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Artykuły w czasopismach na temat "Henry Cowell"
PAUL, DAVID C. "From American Ethnographer to Cold War Icon: Charles Ives through the Eyes of Henry and Sidney Cowell". Journal of the American Musicological Society 59, nr 2 (2006): 399–457. http://dx.doi.org/10.1525/jams.2006.59.2.399.
Pełny tekst źródłaHicks, Michael. "The Imprisonment of Henry Cowell". Journal of the American Musicological Society 44, nr 1 (1991): 92–119. http://dx.doi.org/10.2307/831729.
Pełny tekst źródłaYang, Mina, Michael Hicks i Carol J. Oja. "Henry Cowell, Bohemian". American Music 21, nr 2 (2003): 246. http://dx.doi.org/10.2307/3250567.
Pełny tekst źródłaCarl, Robert (Robert E. ). "Henry Cowell, Bohemian (review)". Notes 60, nr 1 (2003): 176–78. http://dx.doi.org/10.1353/not.2003.0091.
Pełny tekst źródłaMILLER, LETA E. "Henry Cowell and John Cage: Intersections and Influences, 1933–1941". Journal of the American Musicological Society 59, nr 1 (2006): 47–112. http://dx.doi.org/10.1525/jams.2006.59.1.47.
Pełny tekst źródłaHicks, Michael. "The Imprisonment of Henry Cowell". Journal of the American Musicological Society 44, nr 1 (kwiecień 1991): 92–119. http://dx.doi.org/10.1525/jams.1991.44.1.03a00040.
Pełny tekst źródłaNicholls, David. "Review: Essential Cowell: Selected Writings on Music by Henry Cowell". Music and Letters 84, nr 3 (1.08.2003): 516–17. http://dx.doi.org/10.1093/ml/84.3.516.
Pełny tekst źródłaJohnson, Steven. "Henry Cowell, John Varian, and Halcyon". American Music 11, nr 1 (1993): 1. http://dx.doi.org/10.2307/3052445.
Pełny tekst źródłaSchedel, Margaret. "Anticipating interactivity: Henry Cowell and the Rhythmicon". Organised Sound 7, nr 3 (grudzień 2002): 247–54. http://dx.doi.org/10.1017/s1355771802003047.
Pełny tekst źródłaSammarco, G. James. "Henry R. Cowell, MD, PhD (1933-2017)". Foot & Ankle International 39, nr 3 (marzec 2018): 388. http://dx.doi.org/10.1177/1071100718760850.
Pełny tekst źródłaRozprawy doktorskie na temat "Henry Cowell"
Schimpf, Peter John. "A transcultural student, teacher, and composer : Henry Cowell and the music of the world's peoples /". Abstract and electronic version Publication number: AAT 3248815 Electronic version, 2006. http://proquest.umi.com/pqdweb?did=1268603461&sid=1&Fmt=2&clientId=12010&RQT=309&VName=PQD.
Pełny tekst źródłaRischitelli, Victor Emanuel, i res cand@acu edu au. "Henry Cowell (1897-1965) and the Impact of His First European Tour (1923)". Australian Catholic University. School of Arts and Sciences, 2005. http://dlibrary.acu.edu.au/digitaltheses/public/adt-acuvp130.17052007.
Pełny tekst źródłaLechner, Ethan Neff Severine. "Composers as ethnographers difference in the imaginations of Colin McPhee, Henry Cowell, and Lou Harrison /". Chapel Hill, N.C. : University of North Carolina at Chapel Hill, 2008. http://dc.lib.unc.edu/u?/etd,1842.
Pełny tekst źródłaTitle from electronic title page (viewed Dec. 11, 2008). "... in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music." Discipline: Music; Department/School: Music.
Wathen, Chessa Catherine. "Henry Cowell, The Great Experimenter: Uncovering the Catalysts that Generated a Composer’s Ultramodernist Piano Techniques". Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/scripps_theses/859.
Pełny tekst źródłaBrown, Jeremy Scott. "A selected annotated list of wind band works by Henry Cowell and a performance edition of his Hymn and Fuguing Tune No.1 for Symphonic Band". The Ohio State University, 1993. http://rave.ohiolink.edu/etdc/view?acc_num=osu1335455406.
Pełny tekst źródłaStallings, Stephanie Noel Von Glahn Denise. ""New growth from new soil" Henry Cowell's application and advocacy of modern musical values /". Diss., 2004. http://etd.lib.fsu.edu/theses/available/etd-04142005-124248/.
