Sessions / Cone Roger Sessions on Music

Collected Essays
1. Auflage 2015
ISBN: 978-1-4008-7105-6
Verlag: De Gruyter
Format: PDF
Kopierschutz: 1 - PDF Watermark

E-Book, Englisch, 402 Seiten

Reihe: Princeton Legacy Library

Over the past fifty years Roger Sessions has developed, in articles, lectures, and addresses, various themes that reflect the stages of his own musical and intellectual growth. These themes form the basis of the present collection of essays. Many of the essays deal with specific problems that musicians, especially composers, have faced during the past five decades: problems related to new musical styles and techniques, to the position of composers in society, to their responsibilities as teachers, to their role during the period of the world wars, to the mutual reactions of composer and audience, and to the basic questions of musical form and expression. The collection also includes a set of critical essays on such seminal figures as Bloch, Schoenberg, and Stravinsky.

Roger Sessions is the composer of a recently recorded cantata on Whitman's "When Lilacs Last in the Dooryard Bloom'd" as well as numerous other works. He is the author of The Musical Experience of Composer, Performer, and Listener (Princeton).

Originally published in 1979.

The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Autoren/Hrsg.

Sessions, Roger

Cone, Edward T.

Fachgebiete

• Geisteswissenschaften Musikwissenschaft Geschichte der Musik

Inhaltsverzeichnis

Frontmatter, pg. i
Contents, pg. v
Editor's Note, pg. vii
Preface, pg. ix
The Composer and His Message [1939], pg. 3
Music in Crisis [1933], pg. 27
The New Musical Horizon [1937], pg. 45
Song and Pattern in Music Today [1956], pg. 53
Problems and Issues Facing the Composer Today [1960], pg. 71
Style and "Styles" in Music [1961], pg. 88
Art, Freedom, and the Individual [957], pg. 105
Composer and Critic [1934], pg. 120
America Moves to the Avant-Scene [1937], pg. 123
To Revitalize Opera [1938], pg. 137
The Scope of Music Criticism [1947], pg. 146
Music in a Business Economy [1948], pg. 157
How a "Difficult" Composer Gets That Way [1950], pg. 169
Music and the Crisis of the Arts [1954], pg. 175
New Vistas in Musical Education [1934], pg. 187
The Composer in the University [1949], pg. 193
What Can Be Taught? [1967], pg. 204
Heinrich Schenker's Contribution [1935], pg. 231
Hindemith on Theory [1937], pg. 241
Exposition by Krenek [1938], pg. 249
Escape by Theory [1938], pg. 256
The Function of Theory [1938], pg. 263
Music and Nationalism [1933], pg. 271
Vienna—Vale, Ave [1938], pg. 282
On the American Future [1940], pg. 288
American Music and the Crisis [1940], pg. 295
No More Business-as-Usual [1942], pg. 304
Artists and This War [1942], pg. 313
Europe Comes to America [1945], pg. 319
Ernest Bloch [1927], pg. 329
On Oedipus Rex [1928], pg. 339
Hindemith's Mathis der Maler [1934], pg. 347
Schoenberg in the United States [1944, revised 1972], pg. 353
Some Notes on Schoenberg and the "Method of Composing with Twelve Tones" [1952], pg. 370
Thoughts on Stravinsky [1957], pg. 376
In Memoriam Igor Stravinsky [1971], pg. 386
In Memoriam Luigi Dallapiccola [1975], pg. 387