The Process of Modulation in Musical Collage

By exploiting the multivalent implications attendant on principles of quotation, disjunction and juxtaposition, musical collage works of the 1960s, like their analogues in the visual arts and literature, call into question traditional notions of unity. However, these compositions also incorporate ne...

Ausführliche Beschreibung

Gespeichert in:
Bibliographische Detailangaben
Veröffentlicht in:Music analysis 2008-07, Vol.27 (2-3), p.295-336
1. Verfasser: Losada, Catherine
Format: Artikel
Sprache:eng
Schlagworte:
Online-Zugang:Volltext
Tags: Tag hinzufügen
Keine Tags, Fügen Sie den ersten Tag hinzu!
container_end_page 336
container_issue 2-3
container_start_page 295
container_title Music analysis
container_volume 27
creator Losada, Catherine
description By exploiting the multivalent implications attendant on principles of quotation, disjunction and juxtaposition, musical collage works of the 1960s, like their analogues in the visual arts and literature, call into question traditional notions of unity. However, these compositions also incorporate new modes of continuity which lend a distinctive expressive force to music of this kind. The present article outlines organisational precepts which composers including Luciano Berio, George Rochberg and Bernd Alois Zimmermann have used to achieve a degree of syntactic mediation: overlap, chromatic insertion and rhythmic plasticity. The common occurrence of these principles in works exhibiting widely divergent stylistic predispositions indicates that they may constitute important technical aspects of this particular repertoire.
doi_str_mv 10.1111/j.1468-2249.2009.00285.x
format Article
fullrecord <record><control><sourceid>jstor_proqu</sourceid><recordid>TN_cdi_proquest_journals_753573804</recordid><sourceformat>XML</sourceformat><sourcesystem>PC</sourcesystem><jstor_id>40606820</jstor_id><sourcerecordid>40606820</sourcerecordid><originalsourceid>FETCH-LOGICAL-i2965-7932ec242ff33b9c81ad5c16acea0471e7e961f6c5918d3467c57c6c509c41173</originalsourceid><addsrcrecordid>eNo9UE1Lw0AQXUTBWv0JQvBs4ux39uChFq1C6we2CF6WdbvRxNit2QTbf29ipHOZGd57M7yHUIQhwW1dFAlmIo0JYSohACoBIClPNntosAP20QCIIDEnjB-ioxAKAOCA2QCdzz9c9Fh560KIfBbN_LIpTZ37VZSvolkTcmvKaOzL0ry7Y3SQmTK4k_8-RIub6_n4Np4-TO7Go2mcEyV4LBUlzhJGsozSN2VTbJbcYmGsM8AkdtIpgTNhucLpkjIhLZe2XUFZhrGkQ3TW311X_rtxodaFb6pV-1JLTrmkKbCWdNmTfvLSbfW6yr9MtdUYdJeLLnRnX3f2dZeL_stFb_Rs8Txqp1Z_2uuLUPtqp2cgQKQEWjzu8TzUbrPDTfWphaSS65f7iQaJn17FldKC_gKT1G66</addsrcrecordid><sourcetype>Aggregation Database</sourcetype><iscdi>true</iscdi><recordtype>article</recordtype><pqid>753573804</pqid></control><display><type>article</type><title>The Process of Modulation in Musical Collage</title><source>Jstor Complete Legacy</source><source>Wiley Online Library Journals Frontfile Complete</source><creator>Losada, Catherine</creator><creatorcontrib>Losada, Catherine</creatorcontrib><description>By exploiting the multivalent implications attendant on principles of quotation, disjunction and juxtaposition, musical collage works of the 1960s, like their analogues in the visual arts and literature, call into question traditional notions of unity. However, these compositions also incorporate new modes of continuity which lend a distinctive expressive force to music of this kind. The present article outlines organisational precepts which composers including Luciano Berio, George Rochberg and Bernd Alois Zimmermann have used to achieve a degree of syntactic mediation: overlap, chromatic insertion and rhythmic plasticity. The common occurrence of these principles in works exhibiting widely divergent stylistic predispositions indicates that they may constitute important technical aspects of this particular repertoire.