9781316632178 - Stravinsky's Piano: Genesis of a Musical Language (music Since 1900) by Griffiths, Graham (22 results)
Language: English
Published by Cambridge University Press 2016
Series: Music since 1900, Book 4 of 28. Book 4 of 28 - Music since 1900
- Softcover
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Language: English
Published by Cambridge University Press 7/21/2016 2016
Series: Music since 1900, Book 4 of 28. Book 4 of 28 - Music since 1900
- Softcover
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Paperback or Softback. Condition: New. Stravinsky's Piano: Genesis of a Musical Language. Book.
Language: English
Published by Cambridge University Press 2016
Series: Music since 1900, Book 4 of 28. Book 4 of 28 - Music since 1900
- Softcover
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Language: English
Published by Cambridge University Press 2016
Series: Music since 1900, Book 4 of 28. Book 4 of 28 - Music since 1900
- Softcover
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Language: English
Published by Cambridge University Press, GB 2016
Series: Music since 1900, Book 4 of 28. Book 4 of 28 - Music since 1900
- Softcover
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Paperback. Condition: New. Stravinsky's reinvention in the early 1920s, as both neoclassical composer and concert-pianist, is here placed at the centre of a fundamental reconsideration of his whole output - viewed from the unprecedented perspective of his relationship with the piano. Graham Griffiths assesses Stravinsky's musica…l upbringing in St Petersburg with emphasis on his education at the hands of two extraordinary teachers whom he later either ignored or denounced: Leokadiya Kashperova, for piano and Rimsky-Korsakov, for instrumentation. Their message, Griffiths argues, enabled Stravinsky to formulate from that intensely Russian experience an internationalist brand of neoclassicism founded upon the premises of objectivity and craft. Drawing directly on the composer's manuscripts, Griffiths addresses Stravinsky's lifelong fascination with counterpoint and with pianism's constructive processes. Stravinsky's Piano presents both of these as recurring features of the compositional attitudes that Stravinsky consistently applied to his works, whether Russian, neoclassical or serial, and regardless of idiom and genre.
Language: English
Published by Cambridge University Press 2016
Series: Music since 1900, Book 4 of 28. Book 4 of 28 - Music since 1900
- Softcover
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Language: English
Published by Cambridge University Press 2016-07-21 2016
Series: Music since 1900, Book 4 of 28. Book 4 of 28 - Music since 1900
- Softcover
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Paperback. Condition: New.
Language: English
Published by Cambridge University Press 2016
Series: Music since 1900, Book 4 of 28. Book 4 of 28 - Music since 1900
- Softcover
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Language: English
Published by Cambridge University Press 2016
Series: Music since 1900, Book 4 of 28. Book 4 of 28 - Music since 1900
- Softcover
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Language: English
Published by Cambridge University Press 2016
Series: Music since 1900, Book 4 of 28. Book 4 of 28 - Music since 1900
- Softcover
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Condition: New. pp. 354.
Language: English
Published by Cambridge University Press 2016
Series: Music since 1900, Book 4 of 28. Book 4 of 28 - Music since 1900
- Softcover
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Condition: New. An unprecedented exploration of Stravinsky's use of the piano as the genesis of all his music - Russian, neoclassical and serial. Series: Music Since 1900. Num Pages: 354 pages, 10 b/w illus. 59 music examples. BIC Classification: AVGC6; AVH; AVRG. Category: (P) Professional & Vocational. Dimension: 174 x 244 x 2…1. Weight in Grams: 624. . 2016. Paperback. . . . . Books ship from the US and Ireland.
Language: English
Published by Cambridge University Press 2016
Series: Music since 1900, Book 4 of 28. Book 4 of 28 - Music since 1900
- Softcover
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Condition: New. An unprecedented exploration of Stravinsky's use of the piano as the genesis of all his music - Russian, neoclassical and serial. Series: Music Since 1900. Num Pages: 354 pages, 10 b/w illus. 59 music examples. BIC Classification: AVGC6; AVH; AVRG. Category: (P) Professional & Vocational. Dimension: 174 x 244 x 2…1. Weight in Grams: 624. . 2016. Paperback. . . . .