Pełny tekst źródłaAdvisor: Denise Von Glahn, Florida State University, College of Music. Title and description from dissertation home page (viewed 7-13-07). Document formatted into pages; contains 70 pages. Includes biographical sketch. Includes bibliographical references.
Teng, Yu-ling, i 鄧伃伶. "The New Techniques in Henry Cowell''s Piano Solo Music". Thesis, 2010. http://ndltd.ncl.edu.tw/handle/81488755446952151557.
Pełny tekst źródła國立中山大學
音樂學系研究所
98
Henry Cowell (1897-1965), American composer in 20th century, is the first who proposed the concept of tone clusters and placed many new techniques in his piano music. Innovative music theories and unique thoughts were displayed in his compositions and critiques. For developing both new visual and audio effects of piano music, Cowell played tone clusters with arms, palms, and fists, and also played strings inside piano to give new gesture and timbre of piano. This thesis is divided into three parts besides introduction and conclusion. The first part describes the origin and development of new piano techniques in the 20th century. The second part investigates Cowell’s compositional career, compositional methods and thoughts for piano music. The third part analyzes ways of performing tone clusters and strings in Cowell’s solo piano pieces with new techniques. Through analyzing these particular techniques, the compositional methods and uniqueness of Cowell’s piano music could be understood. In the meanwhile, the performers will pay more attention to avoid performing injuries and damaging pianos.
Molano, Ruiz Andrés Felipe. "O pensamento futurista no repertório para piano solo de Leo Ornstein, Henry Cowell e George Antheil". Doctoral thesis, 2021. http://hdl.handle.net/10773/31991.
Pełny tekst źródłaO Futurismo foi um movimento artístico que procurou romper com o instituído, as condições e restrições do passado, particularmente aquelas estabelecidas pelo Romantismo. Ao surgir no início do século XX, em Itália, rapidamente se espalhou para outros países da Europa e do mundo, sendo um movimento que tentou acabar com o que foi apontado, por diversos autores, como a morte da arte e de um academismo reinante. Surgiu então como uma corrente artística com uma evidente transcendência e vigência no seu tempo. Ao analisar seus participantes, posso afirmar com assertividade que este movimento teve um forte impacto sobre a comunidade artística do seu tempo. Este impacto verificou-se não apenas nas artes, como a nível político, social e cultural. Propondo a interação entre várias disciplinas artísticas, expondo e incluindo as inovações tecnológicas da sua época, o Futurismo buscou igualmente uma alteração do paradigma criativo. Nele predominaram fatores decorrentes de uma consciencialização face a factos, conceitos e valores como a velocidade, a tecnologia, a rebelião, a máquina e a experimentação do ruido. Exaltando a importância do Movimento Futurista para o desenvolvimento da criação artística e musical do século XX, particularmente nos Estados Unidos de América, proponho ao longo desta tese, concentrar-me no trabalho dos compositores Leo Ornstein, Henry Cowell e George Antheil. Estes autores são relevantes pois, no meu entender, expuseram, destacaram e projetaram os elementos fundamentais que caracterizaram o Movimento Futurista nas suas obras, especialmente em algumas compostas para piano solo. Através da sua obra, concretizaram os ideais futuristas, deixando-me a possibilidade de enformar minha visão histórica, interpretativa e crítica, uma vez que me é possível estabelecer ligações, interações e contrastes entre a sua música e um repertório mais tradicional concebido para o piano. Nas obras que aqui evidencio, denoto elementos de uma música que se concretiza nos desafios técnicos e exploratórios que são propostos ao nível de um pianismo e que se mostram nas qualidades sonoras incomuns do piano. Este facto permite-me propor os objetivos da minha tese, que me possibilita criar uma interpretação justificada de acordo com o pensamento futurista, e sustentar o mecanicismo e o ruído proveniente do movimento, além de contribuir para o seu entendimento.
