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・ Gloria Milland
・ Gloria mine
・ Gloria Molina
・ Gloria Montealegre
・ Gloria Montenegro
・ Gloria Monty
・ Gloria Morgan Vanderbilt
・ Gloria Moure
・ Gloria Muliro
・ Gloria Mundi
・ Gloria Muzio
・ Gloria Münchmeyer
・ Gloria Navarro
・ Gloria Naylor
・ Gloria Negrete McLeod
Gloria Coates
・ Gloria Coleman
・ Gloria Colón
・ Gloria Comerma
・ Gloria Contreras Roeniger
・ Gloria Conyers Hewitt
・ Gloria Cordes
・ Gloria Cordes Larson
・ Gloria Cultural Arena
・ Gloria D. Brown
・ Gloria D. Miklowitz
・ Gloria Davis
・ Gloria Davis (politician)
・ Gloria Davy
・ Gloria Dawn


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Gloria Coates : ウィキペディア英語版
Gloria Coates

Gloria Coates (October 10, 1938 in Wausau, Wisconsin) is an American composer who has lived in Munich, Germany since 1969. She studied with Alexander Tcherepnin, Otto Luening, and Jack Beeson.
==Music==

Her music features canonic structures and prominent, sometimes exclusive, glissandos, being "characterized by extremely strict, even rigid technical procedures (canonic structures), which are often worked out with unusual musical materials (glissandi)".〔 ()〕 Her music is postminimalist, marked by the tension "not only between material and technique (...an attempt to give structure to chaos), but even more so between what would have to be termed 'sober-technical' compositional principles and the genuine direct expressive power and emotionality of the music".〔
As one interview describes:
Mark Swed: ''“Coates is a master of microtones, of taking a listener to aural places you never knew could exist and finding the mystical spaces between tones.”'' ()
As is described by Kyle Gann' liner notes to one of her albums:
In Kyle Gann's article "A Symphonist Stakes Her Claim",〔Gann, Kyle. Sunday, April 25, 1999. "A Symphonist Stakes Her Claim", ''The New York Times''.〕 Gloria Coates was crowned, "the greatest woman symphonist", for her passionate pursuit and persistence in a domain that is dominated by men. However, this ambitious pursuit to be a woman symphonist has not been a conscious effort to set herself apart from the other female composers, instead in an interview she commented that it came through a natural manifestation trying to convey something deep within her. "When I did, I thought, 'That's really gutsy of me to call it a symphony,'" she said from her home in Munich, "I always had an idea of symphonies being in the 19th century, somehow. I never set out to write a symphony as such. It has to do with the intensity of what I'm trying to say and the fact that it took 48 different instrumental lines to say it, and that the structures I was using had evolved over many years. I couldn't call it a little name."

抄文引用元・出典: フリー百科事典『 ウィキペディア(Wikipedia)
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