Carl Orff
Identifieur interne : 001511 ( Istex/Corpus ); précédent : 001510; suivant : 001512Carl Orff
Auteurs : William W. AustinSource :
- Journal of research in music education [ 0022-4294 ] ; 1967-07.
English descriptors
- Teeft :
- Abstract catalogue, Andreas liess, Arthur boyars, Baroque literature, Carl orff, Carmina burana, Categories share, Colliers encyclopedia, Common recognition, Complete piece, Considerable cost, Creative spirit, Directional tones, Downtrodden landlord, Early schoenberg, English edition, Enthusiastic admirer, Excellent example, Familiar reference, Fifth symphony, First lines, Folk lore enthusiasts, Folk songs, Free press, Frightening phrases, Happy exception, Harmony texts, Herbert parkin, Impressive text, Individual songs, Interesting questions, Kentucky work, Large representation, Late works, Lengthy details, Liess, Ludmila ulehla, Main categories, Many music educators, Mary wigman, Melodic considerations, Minor composers, More volumes, Music education, Musical analysis, Musical composition, Musical context, Musical language, Musical motion, Nerveshattering examples, Older theorists, Orff, Orff schulwerk, Orffs university, Other nontertial chords, Past decade, Piano reductions, Positive side, Possible chord connections, Recent publications, Recent years, Reference shelf, Reviewer reviews, Rhythmic organization, Root connections, Root tones, Rudolf laban, Same action, Same materials, Same time, Scholarly research, Second movement, Significant number, Similar nature, Single source, Sixtieth birthday, Song indices, Step progressions, Strengths issue, Such cases, Supplemental information, Sure sense, Sympathetic respect, Technical characteristics, Thirteenth chords, Useful addition, Variant versions, Vertical dimensions, Whole work, William austin cornell university.
Url:
DOI: 10.2307/3344019
Links to Exploration step
ISTEX:621650BD5C45EFBC2CBE6CA3EE74424697CC7915Le document en format XML
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<publisher-name>SAGE Publications</publisher-name>
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</publisher></journal-meta><article-meta><article-id pub-id-type="doi">10.2307/3344019</article-id><article-id pub-id-type="publisher-id">10.2307_3344019</article-id><article-categories><subj-group subj-group-type="heading"><subject>Articles</subject></subj-group></article-categories><title-group><article-title>Carl Orff</article-title></title-group><contrib-group><contrib contrib-type="author" xlink:type="simple"><name name-style="western"><surname>Austin</surname><given-names>William W.</given-names></name><aff>Cornell University</aff></contrib></contrib-group>
<pub-date pub-type="ppub"><month>7</month><year>1967</year></pub-date><volume>15</volume><issue>2</issue><fpage>170</fpage><lpage>171</lpage><custom-meta-wrap><custom-meta xlink:type="simple"><meta-name>sagemeta-type</meta-name><meta-value>Reviews</meta-value></custom-meta><custom-meta xlink:type="simple"><meta-name>cover-date</meta-name><meta-value>Summer 1967</meta-value></custom-meta><custom-meta xlink:type="simple"><meta-name>search-text</meta-name><meta-value> REVIEWS 169 more easily see the functional relationship of symbols and sound. This reviewer recommends that some thought be given to taped positions of each section in order that the user may hear the correct response to the examples used in the book. SARA HOLROYD University of Kentucky An Index. Songs in Collections: By Desiree de Charms and Paul F. Breed. Detroit: Information Service, Inc., 1966; xxxix + 588 pages; $38.00. This is a valiant attempt to list collections of songs published between 1940 and 1957, restricting the index to publications for solo voice with piano accompaniment. According to an introductory statement, included are collections of art songs and operatic arias, some anthologies of folk songs including Christmas carols, and selected collections of sacred and community songs. Working within these limitations, the compilers list 411 collections and 9, 493 songs, each individual song being supplied with a reference number indicating the collection in which it may be found. Among the supplemental information supplied are publishers, dates, number of pages in collections, poets, languages (if translations are offered in the, publication), and other pertinent factors. The volume concludes with an index of all titles and first lines, and an index of authors. Excluded are collections of songs by a single composer, hymnals, children's songs, and collections of songs with texts given entirely in untransliterated Cyrillic, Greek, or Oriental characters. This is an ambitious undertaking in an area which needs far more attention that it has received. One of the continuing problems for teachers has been the location of song material of all types, even given the aid of such works as Sergius Kagen's Music for the Voice and Berton Coffin's The Singer's Repertoire, to indicate only two; and, in