Gotowe bibliografie tematyczne / Henry Cowell

Gotowa bibliografia na temat „Henry Cowell”

Autor: Grafiati
Data publikacji: 4 czerwca 2021
Data aktualizacji: 25 kwietnia 2022

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Artykuły w czasopismach na temat "Henry Cowell"

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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.

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Abstract Scholars have recognized that Henry Cowell was one of the most ardent promoters of Charles Ives, but the fact that Cowell's conception of Ives shifted over time has been overlooked. During the late twenties, Cowell portrayed Ives as a fundamentally social artist with the sensibilities of a musical ethnographer. By the fifties, in the writings Cowell coauthored with his wife Sidney, Ives came to be depicted as a paragon for the liberating power of individualism. Close scrutiny of Cowell's published writings, along with letters and manuscripts from the Henry Cowell Collection of the Music Division at the New York Public Library for the Performing Arts, reveals the factors that influenced this transition. Béla Bartók's theories about folk music authenticity were the impetus behind Cowell's earliest conception of Ives. Cowell maintained that Ives had created a definitively American art music by transcribing the performance idiosyncrasies of American folk musicians. The anxieties of the Cold War and a writing partnership with his wife caused Cowell to stress Ives's commitment to the individualism espoused by transcendentalist philosophers. The Cowells no longer equated Ives's Americanness with his ability to transcribe local practice, but instead with his solitary pursuit of the “Universal Mind.”
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Hicks, 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.

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Thus far, published references to Henry Cowell's imprisonment consistently obscure the facts of his case and overlook virtually all of the essential primary sources, including court documents, correspondence, psychological evaluations, and even Cowell's own writings on the subject. Although Cowell acceded to a charge that he had engaged in homosexual activities with a minor, the charge was distorted by newspapers and both exaggerated and minimized by his friends. The extraordinary prison sentence Cowell received resulted largely from a misleading letter by a juvenile probation officer, written amid a political climate of severe antipathy toward sex offenders. During Cowell's incarceration, several leading psychologists evaluated the composer according to then-prevalent theories of homosexuality. These psychologists, along with several officers of the court, expressed faith in the composer's "rehabilitation" and their recommendations helped secure the composer a parole. Political changes in California and the entry of the United States into World War II paved the way for a pardon, which was granted primarily so that Cowell could work on a government project known as "cultural defense." Despite his impressive accomplishments in prison and the positive resolution of his case, Cowell never fully recovered from the experience. Scholarly repression of the facts ensued and led to fragmented, inaccurate accounts of the prison years. Hence, this part of Cowell's life provides a useful test case on some persistent issues in musical biography.
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Yang, Mina, Michael Hicks i Carol J. Oja. "Henry Cowell, Bohemian". American Music 21, nr 2 (2003): 246. http://dx.doi.org/10.2307/3250567.

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Carl, Robert (Robert E. ). "Henry Cowell, Bohemian (review)". Notes 60, nr 1 (2003): 176–78. http://dx.doi.org/10.1353/not.2003.0091.

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MILLER, 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.

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Abstract This article explores, through examination of correspondence and other primary sources, the close interaction between Henry Cowell and John Cage from 1933 to 1941 in the areas of percussion music, dance, world musics, the prepared piano, electronic sounds, micro-macrocosmic forms, sliding tones, and elastic composition. Several works are examined in detail, among them Cowell's Pulse (which anticipated Cage's micro-macrocosmic forms in the Constructions) and Cage's Imaginary Landscape No. 1 (whose electronic slides addressed Cowell's prediction that the “future of music” lay in the perfection of percussion and sliding tones). A previously unavailable recording of Imaginary Landscape No. 1 by Cage's ensemble reveals an unexpected interpretation of the score. Appendices present a chronology of events, a 1937 letter from Cowell to Cage, and a little-known set of Cage's program notes from 1940.
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Hicks, 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.

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Nicholls, 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.

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Johnson, Steven. "Henry Cowell, John Varian, and Halcyon". American Music 11, nr 1 (1993): 1. http://dx.doi.org/10.2307/3052445.

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Schedel, Margaret. "Anticipating interactivity: Henry Cowell and the Rhythmicon". Organised Sound 7, nr 3 (grudzień 2002): 247–54. http://dx.doi.org/10.1017/s1355771802003047.

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In the early 1930s, maverick composer Henry Cowell collaborated with inventor Leon Theremin to build an electronic instrument capable of producing intricate polyrhythms. This instrument, dubbed the Rhythmicon, can be considered a rudimentary example of an interactive music system. Cowell and Theremin created the machine to fulfil a compositional need, but it ultimately failed to become a successful musical instrument. The Rhythmicon was one of the first electronic music instruments to use technology to extend performers' musical capacities, anticipating the interactive computer music movement by several decades. Despite its shortcomings, the Rhythmicon should be remembered as an important step on the road to interactivity.
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Sammarco, 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.

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Rozprawy doktorskie na temat "Henry Cowell"

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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.

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Rischitelli, 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.

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In 1923, American composer and pianist, Henry Cowell (1897-1965) gave his first highly successful concert tour of Europe, playing his own unique compositions. This thesis details this tour and discusses its impact. Considering the enormous impact of Cowell’s tour, it has only been discussed briefly. Cowell performed in many European cities, especially in Vienna, Berlin, Paris and London, achieving positive reviews and some notoriety. I discuss how and why he created such an impact, not only during the tour but also immediately following it, in relation to musical life in Europe and the differences between his piano music and the piano music that was being heard at the time. On his tour, Cowell showcased many new piano techniques he had invented, some of which he had discussed in his treatise New Musical Resources (1919). His clusters, string-piano technique and to some degree, his experiments with time and metre, were very new and influenced later generations of composers. His music created such passionate responses from the Europeans that when he returned to America, attitudes towards him and his music had changed for the better. In Europe, Cowell was also impressed by the various societies and publications devoted to new music and as a result he founded, in America, the New Music Society and the publication New Musical Quarterly. These promoted mostly American composers devoted to avant-garde developments in music, providing the foundation for the development of American music.
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Lechner, 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.

