JOURNAL OF BAND RESEARCH最新文献

{"title":"Self-Portrait of Percy Grainger","authors":"A. Gowan","doi":"10.5860/choice.44-2622","DOIUrl":"https://doi.org/10.5860/choice.44-2622","url":null,"abstract":"Self-Portrait of Percy Grainger Edited by Malcolm Gillies, David Pear, and Mark Carroll, New York, NY: Oxford University Press, 2006 The name of Percy Grainger is surely familiar to every experienced band musician and conductor, and his compositions maintain an honored place in the repertoire. This volume is the latest in a succession of significant volumes of research dedicated to Grainger's life and music, and the notable Australian musicologists who assembled the work are seasoned Grainger scholars. Although Grainger wrote an introduction to an autobiography, \"My Wretched Tone-Life,\" in 1951> and an explanatory essay, 'Why \"My Wretched Tone-Life\"?' in 1953, he never completed the autobiography itself. So, the Self-Portrait of Percy Grainger, and other volumes created from the half million words of autobiographical legacy Grainger penned, will have to serve as our window into the mind of this extraordinary musician. This work draws its material from the unpublished essays Grainger placed in his Australian museum before his death in 1961. The editors suggest that these manuscripts were the sketches from which he intended to craft his autobiography. The writings are personal, revealing tracts that were often handwritten in train stations, hotels, and hospital rooms. The essays cover a wide variety of topics, and Grainger's free-ranging writing style has made it impractical to organize these materials only by chronology or main theme. Ultimately, the writings were selected and arranged to describe Percy Grainger, the musician of colorful opinions and uncommon tastes, with an eye toward the information that readers of the 21st century might want to know. Grainger's use of language must have posed a major challenge for the editors. Because of his fondness for things Nordic, Grainger often skipped between English and Danish in these writings, and occasional words in Swedish are found. Statements made to him in German were often transferred to paper in German, and there is a smattering of Latin, Greek, French, and Maori in these sketches. The most formidable challenge was presented by Grainger's use of Nordic English, a language of his own invention. Fortunately, the Self-Portrait is presented to the reader in English and is replete with editorial clarifications and frequent annotations to assist in comprehension. The Self-Portrait is divided into Part I (The Man) and Part II (The Musician) with twenty photographs placed between the two parts. The volume begins with a detailed listing of the contents, a list of the illustrations (photographs), and an excellent chronology of the significant events in Grainger's life. The \"Introduction\" by Malcolm Gillies is particularly enlightening, and readers are encouraged to read it before moving on to the main text. …","PeriodicalId":42284,"journal":{"name":"JOURNAL OF BAND RESEARCH","volume":"43 1","pages":"79"},"PeriodicalIF":0.2,"publicationDate":"2007-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71114451","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The documents, personal music collections, and artifacts contained in the Goldman Band Library at the University of Iowa","authors":"Boyd B. Perkins","doi":"10.17077/etd.vcpyfvfz","DOIUrl":"https://doi.org/10.17077/etd.vcpyfvfz","url":null,"abstract":"Commissioned and premiered by James Keene and the University of Illinois Wind Symphony for the 1994 National MENC Conference, Epiphanies^ is cited by composer Ron Nelson as his most dissonant work. It utilizes an octatonic-based structure, with the primary scale patterns being derivative of a phone number in the same area code (217) as the University of Illinois.2 Despite this atypical inspiration, the work progresses much like the more familiar Passacaglia: Homage on B-A-C-H3, moving slowly from darkness to light, yet Epiphanies relies more heavily on the long-range motion from dissonance and octatonicism to functional tonality. The opening five measures provide the impetus for the development that will occur throughout the work. The opening D-flat, the second pitch in the octatonic set, immediately is scored against a C, but is reset against C sonorities so often, it almost functions as a separate-yetequal octatonic center, while the fundamental pitch, which will eventually become the functional tonic, remains C. These two \"tonics\" representing the two main areas of the work, are used simultaneously throughout the opening section to create tension that must eventually be resolved. This conflict creates a rich harmonic palate for the interjected fanfare motives occurring throughout the opening of the work. The first 26 measures serve to establish harmonic areas derived from both the octatonic scale based around the second tone, D-flat, and the initial dissonance established between D- flat and C. This harmonic structure expands to include half-step dissonances between F-sharp and G, as well as A and B-flat, and whole step dissonances between G and A, D-flat and E- flat, and finally B-flat and C. These dissonances function initially as isolated events, but as the texture becomes increasingly dense, the dissonances begin to function differently, with the single tone D-flat - C dissonance expanding to include groups of bi-tonal chords. This is realized through the juxtaposition of A and C set against a G diminished chord, F-sharp diminished against G diminished, and F-sharp diminished against an incomplete B-flat minor4. Measure 15 also proves to be structurally significant as it combines the pitches F-sharp, C, G, and D-flat. Interestingly, this moment5 highlights, in truncated fashion, the long-range tonal and structural issues in this work. Simultaneous F-sharp against G and C against D-flat, half-step dissonances from the opening of the work, can also be realized as F-sharp against C and G against D-flat, intervallic fifths (tritones) which foreshadow the eventual functional harmonic framework as the work progresses, even though they are still cast strongly within an obvious octatonic frame. The areas of increasing harmonic and textural complexity finally coalesce at m. 19 when the existing bi-tonality is condensed to a single ?-flat minor-minor seventh sonority. A widening of tessitura at this point, encompassing a greater span of octaves, als","PeriodicalId":42284,"journal":{"name":"JOURNAL OF BAND RESEARCH","volume":"45 1","pages":"1"},"PeriodicalIF":0.2,"publicationDate":"2004-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68075198","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}