Helmut Hofmann
- Published in print:
- 2008
- Published Online:
- September 2008
- ISBN:
- 9780198504016
- eISBN:
- 9780191708480
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198504016.003.0020
- Subject:
- Physics, Nuclear and Plasma Physics
This chapter formulates the Hartree-Fock approximation with density matrices, and discusses the properties of the Hartree-Fock equations together with the energy functional for the ground state ...
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This chapter formulates the Hartree-Fock approximation with density matrices, and discusses the properties of the Hartree-Fock equations together with the energy functional for the ground state energy. A generalization to finite thermal excitations is performed by applying the variational principle to the grand canonical ensemble. Finally, the equations for time-dependent Hartree-Fock (TDHF) are described both at zero and at finite temperature.Less
This chapter formulates the Hartree-Fock approximation with density matrices, and discusses the properties of the Hartree-Fock equations together with the energy functional for the ground state energy. A generalization to finite thermal excitations is performed by applying the variational principle to the grand canonical ensemble. Finally, the equations for time-dependent Hartree-Fock (TDHF) are described both at zero and at finite temperature.
Marielle Macé
- Published in print:
- 2020
- Published Online:
- September 2020
- ISBN:
- 9780197266670
- eISBN:
- 9780191905391
- Item type:
- chapter
- Publisher:
- British Academy
- DOI:
- 10.5871/bacad/9780197266670.003.0010
- Subject:
- Literature, Film, Media, and Cultural Studies
A life cannot be dissociated from its forms (its ways, regimes, spaces, and rhythms) for these forms are also ideas of what life should be. This question is keenly felt today, especially in our ways ...
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A life cannot be dissociated from its forms (its ways, regimes, spaces, and rhythms) for these forms are also ideas of what life should be. This question is keenly felt today, especially in our ways of experiencing politics: we need ‘other sorts of life’, ‘other ways of living’, other rhythms and connections. Yet these phrases are often emptied of their meaning: they are the stock-in-trade of advertising, which allows us to dream of passing from one lifestyle to another without regard for the ethical complexity of what Pavese called ‘the business of living’. Roland Barthes helps us here. Right from his sanatorium years, and all that it cost him to become aware, so young, of the life made for us by daily routines, food, the weather, our ways of relating to others, and through to La Préparation du roman (which reflected on how everyday life must be organised to lead to a literary work), Barthes was always conscious of the seriousness of what the forms of living entail, in all their precision and detail. This chapter tracks the constancy of this conviction in Barthes’s trajectory, from the early sanatorium correspondence to Comment vivre ensemble and Journal de deuil.Less
A life cannot be dissociated from its forms (its ways, regimes, spaces, and rhythms) for these forms are also ideas of what life should be. This question is keenly felt today, especially in our ways of experiencing politics: we need ‘other sorts of life’, ‘other ways of living’, other rhythms and connections. Yet these phrases are often emptied of their meaning: they are the stock-in-trade of advertising, which allows us to dream of passing from one lifestyle to another without regard for the ethical complexity of what Pavese called ‘the business of living’. Roland Barthes helps us here. Right from his sanatorium years, and all that it cost him to become aware, so young, of the life made for us by daily routines, food, the weather, our ways of relating to others, and through to La Préparation du roman (which reflected on how everyday life must be organised to lead to a literary work), Barthes was always conscious of the seriousness of what the forms of living entail, in all their precision and detail. This chapter tracks the constancy of this conviction in Barthes’s trajectory, from the early sanatorium correspondence to Comment vivre ensemble and Journal de deuil.
Floyd Grave and Margaret Grave
- Published in print:
- 2006
- Published Online:
- May 2008
- ISBN:
- 9780195173574
- eISBN:
- 9780199872152
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195173574.001.0001
- Subject:
- Music, History, Western
Encompassing sixty-eight works composed over a span of more than four decades, Haydn's quartet oeuvre contributed to the establishment, solidification, and refinement of late 18th-century ...
