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Forgery in Musical Composition
We all know about art forgeries, but why write fake classical music? In Forgery in Musical Composition, Frederick Reece investigates the methods and motives of mysterious musicians who sign famous historical names like Haydn, Mozart, and Schubert to their own original works. Analyzing a series of genuinely fake sonatas, concertos, and symphonies in detail, Reece's study exposes the shadowy roles that forgeries have played in shaping perceptions of authenticity, creativity, and the self within classical music culture from the 1790s to the 1990s. Holding a magnifying glass to a wide array of phony works, Forgery in Musical Composition explains how skillful fakers have succeeded in the past whi...
Schenkerian Analysis - Analyse nach Heinrich Schenker
Dass Heinrich Schenker zu einem der meistdiskutierten Musiktheoretiker des 20. Jahrhunderts wurde, hat im Wesentlichen zwei Gründe: Erstens ermöglicht seine Theorie ebenso vielschichtige wie konsistente Beschreibungen der Stimmführung, Harmonik und Syntax tonaler Werke. Und zweitens fand Schenkers ?Schichtenlehre? in den USA, wohin die meisten Schüler Schenkers nach 1933 emigriert waren, ideale Bedingungen vor - Bedingungen, die sie rasch zur führenden Theorie tonaler Musik aufsteigen ließen. In Österreich, Deutschland und der Schweiz nahm die Schenker-Rezeption vorerst einen anderen Weg: Bis zur Jahrtausendwende blieb Schenkers Theorie Sache weniger Spezialisten. Seither aber stößt...
Der Tonwille
This is the second volume of a two-volume translation of Heinrich Schenker's Der Tonwille (1921-24). Among the foremost music theorists of the twentieth century, Schenker's methods of analysis continue to be one of the most important tools of musicology.
Heinrich Schenker
Originally published in 1966, the Reeseschrift remains one of the most significant collections of musicological writings ever assembled. Its fifty-six essays, written by some of the greatest scholars of our time, range chronologically from antiquity to the 17thcentury and geographically from Byzantium to the British Isles. They deal with questions of history, style, form, texture, notation, and performance practice.
The Masterwork in Music: Volume I, 1925
Three-volume set features complete translation of major writings by a distinguished Austrian music theorist. Volume I includes analyses of keyboard pieces by Bach, Scarlatti, Chopin, and Beethoven; Bach's music for solo violin, and more.
Schenker Studies 2
Second volume of studies based on the work of Heinrich Schenker.
Comprehensive Musical Analysis
Now available in paperback! Evolved from the author's widely used book, The Analysis of Music (Prentice-Hall, 1975; 2nd. ed. Scarecrow Press, 1984), Comprehensive Music Analysis is a guide for acquiring the tools of musical analysis, skills which are essential to every serious musician and musical scholar. The new volume presents material on Heinrich Schenker and reductive linear analysis and additional material on set theoretical analysis. White's theoretical writing is characterized by logic of methodology, clarity of organization, and lucidity of prose. It should be eagerly received by theorists seeking a comprehensive view of current methodology. White's approach to current theoretical d...
The Improvising Mind
The ability to improvise represents one of the highest levels of musical achievement. Yet what musical knowledge is 3equired for improvisation? How does a musician learn to improvise? What are the neural correlates of improvised performance? These are some of the questions explored in this unique and fascinating new book.
Contemplating Music
Contemplating Music is a book for all serious music lovers. Here is the first full-scale of ideas and ideologies in music over the past forty years; a period during which virtually every aspect of music was transformed. With this book, Joesph Kerman establishes the place of music study firmly in the mainstream of modern intellectual history. He treats not only the study of the history of Western art music--with which musicology is tradtionally equated--but also sometimes vexed relations between music history and other fields: music theory and analysis, ethnomusicology, and music criticism. Kerman sees and applauds a change in the study of music towarda critical orientation, As examples, he p...
