‘Tonality, Clarity, Strength’: Gesture, Form, and Nordic Identity in Carl Nielsen’s Piano Music
Identifieur interne : 000591 ( Main/Exploration ); précédent : 000590; suivant : 000592‘Tonality, Clarity, Strength’: Gesture, Form, and Nordic Identity in Carl Nielsen’s Piano Music
Auteurs : Daniel M. Grimley [Royaume-Uni]Source :
- Music and Letters [ 0027-4224 ] ; 2005-05.
English descriptors
- Teeft :
- Breve, Busoni, Carl nielsen, Carl nielsen studies, Carl piano music, Central climax, Chaconne, Closure, Contemporary music, Contrapuntal, Critical attention, Cumming, Diary entry, Diatonic, Dissonance, Dolleris, Fifth symphony, Figuration, Final bars, Final movement, First movement, First variation, Harmonic, Historical context, Ibid, Ikke, Metamorphic anachronism, Middle section, Modernist, Mogens wenzel andreasen, Molto, Musical material, Musical work, Musik, Naomi cumming, Nielsen, Nordic, Opening bars, Ostinato, Ostinato figuration, Petersen, Piano music, Piano pieces, Piano works, Pitch class, Politiken, Quasi allegretto, Reger, Richard strauss, Same time, Samtid, Schandorf, Schandorf petersen, Second movement, Second violin sonata, Sequential, Sequential passagework, Sixth symphony, Solo violin, Subjectivity, Symphonic, Symphonic suite, Textural, Third movement, Third symphony, Tonal argument, Tonality, Torben meyer.
Abstract
Identifying elements of a Nordic subjectivity in the music of Carl Nielsen is a complex exercise. As Naomi Cumming has observed, we construct musical subjectivity in multiple ways, some of which we perceive as a ‘composer’s voice’. But musical identity is properly a tension between compositional process, reception, and historical context. Carl Nielsen’s piano music has been less widely acknowledged outside Denmark than his symphonies, but offers a compelling case study in the formation of musical subjectivity. His piano works employ a diverse range of different compositional strategies, from stylized neo-Baroque textures to angular modernist dissonance and the carnivalesque juxtaposition of different musical characters or voices. The critical reception of his piano music reveals interesting trends in the construction of a Danish musical style. This essay presents a general survey of his major piano works, from the Symphonic Suite to the posthumous Three Piano Pieces, and seeks to place them in their European historical context.
Url:
DOI: 10.1093/ml/gci033
Affiliations:
Links toward previous steps (curation, corpus...)
- to stream Istex, to step Corpus: 001C00
- to stream Istex, to step Curation: 001B99
- to stream Istex, to step Checkpoint: 000531
- to stream Main, to step Merge: 000591
- to stream Main, to step Curation: 000591
Le document en format XML
<record><TEI wicri:istexFullTextTei="biblStruct"><teiHeader><fileDesc><titleStmt><title xml:lang="en">‘Tonality, Clarity, Strength’: Gesture, Form, and Nordic Identity in Carl Nielsen’s Piano Music</title>
<author wicri:is="90%"><name sortKey="Grimley, Daniel M" sort="Grimley, Daniel M" uniqKey="Grimley D" first="Daniel M." last="Grimley">Daniel M. Grimley</name>
</author>
</titleStmt>
<publicationStmt><idno type="wicri:source">ISTEX</idno>
<idno type="RBID">ISTEX:38F449E571266C28CE5B7D1B070B446BE7D335A2</idno>
<date when="2005" year="2005">2005</date>
<idno type="doi">10.1093/ml/gci033</idno>
<idno type="url">https://api.istex.fr/document/38F449E571266C28CE5B7D1B070B446BE7D335A2/fulltext/pdf</idno>
<idno type="wicri:Area/Istex/Corpus">001C00</idno>
<idno type="wicri:explorRef" wicri:stream="Istex" wicri:step="Corpus" wicri:corpus="ISTEX">001C00</idno>
<idno type="wicri:Area/Istex/Curation">001B99</idno>
<idno type="wicri:Area/Istex/Checkpoint">000531</idno>
<idno type="wicri:explorRef" wicri:stream="Istex" wicri:step="Checkpoint">000531</idno>
<idno type="wicri:doubleKey">0027-4224:2005:Grimley D:tonality:clarity:strength</idno>
<idno type="wicri:Area/Main/Merge">000591</idno>
<idno type="wicri:Area/Main/Curation">000591</idno>
<idno type="wicri:Area/Main/Exploration">000591</idno>
</publicationStmt>
<sourceDesc><biblStruct><analytic><title level="a" type="main" xml:lang="en">‘Tonality, Clarity, Strength’: Gesture, Form, and Nordic Identity in Carl Nielsen’s Piano Music</title>
<author wicri:is="90%"><name sortKey="Grimley, Daniel M" sort="Grimley, Daniel M" uniqKey="Grimley D" first="Daniel M." last="Grimley">Daniel M. Grimley</name>
<affiliation wicri:level="4"><country>Royaume-Uni</country>
<placeName><settlement type="city">Nottingham</settlement>
<region type="nation">Angleterre</region>
<region type="région" nuts="1">Nottinghamshire</region>
</placeName>
<orgName type="university">Université de Nottingham</orgName>
</affiliation>
</author>
</analytic>
<monogr></monogr>
