The Resource An analysis of Martino's Fantasies and impromptus for solo piano (1981), Laurann. Littleton, (electronic resource)

An analysis of Martino's Fantasies and impromptus for solo piano (1981), Laurann. Littleton, (electronic resource)

Label
An analysis of Martino's Fantasies and impromptus for solo piano (1981)
Title
An analysis of Martino's Fantasies and impromptus for solo piano (1981)
Statement of responsibility
Laurann. Littleton
Creator
Author
Subject
Genre
Language
eng
Summary
Under the influence of Ernst Bacon at Syracuse University, Donald Martino, an undergraduate clarinetist, first turned to composing music in 1949. As a result, on leaving Syracuse in 1952, Martino went on to Princeton to study composition with Roger Sessions and twelve-tone innovator Milton Babbitt. Nevertheless, Babbitt did not first interest Martino in twelve-tone music; rather, Luigi Dallapiccola's music inspired Martino to investigate the twelve-tone system when Martino went to Italy to study with Dallapiccola in 1954. Twelve-tone music "sparked" Martino's ear. To him, its use seemed to evolve naturally as a means of controlling the chromaticism which hod come to dominate his music under the influence of Bartók. One of the hallmarks of Martino's music is indeed the use of twelve-tone techniques. In addition to continuing Babbitt's practice of using musical dimensions such as register, timbre, and dynamics to project a row, Martino has continued and extended a technique actually begun by Schoenberg: using the pitch-class content of segments of the row in a "harmonic" capacity, adding a vertical dimension to the row. According to Schoenberg, the "association of tones into harmonies ... is regulated" by the order of pitch-classes in the row. Like other twelve-tone composers (such as Berg and Dallapiccola), Martino often uses the row in a purely referential capacity, generating sections of music which have no clear statement of either the row itself or its unordered segments. However, the intriguing craft with which Martino uses the row as a reference sets him apart from previous composers. Indeed, one of the goals of analyzing Martino's music is to determine the ways in which he uses the potentials of the row in non-row passages
http://library.link/vocab/creatorName
Littleton, Laurann
Index
no index present
Literary form
non fiction
Nature of contents
  • dictionaries
  • bibliography
  • theses
Label
An analysis of Martino's Fantasies and impromptus for solo piano (1981), Laurann. Littleton, (electronic resource)
Link
http://hdl.handle.net/1802/1235
Instantiates
Publication
Note
173 leaves : music ; 28 cm
Form of item
online
Specific material designation
remote
System details
System requirements: PDF viewer/reader
Terms governing use
This item is protected by copyright, with all rights reserved.
Label
An analysis of Martino's Fantasies and impromptus for solo piano (1981), Laurann. Littleton, (electronic resource)
Link
http://hdl.handle.net/1802/1235
Publication
Note
173 leaves : music ; 28 cm
Form of item
online
Specific material designation
remote
System details
System requirements: PDF viewer/reader
Terms governing use
This item is protected by copyright, with all rights reserved.

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