this volume, there is certainly a considerable difference in content as well as intent. It would be good, therefore, to unreservedly recommend Songs in Collections; unfortunately this is not possible. One of the most serious functional weaknesses is the failure to list the contents of each volume separately. It would be most instructive, for instance, to know just what is included in Harry Piggott's Songs that Made History, but there is no possible approach except to page patiently through the volume looking for references to No. 294. Some omissions are puzzling. In several instances, the compilers have listed collections published before 1940. One wonders, then, at the inclusion of a 1906 publication of the Bart6k Hungarian Folk Songs and a 1912 Album of Eight Sacred Songs (the latter published by G. Schirmer but no longer listed in their catalog), and the failure to include such a monumental work as Max Friedlaender's Das deutsche Lied im 18. Jahrhundertpublished in 1902, reissued in 1962, and still very much available. In fact, nowhere in the work is there an indication as to the current availability of the collections, and this in the face of almost certain assurance that many of the publications are now out of print. One wonders, too, why we are referred to such items as John Charles Thomas' Album of Favorite Songs and Arias and similar selections by Lotte Lehmann, Gladys Swarthout, and others, but never advised that Robert Merrill, among others, also has some favorites. And, again there is no way of knowing what such artists have included in selections to which they have offered their endorsement. 170 JOURNAL OF RESEARCH IN MUSIC EDUCATION As a part of the supplemental information given with both the collections and the individual songs, it would be helpful to know the transcribers (in such cases as piano reductions from operas) and the editors or arrangers who have provided realizations for figured bass in the large representation from the baroque literature. In view of the considerable cost of the volume, there is reason to question the cut-off date of 1957. Assuredly it is not possible in a compilation of this magnitude to consult the most recent publications available. At the same time, a lag of nine years seems unreasonable, especially in view of the significant number of collections which have appeared since 1957. It is to be hoped that the compilers will set to work with renewed vigor to fill in the gap. On the positive side, there is much to commend in this volume. Folk songs in variant versions are listed, titles as well as first lines are indicated, recitatives as well as arias are indexed, and folk lore enthusiasts as well as scholars will find many stimulating collections listed into which they may inquire with profit. The organization is clear and there is a guide which will aid in effective use of the material. Most important, it is a contribution to the field of song indices, much too limited at present, and includes a commendable cross-section of languages, sources, and types. Where else can one turn to locate “Pity the Downtrodden Landlord, ” for instance? For many music educators, Songs in Collections will prove a useful addition to the reference shelf, even allowing for the limitations indicated above. We can hope that it will be followed by more and more volumes of a similar nature. Carl Orff. By Andreas Liess. Translated by Adelheid and Herbert Parkin. New York: St. Martin's Press, 1966; 184 pp.; $7.50. “In Orff's output there are two main categories- the stage-work and the school-work. Both are nourished by the same creative spirit and both show the same, or similar, technical characteristics. They are mutually stimulating and, indeed, there is no sharp dividing line between them.” Admirers of the Orff Schulwerk, Music for Children, which is finding ever wider use all over the world, can understand it, enjoy it, and use it better if they know something of the stage-work as well, and of the spirit informing both categories. The stagework has found a few champions outside Germany, but not enough to establish anything except the rather anti-spiritual Carmina Burana close to the Schulwerk in common recognition. And, until the Parkins' translation of Liess' book, there has been hardly any discussion of the stage-work in English; Liess' article for Colliers Encyclopedia (1962) is unrivaled, and all too brief. Liess is an enthusiastic admirer and connoisseur of Orff's whole work. He connects it with that of Debussy, the subject of his own earlier scholarly research. He emphasizes the originality and grandeur of the stage-work, in a context of familiar reference to Brecht, Holderlin, Rudolf Laban, Mary Wigman, Monteverdi, and Sophocles. He treats the school-work with sympathetic respect, though clearly he cares more about the stage than the school. He succeeds in indicating the creative spirit and the chief technical characteristics that the two categories