Stravinsky, God, and Time: Consciousness, Literature and the Arts, cartea 59
Autor Helen Sillsen Limba Engleză Hardback – 29 iun 2022
Stravinsky’s coordination of the listener with time is central to the unity of his compositional style. This ground-breaking study looks at his background in Russian Orthodoxy, at less well-known writings of Arthur Lourié and Pierre Souvtchinsky and at the Catholic philosophy of Jacques Maritain, that shed light on the crucial link between Stravinsky’s spirituality and his restoration of time in music.
Recent neuroscience research supports Stravinsky’s eventual adoption of serialism as the natural and logical outcome of his spiritual and musical quest.
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Specificații
ISBN-13: 9789004518247
ISBN-10: 900451824X
Dimensiuni: 155 x 235 mm
Greutate: 0 kg
Editura: Brill
Colecția Brill
Seria Consciousness, Literature and the Arts
ISBN-10: 900451824X
Dimensiuni: 155 x 235 mm
Greutate: 0 kg
Editura: Brill
Colecția Brill
Seria Consciousness, Literature and the Arts
Notă biografică
Helen Sills is an independent scholar and professional musician. She studied at The Royal College of Music and the Universities of Nottingham and Birmingham, gaining her Ph.D in the music of Stravinsky in 1992. As a member of the International Society for the Study of Time she has published several papers on music and time.
Cuprins
Acknowledgements
List of Tables and Illustrations
Notes on Previously Published Material
Prologue
1The Stravinsky Legacy?
1 ‘Time’ for a New Legacy?
2Being and Time: A Nightingale Sings …
1 Stravinsky’s Spirituality …
2 … and Musical Inheritance
3 Temporality in Znamenny Chant
4 Resonance
5 Le Rossignol (1908–14)
3From Now to Eternity
1 Petrushka (1911)
2 Zvezdoliki (1911)
2.1Stravinsky and the Old Believers
2.2Time Qualities in Zvezdoliki
4A Russian Spring
1 Time as a Mental Construct
2 The Rite of Spring
3 Time Qualities in The Rite of Spring
5A Japanese Spring
6Heaven and Earth
1 The 025 Motif and Changing Time Qualities
7New Patterns for Old
1 Cortical Patterning
2 Three Pieces for String Quartet (1914)
3 Chant Dissident (1919)
4 Pulcinella (1919–20)
5 Symphonies of Wind Instruments (1920) and Cubism
6 Symphonies of Wind Instruments (1920): Temporal Form
7 Time and Form: Jacques Maritain
8Time for Pushkin
9The Object Is Time
1 Mental Imaging
2 Octet (1923)
3 Oedipus Rex (1926)
4 Apollo (1928)
5 Lourié’s Understanding of Stravinsky
10A Journey to Hyperspace
1 1st Movement
2 2nd Movement
3 3rd Movement
4 Music as a Higher Brain Function
11Faith Matters
1 Pater Noster (1926)
2 Russian Credo (1932)
3 Ave Maria (1934)
4 Tests of Faith
5 Perséphone (1933)
6 Darker Times
7 Babel (1944)
8 Mass (1944–48)
8.1Kyrie
8.2Gloria
8.3Credo
8.4Sanctus
8.5Agnus Dei
9 The Poetics of Stravinsky and Maritain
12A Matter of Time
13Stravinsky, Schoenberg and God
1 Belief in Divine Authority
2 Belief in the Hebrew God
3 Belief in Biblical Mythology
4 Belief in Catholic Culture
5 Devotion to the Word
6 Synthesis
14New Wine
1 Cantata (1952)
2 Stravinsky, Webern and God
3 Canticum Sacrum (1955)
4 Threni (1958)
4.1De Elegia Prima
4.2De Elegia Tertia
4.3De Elegia Quinta
15Late Harvest
1 A Sermon, A Narrative and A Prayer (1961)
1.1A Sermon
1.2A Narrative
1.3A Prayer
2 Two Bible Stories: The Flood (1962) and Abraham and Isaac (1963)
3 The Flood (1962)
4 Abraham and Isaac (1962–3)
5 Requiem Canticles (1966)
5.1Prelude
5.2Exaudi
5.3Dies Irae
5.4Tuba Mirum
5.5Interlude
5.6Rex Tremendae
5.7Lacrimosa
5.8Libera Me
5.9Postlude
Epilogue
Appendix 1Victor Ivanovitch Nesmelov: The Science of Man
Appendix 2Gisèle Brelet
Bibliography
Index
List of Tables and Illustrations
Notes on Previously Published Material
Prologue
1The Stravinsky Legacy?
1 ‘Time’ for a New Legacy?
2Being and Time: A Nightingale Sings …
1 Stravinsky’s Spirituality …
2 … and Musical Inheritance
3 Temporality in Znamenny Chant
4 Resonance
5 Le Rossignol (1908–14)
3From Now to Eternity
1 Petrushka (1911)
2 Zvezdoliki (1911)
2.1Stravinsky and the Old Believers
2.2Time Qualities in Zvezdoliki
4A Russian Spring
1 Time as a Mental Construct
2 The Rite of Spring
3 Time Qualities in The Rite of Spring
5A Japanese Spring
6Heaven and Earth
1 The 025 Motif and Changing Time Qualities
7New Patterns for Old
1 Cortical Patterning
2 Three Pieces for String Quartet (1914)
3 Chant Dissident (1919)
4 Pulcinella (1919–20)
5 Symphonies of Wind Instruments (1920) and Cubism
6 Symphonies of Wind Instruments (1920): Temporal Form
7 Time and Form: Jacques Maritain
8Time for Pushkin
9The Object Is Time
1 Mental Imaging
2 Octet (1923)
3 Oedipus Rex (1926)
4 Apollo (1928)
5 Lourié’s Understanding of Stravinsky
10A Journey to Hyperspace
1 1st Movement
2 2nd Movement
3 3rd Movement
4 Music as a Higher Brain Function
11Faith Matters
1 Pater Noster (1926)
2 Russian Credo (1932)
3 Ave Maria (1934)
4 Tests of Faith
5 Perséphone (1933)
6 Darker Times
7 Babel (1944)
8 Mass (1944–48)
8.1Kyrie
8.2Gloria
8.3Credo
8.4Sanctus
8.5Agnus Dei
9 The Poetics of Stravinsky and Maritain
12A Matter of Time
13Stravinsky, Schoenberg and God
1 Belief in Divine Authority
2 Belief in the Hebrew God
3 Belief in Biblical Mythology
4 Belief in Catholic Culture
5 Devotion to the Word
6 Synthesis
14New Wine
1 Cantata (1952)
2 Stravinsky, Webern and God
3 Canticum Sacrum (1955)
4 Threni (1958)
4.1De Elegia Prima
4.2De Elegia Tertia
4.3De Elegia Quinta
15Late Harvest
1 A Sermon, A Narrative and A Prayer (1961)
1.1A Sermon
1.2A Narrative
1.3A Prayer
2 Two Bible Stories: The Flood (1962) and Abraham and Isaac (1963)
3 The Flood (1962)
4 Abraham and Isaac (1962–3)
5 Requiem Canticles (1966)
5.1Prelude
5.2Exaudi
5.3Dies Irae
5.4Tuba Mirum
5.5Interlude
5.6Rex Tremendae
5.7Lacrimosa
5.8Libera Me
5.9Postlude
Epilogue
Appendix 1Victor Ivanovitch Nesmelov: The Science of Man
Appendix 2Gisèle Brelet
Bibliography
Index