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Encompassing sixty-eight works composed over a span of more than four decades, Haydn's quartet oeuvre contributed to the establishment, solidification, and refinement of late 18th-century chamber-music practices, notably by furnishing superlative models of idiomatic ensemble technique (involving textural diversity and continuous change in relationship among the instruments), style (highlighting the play of formal conventions and musical customs associated with folk music, popular dance, opera, concerto, and other genres), and compositional process (featuring motivic elaboration, harmonic novelty, and narrative intrigue). Conventions Haydn adapted for quartet use include those of sonata form, the minuet-trio complex, variation, rondo, and fugue. In addition, he established norms of his own for the sequence of movements in a quartet and for the design of the opus groups, each of which encompasses a particular constellation of variety and consistency in form, style, and ensemble technique. Examination of the opus groups reveals insights into the circumstances under which they were written, the musical resources on which they drew, their innovations, their points of connection with other opus groups, their manifestations of both change and continuity in outlook and style, and their reflections of Haydn's artistic personality — in particular his penchant for novelty in sonority, theme, metrical play, phraseology, and large-scale structure; his gift for musical irony in drawing connections between seemingly unrelated ideas; and his irrepressible musical wit and humor, typically involving strokes of surprise, thwarted expectation, and the whimsical juxtaposition of incongruous elements.Less
Encompassing sixty-eight works composed over a span of more than four decades, Haydn's quartet oeuvre contributed to the establishment, solidification, and refinement of late 18th-century chamber-music practices, notably by furnishing superlative models of idiomatic ensemble technique (involving textural diversity and continuous change in relationship among the instruments), style (highlighting the play of formal conventions and musical customs associated with folk music, popular dance, opera, concerto, and other genres), and compositional process (featuring motivic elaboration, harmonic novelty, and narrative intrigue). Conventions Haydn adapted for quartet use include those of sonata form, the minuet-trio complex, variation, rondo, and fugue. In addition, he established norms of his own for the sequence of movements in a quartet and for the design of the opus groups, each of which encompasses a particular constellation of variety and consistency in form, style, and ensemble technique. Examination of the opus groups reveals insights into the circumstances under which they were written, the musical resources on which they drew, their innovations, their points of connection with other opus groups, their manifestations of both change and continuity in outlook and style, and their reflections of Haydn's artistic personality — in particular his penchant for novelty in sonority, theme, metrical play, phraseology, and large-scale structure; his gift for musical irony in drawing connections between seemingly unrelated ideas; and his irrepressible musical wit and humor, typically involving strokes of surprise, thwarted expectation, and the whimsical juxtaposition of incongruous elements.
John Sloboda (ed.)
- Published in print:
- 2001
- Published Online:
- March 2012
- ISBN:
- 9780198508465
- eISBN:
- 9780191687341
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198508465.001.0001
- Subject:
- Psychology, Music Psychology
Whereas most of the literature in the psychology of music has focused on the processes involved when listening to music, little has been written about the processes involved in making music. This ...
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Whereas most of the literature in the psychology of music has focused on the processes involved when listening to music, little has been written about the processes involved in making music. This reissued book brings together figures in music psychology to present studies of the processes by which music is generated. The book looks at the generation of expression in musical performance, the problems of synchrony in ensemble performance, the development of children's song, rehearsal strategies of pianists, improvisational skill in trained and untrained musicians, children's spontaneous notations for music, formal constraints on compositional systems, and compositional strategies of music students.Less
Whereas most of the literature in the psychology of music has focused on the processes involved when listening to music, little has been written about the processes involved in making music. This reissued book brings together figures in music psychology to present studies of the processes by which music is generated. The book looks at the generation of expression in musical performance, the problems of synchrony in ensemble performance, the development of children's song, rehearsal strategies of pianists, improvisational skill in trained and untrained musicians, children's spontaneous notations for music, formal constraints on compositional systems, and compositional strategies of music students.
