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Journeys Through Galant Expositions
While descriptions of musical form have, from the nineteenth century until today, come to rely heavily on architectonic analogies, commentators previously often invoked the metaphor of a journey to describe the structure of a composition. In Journeys Through Galant Expositions, author L. Poundie Burstein encourages readers to view the form of Galant music as a movement toward a destination that unfolds in time and is punctuated by a series of resting points - -just as those who composed, performed, and listened to music in the mid-1700s would have experienced it.By elucidating eighteenth-century notions and analytic approaches of musical form and applying them to a wide range of compositions, from those of Haydn and Mozart to others that are often overlooked, this innovative study provides an accessible new window into the music of this time. Rather than just dissecting concepts from the 1700s as a historical exercise or treating them as a precursor of later theories, Burstein invigorates the ideas of theorists such as Heinrich Christoph Koch and shows how they can directly impact our understanding and appreciation of Galant music as audiences and performers.
Cognate Music Theories
This volume explores the possibilities of cognate music theory, a concept introduced by musicologist John Walter Hill to describe culturally and historically situated music theory. Cognate music theories offer a new way of thinking about music theory, music history, and the relationship between insider and outsider perspectives when researchers mediate between their own historical and cultural position, and that of the originators of the music they are studying. With contributions from noted scholars of musicology, music theory, and ethnomusicology, this volume develops a variety of approaches using the cognate music theory framework and shows how this concept enables more nuanced and critical analyses of music in historical context. Addressing topics in music from the seventeenth to nineteenth centuries, this volume will be relevant to musicologists, music theorists, and all researchers interested in reflecting critically on what it means to construct a theory of music. Chapter 9 of this book is freely available as a downloadable Open Access PDF at http://www.taylorfrancis.com under a Creative Commons [Attribution-Non Commercial-No Derivatives (CC-BY-NC-ND)] 4.0 license.
Schubert's String Quartets
A fresh analytical and musicological exploration of Schubert's incorporation of lyric elements into sonata form by way of his string quartets.
Programming the Absolute
"Although absolute music emerged with a matrix of values - the integrity of the subject, the aesthetic autonomy of art, and the intrinsic worth of high culture - that are highly contested in musicology today, Hoeckner argues that we should not completely discard the ideal of a music that continues to offer moments of transcendence and liberation."--BOOK JACKET.
The Critical Nexus
The Critical Nexus confronts an important and vexing enigma of early writings on music: why chant, which was understood to be divinely inspired, needed to be altered in order to work within the then-operative modal system. To unravel this mystery, Charles Atkinson creates a broad framework that moves from Greek harmonic theory to the various stages in the transmission of Roman chant, citing numerous music treatises from the sixth to the twelfth century. Out of this examination emerges the central point behind the problem: the tone-system advocated by writers coming from the Greek harmonic tradition was not suited to the notation of chant and that this basic incompatibility led to the creatio...
The Symphonic Repertoire, Volume II
More than 170 symphonies from this repertoire are described and analyzed in The First Golden Age of the Viennese Symphony, the first volume of the series to appear.
Classical Form
Building on ideas first advanced by Arnold Schoenberg and later developed by Erwin Ratz, this book introduces a new theory of form for instrumental music in the classical style. The theory provides a broad set of principles and a comprehensive methodology for the analysis of classical form, from individual ideas, phrases, and themes to the large-scale organization of complete movements. It emphasizes the notion of formal function, that is, the specific role a given formal unit plays in the structural organization of a classical work.
The The Theoretical-Practical Elements of Music, Parts III and IV
A virtuoso violinist, conductor, composer, and a professor of mathematics and botany, Francesco Galeazzi (1758–1819) firmly believed that musical education should be clear, demonstrable, and practical. In 1791 and 1796, he published the two volumes of his Elementi teorico-practici di musica, a treatise that demonstrated both his thorough grounding in the work of earlier theorists and his own approach to musical study. The first volume gave precise instructions on the violin and how to play it; the second demonstrated his command of other instruments and genres and provided comprehensive introductions to music theory, music history, and music aesthetics. The treatise also addresses the nature of compositional process and eighteenth-century concerns about natural and acquired talent and creativity. This volume offers an unprecedented English translation of the second volume of Elementi teorico-practici di musica, with annotations and commentary. The translation is introduced with a study of Galeazzi's life and milieu, the genesis and sources for the Elementi, and its reception through the present day.
Lateness and Brahms
Lateness and Brahms takes up the fascinating, yet understudied problem of how Brahms fits into the culture of turn-of-the-century Vienna. Brahms's conspicuous and puzzling absence in previous scholarly accounts of the time and place raises important questions, and as Margaret Notley demonstrates, the tendency to view him in neutralized, ahistorical terms has made his music seem far less interesting than it truly is.In pursuit of an historical Brahms, Notley focuses on the later chamber music, drawing on various documents and perspectives, but with particular emphasis on the relevance of Western Marxist critical traditions.
Cherubino's Leap
Contents -- Acknowledgments -- Preface -- Preliminaries -- 1. The Chromatic Moment in Enlightenment Thought -- Moments Musicaux -- 2. The Fugal Moment: On a Few Bars in Mozart's Quintet in C Major, K. 515 -- 3. Hearing the Silence: On a Much-Theorized Moment in a Sonata by Emanuel Bach -- The Klopstock Moment -- 4. Oden von Klopstock in Musik gesetzt ... -- 5. Composing Klopstock: Gluck contra Bach -- 6. Beethoven: In Search of Klopstock -- Dramma per Musica -- 7. Anagnorisis: Gluck and the Theater of Recognition -- 8. Cherubino's Leap -- 9. Konstanze's Tears -- Works Cited -- Index
