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From the Preface :

This e-book illustrates a set of song manuscripts which was once made in recent times to learn the basis for modern functionality Arts. the gathering was resolute by means of conditions instead of any strategy of choice. therefore it indicates the numerous instructions within which tune notation is now going. The manuscripts should not prepared in accordance with forms of tune, yet alphabetically in response to the composer's identify. No explanatory info is given.

The textual content for the booklet is the results of a method making use of I-Ching likelihood operations. those made up our minds what number phrases concerning his paintings have been to be written through or approximately which of 2 hundred and sixty-nine composers. the place those passages (never greater than sixty-four phrases, occasionally just one) were in particular written for this publication, they're preceded by means of a paragraph signal and by means of the author's identify. different feedback have been selected or written via the editors - John Cage and Alison Knowles. not just the variety of phrases and the writer, however the typography too - letter dimension, depth, and typeface - have been all made up our minds accidentally operations. This approach was once for you to reduce the adaptation among textual content and illustrations. The composition of the pages is the paintings of Alison Knowles.

A precedent for the textual content is the Questionnaire. (The composers have been requested to jot down approximately notation or some· factor suitable to it. ) A precedent for the absence of knowledge which characterizes this e-book is the modern aquarium (no longer a dismal hallway with every one species in its personal illuminated tank separated from the others and named in Latin): a wide glass condominium with all of the fish in it swimming as in an ocean. the gathering of manuscripts constitutes an archive, the contents of that are indexed on the finish of this booklet. The editors are thankful to the numerous composers and track publishers who've made this presentation of mid-twentieth century tune notation attainable.

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3. Wagner the Progressive Another Look at Lohengrin The critical star of Lohengrin has dimmed so much over the years that even Wagner’s admirers sometimes find it hard to let it shine as brightly as it did at the height of the opera’s popularity in the nineteenth and early twentieth centuries. The swan, one of the opera’s central symbols, has become a kitsch icon, capable of selling anything from kettles to the Queen’s favorite matches, but it is no longer quite the beautiful, enigmatic and sexually suggestive image it used to be.

It is true that vampires in fiction and folklore are not always itinerants, mainly because they have to remain in their graves for at least part of the time during the day. 11 And not far away from Kosovo-Metohija, if you look carefully at the map, is a moderately sized town called Senta, famous for the decisive military victory there in 1697 that made Austria the foremost power in central Europe. In the present context it is perhaps more important to note that Senta is right in the middle of the region where most vampire myths in folklore originated.

Senta is ensnared by Satan, Erik tells her with real insight, whereupon the orchestra suddenly hammers out a chord like a pack of yelping wolves (ex. 3). 19 Her double nature, the demonic and the saintly, are hardly ever clearer than at this crucial point. ”20 Or to put it another way: vampire and Madonna all in one. “Pale” Senta / 29 the desire for heimat I still have not answered the question of why Wagner moved the action of Der fliegende Holländer from Scotland to Norway. One likely reason is that he wanted to heighten the autobiographical significance of the opera.

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