Download Louise Talma: A Life in Composition by Kendra Preston Leonard PDF
By Kendra Preston Leonard
American composer Louise Talma (1906-1996) used to be the 1st girl winner of 2 back-to-back Guggenheim Awards (1946, 1947), the 1st American lady to have an opera premiered in Europe (1962), the 1st lady winner of the Sibelius Award for Composition (1963), and the 1st lady composer elected to the yankee Academy and Institute of Arts and Letters (1974). This e-book analyses Talma's works within the context of her lifestyles, targeting the consequences on her paintings of 2 significant adjustments she made in the course of her grownup lifestyles: her conversion to Catholicism as an grownup, less than the counsel of Nadia Boulanger, and her adoption of serial compositional options. utilising techniques from conventional musical research, feminist and queer musicology, and women's autobiographical thought to envision Talma's physique of works, comprising a few 80 items, this can be the 1st full-length examine of this pioneering composer. Exploring Talma's compositional language, text-setting practices, and the incorporation of autobiographical components into her works utilizing her personal letters, sketches, and rankings, in addition to a few different correct records, this publication positions Talma's contributions to serial and atonal song within the usa, considers her position as a girl composer in the course of the 20th century, and evaluates the legacy of her works and profession in American song.
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Additional info for Louise Talma: A Life in Composition
This abandonment of lyricism gives the impression of faster movement to the final cadence, even as the tempo returns to the original Allegretto. In all, the text is treated carefully so that stresses are mimicked by the musical rhythm and the clarity of the text is well preserved. Talma did not leave any documents related to the composition of “Invocation to the Rain,” so it is unclear where she found the lyrics. It is true that there were several American composers, led by Arthur Farwell and his Wa-Wan Press, working at the same time in what was termed an “Indianist” approach, in which they attempted to incorporate elements of Native American music with common practice-period Western art music techniques, but Talma does not seem to have written this song as part of this movement or in response to hearing or becoming familiar with any particular Indianist works.
47 48 Myth and Meaning in Talma’s Early Life and Career 25 composition the focus of their life’s work. ”52 Talma was one of a small set of American female composers to escape this paradigm. She was fortunate enough to have the support of her mother, even though she felt forced by circumstances to continue teaching piano and later harmony and theory, much to her distaste, to support the family and later herself alone. She also came of age as a composer at a time when there were several role models already in place for women composers.
70 As in “Invocation,” she frequently uses the minor second melodically in the vocal line while also positioning the melody against the accompaniment to create harmonic tritones and major sevenths. “On the Surface”, which has no key signature, has four distinct sections; in keeping with the analysis of dis/continuity, the sections maintain a static rhythmic quality while shifting pitches in close movement. Part I, in which the pitches in the left hand are A, B, and E, sets the text of Stevens’s first stanza; Part II, beginning at measure 14, sets the poem’s second stanza and is marked by a shift of the pitches to G, C, and D.