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However, "open form" in music is also used in the sense defined by the art historian Heinrich Wölfflin [23] to mean a work which is fundamentally incomplete, represents an unfinished activity, or points outside of itself. In this sense, a "mobile form" can be either "open" or "closed".
Earle Brown (December 26, 1926 – July 2, 2002) was an American composer who established his own formal and notational systems. Brown was the creator of "open form," [1] a style of musical construction that has influenced many composers since—notably the downtown New York scene of the 1980s (see John Zorn) and generations of younger composers.
Open form is a term coined by Heinrich Wölfflin in 1915 to describe a characteristic of Baroque art opposed to the "closed form" of the Renaissance. [2] Wölfflin tentatively offered several alternative pairs of terms, in particular "a-tectonic" and "tectonic" (also free/strict and irregular/regular), but settled on open/closed because, despite their undesirable ambiguity, they make a better ...
Musical form unfolds over time through the expansion and development of these ideas. In tonal harmony, form is articulated primarily through cadences, phrases, and periods. [2] "Form refers to the larger shape of the composition. Form in music is the result of the interaction of the four structural elements," of sound, harmony, melody, and ...
However, "open form" in music is also used in the sense defined by the art historian Heinrich Wölfflin (1915) to mean a work which is fundamentally incomplete, represents an unfinished activity, or points outside of itself. In this sense, a "mobile form" can be either "open" or "closed".
Open form is a concept in art in which the work is not self-contained, but points beyond itself.. Open form may also refer to: . Open form music, a type of aleatoric music; Lloyd's Open Form, a standard legal document for a proposed marine salvage operation
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This is a magical art. By some process incomprehensible to the intellect, organic unity becomes established, the "open form" reaches its conclusions in the infinite. Anyone who does not know the allure of the fragmentary will remain a stranger to much of Liszt's music, and perhaps to Romanticism in general. [4]