Titlebook: New Vocal Repertory; An Introduction Jane Manning Book 1986 Palgrave Macmillan, a division of Macmillan Publishers Limited 1986 design.perf

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Thea Musgrave,Maurice Lindsay and fear, as Aristotle details them in his ., are painful emotions when experienced in the real world, why is it so obviously and yet mysteriously the case that we nonetheless usually do enjoy attending tragic plays where pity and fear play a central role? Might it be the case that in fact our emot

Magnificent

绕着哥哥问

Three Theatrical Songs (1946)essive vocal output is otherwise too difficult to be included in this book (but is to be warmly recommended to singers of outstanding musicianship). As Babbitt says in the introductory note, the songs come from an entirely different side of his musical life and represent his prodigious knowledge, lo

RAGE

积云

良心

One and All (1975)uch found in the higher voices (soprano and tenor) is perhaps most suitable for the purity and clarity of line and detail that is so important here. As is typical of this composer, there are elements of pastiche in the music. He imitates a wide variety of styles including conventional lieder (especi

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The Wonderful Widow of Eighteen Springs/A Flower (1942/1950)deserve. Partly through ignorance and partly because of the wide range of styles that Cage employs, those not familiar with Cage’s work may not appreciate the purely musical virtues which have always distinguished this visionary figure from his many imitators.

ELUC

Two Songs (1977)difficult and the piano part is equally undemanding. The vocal writing is smooth and shows Fricker’s sensitivity to timbre. The musical idiom is fairly traditional with neo-classical elements. With great economy of means, the songs come across strongly and clearly and are beautifully integrated. The

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