Houston: Menil Collection, Barnes, Susan. Friedman, B. Cambridge: Exact Change, Key, Susan, ed. American Mavericks. Berkeley: University of California Press, Nodelman, Sheldon. Austin: University of Texas Press, The Louisville Orchestra had an unusually small string section and Carter had to find a way to write the music so that the full-sized wind section and the smaller string section would sound equally balanced. He did this by giving the string section solo lines in some movements in order to give the listener's ear the illusion of a more important and up-front melody line.
Another technique Carter used when writing this composition was metric modulation. This gave the piece motion and fluidity. I would like to explore this technique more thoroughly and more in depth to discover how he could use both an accelerando and ritardando at the same time to create this fluid motion.
I would also like to see what influenced Carter as he wrote this piece, whether outside influences like other composers and their techniques had much influence or if he was bound by the size of the orchestra when writing this composition. Bernard, Jonathan W. Summer, , pp. Carter, Elliott. Goldman, Richard Franko. Winter, , pp. Schiff, David. Cone, Edward T.
The Composer's Voice. Los Angeles: University of California Press, Edwards, Allen. New York: W. Lidov, David. Is Language a Music?
Elliott Carter: A Guide to Research (Routledge Music Bibliographies) [John F. Link] on deocomdudistio.cf *FREE* shipping on qualifying offers. This is a. Elliott Carter: A Guide to Research - CRC Press Book. Series: Routledge Music Bibliographies. What are VitalSource eBooks? Routledge Published.
Writings on Musical Form and Signification. Indianapolis: Indiana University Press, Stone, Else.
London: Indiana University Press, I shortened the title from a more complex one to allow me the freedom to explore the topic in a freer way. I will be using philosophical statements by Glass and Robert Wilson to further illustrate the possibility of this being an allegory for such an experience. I will also be exploring some of Glass's religious and cultural affiliations. Introduce and compare nondialective music to its opponant, narritive music. Explain the significance of the Droning repetitive bass line.
Breyers, Anders. Duckworth, William. Kostelantz, Richard, ed. Martens, Wim. American Minimal Music. Maycock, Robert. Potter, Keith. Mark Katz. How Sondheim Found His Sound. Steve Swayne. The End of Early Music. Bruce Haynes. Fifty Contemporary Choreographers.
Jo Butterworth. Jeffery Kite-Powell. The Recorder. Richard W. A Philosophy of Computer Art. Dominic Lopes. John Cage. Rob Haskins. Textual Awareness. Dirk Van Hulle. The Roaring Silence. David Revill.
Dance History. Janet Adshead-Lansdale. Looking at Contemporary Dance. Marc Raymond Strauss. Film Music: A History.
James Wierzbicki. Andrew Shenton. Sounding the Gallery. Holly Rogers. Women and Music.
Karin Pendle. A Musicology of Performance. Dorottya Fabian. The Modern Percussion Revolution. Kevin Lewis. Composing for Voice. Paul Barker. Alicia Kopfstein-Penk. Absolute Music, Mechanical Reproduction. Arved Ashby.