Zobrazeno 1 - 10
of 17
pro vyhledávání: '"Laurel Parsons"'
Autor:
Laurel Parsons, Brenda Ravenscroft
Over the past 30 years, musicologists have produced a remarkable new body of research literature focusing on the lives and careers of women composers in their socio-historical contexts. But detailed analysis and discussion of the works created by the
Autor:
Laurel Parsons, Brenda Ravenscroft
Through musical analysis of compositions written in the first half of the twentieth century, Analytic Essays on Music by Women Composers: Concert Music, 1900-1960 celebrates the achievements of eight composers: Alma Mahler-Werfel (1879-1964), Rebecca
Autor:
Laurel Parsons, Brenda Ravenscroft
This volume, the second to be published in a four-volume series, examines compositions by eight composers from the twelfth to nineteenth centuries. The introductory chapter outlines the organization of the volume and the goals of the project—to cel
Externí odkaz:
https://explore.openaire.eu/search/publication?articleId=doi_________::5debd8dc9f28f5cb2a278839e72a07e4
https://doi.org/10.1093/oso/9780190237028.003.0001
https://doi.org/10.1093/oso/9780190237028.003.0001
Autor:
Brenda Ravenscroft, Laurel Parsons
Publikováno v:
Oxford Scholarship
With “Phantoms,” the second solo piano piece from her Four Sketches op. 15 (1892), American composer Amy Beach adopts a “strategic” approach to tonality that manipulates formal, harmonic, and linear closure. The analysis presented in this cha
Externí odkaz:
https://explore.openaire.eu/search/publication?articleId=doi_________::4712817ab1539df09f6e24024d9e1ca9
https://doi.org/10.1093/oso/9780190237028.003.0010
https://doi.org/10.1093/oso/9780190237028.003.0010
Autor:
Laurel Parsons, Brenda Ravenscroft
Publikováno v:
Oxford Scholarship
Schenker’s concept of interruption represents a vital link between tonal structure and thematic design. A close reading of Schenker’s presentation of the concept in Free Composition reveals that interruption may take many outward musical configur
Externí odkaz:
https://explore.openaire.eu/search/publication?articleId=doi_________::f4379b9799d8a15033897741b932f9a7
https://doi.org/10.1093/oso/9780190237028.003.0009
https://doi.org/10.1093/oso/9780190237028.003.0009
Autor:
Laurel Parsons, Brenda Ravenscroft
Publikováno v:
Oxford Scholarship
This chapter challenges the common view that Fanny Hensel’s songs are spontaneous, unpredictable, and guided by “fantasy.” An examination of her song beginnings—which tend to veer quickly from their home keys—reveals that Hensel relied on a
Externí odkaz:
https://explore.openaire.eu/search/publication?articleId=doi_________::81ff630ee420f4fe428cefdc0a5fdf96
https://doi.org/10.1093/oso/9780190237028.003.0007
https://doi.org/10.1093/oso/9780190237028.003.0007
Autor:
Brenda Ravenscroft, Laurel Parsons
Publikováno v:
Oxford Scholarship
Among the approximately 300 songs of Josephine Lang (1815–1880), there are several instances of setting the same text to strikingly different music. This chapter discusses Lang’s contrasting settings of two poems by Reinhold Köstlin. Her three s
Externí odkaz:
https://explore.openaire.eu/search/publication?articleId=doi_________::cc38c83873ec27ce079dae5e56443f37
https://doi.org/10.1093/oso/9780190237028.003.0008
https://doi.org/10.1093/oso/9780190237028.003.0008
Autor:
Laurel Parsons, Brenda Ravenscroft
Publikováno v:
Oxford Scholarship
This chapter contextualizes Hildegard of Bingen’s monumental sequence for her monastic community’s patron St. Rupert, O Ierusalem aurea civitas, both within Hildegard’s own output of sequences, and within the sequence repertory at large. Consid
Externí odkaz:
https://explore.openaire.eu/search/publication?articleId=doi_________::eae05d46815cd79413e5e99b000c45b8
https://doi.org/10.1093/oso/9780190237028.003.0002
https://doi.org/10.1093/oso/9780190237028.003.0002
Autor:
Laurel Parsons, Brenda Ravenscroft
Publikováno v:
Oxford Scholarship
The chapter examines the madrigals of Maddalena Casulana, a sixteenth-century Venetian composer, teacher, and singer who was the first female composer in western music history to have her music published. When she was only twenty, four of her madriga
Externí odkaz:
https://explore.openaire.eu/search/publication?articleId=doi_________::0ef8d2a41c7d06d8402c7fa3694d9d79
https://doi.org/10.1093/oso/9780190237028.003.0003
https://doi.org/10.1093/oso/9780190237028.003.0003
Autor:
Laurel Parsons, Brenda Ravenscroft
Publikováno v:
Oxford Scholarship
Born into a family of musicians and instrument makers, Élisabeth-Claude Jacquet de La Guerre made her mark early by performing for Louis XIV when she was five years old. By the age of twelve, she was composing as well. Her compositions require the a
Externí odkaz:
https://explore.openaire.eu/search/publication?articleId=doi_________::4241e6fba653d5767ad372d75365217b
https://doi.org/10.1093/oso/9780190237028.003.0005
https://doi.org/10.1093/oso/9780190237028.003.0005