Britten and the Far East: Asian Influences in the Music of Benjamin Britten
Boydell & Brewer, 1998 - 279 sivua
Benjamin Britten's interest in the musical traditions of the Far East had a far-reaching influence on his compositional style; this book is the first to investigate the highly original cross-cultural synthesis he was able to achieve through the use of material borrowed from Balinese, Japanese and Indian music. Britten's visit to Indonesia and Japan in 1955-6 is reconstructed from archival sources, and shown to have had a profound impact on his subsequent work: the techniques of Balinese gamelan music were used in the ballet The Prince of the Pagodas (1957), and then became an essential feature of Britten's compositional style, at their most potent in Death in Venice(1973). The No drama and Gagaku court music of Japan were the inspiration for the trilogy of church parables Britten composed in the 1960s. The precise nature of these influences is discussed; Britten's sporadic borrowings from Indian music are also fully analysed. There is a survey of critical responses to Britten's cross-cultural experiments. Dr MERVYN COOKE lectures in music at the University of Nottingham.
Mitä ihmiset sanovat - Kirjoita arvostelu
Yhtään arvostelua ei löytynyt.
Making Tonic and Dominant Seem like Ghosts
Britten and Colin McPhee
The Prince of the Pagodas
the Evolution of Curlew River 195664
Sumidagawa and the Curlew River libretto
Curlew River and the dramatic style of No
Curlew River and European mediaeval drama
Muita painoksia - Näytä kaikki
aitake Aldeburgh Festival Aschenbach Ausflug Ost Bali Balinese gamelan Balinese music Balinese scales ballet bamboo BB to William Benjamin Britten Britten and Pears Britten wrote Britten's copy Burning Fiery Furnace chord chorus Church Parables Colin McPhee colotomic composer composer's composition concert Cranko Curlew River dance Death in Venice Debussy Debussy's draft dramatic drums ensemble Faber February Ferryman Figure flute Gagaku gamelan gong gamelan music GB-ALb GB-DRu GB-DRu Graham harmonic heterophonic IJzerdraat Indonesian influence instruments January Japan Japanese music kebyar Kurosawa later letter libretto Madwoman melodic Noye's Fludde opera orchestra oriental original ostinato Pagodas passage Peliatan pentatonic pentatonicism performance Peter Pears piano piece pitch play Plomer to BB Poulenc Prince Ludwig Prodigal recalls recording rhythmic Roger Duncan saih selisir shite sketches solo specific stage style suggests Sumidagawa Tadzio techniques theatre theme Togaku Tokyo tonal transcriptions Travel Diaries tuned percussion Ubud wayang Western William Plomer