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The Oxford Handbook of Critical Concepts in Music Theory
Music Theory operates with a number of fundamental terms that are rarely explored in detail. This book offers in-depth reflections on key concepts from a range of philosophical and critical approaches that reflect the diversity of the contemporary music theory landscape.
In the Process of Becoming
With their insistence that form is a dialectical process in the music of Beethoven, Theodor Adorno and Carl Dahlhaus emerge as the guardians of a long-standing critical tradition in which Hegelian concepts have been brought to bear on the question of musical form. Janet Schmalfeldt's ground-breaking account of the development of this Beethoven-Hegelian tradition restores to the term "form" some of its philosophical associations in the early nineteenth century, when profound cultural changes were yielding new relationships between composers and their listeners, and when music itself-in particular, instrumental music-became a topic for renewed philosophical investigation. Precedents for Adorno...
A Sonata Theory Handbook
Sonata form is the most commonly encountered organizational plan in the works of the classical-music masters, from Haydn, Mozart, and Beethoven to Schubert, Brahms, and beyond. Sonata Theory, an analytic approach developed by James Hepokoski and Warren Darcy in their award-winning Elements of Sonata Theory (2006), has emerged as one of the most influential frameworks for understanding this musical structure. What can this method from "the new Formenlehre" teach us about how these composers put together their most iconic pieces and to what expressive ends? In this new Sonata Theory Handbook, Hepokoski introduces readers step-by-step to the main ideas of this approach. At the heart of the book...
The Book of Requiems, 1550-1650
Few western musical repertories speak more to the imagination than the Requiem mass for the dead. Yet, surprisingly, despite the significance of Requiem settings for our musical culture, the literature concerning them is sparse. The Book of Requiems presents essays on the most important works in this tradition, from the origins of the genre up to the present day. Each chapter is devoted to a specific Requiem, and offers both historical information and a detailed work-discussion. Conceived as a multi-volume essay collection by leading experts, The Book of Requiems is an authoritative reference publication intended as a first port of call for musicologists, music theorists, and performers both professional and student. The present volume, the second in the series, treats settings composed between c. 1550 and c. 1650, a period in which the Requiem becomes a defining feature of the soundscape of Catholic death rituals.
Instrumental Music in an Age of Sociability
Interprets an eighteenth-century musical repertoire in sociable terms, both technically (specific musical patterns) and affectively (predominant emotional registers of the music).
Tonality
This encyclopaedic book proposes a sweeping reformulation of the basic concepts of Western music theory, revealing simple structures underlying a wide range of practices from the Renaissance to contemporary pop. Its core innovation is a collection of simple geometrical models describing the implicit knowledge governing a broad range of music-making, much as the theory of grammar describes principles that tacitly guide our speaking and writing. Each of its central chapters re-examines a basic music-theoretical concept such as voice leading, repetition, nonharmonic tones, the origins of tonal harmony, the grammar of tonal harmony, modulation, and melody. These are flanked by two largely analytical chapters on rock harmony and Beethoven. Wide-ranging in scope, and with almost 700 musical examples from the Middle Ages to the present day, Tonality: An Owner's Manual weaves philosophy, mathematics, statistics, and computational analysis into a new and truly twenty-first century theory of music.
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.
Syntactic architecture and its consequences II
This volume collects novel contributions to comparative generative linguistics that “rethink” existing approaches to an extensive range of phenomena, domains, and architectural questions in linguistic theory. At the heart of the contributions is the tension between descriptive and explanatory adequacy which has long animated generative linguistics and which continues to grow thanks to the increasing amount and diversity of data available to us. The chapters address research questions in comparative morphosyntax, including the modelling of syntactic categories, relative clauses, and demonstrative systems. Many of these contributions show the influence of research by Ian Roberts and collaborators and give the reader a sense of the lively nature of current discussion of topics in morphosyntax and morphosyntactic variation.
Schubert's String Quartets
Franz Schubert's music has long been celebrated for its lyrical melodies, 'heavenly length' and daring harmonic language. In this new study of Schubert's complete string quartets, Anne Hyland challenges the influential but under-explored claim that Schubert could not successfully incorporate the lyric style into his sonatas, and offers a novel perspective on lyric form that embraces historical musicology, philosophy and music theory and analysis. Her exploration of the quartets reveals Schubert's development of a lyrically conceived teleology, bringing musical form, expression and temporality together in the service of fresh intellectual engagement. Her formal analyses grant special focus to the quartets of 1810–16, isolating the questions they pose for existing music theory and employing these as a means of scrutinising the relationship between the concepts of lyricism, development, closure and teleology thereby opening up space for these works to challenge some of the discourses that have historically beset them.
Mozart's Music of Friends
This study analyzes chamber music from Mozart's time within its highly social salon-performance context.
