For the BirdsM. Boyars, 1981 - 239 Seiten One of America's great twentieth-century composers in a series of wide-ranging conversations. |
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Seite 70
... Schoenberg . I had learned , sometime earlier , that Richard Buhlig had been the first to play Opus 11 - Schoenberg's first three piano pieces - and it suddenly occurred to me that he might be living in Los Angeles ... So I ran to the ...
... Schoenberg . I had learned , sometime earlier , that Richard Buhlig had been the first to play Opus 11 - Schoenberg's first three piano pieces - and it suddenly occurred to me that he might be living in Los Angeles ... So I ran to the ...
Seite 71
... Schoenberg himself ? Later , you came to maintain that dodecaphony is only a method and that Schoenberg did not structure his works according to the fundamental dimension of time . J.C .: In reality , when I found myself face to face ...
... Schoenberg himself ? Later , you came to maintain that dodecaphony is only a method and that Schoenberg did not structure his works according to the fundamental dimension of time . J.C .: In reality , when I found myself face to face ...
Seite 72
... Schoenberg convert you to dodecaphony ? You did compose some twelve tone music . J.C .: What struck me all the more was his insistence on teaching tonality as structure , as a structural means . When you think about it , composing with ...
... Schoenberg convert you to dodecaphony ? You did compose some twelve tone music . J.C .: What struck me all the more was his insistence on teaching tonality as structure , as a structural means . When you think about it , composing with ...
Inhalt
Note on the Books History | 7 |
Forward I | 64 |
Second Interview | 83 |
Urheberrecht | |
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able already asked Atlas Eclipticalis audience become believe Boulez Buckminster Fuller Cathy Berberian chance operations Cheap Imitation Ching Christian Wolff Chuang-tze completely composer conceptual art Concert for Piano dance dancers Daniel Charles David Tudor Duchamp electronic music emotions everything example exist experience fact feel film footnote of 1972 happens HPSCHD idea indeterminacy interested INTERVIEW John Cage La Monte Young lecture listen live longer Marcel Duchamp McLuhan mean Meister Eckhart Merce Cunningham Morton Feldman mushrooms musicians Musicircus Nam June Paik never noises notation Nothingness object organization percussion performance piece play possible prepared piano problem question recording relationship repetition Rozart Mix Satie Satie's Schoenberg score seems sense silence situation Solo someone Sonata Song Books sounds space structure talk Taoism tapes theater things Thoreau thought tion tonal tranquility University utilities Variations Wolff writing Xenakis