John F. Padgett
- Published in print:
- 2012
- Published Online:
- October 2017
- ISBN:
- 9780691148670
- eISBN:
- 9781400845552
- Item type:
- chapter
- Publisher:
- Princeton University Press
- DOI:
- 10.23943/princeton/9780691148670.003.0004
- Subject:
- Sociology, Economic Sociology
This chapter discusses the next frontier in autocatalytic modeling. Building on the model of production in Chapter 3, communication in two forms is added in the formal models in this chapter: ...
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This chapter discusses the next frontier in autocatalytic modeling. Building on the model of production in Chapter 3, communication in two forms is added in the formal models in this chapter: symbolic communication through primitive language and genealogical communication through biographies. Language here emerges out of token feedbacks and social-interactional learning. Genealogical descent and family organizations emerge out of reciprocity and teaching. In the terminology of a multiple-network ensemble, the first cross-sectional type of communication is equivalent to the emergence of relational social-network ties, and the second longitudinal type of communication is equivalent to the emergence of constitutive social-network ties. With these human-like extensions beyond biochemistry, three types of autocatalysis emerge: production autocatalysis, where material objects are produced and exchanged; cellular or biographical autocatalysis, where actors are constructed through intercalated biographies; and linguistic autocatalysis, where symbols are passed and reproduced in conversations.Less
This chapter discusses the next frontier in autocatalytic modeling. Building on the model of production in Chapter 3, communication in two forms is added in the formal models in this chapter: symbolic communication through primitive language and genealogical communication through biographies. Language here emerges out of token feedbacks and social-interactional learning. Genealogical descent and family organizations emerge out of reciprocity and teaching. In the terminology of a multiple-network ensemble, the first cross-sectional type of communication is equivalent to the emergence of relational social-network ties, and the second longitudinal type of communication is equivalent to the emergence of constitutive social-network ties. With these human-like extensions beyond biochemistry, three types of autocatalysis emerge: production autocatalysis, where material objects are produced and exchanged; cellular or biographical autocatalysis, where actors are constructed through intercalated biographies; and linguistic autocatalysis, where symbols are passed and reproduced in conversations.
Charles “Chuck” Davis and C. Kemal Nance
- Published in print:
- 2019
- Published Online:
- September 2020
- ISBN:
- 9780252042959
- eISBN:
- 9780252051814
- Item type:
- chapter
- Publisher:
- University of Illinois Press
- DOI:
- 10.5622/illinois/9780252042959.003.0005
- Subject:
- Music, Dance
C. Kemal Nance has captured the legendary perspective of Baba Chuck in a 2016 interview regarding the seminal words Davis spoke, the history he preached of African descendants in the African ...
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C. Kemal Nance has captured the legendary perspective of Baba Chuck in a 2016 interview regarding the seminal words Davis spoke, the history he preached of African descendants in the African diaspora, and Davis’ vision of the state of African heritage traditions in the Americas today. Discussions include the history, business practices, and dancer management style Baba Chuck employed within the Chuck Davis Dance Company; they also reveal Baba Chuck’s pathway from New York to North Carolina, his connections to African dance contemporaries, such as Kariamu Welsh, and his understandings of what the future holds for his dancers and his company. This interview has become even more poignant since Baba Chuck’s recent death. When asked how he would want his legacy to be remembered, Baba Chuck answered simply, “He danced,” but the legacy he left will have him remembered for so much more and for many decades to come.Less
C. Kemal Nance has captured the legendary perspective of Baba Chuck in a 2016 interview regarding the seminal words Davis spoke, the history he preached of African descendants in the African diaspora, and Davis’ vision of the state of African heritage traditions in the Americas today. Discussions include the history, business practices, and dancer management style Baba Chuck employed within the Chuck Davis Dance Company; they also reveal Baba Chuck’s pathway from New York to North Carolina, his connections to African dance contemporaries, such as Kariamu Welsh, and his understandings of what the future holds for his dancers and his company. This interview has become even more poignant since Baba Chuck’s recent death. When asked how he would want his legacy to be remembered, Baba Chuck answered simply, “He danced,” but the legacy he left will have him remembered for so much more and for many decades to come.