</description><identifier>ISSN: 0262-5245</identifier><identifier>EISSN: 1468-2249</identifier><identifier>DOI: 10.1111/j.1468-2249.2009.00285.x</identifier><language>eng</language><publisher>Oxford, UK: Blackwell Publishing Ltd</publisher><subject>Berio, Luciano ; Chromaticism ; Collages ; Compositional Techniques ; Music analysis ; Music publishing ; Music rehearsal ; Musical Analysis ; Musical collage ; Musical modulation ; Musical rhythm ; Postmodern music ; Rehearsal ; Rhythm ; Rochberg, George ; Sound pitch ; Symphonies ; Zimmermann, Bernd Alois</subject><ispartof>Music analysis, 2008-07, Vol.27 (2-3), p.295-336</ispartof><rights>2009 Blackwell Publishing Ltd</rights><rights>2009 The Author. Journal compilation © 2009 Blackwell Publishing Ltd.</rights><lds50>peer_reviewed</lds50><woscitedreferencessubscribed>false</woscitedreferencessubscribed></display><links><openurl>$$Topenurl_article</openurl><openurlfulltext>$$Topenurlfull_article</openurlfulltext><thumbnail>$$Tsyndetics_thumb_exl</thumbnail><linktopdf>$$Uhttps://www.jstor.org/stable/pdf/40606820$$EPDF$$P50$$Gjstor$$H</linktopdf><linktohtml>$$Uhttps://www.jstor.org/stable/40606820$$EHTML$$P50$$Gjstor$$H</linktohtml><link.rule.ids>314,776,780,799,1411,27901,27902,45550,45551,57992,58225</link.rule.ids></links><search><creatorcontrib>Losada, Catherine</creatorcontrib><title>The Process of Modulation in Musical Collage</title><title>Music analysis</title><description>By exploiting the multivalent implications attendant on principles of quotation, disjunction and juxtaposition, musical collage works of the 1960s, like their analogues in the visual arts and literature, call into question traditional notions of unity. However, these compositions also incorporate new modes of continuity which lend a distinctive expressive force to music of this kind. The present article outlines organisational precepts which composers including Luciano Berio, George Rochberg and Bernd Alois Zimmermann have used to achieve a degree of syntactic mediation: overlap, chromatic insertion and rhythmic plasticity. The common occurrence of these principles in works exhibiting widely divergent stylistic predispositions indicates that they may constitute important technical aspects of this particular repertoire.</description><subject>Berio, Luciano</subject><subject>Chromaticism</subject><subject>Collages</subject><subject>Compositional Techniques</subject><subject>Music analysis</subject><subject>Music publishing</subject><subject>Music rehearsal</subject><subject>Musical Analysis</subject><subject>Musical collage</subject><subject>Musical modulation</subject><subject>Musical rhythm</subject><subject>Postmodern music</subject><subject>Rehearsal</subject><subject>Rhythm</subject><subject>Rochberg, George</subject><subject>Sound pitch</subject><subject>Symphonies</subject><subject>Zimmermann, Bernd Alois</subject><issn>0262-5245</issn><issn>1468-2249</issn><fulltext>true</fulltext><rsrctype>article</rsrctype><creationdate>2008</creationdate><recordtype>article</recordtype><recordid>eNo9UE1Lw0AQXUTBWv0JQvBs4ux39uChFq1C6we2CF6WdbvRxNit2QTbf29ipHOZGd57M7yHUIQhwW1dFAlmIo0JYSohACoBIClPNntosAP20QCIIDEnjB-ioxAKAOCA2QCdzz9c9Fh560KIfBbN_LIpTZ37VZSvolkTcmvKaOzL0ry7Y3SQmTK4k_8-RIub6_n4Np4-TO7Go2mcEyV4LBUlzhJGsozSN2VTbJbcYmGsM8AkdtIpgTNhucLpkjIhLZe2XUFZhrGkQ3TW311X_rtxodaFb6pV-1JLTrmkKbCWdNmTfvLSbfW6yr9MtdUYdJeLLnRnX3f2dZeL_stFb_Rs8Txqp1Z_2uuLUPtqp2cgQKQEWjzu8TzUbrPDTfWphaSS65f7iQaJn17FldKC_gKT1G66</recordid><startdate>200807</startdate><enddate>200807</enddate><creator>Losada, Catherine</creator><general>Blackwell Publishing Ltd</general><general>Wiley-Blackwell</general><general>Wiley Subscription Services, Inc</general><scope>BSCLL</scope></search><sort><creationdate>200807</creationdate><title>The Process of Modulation in Musical