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Situating her study within the broader context of literary and visual arts traditions, as well as cultural history, the author examines how the celebration of place in music reflects, defines, and enriches America's ever-changing identity.
Focusing on instrumental works of high-art music, Von Glahn analyzes thoroughly the soundscapes of fourteen diverse composers who have commemorated a broad spectrum of places. Organized chronologically, the volume looks at such distinctive American musical voices and works as Anthony Philip Heinrich's The War of the Elements and the Thundering of Niagara, Charles Ives's The Housatonic at Stockbridge and From Hanover Square North, at the End of a Tragic Day, the Voice of the People Again Arose, Aaron Copland's Quiet City and Music for a Great City, Duke Ellington's Harlem, Roy Harris's Cimarron, Ferde Grofe's Grand Canyon Suite, Robert Starer's Hudson Valley Suite, and Steve Reich's Vermont Counterpoint and New York Counterpoint.
Von Glahn's meticulously researched examination of these and other musical pieces discusses the composer's purpose and motivation in memorializing a place, how he related personally to that environ, and the compositional techniques employed to evoke the landscape or cityscape. The Sounds of Place reveals how music is as important as literature and art in reflecting the evolving sense of a unique American character over time, and it fills an important gap in the scholarship of cultural geography and music history.
Focusing on instrumental works of high-art music, Von Glahn analyzes thoroughly the soundscapes of fourteen diverse composers who have commemorated a broad spectrum of places. Organized chronologically, the volume looks at such distinctive American musical voices and works as Anthony Philip Heinrich's The War of the Elements and the Thundering of Niagara, Charles Ives's The Housatonic at Stockbridge and From Hanover Square North, at the End of a Tragic Day, the Voice of the People Again Arose, Aaron Copland's Quiet City and Music for a Great City, Duke Ellington's Harlem, Roy Harris's Cimarron, Ferde Grofe's Grand Canyon Suite, Robert Starer's Hudson Valley Suite, and Steve Reich's Vermont Counterpoint and New York Counterpoint.
Von Glahn's meticulously researched examination of these and other musical pieces discusses the composer's purpose and motivation in memorializing a place, how he related personally to that environ, and the compositional techniques employed to evoke the landscape or cityscape. The Sounds of Place reveals how music is as important as literature and art in reflecting the evolving sense of a unique American character over time, and it fills an important gap in the scholarship of cultural geography and music history.
作者簡介
Denise Von Glahn is assistant professor of music history and musicology at Florida State University. She lives in Tallahassee, Florida.
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