Floyd Grave and Margaret Grave
- Published in print:
- 2006
- Published Online:
- May 2008
- ISBN:
- 9780195173574
- eISBN:
- 9780199872152
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195173574.003.0007
- Subject:
- Music, History, Western
Whereas Haydn's favored variation procedures — melodic outline, cantus firmus, and constant bass (or harmony) — are variously embedded in all portions of the cycle, his variation-based designs occur ...
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Whereas Haydn's favored variation procedures — melodic outline, cantus firmus, and constant bass (or harmony) — are variously embedded in all portions of the cycle, his variation-based designs occur principally as slow interior movements, representing four distinct categories: strophic, alternating, ternary, and varied reprise. Strophic variations, the most common type, are found throughout the repertory; slow varied-reprise movements, with decorated repeats showcasing first-violin virtuosity, occur mainly among earlier quartets (through Op. 33); alternating variations, involving the juxtaposition of two themes in opposite modes, appear sporadically from Op. 33 on; ternary variations, featuring a contrasting middle part and a final section that embellishes the first, are found among later opus groups. However limited in thematic diversity, development, or hierarchic complexity, variation forms allowed Haydn to indulge richly in soloistic embellishment, rhetorical amplification, and ensemble interplay.Less
Whereas Haydn's favored variation procedures — melodic outline, cantus firmus, and constant bass (or harmony) — are variously embedded in all portions of the cycle, his variation-based designs occur principally as slow interior movements, representing four distinct categories: strophic, alternating, ternary, and varied reprise. Strophic variations, the most common type, are found throughout the repertory; slow varied-reprise movements, with decorated repeats showcasing first-violin virtuosity, occur mainly among earlier quartets (through Op. 33); alternating variations, involving the juxtaposition of two themes in opposite modes, appear sporadically from Op. 33 on; ternary variations, featuring a contrasting middle part and a final section that embellishes the first, are found among later opus groups. However limited in thematic diversity, development, or hierarchic complexity, variation forms allowed Haydn to indulge richly in soloistic embellishment, rhetorical amplification, and ensemble interplay.
Steve Reich
- Published in print:
- 2004
- Published Online:
- October 2011
- ISBN:
- 9780195151152
- eISBN:
- 9780199850044
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195151152.003.0017
- Subject:
- Music, History, American
This chapter presents Reich's account of becoming a composer with a repertory ensemble. Each new composition is added to the repertoire and their concerts present a selection of new and older works.
This chapter presents Reich's account of becoming a composer with a repertory ensemble. Each new composition is added to the repertoire and their concerts present a selection of new and older works.
Steve Reich
- Published in print:
- 2004
- Published Online:
- October 2011
- ISBN:
- 9780195151152
- eISBN:
- 9780199850044
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195151152.003.0023
- Subject:
- Music, History, American
This chapter presents Reich's thoughts about Music for a Large Ensemble, which was premiered in June 1979 by the Netherlands Wind Ensemble under the direction of Reinbert de Leeuw at the Holland ...
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This chapter presents Reich's thoughts about Music for a Large Ensemble, which was premiered in June 1979 by the Netherlands Wind Ensemble under the direction of Reinbert de Leeuw at the Holland Festival. The piece is a development of two of his earlier works, Music for Mallet Instruments, Voices, and Organ and Music for 18 Musicians. The instrumental forces are the largest he has ever used and include all the orchestral families plus women's voices. All instruments are acoustical, and electronics are limited to microphones for the strings, winds, voices, and pianos.Less
This chapter presents Reich's thoughts about Music for a Large Ensemble, which was premiered in June 1979 by the Netherlands Wind Ensemble under the direction of Reinbert de Leeuw at the Holland Festival. The piece is a development of two of his earlier works, Music for Mallet Instruments, Voices, and Organ and Music for 18 Musicians. The instrumental forces are the largest he has ever used and include all the orchestral families plus women's voices. All instruments are acoustical, and electronics are limited to microphones for the strings, winds, voices, and pianos.