Language: English
Published by Cambridge University Press, GB 2016
Series: Music since 1900, Book 4 of 28. Book 4 of 28 - Music since 1900
- Softcover
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Paperback. Condition: New. Stravinsky's reinvention in the early 1920s, as both neoclassical composer and concert-pianist, is here placed at the centre of a fundamental reconsideration of his whole output - viewed from the unprecedented perspective of his relationship with the piano. Graham Griffiths assesses Stravinsky's musica…l upbringing in St Petersburg with emphasis on his education at the hands of two extraordinary teachers whom he later either ignored or denounced: Leokadiya Kashperova, for piano and Rimsky-Korsakov, for instrumentation. Their message, Griffiths argues, enabled Stravinsky to formulate from that intensely Russian experience an internationalist brand of neoclassicism founded upon the premises of objectivity and craft. Drawing directly on the composer's manuscripts, Griffiths addresses Stravinsky's lifelong fascination with counterpoint and with pianism's constructive processes. Stravinsky's Piano presents both of these as recurring features of the compositional attitudes that Stravinsky consistently applied to his works, whether Russian, neoclassical or serial, and regardless of idiom and genre.
Language: English
Published by Cambridge University Press 2016
Series: Music since 1900, Book 4 of 28. Book 4 of 28 - Music since 1900
- Softcover
Seller: AHA-BUCH GmbH, Einbeck, GermanyAHA-BUCH GmbH
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Taschenbuch. Condition: Neu. Druck auf Anfrage Neuware - Printed after ordering - Stravinsky's reinvention in the early 1920s, as both neoclassical composer and concert-pianist, is here placed at the centre of a fundamental reconsideration of his whole output - viewed from the unprecedented perspective of his relationship with t…he piano. Graham Griffiths assesses Stravinsky's musical upbringing in St Petersburg with emphasis on his education at the hands of two extraordinary teachers whom he later either ignored or denounced: Leokadiya Kashperova, for piano and Rimsky-Korsakov, for instrumentation. Their message, Griffiths argues, enabled Stravinsky to formulate from that intensely Russian experience an internationalist brand of neoclassicism founded upon the premises of objectivity and craft. Drawing directly on the composer's manuscripts, Griffiths addresses Stravinsky's lifelong fascination with counterpoint and with pianism's constructive processes. Stravinsky's Piano presents both of these as recurring features of the compositional attitudes that Stravinsky consistently applied to his works, whether Russian, neoclassical or serial, and regardless of idiom and genre.
Language: English
Published by Cambridge University Press, Cambridge 2016
Series: Music since 1900, Book 4 of 28. Book 4 of 28 - Music since 1900
- Softcover
- Print on Demand
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Paperback. Condition: new. Paperback. Stravinsky's reinvention in the early 1920s, as both neoclassical composer and concert-pianist, is here placed at the centre of a fundamental reconsideration of his whole output - viewed from the unprecedented perspective of his relationship with the piano. Graham Griffiths assesses Stravins…ky's musical upbringing in St Petersburg with emphasis on his education at the hands of two extraordinary teachers whom he later either ignored or denounced: Leokadiya Kashperova, for piano and Rimsky-Korsakov, for instrumentation. Their message, Griffiths argues, enabled Stravinsky to formulate from that intensely Russian experience an internationalist brand of neoclassicism founded upon the premises of objectivity and craft. Drawing directly on the composer's manuscripts, Griffiths addresses Stravinsky's lifelong fascination with counterpoint and with pianism's constructive processes. Stravinsky's Piano presents both of these as recurring features of the compositional attitudes that Stravinsky consistently applied to his works, whether Russian, neoclassical or serial, and regardless of idiom and genre. Graham Griffiths places Stravinsky's reinvention in the early 1920s, as both neoclassical composer and concert-pianist, at the centre of a fundamental reconsideration of the composer's entire output - viewed from the unprecedented perspective of his relationship with the piano. This item is printed on demand. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.
Language: English
Published by Cambridge University Press 2016
Series: Music since 1900, Book 4 of 28. Book 4 of 28 - Music since 1900
- Softcover
- Print on Demand
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Paperback. Condition: Brand New. reprint edition. 354 pages. 9.61x6.69x0.75 inches. In Stock. This item is printed on demand.