share. His book appeared in Zurich in 1955, marking Orff's sixtieth birthday. For the English edition there are a DONALDIVEY few new pages (130-157) on Orffs University of Kentucky work of the past decade. This reviewer 170 JOURNAL OF RESEARCH IN MUSIC EDUCATION As a part of the supplemental information given with both the collections and the individual songs, it would be helpful to know the transcribers (in such cases as piano reductions from operas) and the editors or arrangers who have provided realizations for figured bass in the large representation from the baroque literature. In view of the considerable cost of the volume, there is reason to question the cut-off date of 1957. Assuredly it is not possible in a compilation of this magnitude to consult the most recent publications available. At the same time, a lag of nine years seems unreasonable, especially in view of the significant number of collections which have appeared since 1957. It is to be hoped that the compilers will set to work with renewed vigor to fill in the gap. On the positive side, there is much to commend in this volume. Folk songs in variant versions are listed, titles as well as first lines are indicated, recitatives as well as arias are indexed, and folk lore enthusiasts as well as scholars will find many stimulating collections listed into which they may inquire with profit. The organization is clear and there is a guide which will aid in effective use of the material. Most important, it is a contribution to the field of song indices, much too limited at present, and includes a commendable cross-section of languages, sources, and types. Where else can one turn to locate “Pity the Downtrodden Landlord, ” for instance? For many music educators, Songs in Collections will prove a useful addition to the reference shelf, even allowing for the limitations indicated above. We can hope that it will be followed by more and more volumes of a similar nature. Carl Orff. By Andreas Liess. Translated by Adelheid and Herbert Parkin. New York: St. Martin's Press, 1966; 184 pp.; $7.50. “In Orff's output there are two main categories- the stage-work and the school-work. Both are nourished by the same creative spirit and both show the same, or similar, technical characteristics. They are mutually stimulating and, indeed, there is no sharp dividing line between them.” Admirers of the Orff Schulwerk, Music for Children, which is finding ever wider use all over the world, can understand it, enjoy it, and use it better if they know something of the stage-work as well, and of the spirit informing both categories. The stagework has found a few champions outside Germany, but not enough to establish anything except the rather anti-spiritual Carmina Burana close to the Schulwerk in common recognition. And, until the Parkins' translation of Liess' book, there has been hardly any discussion of the stage-work in English; Liess' article for Colliers Encyclopedia (1962) is unrivaled, and all too brief. Liess is an enthusiastic admirer and connoisseur of Orff's whole work. He connects it with that of Debussy, the subject of his own earlier scholarly research. He emphasizes the originality and grandeur of the stage-work, in a context of familiar reference to Brecht, Holderlin, Rudolf Laban, Mary Wigman, Monteverdi, and Sophocles. He treats the school-work with sympathetic respect, though clearly he cares more about the stage than the school. He succeeds in indicating the creative spirit and the chief technical characteristics that the two categories share. His book appeared in Zurich in 1955, marking Orff's sixtieth birthday. For the English edition there are a DONALDIVEY few new pages (130-157) on Orffs University of Kentucky work of the past decade. This reviewer REVIEWS 171 wished for more, since these late works have appealed to him more strongly than any earlier one except the Schulwerk, and have thrown valuable new light on the fundamental creative spirit. The new edition is supplemented also with a bibliography, and its discography is brought up to date by Arthur Boyars. Thus it is the best available single source of information on Orff. W. WILLIAM AUSTIN Cornell University Contemporary Harmony. By Ludmila Ulehla. New York: The Free Press, 1966; x + 534 pp.; $15.00. Several good harmony texts have appeared in recent years and their strengths issue from a new synthesis of the ideas of older theorists focused by a sure sense of music as motion. No longer is the study of harmony a description of chords and an abstract catalogue of possible chord connections, but instead it is a description of musical motion that considers lines and chords as a part of the same action. Especially in a study of twentieth-century harmony, where more often the lines create the simultaneities, is it necessary to seek an approach that unifies the horizontal and vertical dimensions. While the large and impressive text by Miss Ulehla speaks at length of both line