<i>Personalia</i>

Elsdon, Peter; heile, Björn

doi:10.1017/chol9780521662567.025

The Cambridge History of Twentieth-Century Music 2004

DOI: 10.1017/chol9780521662567.025

|View full text |Cite

Personalia

Peter Elsdon¹,

Björn heile²

Help me understand this report

Search citation statements

Order By: Relevance

Paper Sections

Select...

Citation Types

Supporting

Mentioning

Contrasting

Year Published

2022

Publication Types

Select...

Article1

Relationship

Self Cite0

Independent1

Authors

Journals

Cited by 1 publication

(1 citation statement)

References 0 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…2424Williams indicates that these melodic leaps feature a ‘concentration and intensity similar to those of Webern's’ (1999, p. 142), and Beckles Willson (2007, p. 107) also points out that the overall texture ‘seems to combine the intricate “crystalline” shift that characterise[s] some of Webern's writing’. For further discussion of this matter (particularly what motivates Kurtág to write such Webernian textures), see Walsh (1982a, p. 12), Griffiths (1995, p. 282), Elsdon and Heile (2004, p. 643) and Vagra (2009, pp. 5–8).…”

mentioning

confidence: 99%

The Sense of the Fragmentary in Kurtág's Several Movements from Georg Christoph Lichtenberg's Scrapbooks, Op. 37a

Wu¹

2022

Music Analysis

View full text Add to dashboard Cite

One of the most distinctive developments in György Kurtág's output from the beginning of the 1980s is his setting of incomplete texts. He entitles these songs ‘fragments’, suggesting that they are musical scraps that accompany the extracts from great writers’ works. Kurtág's most representative contribution to this genre is his chamber song cycle Kafka‐Fragments, Op. 24, for soprano and violin (1986). Slightly over a decade later, Kurtág selected 22 aphorisms by Georg Christoph Lichtenberg and set them in a new vocal chamber cycle for soprano and double bass as Several Movements from Georg Christoph Lichtenberg's Scrapbooks (Op. 37a, 1999). To date, most scholars interested in the fragmentary qualities of Kurtág's songs have focused on Op. 24, leaving Op. 37a relatively unexplored. This article corrects this imbalance by providing analyses of three movements from Op. 37a. I approach these songs from the angles of text setting, pitch structure and melodic contour to show how Kurtág utilises these elements to achieve the defining features of ambiguity and incompletion central to the musical fragment.

show abstract

mentioning

confidence: 99%

The Sense of the Fragmentary in Kurtág's Several Movements from Georg Christoph Lichtenberg's Scrapbooks, Op. 37a

Wu¹

2022

Music Analysis

View full text Add to dashboard Cite

show abstract

scite is a Brooklyn-based organization that helps researchers better discover and understand research articles through Smart Citations–citations that display the context of the citation and describe whether the article provides supporting or contrasting evidence. scite is used by students and researchers from around the world and is funded in part by the National Science Foundation and the National Institute on Drug Abuse of the National Institutes of Health.

Contact Info

customersupport@researchsolutions.com

10624 S. Eastern Ave., Ste. A-614

Henderson, NV 89052, USA

This site is protected by reCAPTCHA and the Google Privacy Policy and Terms of Service apply.

Blog Terms and Conditions API Terms Privacy Policy Contact Cookie Preferences Do Not Sell or Share My Personal Information

Made with 💙 for researchers

Part of the Research Solutions Family.

Personalia

Cited by 1 publication

References 0 publications

The Sense of the Fragmentary in Kurtág's Several Movements from Georg Christoph Lichtenberg's Scrapbooks, Op. 37a

The Sense of the Fragmentary in Kurtág's Several Movements from Georg Christoph Lichtenberg's Scrapbooks, Op. 37a

Contact Info

Product

Resources

About