Collage</title><author>Losada, Catherine</author></sort><facets><frbrtype>5</frbrtype><frbrgroupid>cdi_FETCH-LOGICAL-i2965-7932ec242ff33b9c81ad5c16acea0471e7e961f6c5918d3467c57c6c509c41173</frbrgroupid><rsrctype>articles</rsrctype><prefilter>articles</prefilter><language>eng</language><creationdate>2008</creationdate><topic>Berio, Luciano</topic><topic>Chromaticism</topic><topic>Collages</topic><topic>Compositional Techniques</topic><topic>Music analysis</topic><topic>Music publishing</topic><topic>Music rehearsal</topic><topic>Musical Analysis</topic><topic>Musical collage</topic><topic>Musical modulation</topic><topic>Musical rhythm</topic><topic>Postmodern music</topic><topic>Rehearsal</topic><topic>Rhythm</topic><topic>Rochberg, George</topic><topic>Sound pitch</topic><topic>Symphonies</topic><topic>Zimmermann, Bernd Alois</topic><toplevel>peer_reviewed</toplevel><toplevel>online_resources</toplevel><creatorcontrib>Losada, Catherine</creatorcontrib><collection>Istex</collection><jtitle>Music analysis</jtitle></facets><delivery><delcategory>Remote Search Resource</delcategory><fulltext>fulltext</fulltext></delivery><addata><au>Losada, Catherine</au><format>journal</format><genre>article</genre><ristype>JOUR</ristype><atitle>The Process of Modulation in Musical Collage</atitle><jtitle>Music analysis</jtitle><date>2008-07</date><risdate>2008</risdate><volume>27</volume><issue>2-3</issue><spage>295</spage><epage>336</epage><pages>295-336</pages><issn>0262-5245</issn><eissn>1468-2249</eissn><abstract>By exploiting the multivalent implications attendant on principles of quotation, disjunction and juxtaposition, musical collage works of the 1960s, like their analogues in the visual arts and literature, call into question traditional notions of unity. However, these compositions also incorporate new modes of continuity which lend a distinctive expressive force to music of this kind. The present article outlines organisational precepts which composers including Luciano Berio, George Rochberg and Bernd Alois Zimmermann have used to achieve a degree of syntactic mediation: overlap, chromatic insertion and rhythmic plasticity. The common occurrence of these principles in works exhibiting widely divergent stylistic predispositions indicates that they may constitute important technical aspects of this particular repertoire.</abstract><cop>Oxford, UK</cop><pub>Blackwell Publishing Ltd</pub><doi>10.1111/j.1468-2249.2009.00285.x</doi><tpages>42</tpages></addata></record>
fulltext fulltext
identifier ISSN: 0262-5245
ispartof Music analysis, 2008-07, Vol.27 (2-3), p.295-336
issn 0262-5245
1468-2249
language eng
recordid cdi_proquest_journals_753573804
source Jstor Complete Legacy; Wiley Online Library Journals Frontfile Complete
subjects Berio, Luciano
Chromaticism
Collages
Compositional Techniques
Music analysis
Music publishing
Music rehearsal
Musical Analysis
Musical collage
Musical modulation
Musical rhythm
Postmodern music
Rehearsal
Rhythm
Rochberg, George
Sound pitch
Symphonies
Zimmermann, Bernd Alois
title The Process of Modulation in Musical Collage
url https://sfx.bib-bvb.de/sfx_tum?ctx_ver=Z39.88-2004&ctx_enc=info:ofi/enc:UTF-8&ctx_tim=2025-02-15T18%3A58%3A00IST&url_ver=Z39.88-2004&url_ctx_fmt=infofi/fmt:kev:mtx:ctx&rfr_id=info:sid/primo.exlibrisgroup.com:primo3-Article-jstor_proqu&rft_val_fmt=info:ofi/fmt:kev:mtx:journal&rft.genre=article&rft.atitle=The%20Process%20of%20Modulation%20in%20Musical%20Collage&rft.jtitle=Music%20analysis&rft.au=Losada,%20Catherine&rft.date=2008-07&rft.volume=27&rft.issue=2-3&rft.spage=295&rft.epage=336&rft.pages=295-336&rft.issn=0262-5245&rft.eissn=1468-2249&rft_id=info:doi/10.1111/j.1468-2249.2009.00285.x&rft_dat=%3Cjstor_proqu%3E40606820%3C/jstor_proqu%3E%3Curl%3E%3C/url%3E&disable_directlink=true&sfx.directlink=off&sfx.report_link=0&rft_id=info:oai/&rft_pqid=753573804&rft_id=info:pmid/&rft_jstor_id=40606820&rfr_iscdi=true