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Journal articles on the topic 'Schuller, Gunther'

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Published: 4 June 2021

Last updated: 21 February 2023

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1

Gallegos, Álvaro. "Gunther Schuller." Revista musical chilena 69, no. 224 (December 2015): 169–70. http://dx.doi.org/10.4067/s0716-27902015000200023.

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2

Hoffmann, James Avery, Joseph Gabriel Maneri, and Gunther Schuller. "A Conversation with Gunther Schuller." Perspectives of New Music 24, no. 2 (1986): 242. http://dx.doi.org/10.2307/833224.

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3

Givan, Benjamin. "Gunther Schuller and the Challenge of Sonny Rollins:." Journal of the American Musicological Society 67, no. 1 (2014): 167–237. http://dx.doi.org/10.1525/jams.2014.67.1.167.

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Scholarly opinion has for many years been divided over Gunther Schuller's landmark 1958 article, “Sonny Rollins and the Challenge of Thematic Improvisation.” Jazz theorists view the article's close analysis of Rollins's 1956 jazz saxophone improvisation “Blue 7” as one of their discipline's founding statements; historians and ethnomusicologists meanwhile tend to fault it for neglecting cultural context. In either instance the specific details of Schuller's analysis have been largely accepted as being internally consistent. The present study proposes that the analysis of jazz improvisation ought to engage more extensively with broader stylistic issues in addition to the specifics of isolated individual performances. Such a musically contextualized perspective reveals that Schuller's principal argument—that, in this particular improvisation, Rollins developed motivic elements of a composed theme—is false. “Blue 7” was in fact improvised in its entirety, and the melodic pattern that Schuller cited as a thematic motive was one of Rollins's habitual improvisational formulas, heard on many of the saxophonist's other 1950s recordings. This canonic recording, as well as the notion of Rollins as a “thematic” improviser, therefore needs to be reconsidered.

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4

Britton, Allen P., and Gunther Schuller. "Musings: The Musical Worlds of Gunther Schuller." American Music 5, no. 1 (1987): 87. http://dx.doi.org/10.2307/3051861.

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5

Dickinson, P. "A Life in Pursuit of Music and Beauty. By Gunther Schuller." Music and Letters 94, no. 1 (February 1, 2013): 182–84. http://dx.doi.org/10.1093/ml/gct016.

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6

Ceely, Robert. "Minute Rag for Solo Piano for Gunther Schuller on His 60th Birthday." Perspectives of New Music 24, no. 2 (1986): 253. http://dx.doi.org/10.2307/833226.

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7

Helgert, Lars. "Gunther Schuller: A Life in Pursuit of Music and Beauty (review)." Notes 69, no. 2 (2012): 289–90. http://dx.doi.org/10.1353/not.2012.0156.

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8

Bruce Brubaker. "Surrounded by this Incredible Vortex of Musical Expression: A Conversation with Gunther Schuller." Perspectives of New Music 49, no. 1 (2011): 172. http://dx.doi.org/10.7757/persnewmusi.49.1.0172.

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9

Bruce Brubaker. "Surrounded by this Incredible Vortex of Musical Expression: A Conversation with Gunther Schuller." Perspectives of New Music 49, no. 1 (2011): 172–81. http://dx.doi.org/10.1353/pnm.2011.0004.

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10

Maloney, Timothy. "Glenn Gould, Conductor: Critical Reception, Chronicle, and Commentary." Articles 31, no. 2 (November 27, 2012): 79–98. http://dx.doi.org/10.7202/1013215ar.

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In 1982, about two months before he died, Glenn Gould conducted a Toronto chamber orchestra to record Richard Wagner’s Siegfried Idyll. Reactions to the recording, eventually released in 1990, varied dramatically: while the Pulitzer Prize–winning critic and Gould scholar Tim Page considered it “a reading of melting and surpassing tenderness,” the composer-conductor Gunther Schuller, also a Pulitzer Prize winner, declared it “the most inept, amateurish, wrong-headed rendition of a major classic ever put to vinyl.” In light of that extreme divergence of opinion, this article examines the recording, Gould’s conducting, and the critical reception to both.

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11

Hoult, David. "Horn Technique (second edition) by Gunther Schuller. Oxford: Clarendon Press, 1992. £8.95, 3137 pp." British Journal of Music Education 10, no. 3 (November 1993): 283–84. http://dx.doi.org/10.1017/s0265051700001911.

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12

Miller, Malcolm. "‘RESONANCE AND DISTANCE’: SIMON BAINBRIDGE IN CONVERSATION." Tempo 67, no. 265 (July 2013): 37–49. http://dx.doi.org/10.1017/s0040298213000454.