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Thesis (Ph. D.)--University of North Carolina at Chapel Hill, 2008.
Title 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.
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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.

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In the scholarship surrounding piano repertoire, Henry Cowell is seen as a kind of “one-hit-experimental-wonder,” being know mostly for his astonishingly progressive piece The Banshee. However, Cowell was an enigmatic composer, a diverse scholar, an influential proponent new music, as well as a music theorist and comparative musicologist. Therefore in order to gain a more complete understanding of Cowell and his deeply influential piano works, this project seeks to explore the philosophical, cultural, and non- Western musical influences that inspired Cowell’s novel experimentation at the piano.
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Brown, 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.

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Stallings, 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/.

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Thesis (M.M.) Florida State University, 2004.
Advisor: 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.
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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.

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碩士
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.
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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.

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El Futurismo fue un movimiento artístico que buscó romper con lo instituido, las condiciones y restricciones del pasado, particularmente establecidas por el Romanticismo. Al surgir a principios del siglo XX en Italia, rápidamente se extendió a otros países de Europa y del mundo, siendo un movimiento que intentó acabar con lo que diversos autores señalaron como la muerte del arte y de un academicismo dominante. Emergió entonces como una corriente artística con una evidente trascendencia y vigencia en su tiempo. Al analizar a sus participantes, puedo afirmar con firmeza que este movimiento tuvo un fuerte impacto en la comunidad artística de su época, este impacto se vio no solo en artes, sino también a nivel político, social y cultural. Al proponer la interacción entre varias disciplinas artísticas, exponiendo e incluyendo las innovaciones tecnológicas de su tiempo, el Futurismo también buscó cambiar el paradigma creativo. En el Futurismo predominaron los factores que resultan de la concienciación frente a los hechos, conceptos y valores como la velocidad, la tecnología, la rebelión, la máquina y la experimentación ruidística. Exaltando la importancia del Movimiento Futurista en el desarrollo de las creaciones artísticas y musicales del siglo XX, particularmente en los Estados Unidos de América, propongo concentrarme en particular en la obra de los compositores Leo Ornstein, Henry Cowell y George Antheil. Estos autores son relevantes porque, en mi opinión, expusieron, resaltaron y proyectaron los elementos fundamentales que caracterizaron al Movimiento Futurista en sus obras, especialmente en algunas para piano solo. A través de su trabajo, concretizaron los ideales futuristas, dejándome la capacidad de formar una visión histórica, interpretativa y crítica, ya que me es posible establecer conexiones, interacciones y contrastes entre su música y un repertorio más tradicional para el piano. En los trabajos que aquí destaco, denoto elementos de una música que se materializa en los desafíos técnicos y exploratorios que se proponen a nivel pianístico y que se manifiestan en las insólitas cualidades sonoras del piano. Este hecho me permite proponer los objetivos de mi tesis, lo que me deja crear una interpretación justificada según el pensamiento futurista, y sustentar el mecanicismo y el ruido del movimiento, además de contribuir a su comprensión.
O 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
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"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.

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abstract: This research will explore the compositional approaches of Henry Cowell and John Cage to reveal piano techniques for the practice and performance of selected works. The discussion will focus on Henry Cowell’s Three Irish Legends and Six Ings, as well as John Cage’s The Perilous Night. An important contribution of Cowell was to further the use of tone clusters, applied in his Three Irish Legends by playing directly with the forearm, fists, and palm. Cowell’s Six Ings employ rhythmic experimentation, particularly in the first, second, and sixth pieces. He also uses tone color to portray specific programmatic features. John Cage greatly advanced the prepared piano from its earliest beginnings, as evidenced significantly in The Perilous Night. The present study will include advice on piano preparation, along with performance challenges and solutions.
Dissertation/Thesis
Doctoral Dissertation Music 2020
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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.

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碩士
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.
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Książki na temat "Henry Cowell"

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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.

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MacDougall, Laurie. Henry Cowell and his family (1819-1955): A brief history. San Francisco, Calif: S.H. Cowell Foundation, 1989.

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Piwarzyk, Robert W. Valley of redwoods: A guide to Henry Cowell Redwoods State Park. Felton, CA: Mountain Parks Foundation, 2006.

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Higgins. Henry Cowell. Music Sales Corp, 1998.

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Henry Cowell: A Biography. Oxford University Press, 2007.

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Brown, Jeremy. Wind Band Music of Henry Cowell. Taylor & Francis Group, 2020.

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Henry Cowell's musical worlds: A program book for the Henry Cowell Centennial Festival. New York: Institute for Studies in American Music, 1997.

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1953-, 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.

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Henry Cowell, Bohemian (Music in American Life). University of Illinois Press, 2002.

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Sachs, Joel. Henry Cowell: A Man Made of Music. Oxford University Press, 2015.

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Części książek na temat "Henry Cowell"

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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.

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Kurth, 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.

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Brown, 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.

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Brown, 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.

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Brown, 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.

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Brown, 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.

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Brown, 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.

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Brown, 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.

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Brown, 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.

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Brown, 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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