The Penguin Jazz Guide: The History of the Music in the 1001 by Brian Morton, Richard Cook

By Brian Morton, Richard Cook

The Penguin consultant to Jazz Recordings is firmly demonstrated because the world's prime consultant to recorded jazz, a mine of interesting details and a resource of insightful -- frequently wittily trenchant -- feedback. this can be anything fairly varied: Brian Morton (who taught American heritage at UEA) has picked out the one thousand top recordings that each one jazz enthusiasts must have and indicates how they inform the background of the song and with it the historical past of the 20 th century. He has thoroughly revised his and Richard Cook's entries and reassessed every one artist's access for this e-book. the result's an ceaselessly browsable better half that may end up required studying for aficionados and jazz beginners alike. 'It's the type of e-book that you'll yank off the shelf to seem up a short truth and nonetheless be studying hours later' Fortune 'Part jazz historical past, half jazz Karma Sutra with prepare dinner and Morton because the an expert, urbane, clever and witty publications ... this is often one of many nice books of recorded jazz; the opposite publications don't come close'.

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By Brian Morton, Richard Cook

The Penguin consultant to Jazz Recordings is firmly demonstrated because the world's prime consultant to recorded jazz, a mine of interesting details and a resource of insightful -- frequently wittily trenchant -- feedback. this can be anything fairly varied: Brian Morton (who taught American heritage at UEA) has picked out the one thousand top recordings that each one jazz enthusiasts must have and indicates how they inform the background of the song and with it the historical past of the 20 th century. He has thoroughly revised his and Richard Cook's entries and reassessed every one artist's access for this e-book. the result's an ceaselessly browsable better half that may end up required studying for aficionados and jazz beginners alike. 'It's the type of e-book that you'll yank off the shelf to seem up a short truth and nonetheless be studying hours later' Fortune 'Part jazz historical past, half jazz Karma Sutra with prepare dinner and Morton because the an expert, urbane, clever and witty publications ... this is often one of many nice books of recorded jazz; the opposite publications don't come close'.

Show description

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However, despite the impact of the performance of Schoenberg’s Pierrot Lunaire he had heard a few years earlier, this does not appear to have influenced the writing for chamber ensemble in the Divertimento. The ensemble itself is very differently constituted from that of Pierrot Lunaire—no piano is used, nor does the clarinet double with bass clarinet—so the possibilities for creating the searing instrumental lines characteristic of Pierrot Lunaire are limited, and in any case the work lacks the chromaticisms of Schoenberg’s polyphony.

Furthermore, the choral writing incorporates a highly varied use of vocal gestures in a Bergian manner: canto parlato, murmured sounds (mormorato), slightly intoned (poco intonato), singing a boccha chiusa, and completely timbre-less whispering (sussurrato e assolutamente senza timbro), which carries only rhythmic indications for the choral voices. In the case of the canto parlato (Sprechgesang), this was not influenced by Schoenberg’s use of the technique, since he used it in a choral rather than a solo context only in Moses und Aron.

Furthermore, the choral writing incorporates a highly varied use of vocal gestures in a Bergian manner: canto parlato, murmured sounds (mormorato), slightly intoned (poco intonato), singing a boccha chiusa, and completely timbre-less whispering (sussurrato e assolutamente senza timbro), which carries only rhythmic indications for the choral voices. In the case of the canto parlato (Sprechgesang), this was not influenced by Schoenberg’s use of the technique, since he used it in a choral rather than a solo context only in Moses und Aron.

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