Steve Reich
- Published in print:
- 2004
- Published Online:
- October 2011
- ISBN:
- 9780195151152
- eISBN:
- 9780199850044
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195151152.003.0024
- Subject:
- Music, History, American
This chapter presents Reich's thoughts about Octet, which was premiered on June 21, 1979, by members of the Netherlands Wind Ensemble under the direction of Reinbert de Leeuw at Radio Frankfurt. ...
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This chapter presents Reich's thoughts about Octet, which was premiered on June 21, 1979, by members of the Netherlands Wind Ensemble under the direction of Reinbert de Leeuw at Radio Frankfurt. Octet grows out of musical material for two pianos, and four hands that was suggested by the two-piano writing in Music for a Large Ensemble. This two-piano writing is the most difficult Reich has written for individual performers, and basically transfers the interlocking rhythmic complexities he had previously discovered with multiples of marimbas and xylophones to two pianos. Octet also reflects his ongoing interest in traditional Western acoustical instruments.Less
This chapter presents Reich's thoughts about Octet, which was premiered on June 21, 1979, by members of the Netherlands Wind Ensemble under the direction of Reinbert de Leeuw at Radio Frankfurt. Octet grows out of musical material for two pianos, and four hands that was suggested by the two-piano writing in Music for a Large Ensemble. This two-piano writing is the most difficult Reich has written for individual performers, and basically transfers the interlocking rhythmic complexities he had previously discovered with multiples of marimbas and xylophones to two pianos. Octet also reflects his ongoing interest in traditional Western acoustical instruments.
Steve Reich
- Published in print:
- 2004
- Published Online:
- October 2011
- ISBN:
- 9780195151152
- eISBN:
- 9780199850044
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195151152.003.0026
- Subject:
- Music, History, American
This chapter presents Reich's thoughts about Tehillim. The ensemble version is scored for four women's voices (one high soprano, two lyric sopranos, and one alto), piccolo, flute, oboe, english horn, ...
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This chapter presents Reich's thoughts about Tehillim. The ensemble version is scored for four women's voices (one high soprano, two lyric sopranos, and one alto), piccolo, flute, oboe, english horn, two clarinets, six percussion (playing small tuned tambourines with no jingles, clapping, maracas, marimba, vibraphone, and crotales), two electric organs, two violins, viola, cello, and bass. The voices, winds, and strings are amplified in performance. In the orchestral version, there are full strings and winds with amplification for the voices only.Less
This chapter presents Reich's thoughts about Tehillim. The ensemble version is scored for four women's voices (one high soprano, two lyric sopranos, and one alto), piccolo, flute, oboe, english horn, two clarinets, six percussion (playing small tuned tambourines with no jingles, clapping, maracas, marimba, vibraphone, and crotales), two electric organs, two violins, viola, cello, and bass. The voices, winds, and strings are amplified in performance. In the orchestral version, there are full strings and winds with amplification for the voices only.
Steve Reich
- Published in print:
- 2004
- Published Online:
- October 2011
- ISBN:
- 9780195151152
- eISBN:
- 9780199850044
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195151152.003.0032
- Subject:
- Music, History, American
This chapter presents Reich's thoughts about Sextet, which was commissioned by Laura Dean Dancers and Musicians, and by the French government for the Nexus percussion ensemble. Sextet—for four ...