Futurism was an artistic movement that sought to break the instituted, the conditions and restrictions of the past, distinctively established by Romanticism. When Futurism rose during the early twentieth century in Italy, it quickly spread to other countries in Europe and the world, being a movement that tried to cease what several authors pointed out as the death of art and a dominant academicism. Futurism has emerged as an artistic movement with an evident significance and currency in its time. By analyzing its members, I can firmly affirm that this movement had a strong impact to the artistic community during its period. This impact was not only in arts, but also in the political, social and cultural aspects. Proposing the interaction between various artistic disciplines, exposing and including the technological innovations of its epoch, Futurism also sought to change the creative paradigm. In Futurism predominated the factors resulting from awareness to realities, concepts and values such as speed, technology, rebellion, machine and noise experimentation. Exalting the importance of the Futurist Movement in the development of the twentieth century’s artistic and musical creations, particularly in the United States of America, I propose to focus on the work of the composers Leo Ornstein, Henry Cowell and George Antheil. These authors are dominant because, in my opinion, they had exposed, highlighted and projected the fundamental elements that characterized the Futurist Movement in their works, especially in some music for piano solo. Through their work, they have concretized the futuristic ideals, allowing me the possibility of framing a historical, interpretative and critical view, since it is viable for me to establish conections, interactions and contrasts between their music and a more traditional piano repertoire. In the works that I highlight, I denote elements of a music that materialized in the technical and exploratory challenges that are proposed at a pianistic level and manifested in the unusual sound qualities of the piano. This fact allows me to propose the objetives of my thesis, which permits me to create a justified interpretation according to futurist thinking, support the mechanicism and noise of the movement, as well as contributing to its understanding.
Programa Doutoral em Música
"Performance Guide: Henry Cowell’s Three Irish Legends and Six Ings, and John Cage’s The Perilous Night". Doctoral diss., 2020. http://hdl.handle.net/2286/R.I.62720.
Pełny tekst źródłaDissertation/Thesis
Doctoral Dissertation Music 2020
Yang, Yu-Sheng, i 楊聿聖. "Exploring Charles Seeger & Henry Cowell’s Compositional Theories, taking Cowell’s Quartet Romantic as an example". Thesis, 2008. http://ndltd.ncl.edu.tw/handle/j754ca.
Pełny tekst źródła國立臺北藝術大學
音樂學研究所碩士班
96
Charles Seeger, one of the leading musicologists in 20th century America, endeavored to compose music and to conceive his dissonant counterpoint from the 1910s through the mid-1930s. His two prominent students, Henry Cowell and Ruth Crawford, wrote many experimental compositions using dissonant counterpoint. What exactly are the details of dissonant counterpoint? Why did they intend to systematize their compositional methods and embody the system to compose? In the present thesis, two prominent theoretical books are summarized, the first one being Seeger’s Tradition and Experiment in the New Music, and the second Cowell’s New Musical Resources. This is then followed by an analysis of Cowell’s Quartet Romantic, which presents how theories work in his musical composition. The first chapter of this document discusses the scope of music theory and compositional theory motivated by Seeger’s musicological writings, and introduces the musical milieu in early 20th century America. Chapter Two outlines Seeger’s Tradition and Experiment in The New Music, which was finished with Ruth Crawford’s collaboration in the early 1930s but published posthumously in 1994. In addition to Seeger’s philosophical thinking, this book also provides a manual of dissonant counterpoint. But what is the concept of dissonance from Seeger’s perspective? What is the connection between Seeger’s dissonant writing and his contemporary atonal or non-tonal composition? In Chapter Three, I survey Cowell’s New Musical Resources, this book was prompted by Seeger, who urged him to “systematize his use of musical resources.” This book shares many concepts with Seeger, such as harmonic dualism and the reciprocity of pitch and rhythm etc., but Cowell’s theory is based on harmonic series. Chapter Four provides an analysis of Cowell’s Quartet Romantic, which was composed while Cowell was studying composition with Seeger. The method used in composing this work was unusual in the early 20th century; Cowell pre-composed a four-part harmonic theme, then translated the pitch content into numerals to construct the rhythmic framework of the first movement. However, Cowell only provided one-third of this harmonic theme and slightly ignored the deviation of the frequency ratios between just intonation and overtone series. Thus, we could not easily reconstruct the entire harmonic theme. I have tried to reconstruct the rest of the harmonic theme and, moreover, illustrated that the fugal subject of the second movement was modified from the melody of the harmonic theme by using Seeger''s theory. In the last chapter, I express my opinion about dissonance and further point out the traditional elements in the Quartet except those experimental ones mentioned in the previous chapter.
Książki na temat "Henry Cowell"
The music of Henry Cowell: A descriptive catalog. Brooklyn, N.Y: Institute for Studies in American Music, Conservatory of Music, Brooklyn College of the City University of New York, 1986.
Znajdź pełny tekst źródłaMacDougall, Laurie. Henry Cowell and his family (1819-1955): A brief history. San Francisco, Calif: S.H. Cowell Foundation, 1989.
Znajdź pełny tekst źródłaPiwarzyk, Robert W. Valley of redwoods: A guide to Henry Cowell Redwoods State Park. Felton, CA: Mountain Parks Foundation, 2006.
