Book Reviews
Identifieur interne : 000405 ( Istex/Corpus ); précédent : 000404; suivant : 000406Book Reviews
Auteurs :Source :
- Tempo [ 0040-2982 ] ; 1996-04.
Abstract
The writings of George Perle Michael Graubart Paul Griffiths's ‘Modern Music and After’ Ian Pace Michael Chanan's ‘Repeated Takes’ Julian Silverman
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DOI: 10.1017/S0040298200004964
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style="text-abstract"><p>The writings of George Perle Michael Graubart Paul Griffiths's ‘Modern Music and After’ Ian Pace Michael Chanan's ‘Repeated Takes’ Julian Silverman</p></abstract></profileDesc><revisionDesc><change when="1996-04">Published</change><change xml:id="refBibs-istex" who="#ISTEX-API" when="2017-09-5">References added</change></revisionDesc></teiHeader></istex:fulltextTEI></fulltext><metadata><istex:metadataXml wicri:clean="corpus cambridge not found" wicri:toSee="no header"><istex:xmlDeclaration>version="1.0" encoding="UTF-8"</istex:xmlDeclaration><istex:docType PUBLIC="-//NLM//DTD Journal Publishing DTD v2.2 20060430//EN" URI="journalpublishing.dtd" name="istex:docType"></istex:docType><istex:document><article article-type="book-review" dtd-version="2.2" xml:lang="en"><front><journal-meta><journal-id journal-id-type="publisher-id">TEM</journal-id><journal-title>Tempo</journal-title><abbrev-journal-title>Tempo</abbrev-journal-title><issn pub-type="ppub">0040-2982</issn><issn pub-type="epub">1478-2286</issn><publisher><publisher-name>Cambridge University Press</publisher-name><publisher-loc>Cambridge, UK</publisher-loc></publisher></journal-meta><article-meta><article-id pub-id-type="doi">10.1017/S0040298200004964</article-id><article-id pub-id-type="pii">S0040298200004964</article-id><article-id pub-id-type="publisher-id">00496</article-id><title-group><article-title>Book Reviews</article-title></title-group><pub-date pub-type="ppub"><month>04</month><year>1996</year></pub-date><issue>196</issue><fpage seq="7">37</fpage><lpage>45</lpage><permissions><copyright-statement>Copyright © Cambridge University Press 1996</copyright-statement><copyright-year>1996</copyright-year><copyright-holder>Cambridge University Press</copyright-holder></permissions><abstract abstract-type="text-abstract"><p><list list-type="simple"><list-item><p>The writings of George Perle <italic>Michael Graubart</italic></p></list-item><list-item><p>Paul Griffiths's ‘Modern Music and After’ <italic>Ian Pace</italic></p></list-item><list-item><p>Michael Chanan's ‘Repeated Takes’ <italic>Julian Silverman</italic></p></list-item></list></p></abstract><counts><page-count count="9"></page-count></counts><custom-meta-wrap><custom-meta><meta-name>pdf</meta-name><meta-value>S0040298200004964a.pdf</meta-value></custom-meta><custom-meta><meta-name>dispart</meta-name><meta-value>Book Reviews</meta-value></custom-meta><custom-meta><meta-name>series</meta-name><meta-value>1</meta-value></custom-meta><custom-meta><meta-name>seriesText</meta-name><meta-value>New Series</meta-value></custom-meta></custom-meta-wrap></article-meta></front><back><fn-group><fn id="fn01" symbol="1"><label><sup>1</sup></label><p>One need only consider those Bach chorale-harmonizations whose melodies derive from a Phrygian original, in which Bach pays his dues both to the modal (Phrygian) <italic>finalis</italic> and to the tonal (quasi-Aeolian) interpretations of the melody by beginning and ending on what a superficial ‘minor key’ analysis would describe as a (major) dominant triad, and using a plagal instead of an authentic cadence; an A minor triad, for example, thus functioning as dominant to an E major tonic.</p></fn><fn id="fn02" symbol="2"><label><sup>2</sup></label><p>The claimed equality of all 12 notes is in any case compromised as soon as one is longer or lower than another, or – however quietly it is played – falls on a metrically stronger beat.</p></fn><fn id="fn03" symbol="3"><label><sup>3</sup></label><p>Translated by Bernard Grun, St. Martin's Press.</p></fn><fn id="fn04" symbol="4"><label><sup>4</sup></label><p>Perhaps one may be forgiven, in the context of an account of such scholarly exactitude as well as musical and human sympathy, for pointing out that in the footnote on p.84 the translation Berg's ‘dedication’ of the second movement should refer to ‘closing [i.e. completing] the charming circle’, not ‘enclosing the charming circle’.</p></fn></fn-group></back></article></istex:document></istex:metadataXml><mods version="3.6"><titleInfo lang="en"><title>Book Reviews</title></titleInfo><titleInfo type="alternative" lang="en" contentType="CDATA"><title>Book Reviews</title></titleInfo><typeOfResource>text</typeOfResource><genre type="book-reviews" displayLabel="book-review" authority="ISTEX" authorityURI="https://content-type.data.istex.fr" valueURI="https://content-type.data.istex.fr/ark:/67375/XTP-PBH5VBM9-4">book-reviews</genre><originInfo><publisher>Cambridge University Press</publisher><place><placeTerm type="text">Cambridge, UK</placeTerm></place><dateIssued encoding="w3cdtf">1996-04</dateIssued><copyrightDate encoding="w3cdtf">1996</copyrightDate></originInfo><language><languageTerm type="code" authority="iso639-2b">eng</languageTerm><languageTerm type="code" authority="rfc3066">en</languageTerm></language><abstract type="text-abstract" lang="en">The 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