Chagall wurde in einer strengglauml;ubigen juuml;dischen Familie geboren; in der das Verbot; den Menschen bildlich darzustellen; zum religiouml;sen Dogma gehouml;rte. Zwar lebte Chagalls Familie in auml;rmlichen Verhauml;ltnissen; litt jedoch keine Not. Nachdem er zunauml;chst bei der Aufnahmepruuml;fung fuuml;r die Kunstschule des Barons Stieglitz durchgefallen war; gelang es ihm; in die von Nikolai Roerich geleitete Schule der Kaiserlichen Gesellschaft zur Fouml;rderung der Kuuml;nste aufgenommen zu werden. Chagall wauml;hlte spauml;ter als Wohnsitz Paris. In dem Kuuml;nstlerviertel La Ruche traf er viele Landsleute ndash; u.a. Lipschitz; Zadkine; Soutine und Archipenko ndash;; die; angezogen vom Ruhm der Weltstadt; ebenfalls nach Paris gekommen waren. Bereits in den ersten Schriften uuml;ber Chagall; die in den 1920er Jahren erschienen; wurde mit Recht behauptet; dass Paris seiner Malkunst den nouml;tigen Schliff gegeben habe; eine sensible Sprouml;digkeit und Bestimmtheit der Linien; die nun eine sichere und genaue Stimmigkeit mit dem Farbklang bekamen; so dass die Linie gegenuuml;ber der Farbe oft zum beherrschenden Element wurde. Chagall besaszlig; von Natur aus eine ldquo;stilistische Immunitauml;trdquo;; er lieszlig; sich in seinem Schaffen anregen und bereichern; jedoch ohne seinem eigenen Stil untreu zu werden. Er begeisterte sich fuuml;r das Werk anderer Kuuml;nstler; lernte von ihnen und streifte seine jugendliche Unbeholfenheit ab; seinen ldquo;Archimedespunktrdquo; aber verlor er nie. Bezeichnend ist; dass Kritiker und Forscher in ihren Abhandlungen uuml;ber Chagalls Kunst hauml;ufig zur musikalischen Terminologie greifen. Chagalls Motive und Gestalten verfuuml;gen uuml;ber eine klangliche Wirkung. So erscheint die Farbe als Rhythmus; die Linie als Melodie. Diese Metaphorik entspricht einer Malkunst; die gleich der Musik auf den Begriff der Zeit bezogen ist.
#2109521 in eBooks 2011-12-22 2011-12-22File Name: B00CR6D5KC
Review
35 of 37 people found the following review helpful. Flawed; Questionable InformationBy Adam BollI typically dont review products like this; however; I found this orchestration manual by accident while searching for a different title.Anyone thinking about purchasing this book needs to know a few things about its content; and the somewhat serious flaws it contains. Examples follow:1) This manual is designed for the composer/orchestrator who specializes in professional film music (most orchestrators would not appreciate the 16 out of 72 pages dedicated to click track tables and film length conversion charts; but if you need one; it can be found in this book).2) The ranges listed for many instruments were not accurate - sometimes the range printed was the transposed range; and others it was an untransposed range. There was no way of knowing which range was appropriate unless you already knew what the range of the particular instrument was - not very useful for a novice orchestrator (and confusing for a more experienced one). The ranges (transposed or untransposed) could easily be disputed in most cases.3) The clefs corresponding to particular instruments were sometimes downright WRONG! Mr. Ray seems to think that French horns play in alto clef (horn players NEVER play in alto clef). Concerning that error; my book actually had a publisher-produced correction sticker over the more accurate (printed) horn range chart - I peeled away the alto clef sticker to find (after badly scarring a page in my book) a range which was at least in the correct clef; although somewhat lacking in accuracy.4) For as picky as the author seemed to be on some areas of orchestration and detailed instrument descriptions; there are errors such as the confusion of gongs and tam-tams as the same instruments. Anyone who has taken a basic percussion techniques class would tell you that a gong has an indefinite pitch; while tam-tams are pitched percussion instruments.5) Important differences in instruments are sometimes neglected. For example; the author makes no mention or differentiation between the capabilities of a straight-bore tenor trombone and a tenor trombone with an F-attachment (trigger). This is important for determining range as well as playability of passages in the lower register. It is also a factor when writing for jazz ensemble (where straight-bore tenors are much more common) versus concert band or orchestra trombone sections.6) Muting terms concerning brass instruments are not wholly accurate; nor is the factor of *time* in changing mutes mentioned. Four types of mutes are listed for the trumpet with a short (3-word) description following each. They are very uninformative for the most part. For the trombone; under "sordino" there is merely a "see trumpet" description of the muted effects (although the sound of mutes used with the two instruments varies quite a bit).I am not an expert in the field of orchestration; but I have found enough errors and omissions in this manual to cause me to question its integrity. Although I applaud the author for inserting some interesting and useful information not contained in some orchestration books; I could not with a clear conscience recommend this book to anyone who would like to study the art. Even though it may be a bit dry; a standard orchestration textbook like Kennan/Granthams "Technique of Orchestration" would contain much more accurate and detailed information; while basic information for each instrument can still be readily accessed. If you still want to buy this book; Ill sell you my copy! This is definitely a puchase I regret.