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AbstractThis interview, based on a conversation with Simon Bainbridge at London's City Literary Institute in June 2011, presents something of a rounded portrait of the composer while covering a good deal of ground. We began our conversation with a discussion of a recent work for orchestra, Concerti Grossi, going into some detail in matters of scoring and structure. The discussion then broadened to cover such topics as the creative process, formative influences (for example, his parents' activity in the visual arts, Debussy's Jeux, John Lambert and Gunther Schuller), instrumentation and the relationship of music and text. This led on specifically to Bainbridge's settings of Primo Levi, in for example the cycle Ad Ora Incerta, and to a consideration of the composer's relationship with the audience.

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13

Heyman, Matthias. "Of Icons and Iconography: Seeing Jimmie Blanton." Journal of Jazz Studies 10, no. 2 (April 2, 2015): 119. http://dx.doi.org/10.14713/jjs.v10i2.88.

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This article explores how iconography can be a useful analytical tool, and in the process help to demystify the lives and music of so-called jazz icons. I will start by illustrating how a narrative around jazz bassist and <em>Ellingtonian</em> Jimmie Blanton (1918-1942) grew that posits him as an artistic hero in the pantheon of jazz history. Next I will highlight some problems that arise with such canonization and examine two case studies focused on Blanton, one based on statements historian Gunther Schuller made in regard to the bassist’s right hand posture, and a second one focusing on his tone in relation to his physical position within the Duke Ellington Orchestra. In both cases visual sources are used to gain a better understanding of Blanton’s performance technique, which in turn aids to nuance his iconic framing.<br />

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14

McPherson, G. "Gunther Schuller, Horn Technique, Second Edition, Oxford University Press, Oxford, 1992; 137 pp., ISBN 0-19-816277-4 (paperback)." International Journal of Music Education 20, no. 1 (November 1, 1992): 88. http://dx.doi.org/10.1177/025576149202000127.

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15

Johnson, Bret. "A Life in Pursuit of Music and Beauty (Autobiography Volume 1 1925–60) by Gunther Schuller. University of Rochester Press, £30.00." Tempo 67, no. 263 (January 2013): 93–94. http://dx.doi.org/10.1017/s0040298212001507.

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16

Lister, Rodney. "Boston: Gunther Schuller's ‘Encounters’." Tempo 58, no. 228 (April 2004): 62–63. http://dx.doi.org/10.1017/s004029820425015x.

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Boston's Symphony Hall is celebrated as one of the finest concert halls in the world. It is generally less well known that Boston also has the smaller and equally fine Jordan Hall, located in the New England Conservatory. A fixture of Boston's musical life, Jordan Hall is also literally the heart of the Conservatory, being the venue not only of visiting celebrity solo and chamber music recitals, but of a multitude of the whole range of the Conservatory's student concert activity.

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17

Burkart, Stefan. "Von Pedus bis Zehnacker: Die Fensterputzer-Connection." kma - Klinik Management aktuell 21, no. 07 (July 2016): 26. http://dx.doi.org/10.1055/s-0036-1578304.

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Meine erste Begegnung mit Gunter Murzin? Grundschule, erste Klasse, nur wussten weder er noch ich davon. In der ersten Reihe saß Marion! Die allerschönste der Klasse – ach was, der ganzen Schule – war seine Nichte!

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18

Waldron, Janice. "A Discussion of Gunther Schuller's Approach to Conducting: Implications for the Instrumental Music Classroom." Philosophy of Music Education Review 16, no. 1 (April 2008): 97–108. http://dx.doi.org/10.2979/pme.2008.16.1.97.

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19

Daltrozzo, Jérôme, and Daniele Schön. "Conceptual Processing in Music as Revealed by N400 Effects on Words and Musical Targets." Journal of Cognitive Neuroscience 21, no. 10 (October 2009): 1882–92. http://dx.doi.org/10.1162/jocn.2009.21113.

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The cognitive processing of concepts, that is, abstract general ideas, has been mostly studied with language. However, other domains, such as music, can also convey concepts. Koelsch et al. [Koelsch, S., Kasper, E., Sammler, D., Schulze, K., Gunter, T., & Friederici, A. D. Music, language and meaning: Brain signatures of semantic processing. Nature Neuroscience, 7, 302–307, 2004] showed that 10 sec of music can influence the semantic processing of words. However, the length of the musical excerpts did not allow the authors to study the effect of words on musical targets. In this study, we decided to replicate Koelsch et al. findings using 1-sec musical excerpts (Experiment 1). This allowed us to study the reverse influence, namely, of a linguistic context on conceptual processing of musical excerpts (Experiment 2). In both experiments, we recorded behavioral and electrophysiological responses while participants were presented 50 related and 50 unrelated pairs (context/target). Experiments 1 and 2 showed a larger N400 component of the event-related brain potentials to targets following a conceptually unrelated compared to a related context. The presence of an N400 effect with musical targets suggests that music may convey concepts. The relevance of these results for the comprehension of music as a structured set of conceptual units and for the domain specificity of the mechanisms underlying N400 effects are discussed.

