This volume presents for the first time a generous selection from the more than 200 essays and articles written by one of the most original American composers and musical theorists of the twentieth century. There are articles on harmony, melody, notation and music history; essays on vocal innovation, folk music, and the intersection of music with other arts; reviews of concerts and recordings by contemporaries; notes on several of his own works, and several pieces on his life and experiences as a composer. Henry Cowell may be best known as a creator of "tone cluster" compositions, which he began writing while in his early teens, but his influence has been far broader and much deeper. As founder in 1925 of the New Music Society, he became a concert impresario for works by, among others, Carl Ruggles, Arnold Schoenberg, Charles Ives and Leo Ornstein; and publisher from 1927 to 1958 of New Music: A Quarterly of Musical Compositio
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This volume presents for the first time a generous selection from the more than 200 essays and articles written by one of the most original American composers and musical theorists of the twentieth century. There are articles on harmony, melody, notation and music history; essays on vocal innovation, folk music, and the intersection of music with other arts; reviews of concerts and recordings by contemporaries; notes on several of his own works, and several pieces on his life and experiences as a composer. Henry Cowell may be best known as a creator of "tone cluster" compositions, which he began writing while in his early teens, but his influence has been far broader and much deeper. As founder in 1925 of the New Music Society, he became a concert impresario for works by, among others, Carl Ruggles, Arnold Schoenberg, Charles Ives and Leo Ornstein; and publisher from 1927 to 1958 of New Music: A Quarterly of Musical Compositions. His many students included George Gershwin, John Cage, and Lou Harrison, but his interests extended beyond western classical traditions, and his radio program, "Music of the World's Peoples," introduced a large audience to world music long before it was fashionable. Just as Cowell's groundbreaking book of 1930, New Musical Resources, continues to inspire successive generations of composers, Essential Cowell is key to understanding the origins and expanding dimensions of contemporary music.
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Hardcover. Zustand: new. Hardcover. Henry Cowell (1897-1965) was perhaps the first genuine World Music composer, incorporating themes and modalities of other ethnic traditions into his own unique and influential repertoire. Of even greater importance, he was almost certainly the first World Music critic, devoting much of his professional life to investigating musical traditions around the globe and educating new generations of composers and audiences. Through his journal, New Music Quarterly, his concert promotions, and his popular WBAI (New York) radio broadcasts, he explored the possibilities of music, from the groundbreaking works of Charles Ives, Carl Ruggles, and Edgar Var?se, to the original blues of Leadbelly, to the Indonesian gamelan and beyond. A revolutionary thinker, his influence was intense and immediate. Among his students may be counted an impressive group of influential mid-20th century composers-including John Cage, Lou Harrison, Burt Bacharach, and even George Gershwin-all of whom in one way or another helped to carry on the movement established by Cowell.In his preface, Kyle Gann notes that Cowell's criticism is "more relevant today than it has ever been before," but also notes that "there has been remarkably little attempt so far to assess Cowell as a writer and theorist." This volume of selected writings by Henry Cowell-the first ever to be published- offers insight into the theories of this musical thinker. It includes portions of his legendary unpublished book, The Nature of Melody, as well as essays on Stravinsky, Thomson, Partch, Antheil, Bart?k, Var?se, Cage, Charles Seeger; articles a variety of folk musical traditions, music for dance and film, the use of music as propaganda; a discussion about creative notation; and a study of the nature of noise. Following Professor Gann's preface there is an introductory essay by the editor, the late Dick Higgins, which offers context and background information. Selected writings 1921-1964 by American composer, musical theorist, and author of "New Musical Resources". Shipping may be from multiple locations in the US or from the UK, depending on stock availability. Bestandsnummer des Verkäufers 9780929701639
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