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This chapter presents Reich's thoughts about Sextet, which was commissioned by Laura Dean Dancers and Musicians, and by the French government for the Nexus percussion ensemble. Sextet—for four percussionists and two keyboard players—is scored for three marimbas, two vibraphones, two bass drums, crotales, sticks, tam-tam, two pianos, and two synthesizers. The duration is about 28 minutes. Reich says that percussion instruments mostly produce sounds of relatively short duration. In this piece, he was interested in overcoming that limitation.Less
This chapter presents Reich's thoughts about Sextet, which was commissioned by Laura Dean Dancers and Musicians, and by the French government for the Nexus percussion ensemble. Sextet—for four percussionists and two keyboard players—is scored for three marimbas, two vibraphones, two bass drums, crotales, sticks, tam-tam, two pianos, and two synthesizers. The duration is about 28 minutes. Reich says that percussion instruments mostly produce sounds of relatively short duration. In this piece, he was interested in overcoming that limitation.
Steve Reich
- Published in print:
- 2004
- Published Online:
- October 2011
- ISBN:
- 9780195151152
- eISBN:
- 9780199850044
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195151152.003.0042
- Subject:
- Music, History, American
This chapter presents Reich's keynote address at the 1989 annual meeting of Chamber Music America. He talks about his own ensemble and why non-Western music, early music, and jazz are good playing ...
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This chapter presents Reich's keynote address at the 1989 annual meeting of Chamber Music America. He talks about his own ensemble and why non-Western music, early music, and jazz are good playing experiences for musicians.Less
This chapter presents Reich's keynote address at the 1989 annual meeting of Chamber Music America. He talks about his own ensemble and why non-Western music, early music, and jazz are good playing experiences for musicians.
Steve Reich
- Published in print:
- 2004
- Published Online:
- October 2011
- ISBN:
- 9780195151152
- eISBN:
- 9780199850044
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195151152.003.0066
- Subject:
- Music, History, American
This chapter presents Reich's short piece about György Ligeti, for the program of a concert of Ligeti's music given by the Ensemble Sospeso in New York City, on March 25, 2000. Reich, like almost ...
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This chapter presents Reich's short piece about György Ligeti, for the program of a concert of Ligeti's music given by the Ensemble Sospeso in New York City, on March 25, 2000. Reich, like almost everyone else, always had a high regard for Ligeti's music. He considers Atmosphères an amazing piece, which defines huge clusters as a compositional technique. It is not an experiment but a superbly realized masterpiece.Less
This chapter presents Reich's short piece about György Ligeti, for the program of a concert of Ligeti's music given by the Ensemble Sospeso in New York City, on March 25, 2000. Reich, like almost everyone else, always had a high regard for Ligeti's music. He considers Atmosphères an amazing piece, which defines huge clusters as a compositional technique. It is not an experiment but a superbly realized masterpiece.
Steve Reich
- Published in print:
- 2004
- Published Online:
- October 2011
- ISBN:
- 9780195151152
- eISBN:
- 9780199850044
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195151152.003.0067
- Subject:
- Music, History, American
This chapter presents Reich's thoughts about choreographies made to his music. He says that the most remarkable is Jiri Kylian's Falling Angels done to Drumming—Part One (1971). Reich was fortunately ...
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This chapter presents Reich's thoughts about choreographies made to his music. He says that the most remarkable is Jiri Kylian's Falling Angels done to Drumming—Part One (1971). Reich was fortunately able to attend a performance of this work at the Brooklyn Academy of Music in 1994 when the Netherlands Dance Ensemble performed there. As a basic mark of his serious approach to the piece, Kylian had the music played live by four drummers (in a loge next to the stage in full view of the audience) under the direction of Michael de Roo, who was already familiar with his music.Less
This chapter presents Reich's thoughts about choreographies made to his music. He says that the most remarkable is Jiri Kylian's Falling Angels done to Drumming—Part One (1971). Reich was fortunately able to attend a performance of this work at the Brooklyn Academy of Music in 1994 when the Netherlands Dance Ensemble performed there. As a basic mark of his serious approach to the piece, Kylian had the music played live by four drummers (in a loge next to the stage in full view of the audience) under the direction of Michael de Roo, who was already familiar with his music.
