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This digital document is an article from Czech Music, published by Czech Music Information on July 1, 2008. The length of the article is 1712 words. The page length shown above is based on a typical 300-word page. The article is delivered in HTML format and is available immediately after purchase. You can view it with any web browser.

Citation Details
Title: Martinu revisited: the rediscovery of a many-sided Czech composer of the 20th century.(event)
Author: Ales Brezina
Publication: Czech Music (Magazine/Journal)
Date: July 1, 2008
Publisher: Czech Music Information
Issue: 3Page: 21(4)

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17 pgs.; Columbine Dances, The New Puppet, The Shy Puppet, Fairy-Tale, The Puppets Dance. ... Read more

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Composed during World War II and back in print by popular demand, a brilliant chamber work by the great Czech composer. ... Read more

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Commissioned by the Daily Telegraph for the Olympic Games in Melbourne in 1956, this edition is based on the autograph manuscript. Cadenza II has been reintroduced in the third movement. Advanced level. Brought to you by MindaMusic Store in NC! ... Read more

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This digital document is an article from Czech Music, published by Thomson Gale on October 1, 2005. The length of the article is 428 words. The page length shown above is based on a typical 300-word page. The article is delivered in HTML format and is available in your Amazon.com Digital Locker immediately after purchase. You can view it with any web browser.

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Title: Bohuslav Martinu.
Author: Eva Velicka
Publication: Czech Music (Magazine/Journal)
Date: October 1, 2005
Publisher: Thomson Gale
Issue: 4Page: 27(1)

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This digital document is an article from Czech Music, published by Czech Music Information on July 1, 2009. The length of the article is 542 words. The page length shown above is based on a typical 300-word page. The article is delivered in HTML format and is available immediately after purchase. You can view it with any web browser.

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Title: Bohuslav Martinu: Suite from the opera Julietta, Three Fragments from the opera Julietta.
Author: Jindrich Balek
Publication: Czech Music (Magazine/Journal)
Date: July 1, 2009
Publisher: Czech Music Information
Issue: 3Page: 45(2)

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This digital document is an article from Czech Music, published by Czech Music Information on July 1, 2009. The length of the article is 447 words. The page length shown above is based on a typical 300-word page. The article is delivered in HTML format and is available immediately after purchase. You can view it with any web browser.

Citation Details
Title: Bohuslav Martinu: Nipponari, Magic Nights, Czech Rhapsody.
Author: Eva Velicka
Publication: Czech Music (Magazine/Journal)
Date: July 1, 2009
Publisher: Czech Music Information
Issue: 3Page: 44(1)

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This digital document is an article from Czech Music, published by Czech Music Information on July 1, 2009. The length of the article is 522 words. The page length shown above is based on a typical 300-word page. The article is delivered in HTML format and is available immediately after purchase. You can view it with any web browser.

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Title: Bohuslav Martinu: Concerto for Cello and Orchestra nos. 1, H 196.
Author: Lubos Stehlik
Publication: Czech Music (Magazine/Journal)
Date: July 1, 2009
Publisher: Czech Music Information
Issue: 3Page: 43(1)

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This digital document is an article from Czech Music, published by Czech Music Information on July 1, 2009. The length of the article is 467 words. The page length shown above is based on a typical 300-word page. The article is delivered in HTML format and is available immediately after purchase. You can view it with any web browser.

Citation Details
Title: Bohuslav Martinu: Violin Concerto no. 1.
Author: Lubos Stehlik
Publication: Czech Music (Magazine/Journal)
Date: July 1, 2009
Publisher: Czech Music Information
Issue: 3Page: 47(1)

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Bohuslav Martinu (1890-1959) was one of the most prolific composers in the 20th century. Despite the fact that he lived for several years in the United States and had many of his works premiered in this country, he still stands as an enigma. This collection of essays by an international group of experts, is dedicated to the memory of Michael Henderson, who died in 1994 at the age of 47. Henderson was in the process of writing a biography of the composer. These essays include a range of new approaches to Martinu-Jan Smaczny looks at the little-known cantata Gilgamesh; Judy Mabary gives a concise history of Martinu's collaboration with choreographer Eric Hawkins, The Strangler; Ales Brezina looks penetratingly at the often tortured relationship between Martinu and the Czechoslovak government; and Michael Beckerman explores questions of construction in Martinu's Piano Concerto No. 2. Shorter pieces by Czech scholars Isa Popelka and Jaroslav Mihule are also included. In addition, there is an essay by Michael Henderson on "Martinu's Mysterious Accident" which will shed light on one of the most harrowing events in the composer's life. ... Read more

Customer Reviews (1)

A specialist's book for those interested in a very influential view of harmony in the 19th Century (not today's views)
This is a fascinating work for anyone interested in the way music theory was discussed in the mid-19th Century and later.In fact, when you read about Fetis' theory of substitutions and comprehend what he is talking about, the Jazz ideas about chords and substitutions will make more sense.However, if you have firmly anchored the Piston class of ideas with Roman Number chords, and inversions that have been taught in music schools for about a century, well, the book will be disorienting at first.If you don't know the current grammar for harmony and standard counterpoint, I advise you to do so BEFORE you take on this book.You should NOT, under any circumstances, study this book with the view that you will be learning musical grammar as it is used today.This method, as widely used as it was, is completely abandoned today.That is, unless you accept the kind of connection I see to Jazz notions of chord substitutions as a kind of lingering descendent.The translator does a nice job in orienting you to the book in his introduction.

To give you just a taste of how Fetis viewed things imagine a C major chord in root position.That is C-E-G.Now imagine a standard progression of a C major chord to the G major chord (with a seventh) also in root position and then back to the root position C chord.This would be labeled by Piston and the rest of us as I-V7-I.Right?

Now imagine that the instead of the standard G-7 chord, you had a structure spelled G-B-F-A.We might label that note A as a non-chord neighbor tone or even as a ninth.And in Fetis' example, since it moves back to G, I like the non-chord counterpoint idea best.Fetis call such a tone a substitution.He also calls what we would label as suspensions as prologations.This ends up looking like a harmony that is still secondary to countrapuntal considerations.Of course, with my preference for examining voice leading, this is fine with me.But this theory is limited by the phenomena the author was trying to explain.Later music that is more complex harmonically would break his prescriptions.

The four books of the volume are not tightly related.Book One spends four chapters examining intervals, consonances, dissonances, and their implications for harmony.Book Two has three sections in twelve chapters than examine chords.Book Three has four chapters that examines chords within tonality and modulation.Book Four spends five chapters presenting a philosophy of theoretical systems and explains his views of the deficiencies of other systems that we no longer consider except in the history of music theory courses or maybe in certain specific musicology courses dealing with 19th Century harmony, counterpoint, and musical grammar..

So go ahead and have some fun.This book was incredibly important in its time, went through many editions, and was constantly in print for decades.

Reviewed by Craig Matteson, Ann Arbor, MI
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Product Description
1990's reprint of 1953 copyright publication. Publication No. HL50482177. ... Read more