Download Britten's Musical Language (Music in the Twentieth Century) by Philip Rupprecht PDF

By Philip Rupprecht

Mixing insights from linguistic and social theories of speech, ritual and narrative with music-analytic and historic criticism,Britten's Musical Language bargains clean views at the composer's fusion of verbal and musical utterance in opera and music. It offers shut interpretative experiences of the foremost ratings (including Peter Grimes, Billy Budd, The flip of the Screw, conflict Requiem, Curlew River and demise in Venice) and explores Britten's skill to style advanced and mysterious symbolic dramas from the interaction of texted tune and wordless discourse of reasons and issues.

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Additional resources for Britten's Musical Language (Music in the Twentieth Century)

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17 With its carefully constructed tonal conflicts, the Prologue articulates the “semantic reversals” that animate a dialogue between two speakers,18 and in doing so, the music exposes character as a function of actional speech. 19 Thus his tonal independence might be heard to enact a subtle resistance to the authority vested in the court’s Bb-major Peter Grimes: the force of operatic utterance 41 home tonic, an interpretation that seems increasingly obvious as the scene develops, and especially, in the way it ends.

Ellen: Whatever you say … Ellen’s B theme Let her among you without fault cast the first stone E pedal D major 7th F pedal F: V-I F7 D tonic stylized choric voice whose varied intonation is produced by a number of textural shifts. Supporting Hobson’s demurral in stage 1 (of Fig. 2), the chorus proceed by imitative single parts (basses, altos) then duets, finally reaching tutti (“Dirty jobs! ” in the music shown at Ex. 6). Fourpart homophonic declamation arrives only in the singers’ stunned reaction to Ellen’s intervention (“What .

5. Ellen: Whatever you say … Ellen’s B theme Let her among you without fault cast the first stone E pedal D major 7th F pedal F: V-I F7 D tonic stylized choric voice whose varied intonation is produced by a number of textural shifts. Supporting Hobson’s demurral in stage 1 (of Fig. 2), the chorus proceed by imitative single parts (basses, altos) then duets, finally reaching tutti (“Dirty jobs! ” in the music shown at Ex. 6). Fourpart homophonic declamation arrives only in the singers’ stunned reaction to Ellen’s intervention (“What .

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