Erinn E Knyt
Biographic Data
| ID | 5960350 |
|---|---|
| NAME | Erinn E Knyt |
| GIVEN NAMES | Erinn E |
| FAMILY NAME | Knyt |
| SIGNATURE | KNYT E E |
| AFFILIATIONS | University of Massachusetts Amherst |
| ORCID | 0000-0001-5692-5852 |
| VERIFIED | Yes |
| TOTAL WORKS | 6 |
| TOTAL CITATIONS | 0 |
| AUTHOR COUNT | 6 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2012 |
| LATEST PUBLICATION YEAR | 2022 |
| H-INDEX | 0 |
Intersections, Divergences, and Cross Sections: Eduard Steuermann, the Busoni-Schoenberg Nexus, and a Broadening of Compositional Procedures in the Twentieth Century
Eduard Steuermann is remembered primarily as a protégé of Arnold Schoenberg, with whom he studied theory and composition from 1912 to 1914. However, he also studied with Ferruccio Busoni beginning in 1910, maintaining contact with him until at least 1922. Although Schoenberg’s influence on Steuermann is well documented, little has been written about Busoni’s impact, including the lasting effect their relationship had on Steuermann’s activities as…
Ferruccio Busoni, the Boston Symphony Orchestra, and the Impact of Anti- Germanismus around World War I
Research Article| October 01 2020 Ferruccio Busoni, the Boston Symphony Orchestra, and the Impact of Anti-Germanismus around World War I Erinn E. Knyt Erinn E. Knyt Erinn E. Knyt is associate professor of music history and graduate program director in the Department of Music and Dance at the University of Massachusetts Amherst. She received her B.A. in music with highest honors (University of California Davis, 2003), an M.M. in music (Stanford Un…
From Nationalism to Transnationalism: Ferruccio Busoni, The Liceo Musicale di Bologna, and ‘Arlecchino’
Ferruccio Busoni had aspired to become a leading figure of Italian music since at least 1908. His acceptance of the directorship of the Liceo Musicale di Bologna in 1913 represents his most visible attempt to realize his nationalistic aims. He desired to help re-establish Italy as a leading musical country in terms of orchestral concert life, composition, music scholarship, music education, and performance venues. Yet he made only a few steps for…
From Bach–Busoni to Bach–Grainger: Adaptation as Composition
Percy Grainger’s nearly lifelong fascination with the music of J.S. Bach began when he encountered the Bach interpretations of Louis Pabst in Australia at the age of ten and then subsequently studied the Well-Tempered Clavier and other compositions by Bach with him. Yet it was after a few weeks of studying Bach–Busoni transcriptions with Ferruccio Busoni in Berlin during the summer of 1903 that the compositions of Bach took on greater aesthetic a…
Ferruccio Busoni and the New England Conservatory: Piano Pedagogue in the Making
Research Article| October 01 2013 Ferruccio Busoni and the New England Conservatory: Piano Pedagogue in the Making Erinn E. Knyt Erinn E. Knyt Search for other works by this author on: This Site Google American Music (2013) 31 (3): 277–313. https://doi.org/10.5406/americanmusic.31.3.0277 Cite Icon Cite Share Icon Share Twitter Permissions Search Site Citation Erinn E. Knyt; Ferruccio Busoni and the New England Conservatory: Piano Pedagogue in the…
Ferruccio Busoni and the Absolute in Music: Form, Nature and Idee
Ferruccio Busoni could be called an advocate of absolute music because of his frequent description of music as ‘absolute’ and his discussion of music as consisting of pure tones and rhythms found in the vibrating universe. However, he developed idiosyncratic theories about the term, its usage and its ideal manifestation in Tonkunst that remain largely unexamined in scholarly literature. True, Carl Dahlhaus noted Busoni's use of the concept to ref…
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Ferruccio Busoni and the Absolute in Music: Form, Nature and Idee
Ferruccio Busoni could be called an advocate of absolute music because of his frequent description of music as ‘absolute’ and his discussion of music as consisting of pure tones and rhythms found in the vibrating universe. However, he developed idiosyncratic theories about the term, its usage and its ideal manifestation in Tonkunst that remain largely unexamined in scholarly literature. True, Carl Dahlhaus noted Busoni's use of the concept to ref…
Ferruccio Busoni and the New England Conservatory: Piano Pedagogue in the Making
Research Article| October 01 2013 Ferruccio Busoni and the New England Conservatory: Piano Pedagogue in the Making Erinn E. Knyt Erinn E. Knyt Search for other works by this author on: This Site Google American Music (2013) 31 (3): 277–313. https://doi.org/10.5406/americanmusic.31.3.0277 Cite Icon Cite Share Icon Share Twitter Permissions Search Site Citation Erinn E. Knyt; Ferruccio Busoni and the New England Conservatory: Piano Pedagogue in the…
From Bach–Busoni to Bach–Grainger: Adaptation as Composition
Percy Grainger’s nearly lifelong fascination with the music of J.S. Bach began when he encountered the Bach interpretations of Louis Pabst in Australia at the age of ten and then subsequently studied the Well-Tempered Clavier and other compositions by Bach with him. Yet it was after a few weeks of studying Bach–Busoni transcriptions with Ferruccio Busoni in Berlin during the summer of 1903 that the compositions of Bach took on greater aesthetic a…
From Nationalism to Transnationalism: Ferruccio Busoni, The Liceo Musicale di Bologna, and ‘Arlecchino’
Ferruccio Busoni had aspired to become a leading figure of Italian music since at least 1908. His acceptance of the directorship of the Liceo Musicale di Bologna in 1913 represents his most visible attempt to realize his nationalistic aims. He desired to help re-establish Italy as a leading musical country in terms of orchestral concert life, composition, music scholarship, music education, and performance venues. Yet he made only a few steps for…
Ferruccio Busoni, the Boston Symphony Orchestra, and the Impact of Anti- Germanismus around World War I
Research Article| October 01 2020 Ferruccio Busoni, the Boston Symphony Orchestra, and the Impact of Anti-Germanismus around World War I Erinn E. Knyt Erinn E. Knyt Erinn E. Knyt is associate professor of music history and graduate program director in the Department of Music and Dance at the University of Massachusetts Amherst. She received her B.A. in music with highest honors (University of California Davis, 2003), an M.M. in music (Stanford Un…
Intersections, Divergences, and Cross Sections: Eduard Steuermann, the Busoni-Schoenberg Nexus, and a Broadening of Compositional Procedures in the Twentieth Century
Eduard Steuermann is remembered primarily as a protégé of Arnold Schoenberg, with whom he studied theory and composition from 1912 to 1914. However, he also studied with Ferruccio Busoni beginning in 1910, maintaining contact with him until at least 1922. Although Schoenberg’s influence on Steuermann is well documented, little has been written about Busoni’s impact, including the lasting effect their relationship had on Steuermann’s activities as…
Art (6 works) · Art history (6 works) · Musicology and Musical Analysis (6 works) · Literature (4 works) · Diverse Musicological Studies (3 works) · Musical (3 works) · Visual arts (3 works) · Composition (language) (2 works) · Computer Science (2 works) · Diverse Music Education Insights (2 works)