Language: English
Published by Cambridge University Press 2016
Series: Music since 1900, Book 4 of 28. Book 4 of 28 - Music since 1900
- Softcover
- Print on Demand
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Paperback / softback. Condition: New. This item is printed on demand. New copy - Usually dispatched within 5-9 working days.
Language: English
Published by Cambridge University Press 2016
Series: Music since 1900, Book 4 of 28. Book 4 of 28 - Music since 1900
- Softcover
- Print on Demand
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Condition: New. Print on Demand pp. 354.
Language: English
Published by Cambridge University Press 2016
Series: Music since 1900, Book 4 of 28. Book 4 of 28 - Music since 1900
- Softcover
- Print on Demand
Seller: Biblios, frankfurt am main, HESSE, GermanyBiblios
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Condition: New. PRINT ON DEMAND pp. 354.
Language: English
Published by Cambridge University Press, Cambridge 2016
Series: Music since 1900, Book 4 of 28. Book 4 of 28 - Music since 1900
- Softcover
- Print on Demand
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Paperback. Condition: new. Paperback. Stravinsky's reinvention in the early 1920s, as both neoclassical composer and concert-pianist, is here placed at the centre of a fundamental reconsideration of his whole output - viewed from the unprecedented perspective of his relationship with the piano. Graham Griffiths assesses Stravins…ky's musical upbringing in St Petersburg with emphasis on his education at the hands of two extraordinary teachers whom he later either ignored or denounced: Leokadiya Kashperova, for piano and Rimsky-Korsakov, for instrumentation. Their message, Griffiths argues, enabled Stravinsky to formulate from that intensely Russian experience an internationalist brand of neoclassicism founded upon the premises of objectivity and craft. Drawing directly on the composer's manuscripts, Griffiths addresses Stravinsky's lifelong fascination with counterpoint and with pianism's constructive processes. Stravinsky's Piano presents both of these as recurring features of the compositional attitudes that Stravinsky consistently applied to his works, whether Russian, neoclassical or serial, and regardless of idiom and genre. Graham Griffiths places Stravinsky's reinvention in the early 1920s, as both neoclassical composer and concert-pianist, at the centre of a fundamental reconsideration of the composer's entire output - viewed from the unprecedented perspective of his relationship with the piano. This item is printed on demand. Shipping may be from our UK warehouse or from our Australian or US warehouses, depending on stock availability.
Language: English
Published by Cambridge University Press, Cambridge 2016
Series: Music since 1900, Book 4 of 28. Book 4 of 28 - Music since 1900
- Softcover
- Print on Demand
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Paperback. Condition: new. Paperback. Stravinsky's reinvention in the early 1920s, as both neoclassical composer and concert-pianist, is here placed at the centre of a fundamental reconsideration of his whole output - viewed from the unprecedented perspective of his relationship with the piano. Graham Griffiths assesses Stravins…ky's musical upbringing in St Petersburg with emphasis on his education at the hands of two extraordinary teachers whom he later either ignored or denounced: Leokadiya Kashperova, for piano and Rimsky-Korsakov, for instrumentation. Their message, Griffiths argues, enabled Stravinsky to formulate from that intensely Russian experience an internationalist brand of neoclassicism founded upon the premises of objectivity and craft. Drawing directly on the composer's manuscripts, Griffiths addresses Stravinsky's lifelong fascination with counterpoint and with pianism's constructive processes. Stravinsky's Piano presents both of these as recurring features of the compositional attitudes that Stravinsky consistently applied to his works, whether Russian, neoclassical or serial, and regardless of idiom and genre. Graham Griffiths places Stravinsky's reinvention in the early 1920s, as both neoclassical composer and concert-pianist, at the centre of a fundamental reconsideration of the composer's entire output - viewed from the unprecedented perspective of his relationship with the piano. This item is printed on demand. Shipping may be from our Sydney, NSW warehouse or from our UK or US warehouse, depending on stock availability.
Published by Cambridge University Press 2016
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Condition: New. Dieser Artikel ist ein Print on Demand Artikel und wird nach Ihrer Bestellung fuer Sie gedruckt. Graham Griffiths places Stravinsky s reinvention in the early 1920s, as both neoclassical composer and concert-pianist, at the centre of a fundamental reconsideration of the composer s entire output - viewed from the…unprecedented perspective of his relatio.