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20

Cieślińska-Lobkowicz, Nawojka. "Śmierć antykwariusza na Chłodnej." Zagłada Żydów. Studia i Materiały, no. 12 (November 30, 2016): 262–78. http://dx.doi.org/10.32927/zzsim.416.

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22 lipca 1942 r. w getcie warszawskim rozpoczęła się wielka akcja likwidacyjna w czasie której ponad 250 tysięcy jego mieszkańców wywieziono do obozu zagłady w Treblince. Dzień wcześniej dla wzbudzenia nastroju przerażenia i rezygnacji Niemcy urządzili odstrzał znanych przedstawicieli gettowej inteligencji. Szerokim echem odbiło się po obu stronach muru zamordowanie wówczas w mieszkaniu na ulicy Chłodnej żydowskiego antykwariusza i wezwanego doń ze strony aryjskiej znanego polskiego lekarza, prof. Franciszka Raszei. W relacjach ocalałych i powojennych wspomnieniach oraz powstałych na ich podstawie opracowaniach przyjęło się uważać, że zamordowanym antykwariuszem był Abe Gutnajer, najbardziej znany przed wojną warszawski kunsthendler, właściciel prestiżowego Salonu Sztuki na Mazowieckiej. Wraz z nim i Raszeją miała zginąć także niemal cała rodzina Abego oraz osoby towarzyszące Raszei w zabiegu operacyjnym. Autorka zajmująca się od lat historią okupacyjnego rynku sztuki dowodzi, że ofiarą tej zbrodni, która prawdopodobnie miała miejsce przedpołudniem 22 lipca 1942 roku, nie padł Abe Guntajer lecz jego starszy brat Bernard, przed wojną właściciel antykwariatu na Wierzbowej oraz Albert Schulberg, antykwariusz ze Lwowa, który w getcie warszawskim zajmował się za zgodą Niemców m. in. skupem dzieł sztuki i antyków dla okupacyjnego salonu sztuki Zofii Leśniewskiej. I to on wezwał prof. Raszeję na konsylium do swego mieszkania na Chłodnej.

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21

Ruhloff, Jörg. "Annette M. Stross: Ich-Identität. Zwischen Fiktion und Konstruktion. Reihe Historische Anthropologie. Hrsgg. v. Forschungszentrum Historische Anthropologie d. Freien Universität Berlin. Kollegium Michael Erbe, Gunter Gebauer, Dietmar Kamper, Dieter Lenzen, Alexander Schuller, Jürgen Trabant, Christoph Wulf. Bd. 17. Dietrich Reimer Verlag Berlin 1991. 174 Seiten. Brosch. 29,50 DM." Vierteljahrsschrift für wissenschaftliche Pädagogik 68, no. 3 (July 15, 1992): 331–33. http://dx.doi.org/10.30965/25890581-06803007.

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22

"Gunther Schuller: a life in pursuit of music and beauty." Choice Reviews Online 49, no. 07 (March 1, 2012): 49–3776. http://dx.doi.org/10.5860/choice.49-3776.

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23

"Greetings to Gunther Schuller in Honor of His Sixtieth Birthday." Perspectives of New Music 24, no. 2 (1986): 250. http://dx.doi.org/10.2307/833225.

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24

"Vorlagen und Nachrichten." Gnomon 83, no. 8 (2011): 748–68. http://dx.doi.org/10.17104/0017-1417_2011_8_748.

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M. Weißenberger: Gunther Martin: Divine Talk. Religious Argumentation in Demosthenes Ch. Schulze: Liliane Bodson, L’interprétation des noms grecs et latins d’animaux illustrée par le cas du zoonyme sêps-seps T. Gazzarri: La Clemenza, Apocolocyntosis, Epigrammi, Frammenti di Lucio Anneo Seneca. A cura di Luciano de Biasi, Anna Maria Fer-rero, Ermanno Malaspina e Dionigi Vottero. T. Döring: Emily Greenwood, Afro-Greeks. Dialogues Between Anglophone Caribbean Literature and Classics in the Twentieth Century M. Heil: Emmanuel Lyasse, Le Principat et son fondateur. L’utilisation de la référence à Auguste de Tibère à Trajan K. Ruffing: Dennis P. Kehoe, Law and Rural Economy in the Roman Empire H.-J. Beste: Alexander Sokolicek, Diateichismata. Zu dem Phänomen innerer Befestigungsmauern im griechischen Städtebau L. Mrozewicz: Lyudmil F. Vagalinski, Kryv i zrelišta. Sportni i gladiatorski igri w elinističeska i rimska Trakija. Blood and entertainments. Sports and gladiatorial games in Hellenistic and Roman Thrace D. Nörr: Giuliano Crifò † Personalien

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