and chord, it overly stresses the analysis of isolated sonorities at the expense of harmony as an interplay of structure and movement in time. The book presents lengthy details on the spacing of and connections between ninth, eleventh, and thirteenth chords (offering some nerveshattering examples) but fails to place them in a musical context. One of the few studies of a complete piece, Brahms' Opus 119, No. 3, whets the appetite early in the book (pp. 21-27). Here the analysis is concerned with phrase structure and motives, subjects which unfortunately largely disappear for the remainder of the book, and it avoids the interesting questions of the overall harmonic structure and the large-scale rhythmic organization of the piece. Similarly, quartal and other nontertial chords are studied in isolation or grouped into short, frightening phrases. In general, the examples drawn from the literature are overly weighted toward minor composers. A happy exception is the discussion of Impressionism where Debussy dominates (forty-nine of the fifty-six excerpts, not including examples in the Exercises). However, some comparison with composers using the same materials, say early Schoenberg and Berg, would be of interest here. Examples from Bart6k, Hindemith, and Prokofiev are used; but Schoenberg, Stravinsky, and Webern appear remarkably infrequently considering their importance in the growth of the musical language under discussion. Melodic considerations are given a section-of their own in Chapters 14-16. Here the subchapter on “Directional tones” is most important and its influence should be spread throughout the book. Directional tones are similar to Hindemith's “step progressions” in The Craft of Musical Composition and, in fact, Hindemith's excellent example is used here-the theme of Beethoven's Fifth Symphony, second movement. However, in these chapters on melody and two- and three-part counterpoint, the lesson is concerned with seeking roots to implied chords, an enterprise whose value outside traditional tonal music is not entirely clear. Furthermore, the function of any series of root connections obtained by the given methods of analysis is never adequately discussed, either in these chapters or others. It is this bottom-heavy approach to musical analysis, constantly seeking root tones but never justifying </meta-value></custom-meta></custom-meta-wrap></article-meta></front></article></istex:document></istex:metadataXml><mods version="3.6"><titleInfo lang="en"><title>Carl Orff</title></titleInfo><titleInfo type="alternative" lang="en" contentType="CDATA"><title>Carl Orff</title></titleInfo><name type="personal"><namePart type="given">William W.</namePart><namePart type="family">Austin</namePart><affiliation>Cornell University</affiliation></name><typeOfResource>text</typeOfResource><genre type="review-article" displayLabel="review-article" authority="ISTEX" authorityURI="https://content-type.data.istex.fr" valueURI="https://content-type.data.istex.fr/ark:/67375/XTP-L5L7X3NF-P">review-article</genre><originInfo><publisher>SAGE Publications</publisher><place><placeTerm type="text">Sage CA: Los Angeles, CA</placeTerm></place><dateIssued encoding="w3cdtf">1967-07</dateIssued><copyrightDate encoding="w3cdtf">1967</copyrightDate></originInfo><language><languageTerm type="code" authority="iso639-2b">eng</languageTerm><languageTerm type="code" authority="rfc3066">en</languageTerm></language><relatedItem type="host"><titleInfo><title>Journal of research in music education</title></titleInfo><genre type="journal" authority="ISTEX" authorityURI="https://publication-type.data.istex.fr" valueURI="https://publication-type.data.istex.fr/ark:/67375/JMC-0GLKJH51-B">journal</genre><identifier type="ISSN">0022-4294</identifier><identifier type="eISSN"></identifier><identifier type="PublisherID">JRM</identifier><identifier type="PublisherID-hwp">spjrm</identifier><part><date>1967</date><detail type="volume"><caption>vol.</caption><number>15</number></detail><detail type="issue"><caption>no.</caption><number>2</number></detail><extent unit="pages"><start>170</start><end>171</end></extent></part></relatedItem><identifier type="istex">621650BD5C45EFBC2CBE6CA3EE74424697CC7915</identifier><identifier type="ark">ark:/67375/M70-FZQGWBCZ-Q</identifier><identifier type="DOI">10.2307/3344019</identifier><identifier type="ArticleID">10.2307_3344019</identifier><recordInfo><recordContentSource authority="ISTEX" authorityURI="https://loaded-corpus.data.istex.fr" valueURI="https://loaded-corpus.data.istex.fr/ark:/67375/XBH-0J1N7DQT-B">sage</recordContentSource></recordInfo></mods><json:item><extension>json</extension><original>false</original><mimetype>application/json</mimetype><uri>https://api.istex.fr/document/621650BD5C45EFBC2CBE6CA3EE74424697CC7915/metadata/json</uri></json:item></metadata><serie></serie></istex></record>Pour manipuler ce document sous Unix (Dilib)
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