<series><title level="j">Music and Letters</title>
<title level="j" type="abbrev">Music and Letters</title>
<idno type="ISSN">0027-4224</idno>
<idno type="eISSN">1477-4631</idno>
<imprint><publisher>Oxford University Press</publisher>
<date type="published" when="2005-05">2005-05</date>
<biblScope unit="volume">86</biblScope>
<biblScope unit="issue">2</biblScope>
<biblScope unit="page" from="202">202</biblScope>
<biblScope unit="page" to="233">233</biblScope>
</imprint>
<idno type="ISSN">0027-4224</idno>
</series>
</biblStruct>
</sourceDesc>
<seriesStmt><idno type="ISSN">0027-4224</idno>
</seriesStmt>
</fileDesc>
<profileDesc><textClass><keywords scheme="Teeft" xml:lang="en"><term>Breve</term>
<term>Busoni</term>
<term>Carl nielsen</term>
<term>Carl nielsen studies</term>
<term>Carl piano music</term>
<term>Central climax</term>
<term>Chaconne</term>
<term>Closure</term>
<term>Contemporary music</term>
<term>Contrapuntal</term>
<term>Critical attention</term>
<term>Cumming</term>
<term>Diary entry</term>
<term>Diatonic</term>
<term>Dissonance</term>
<term>Dolleris</term>
<term>Fifth symphony</term>
<term>Figuration</term>
<term>Final bars</term>
<term>Final movement</term>
<term>First movement</term>
<term>First variation</term>
<term>Harmonic</term>
<term>Historical context</term>
<term>Ibid</term>
<term>Ikke</term>
<term>Metamorphic anachronism</term>
<term>Middle section</term>
<term>Modernist</term>
<term>Mogens wenzel andreasen</term>
<term>Molto</term>
<term>Musical material</term>
<term>Musical work</term>
<term>Musik</term>
<term>Naomi cumming</term>
<term>Nielsen</term>
<term>Nordic</term>
<term>Opening bars</term>
<term>Ostinato</term>
<term>Ostinato figuration</term>
<term>Petersen</term>
<term>Piano music</term>
<term>Piano pieces</term>
<term>Piano works</term>
<term>Pitch class</term>
<term>Politiken</term>
<term>Quasi allegretto</term>
<term>Reger</term>
<term>Richard strauss</term>
<term>Same time</term>
<term>Samtid</term>
<term>Schandorf</term>
<term>Schandorf petersen</term>
<term>Second movement</term>
<term>Second violin sonata</term>
<term>Sequential</term>
<term>Sequential passagework</term>
<term>Sixth symphony</term>
<term>Solo violin</term>
<term>Subjectivity</term>
<term>Symphonic</term>
<term>Symphonic suite</term>
<term>Textural</term>
<term>Third movement</term>
<term>Third symphony</term>
<term>Tonal argument</term>
<term>Tonality</term>
<term>Torben meyer</term>
</keywords>
</textClass>
<langUsage><language ident="en">en</language>
</langUsage>
</profileDesc>
</teiHeader>
<front><div type="abstract" xml:lang="en">Identifying elements of a Nordic subjectivity in the music of Carl Nielsen is a complex exercise. As Naomi Cumming has observed, we construct musical subjectivity in multiple ways, some of which we perceive as a ‘composer’s voice’. But musical identity is properly a tension between compositional process, reception, and historical context. Carl Nielsen’s piano music has been less widely acknowledged outside Denmark than his symphonies, but offers a compelling case study in the formation of musical subjectivity. His piano works employ a diverse range of different compositional strategies, from stylized neo-Baroque textures to angular modernist dissonance and the carnivalesque juxtaposition of different musical characters or voices. The critical reception of his piano music reveals interesting trends in the construction of a Danish musical style. This essay presents a general survey of his major piano works, from the Symphonic Suite to the posthumous Three Piano Pieces, and seeks to place them in their European historical context.</div>
</front>
</TEI>
<affiliations><list><country><li>Royaume-Uni</li>
</country>
<region><li>Angleterre</li>
<li>Nottinghamshire</li>
</region>
<settlement><li>Nottingham</li>
</settlement>
<orgName><li>Université de Nottingham</li>
</orgName>
</list>
<tree><country name="Royaume-Uni"><region name="Angleterre"><name sortKey="Grimley, Daniel M" sort="Grimley, Daniel M" uniqKey="Grimley D" first="Daniel M." last="Grimley">Daniel M. Grimley</name>
</region>
</country>
</tree>
</affiliations>
</record>
Pour manipuler ce document sous Unix (Dilib)
EXPLOR_STEP=$WICRI_ROOT/Wicri/Musique/explor/DebussyV1/Data/Main/Exploration
HfdSelect -h $EXPLOR_STEP/biblio.hfd -nk 000591 | SxmlIndent | more
Ou
HfdSelect -h $EXPLOR_AREA/Data/Main/Exploration/biblio.hfd -nk 000591 | SxmlIndent | more
Pour mettre un lien sur cette page dans le réseau Wicri
{{Explor lien |wiki= Wicri/Musique |area= DebussyV1 |flux= Main |étape= Exploration |type= RBID |clé= ISTEX:38F449E571266C28CE5B7D1B070B446BE7D335A2 |texte= ‘Tonality, Clarity, Strength’: Gesture, Form, and Nordic Identity in Carl Nielsen’s Piano Music }}
This area was generated with Dilib version V0.6.33. |