Solo for piano by John Cage, second realization Part 2 Music edition / John Cage ; David Tudor ; edited by John Holzaepfel.

Av: Cage, John, 1912-1992 [cmp]
Medverkande: Tudor, David, 1926-1996 [mus] | Holzaepfel, John [edt]
Language: No linguistic content Serie: Recent researches in American music: volume 87; Music of the United States of America: volume 30BPublisher: Middleton, Wisconsin : A-R Editions, Inc. [2020]Copyright date: ©2020Beskrivning: 1 partitur (92 sidor) porträtt 21 x 26 cmInnehållstyp: notated music Mediatyp: unmediated Bärartyp: volumeISBN: 9781987203042Föredragen titel: Concert, Piano Solo, piano (David Tudor 1959) Innehållna verk: Cage, John, 1912-1992 Solo for piano | Tudor, David, 1926-1996 Solo for piano by John Cage, second realization, PianoÄmne(n): 1900-talet | Pianomusik | Slumpmusik | Förenta staternaGenre/Form: PianoDDK-klassifikation: 786.2
Anmärkning:
För solopiano
Anmärkning språk: | Anmärkning bestånd: B32.761 Libris-ID: gsz7x1rzdbmzbr80Summary: "The collaboration of [John] Cage and [David] Tudor reached an apex in the Solo for Piano from Cage's Concert for Piano and Orchestra (1957-58). None of Cage's previous works had employed more than a single type of notation. In contrast, the Solo for Piano consists of eighty-four notational types, ranging from standard line-and-staff notation to extravagant musical graphics. The notational complexity of the Solo for Piano led Tudor to write out -- or realize -- a performance score, from which he played at the premiere of the Concert for Piano and Orchestra in May 1958. The next spring, when Cage requested music to complement his ninety-minute lecture "Indeterminacy," Tudor created a second realization, for which he devised a new temporal structure to implement Cage's notations. This edition of Tudor's second realization of the Solo for Piano presents Tudor's performance score in the spatial-temporal layout of its proportional notation. An introductory essay discusses the early collaborations of Cage and Tudor, as well as the genesis, creative process, and performance history of the Solo for Piano. The critical commentary examines each of Tudor's methods of realization; which notations from Cage's score Tudor selected and why; how Tudor interpreted Cage's often ambiguous performance instructions; how Tudor distributed the resulting sounds temporally; and the ways in which Tudor's realization fulfills, transcends, and sometimes contravenes the instructions of Cage's score" -- Provided by publisher
List(s) this item appears in: Musiklitteratur sommaren och hösten 2020
Item type Current location Call number Status Date due Barcode Item holds
Book Musik- och teaterbiblioteket
Plan 5
B32.761 Available 26201863898
Total holds: 0

För solopiano

"The collaboration of [John] Cage and [David] Tudor reached an apex in the Solo for Piano from Cage's Concert for Piano and Orchestra (1957-58). None of Cage's previous works had employed more than a single type of notation. In contrast, the Solo for Piano consists of eighty-four notational types, ranging from standard line-and-staff notation to extravagant musical graphics. The notational complexity of the Solo for Piano led Tudor to write out -- or realize -- a performance score, from which he played at the premiere of the Concert for Piano and Orchestra in May 1958. The next spring, when Cage requested music to complement his ninety-minute lecture "Indeterminacy," Tudor created a second realization, for which he devised a new temporal structure to implement Cage's notations. This edition of Tudor's second realization of the Solo for Piano presents Tudor's performance score in the spatial-temporal layout of its proportional notation. An introductory essay discusses the early collaborations of Cage and Tudor, as well as the genesis, creative process, and performance history of the Solo for Piano. The critical commentary examines each of Tudor's methods of realization; which notations from Cage's score Tudor selected and why; how Tudor interpreted Cage's often ambiguous performance instructions; how Tudor distributed the resulting sounds temporally; and the ways in which Tudor's realization fulfills, transcends, and sometimes contravenes the instructions of Cage's score" -- Provided by publisher

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