Znajdź pełny tekst źródłaHiggins. Henry Cowell. Music Sales Corp, 1998.
Znajdź pełny tekst źródłaHenry Cowell: A Biography. Oxford University Press, 2007.
Znajdź pełny tekst źródłaBrown, Jeremy. Wind Band Music of Henry Cowell. Taylor & Francis Group, 2020.
Znajdź pełny tekst źródłaHenry Cowell's musical worlds: A program book for the Henry Cowell Centennial Festival. New York: Institute for Studies in American Music, 1997.
Znajdź pełny tekst źródła1953-, Oja Carol J., Allen Ray i Brooklyn College. Institute for Studies in American Music., red. Henry Cowell's musical worlds: A program book for the Henry Cowell Centennial Festival. Brooklyn, NY: Institute for Studies in American Music at Brooklyn College, City University of New York, 1997.
Znajdź pełny tekst źródłaHenry Cowell, Bohemian (Music in American Life). University of Illinois Press, 2002.
Znajdź pełny tekst źródłaSachs, Joel. Henry Cowell: A Man Made of Music. Oxford University Press, 2015.
Znajdź pełny tekst źródłaCzęści książek na temat "Henry Cowell"
Kurth, Ulrich. "Cowell, Henry Dixon". W Komponisten Lexikon, 139–41. Stuttgart: J.B. Metzler, 2003. http://dx.doi.org/10.1007/978-3-476-05274-2_69.
Pełny tekst źródłaKurth, Ulrich. "Cowell, Henry Dixon". W Metzler Komponisten Lexikon, 180–82. Stuttgart: J.B. Metzler, 1992. http://dx.doi.org/10.1007/978-3-476-03421-2_71.
Pełny tekst źródłaBrown, Jeremy S. "Cowell on His Own: Sublime Wind Band Music". W The Wind Band Music of Henry Cowell, redaktor Michael J. Budds, 123–44. New York: Routledge, 2018. I Series: CMS sourcebooks in: Routledge, 2018. http://dx.doi.org/10.4324/9781351239264-6.
Pełny tekst źródłaBrown, Jeremy S. "Introduction: Destined to Compose for Wind Band". W The Wind Band Music of Henry Cowell, redaktor Michael J. Budds, 1–20. New York: Routledge, 2018. I Series: CMS sourcebooks in: Routledge, 2018. http://dx.doi.org/10.4324/9781351239264-1.
Pełny tekst źródłaBrown, Jeremy S. "“Simplification with Substance”: 1950-1965". W The Wind Band Music of Henry Cowell, redaktor Michael J. Budds, 245–68. New York: Routledge, 2018. I Series: CMS sourcebooks in: Routledge, 2018. http://dx.doi.org/10.4324/9781351239264-10.
Pełny tekst źródłaBrown, Jeremy S. "Conclusions". W The Wind Band Music of Henry Cowell, redaktor Michael J. Budds, 269–84. New York: Routledge, 2018. I Series: CMS sourcebooks in: Routledge, 2018. http://dx.doi.org/10.4324/9781351239264-11.
Pełny tekst źródłaBrown, Jeremy S. "The Genesis of the Early Band Works". W The Wind Band Music of Henry Cowell, redaktor Michael J. Budds, 21–50. New York: Routledge, 2018. I Series: CMS sourcebooks in: Routledge, 2018. http://dx.doi.org/10.4324/9781351239264-2.
Pełny tekst źródłaBrown, Jeremy S. "Celtic Set for Band: The Countless California Confluences". W The Wind Band Music of Henry Cowell, redaktor Michael J. Budds, 51–68. New York: Routledge, 2018. I Series: CMS sourcebooks in: Routledge, 2018. http://dx.doi.org/10.4324/9781351239264-3.
Pełny tekst źródłaBrown, Jeremy S. "The Celtic Set Letters from Cowell to Grainger, 1937–1940". W The Wind Band Music of Henry Cowell, redaktor Michael J. Budds, 69–96. New York: Routledge, 2018. I Series: CMS sourcebooks in: Routledge, 2018. http://dx.doi.org/10.4324/9781351239264-4.
Pełny tekst źródłaBrown, Jeremy S. "Celtic Set—Composed by Cowell, Edited by Grainger, Rescored by Goldman". W The Wind Band Music of Henry Cowell, redaktor Michael J. Budds, 97–122. New York: Routledge, 2018. I Series: CMS sourcebooks in: Routledge, 2018. http://dx.doi.org/10.4324/9781351239264-5.
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