Arts and Humanities Commons^™

The Double Silence: Reflections On Music And Musicians, Antoni Pizà

Publications and Research

A translation of EL DOBLE SILENCI, published in Catalan in 2003. The book is a compilation of essays originally published in Diario de Mallorca (2000-2003).

Etcètera Ii: Notes Sobre Música, Art I Literatura (2020-2022), Antoni Pizà

Publications and Research

A compilation of essays on music, the arts, and literature previously published in Bellver, the arts section of Diario de Mallorca (2020-2022). This is the second part of ETCETERA.

Rupturismes: Art Sonor A Mallorca, Un Poc De Context, Antoni Pizà

Publications and Research

Antoni Caimari (1943-2021), com sap tothom, no era un músic com els altres; i tampoc no ho volia ser. Encapçalava els títols de les seves obres musicals amb les inicials EB o «esbós» (com altres compositors les inicien amb Op.) per donar una idea que no tenien res a veure amb les composicions tancades i immanents dels mestres del passat. Aquests EBs no tenien partitura perquè, com va dir Llorenç Barber, un altre compositor donat als aforismes, estaven alliberats de la tirania de la «partiturocràcia».

Lliçons Magistrals, Antoni Pizà

Publications and Research

No seria pianista. Jo no arribaria mai a ser pianista. L’epifania va començar a cristal·litzar poc després d’haver arribat a Salzburg el 1982 amb intencions d’estudiar-hi piano. Com el narrador de la novel·la de Thomas Bernhard Der Untergeher (si es vol, el fracassat o el mediocre), jo havia quedat psicològicament gelat per la presència d’alguns dels millors pianistes del món. En poc temps, i sense capacitat de digerir-ho —tenia vint anys escassos—, havia vist i sentit en viu Alfred Brendel, Maurizio Pollini, Claudio Arrau i Bruno Leonardo Gelber, entre altres.

Fragments D'Un Diari Musical, Antoni Pizà

Publications and Research

Vetllada musical al pis d'Ursula Oppens. A pesar de les connotacions vuitcentistes que pugui tenir qualsevol saló musical, Ursula no és ni una Guermantes ni una Verdurin, sinó una defensora tenaç dels segles XX i XXI. Elliott Carter, John Adams, Lutoslawski, Ligetic, etc., tots els grans compositors des segles XX i XXI li han dedicat obres, i ella, amb els seus enregistraments, alguns amb nominacions als Grammys, ha estat la gran advocada del pianisme contemporani als EUA.

Stanisław Skrowaczewski, John A. Drobnicki

Publications and Research

Stanisław Skrowaczewski is an orchestral conductor and composer.

Disability And “Late Style” In Music, Joseph N. Straus

Publications and Research

“Late style” is a longstanding aesthetic category in all the arts. Late-style music is presumed to have certain internal qualities (such as fragmentation, intimacy, nostalgia, or concision) and to be associated with certain external factors (such as the age of the composer, his or her proximity to and foreknowledge of death, lateness within a historical period, or a sense of authorial belatedness with respect to significant predecessors). Upon closer inspection, it appears that many of these external factors are unreliably correlated with a musical style that might be described as late. Late style is often better correlated with the bodily …

Babbitt And Stravinsky Under The Serial "Regime", Joseph N. Straus

Publications and Research

It is a great honor and a personal pleasure to participate in this Symposium in honor of Milton Babbitt. Babbitt's work, his "thinking in and thinking about music," have so profoundly shaped my own work and the field in which I work, the field of music theory, that it is hard imagine what either would have been without him. I have a deep and grateful sense of his influence on me.

Babbitt's more general influence, his role in shaping our larger musical culture, is the topic of this article. I want to focus in particular on the 1950s and 1960s …

The "Anxiety Of Influence" In Twentieth-Century Music, Joseph N. Straus

Publications and Research

The musical world of this century has been dominated, to an extraordinary and unprecedented degree, by the music of the past. Performers play music primarily by long-deceased canonical composers, composers learn their craft by studying the master-works of the past, including the distant past, and scholars devote themselves to studying increasingly ancient musical monuments. The past has never been so powerfully present as in this century. In this historical situation, composers have felt an understandably deep ambivalence toward the masterworks of the past. On the hand, those masterworks inspire admiration, even reverence. At the same time, they also inspire the …