Floyd Grave and Margaret Grave
- Published in print:
- 2006
- Published Online:
- May 2008
- ISBN:
- 9780195173574
- eISBN:
- 9780199872152
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195173574.003.0012
- Subject:
- Music, History, Western
Celebrating the terms of a redrawn employment contract that now allowed him to sell his music directly to subscribers and publishers, Haydn boasted that the quartets of Op. 33 exemplified “a new, ...
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Celebrating the terms of a redrawn employment contract that now allowed him to sell his music directly to subscribers and publishers, Haydn boasted that the quartets of Op. 33 exemplified “a new, quite special way”. Recasting the genre with regard to character, tone, and technical difficulty, the set emphasizes sentiment, melodic simplicity, structural transparency, and general accessibility. Rhythmic animation and bantering ensemble play suggest opera buffa influence, and the spirit of carefree exuberance is especially pronounced in the finales. There are new insights into idiomatic string-quartet technique, notably in the accent on motivic process and thematic texture, especially in the first movements. Slow movements, like those of previous sets, focus on the first violin as soloist. Dance movements, now bearing the title “scherzo”, fulfill the promise of playful adventure to varying degrees. The lone Op. 42 quartet is notable for its small dimensions, symmetrical proportions, and serious demeanor.Less
Celebrating the terms of a redrawn employment contract that now allowed him to sell his music directly to subscribers and publishers, Haydn boasted that the quartets of Op. 33 exemplified “a new, quite special way”. Recasting the genre with regard to character, tone, and technical difficulty, the set emphasizes sentiment, melodic simplicity, structural transparency, and general accessibility. Rhythmic animation and bantering ensemble play suggest opera buffa influence, and the spirit of carefree exuberance is especially pronounced in the finales. There are new insights into idiomatic string-quartet technique, notably in the accent on motivic process and thematic texture, especially in the first movements. Slow movements, like those of previous sets, focus on the first violin as soloist. Dance movements, now bearing the title “scherzo”, fulfill the promise of playful adventure to varying degrees. The lone Op. 42 quartet is notable for its small dimensions, symmetrical proportions, and serious demeanor.
Jonathan E. Glixon
- Published in print:
- 2003
- Published Online:
- May 2008
- ISBN:
- 9780195134896
- eISBN:
- 9780199868049
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195134896.003.0007
- Subject:
- Music, History, Western
This chapter is concerned with the final 150 years in the histories of the scuole grandi, from 1650 to 1807. During this period, for financial and political reasons, the confraternities limited their ...
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This chapter is concerned with the final 150 years in the histories of the scuole grandi, from 1650 to 1807. During this period, for financial and political reasons, the confraternities limited their expenditures on music. They salaried fewer musicians, or less prestigious ones, or even none at all. Many eliminated ensembles of secular singers entirely, although several continued to employ ensembles of the violin family for processions. Supplying the music for masses and other events were now choirs of priests, in some cases, hired as needed, and in others — notably for the scuole of San Giovanni Evangelista and San Rocco — employed on a salaried basis (as were organists). One new occasion for music during this period was the Exposition of the Holy Sacrament; for which scuole, at times, hired musicians. Within a few years of the conquest of Venice by Napoleon, the scuole grandi were suppressed and their musical histories ended.Less
This chapter is concerned with the final 150 years in the histories of the scuole grandi, from 1650 to 1807. During this period, for financial and political reasons, the confraternities limited their expenditures on music. They salaried fewer musicians, or less prestigious ones, or even none at all. Many eliminated ensembles of secular singers entirely, although several continued to employ ensembles of the violin family for processions. Supplying the music for masses and other events were now choirs of priests, in some cases, hired as needed, and in others — notably for the scuole of San Giovanni Evangelista and San Rocco — employed on a salaried basis (as were organists). One new occasion for music during this period was the Exposition of the Holy Sacrament; for which scuole, at times, hired musicians. Within a few years of the conquest of Venice by Napoleon, the scuole grandi were suppressed and their musical histories ended.
