MUSICAL PRACTICE AS A FORM OF LIFE : HOW MAKING MUSIC CAN BE MEANINGFUL AND REAL

MUSICAL PRACTICE AS A FORM OF LIFE : HOW MAKING MUSIC CAN BE MEANINGFUL AND REAL

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Bibliographic Details
Main Author: Houben, Eva-Maria (Author)
Corporate Author: ProQuest (Firm)
Format: Electronic eBook
Language:English
Published: [S.l.] : TRANSCRIPT-VERLAG, 2019.
Edition:1ST ED.
Series:Musik und Klangkultur ; v. 32.
Subjects:
Music.
Learning.
Reality.
Experience.
Music > Instruction and study.
Thought and thinking > Study and teaching.
Music > Performance.
Music > Philosophy and aesthetics.
Musical analysis.
Online Access:Connect to this title online (unlimited simultaneous users allowed; 325 uses per year)

MARC

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245 1 0 |a MUSICAL PRACTICE AS A FORM OF LIFE :  |b HOW MAKING MUSIC CAN BE MEANINGFUL AND REAL  |h [electronic resource]. 
250 |a 1ST ED. 
260 |a [S.l.] :  |b TRANSCRIPT-VERLAG,  |c 2019. 
300 |a 1 online resource. 
490 1 |a Music and sound culture ;  |v v. 32 
505 0 0 |a Machine generated contents note:   |t FIRST PART --   |g 1.  |t Access to the Topic --   |g 1.1.  |t Musical Situation: To do and to let go --   |g 1.2.  |t Music: To what end is it good? - Faced with --   |g 1.3.  |t Inventing/Finding Practices --   |g 1.4.  |t Exercises --   |g 1.5.  |t Useful? Notation and the Reality of the Performance --   |g 2.  |t Musical Practice --   |g 2.1.  |t Approach to the Term. Focal Points, Intersections --   |g 2.2.  |t "Sense?" "Meaning?" --   |g 2.3.  |t Realities? Worlds? --   |g 2.4.  |t Speaking, Speech --   |g 3.  |t Finding Speech --   |g 3.1.  |t Intersubjectivity - Multiple Realities (Alfred Schutz) --   |g 3.2.  |t Everyday Life-World and Musical Practice: A first discussion of the threshold --   |g 3.3.  |t Embodying, Showing (Simone Mahrenholz) --   |g 3.4.  |t Borders, Thresholds - and Transitions --   |t SECOND PART --   |g 1.  |t Keys --   |g 1.1.  |t Ludwig van Beethoven: Piano Sonata no. 32 in C Minor op. 111, 1st movement (Maestoso. Allegro con brio ed appassionato) (1821/22) Single Events - Disorientation. Reorientation? --   |g 1.2.  |t Johann Sebastian Bach: Fantasia in G Minor for organ BWV 542 (about 1720) --   |t Determination of Positions in History - A Physical Expression --   |g 1.3.  |t Fr6d6ric Chopin: Prelude no. 2 in A Minor (24 Preludes op. 28; publ. 1839) --   |t Tender Connections in a Disturbing Context: The pianist with two hands --   |g 1.4.  |t Aurele Stroe: eme Sonate pour Piano (en palimpseste) (1947/1957/1990-1991) --   |t Breaks - The piano as a drum. Space-filling movements --   |g 1.5.  |t Robert Schumann: Kreisleriana. Fantasien fur Piano-Forte op. 16 (1838; rev. 1850) --   |t Becoming Physically Evident: All-at-once --   |g 1.6.  |t Luigi Nono: .sofferte onde serene . for piano and magnetic tape (1976) --   |t Pulsations: Signs of life. Keys as extensions of the body, of the fingers --   |g 2.  |t Many Performers --   |g 2.1.  |t Anton Webern: Funf Stucke fur Orchester op. 10,1 (1911-1913) -Christian Wolff: For 1, 2 or 3 people (1964) --   |t Alone, in Twos, with Several Co-performers within the Group (1) --   |g 2.2.  |t Wolfgang Amadeus Mozart: Serenade in B Flat Major ("Gran Partita") (KV 361), Largo/Molto allegro - Adagio (presumably 1783-84) --   |t Alone, in Twos, with Several Co-performers within the Group (2) --   |g 2.3.  |t Ludwig van Beethoven: Symphonie no. 5 in C Minor op. 67 (UA 22.12.1808) --   |t Individual and Group Network: The "right to appear" -The Promise and the Challenge of the "We" --   |g 2.4.  |t John Cage: Music for (1984-87) --   |t Coincidence. Shared Experience of a "We" - Being There as Well --   |g 3.  |t Solo --   |g 3.1.  |t Claude Debussy: Syrinx pour flute seule (1913) - Anastassis Philippakopoulos: song 6 for bass flute or alto flute or flute (2010) --   |t Listening to Oneself - Breaths - The Absent You --   |g 3.2.  |t Johann Jacob Froberger: Lamentation {Partita in C; FbWV 612) (1654) -Meditation (Partita in D; FbWV 620) (1660) --   |t Listening to the Decaying Sound - "avec discretion" --   |g 3.3.  |t Istvan Zelenka: "The trumpet shall sound!" - "Stillstiick" (a silent piece) for a cellist, with simultaneous environmental sounds and without an audience (1990) --   |t Activity "per se" in an Open Space --   |g 3.4.  |t Antoine Beuger: pour etre seul(e), sans reserve for piano (2009) Being Alone: Losing oneself, giving oneself up for lost --   |g 4.  |t Duo --   |g 4.1.  |t Federico Mompou: Cantor del Alma. Pour Piano et Chant (1951). Text: Saint Jean of the Cross --   |t Being Separated in Love --   |g 4.2.  |t Jurg Frey: Buch der R&ume und Zeiten for two performers (1999) -Jiirg Frey: Ohne Titel (two violins) (1995/96) --   |t Being There as Well - Unidentifiable Difference --   |g 4.3.  |t Ludwig van Beethoven: Violin Sonata no. 10 in G Major op. 96, 2nd movement (Adagio espressivo) (1812) --   |t Approaching One Another --   |g 5.  |t Trio --   |g 5.1.  |t Franz Schubert: Trio no.2 in E Flat Major D 929 op. 100, 2nd movement (Andante con moto) (1827) --   |t Different Fates - Experienced Together --   |g 5.2.  |t Arnold Schoenberg: String Trio op.45 (1946) --   |t Trio-Body in Pulsation: Being three bodies - becoming one body. Remaining only one body? --   |g 5.3.  |t Mathias Spahlinger: 128 erfullte augenblicke. systematisch geordnet, variabel zu spielen. for voice, clarinet and cello (1975) --   |t Continuity as Utopia. Emergence of (One's Own) Systems --   |g 6.  |t Quartet --   |g 6.1.  |t Ludwig van Beethoven: String Quartet no. 10 in E Flat Major op. 74 ("The Harp"), ist movement, Introduction Poco Adagio (1809) --   |t Being Reliant on One Another in Freedom --   |g 6.2.  |t Helmut Lachenmann: Gran Torso. Musik fur Streichquartett (Music for String Quartet) (1971/72; rev. 1978) --   |t "right to appear" - Appearing in the Open Space --   |g 7.  |t Beyond Borders --   |g 7.1.  |t Risk? Hans-Joachim Hespos: seiltanz. szenisches abenteuer (1982) --   |g 7.2.  |t Virtuosity? Franz Liszt: Etudes d'execution transcendante (1826, 1838, 1851) --   |g 7.3.  |t Unpredictability? Karlheinz Stockhausen: Spiral fur einen Solisten/for a Soloist (1968) --   |g 8.  |t In the "Ark of the Moment". 
533 |a Electronic reproduction.  |b Ann Arbor, MI  |n Available via World Wide Web. 
650 0 |a Music. 
650 0 |a Learning. 
650 0 |a Reality. 
650 0 |a Experience. 
650 0 |a Music  |x Instruction and study. 
650 0 |a Thought and thinking  |x Study and teaching. 
650 0 |a Music  |x Performance. 
650 0 |a Music  |x Philosophy and aesthetics. 
650 0 |a Musical analysis. 
710 2 |a ProQuest (Firm) 
830 0 |a Musik und Klangkultur ;  |v v. 32. 
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