Williams Martin
- Published in print:
- 1993
- Published Online:
- October 2011
- ISBN:
- 9780195083491
- eISBN:
- 9780199853205
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195083491.003.0034
- Subject:
- Music, Popular
Founded and directed by Chuck Israels, the National Jazz Ensemble with an effort produced a repertory orchestra to play classic records from the full array of jazz history. It performed everything ...
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Founded and directed by Chuck Israels, the National Jazz Ensemble with an effort produced a repertory orchestra to play classic records from the full array of jazz history. It performed everything from Jelly Roll Morton's “Black Bottom Stomp” through Horace Silver's “Room 608”, from early Ellington through Bill Evans. It raised all of the problems implied by jazz repertory and except for its approach to the New Orleans classics, faced them in provocative and fruitful ways. It therefore paved the way for a musical activity which will be a valuable part of the future of jazz music in America.Less
Founded and directed by Chuck Israels, the National Jazz Ensemble with an effort produced a repertory orchestra to play classic records from the full array of jazz history. It performed everything from Jelly Roll Morton's “Black Bottom Stomp” through Horace Silver's “Room 608”, from early Ellington through Bill Evans. It raised all of the problems implied by jazz repertory and except for its approach to the New Orleans classics, faced them in provocative and fruitful ways. It therefore paved the way for a musical activity which will be a valuable part of the future of jazz music in America.
Barry M. McCoy
- Published in print:
- 2009
- Published Online:
- February 2010
- ISBN:
- 9780199556632
- eISBN:
- 9780191723278
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199556632.003.0001
- Subject:
- Physics, Theoretical, Computational, and Statistical Physics
This chapter reviews the basic results of thermodynamics. It derives the basic formulas of the canonical and grand canonical ensemble from the microcanonical ensemble. It defines the concept of a ...
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This chapter reviews the basic results of thermodynamics. It derives the basic formulas of the canonical and grand canonical ensemble from the microcanonical ensemble. It defines the concept of a partition function and free energy, and introduces the notion of phases and ergodic components. It discusses the relation of classical to quantum statistical mechanics, and explains the close relationship of statistical mechanics to quantum field theory.Less
This chapter reviews the basic results of thermodynamics. It derives the basic formulas of the canonical and grand canonical ensemble from the microcanonical ensemble. It defines the concept of a partition function and free energy, and introduces the notion of phases and ergodic components. It discusses the relation of classical to quantum statistical mechanics, and explains the close relationship of statistical mechanics to quantum field theory.
Wyatt Moss-Wellington
- Published in print:
- 2019
- Published Online:
- May 2020
- ISBN:
- 9781474454315
- eISBN:
- 9781474476683
- Item type:
- book
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474454315.001.0001
- Subject:
- Film, Television and Radio, Film
How can stories function as expressions of kindness to others, and how might the narratives we live by then affect our behaviour in the world? Is there such a thing as a ‘humanistic drama’? This book ...
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How can stories function as expressions of kindness to others, and how might the narratives we live by then affect our behaviour in the world? Is there such a thing as a ‘humanistic drama’? This book attempts to clarify the narrative conditions of humanism, asking how we can use stories to complicate our understanding of others, and questioning the ethics and efficacy of attempts to represent human social complexity in fiction. With case studies of films like Parenthood (1989), Junebug (2005), Little Miss Sunshine (2006) and The Kids Are All Right (2010), this original study synthesises leading discourses on media and cognition, evolutionary anthropology, literature and film analysis into a new theory of the storytelling instinct.Less
How can stories function as expressions of kindness to others, and how might the narratives we live by then affect our behaviour in the world? Is there such a thing as a ‘humanistic drama’? This book attempts to clarify the narrative conditions of humanism, asking how we can use stories to complicate our understanding of others, and questioning the ethics and efficacy of attempts to represent human social complexity in fiction. With case studies of films like Parenthood (1989), Junebug (2005), Little Miss Sunshine (2006) and The Kids Are All Right (2010), this original study synthesises leading discourses on media and cognition, evolutionary anthropology, literature and film analysis into a new theory of the storytelling instinct.
