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Presents thirteen studies that engage with the notion of formal function in a variety of ways Among the more striking developments in contemporary North American music theory is the renewed centrality of issues of musical form (Formenlehre). Formal Functions in Perspective presents thirteen studies that engage with musical form in a variety of ways. The essays, written by established and emerging scholars from the United States, the United Kingdom, Canada, and the European continent, run the chronological gamut from Haydn and Clementito Leibowitz and Adorno; they discuss Lieder, arias, and choral music as well as symphonies, concerti, and chamber works; they treat Haydn's humor and Saint-Saens's politics, while discussions of particular pieces range from Mozart's arias to Schoenberg's Verklarte Nacht. Running through the essays and connecting them thematically is the central notion of formal function. CONTRIBUTORS: Brian Black, L. Poundie Burstein, Andrew Deruchie, Julian Horton, Steven Huebner, Harald Krebs, Henry Klumpenhouwer, Nathan John Martin, Francois de Medicis, Christoph Neidhoefer, Julie Pedneault-Deslauriers, Giorgio Sanguinetti, Janet Schmalfeldt, Peter Schubert, Steven Vande Moortele Steven Vande Moortele is assistant professor of music theory at the University of Toronto. Julie Pedneault-Deslauriers is assistant professor of music at the University of Ottawa. Nathan John Martin is assistant professor of music at the University of Michigan.
Josephine Lang (1815-80) was one of the most gifted, respected,
prolific, and widely published song composers of the nineteenth
century, yet her life and works have remained virtually unknown.
Now, this carefully researched, compelling, and poignant study
recognizes the composer for her remarkable accomplishments.
Bela Bartok (1881-1945) was one of the most important composers and musical thinkers of the 20th century. His contributions as a composer, as a performer and as the father of ethnomusicology changed the course of music history and of our contemporary perception of music itself. At the center of Bartok's oeuvre are his string quartets, which are generally acknowledged as some of the most significant pieces of 20th century chamber music. The String Quartets of Bela Bartok brings together innovative new scholarship from 14 internationally recognized music theorists, musicologists, performers, and composers to focus on these remarkable works from a range of theoretical and methodological perspectives. Focusing on a variety of aspects of the string quartets-harmony and tonality, form, rhythm and meter, performance and listening-it considers both the imprint of folk and classical traditions on Bartok's string quartets, and the ways in which they influenced works of the next generation of Hungarian composers. Rich with notated music examples the volume is complemented by an Oxford Web Music companion website offering additional notated as well as recorded examples. The String Quartets of Bela Bartok, reflecting the impact of the composer himself, is an essential resource for scholars and students across a variety of fields from music theory and musicology, to performance practice and ethnomusicology.
This book presents a theory of metrical conflict and applies it to the music of Robert Schumann, thereby placing that composer's distinctive metrical style in focus. Krebs describes various categories of metrical conflict that characterize the music of Schumann, investigates how states of conflict arise and are manipulated and resolved in the course of compositions, and studies the interaction of metrical conflict with form, pitch structure, and text. The theoretical material is fancifully interwoven with commentary by Florestan and Eusebius, fictional characters based on Schumann's names for contrasting aspects of his own personality, who provide numerous illustrations from "their" compositions. Rich in allusions to Schumann's titles, his writings, and his life, Fantasy Pieces will appeal to all who are fond of this composer's music as well as to theorists.
Fantasy Pieces examines from several vantage points a vital
life-force of Robert Schumann's music, namely metrical conflict.
Harald Krebs's imaginative yet rigorous study makes use of
Schumann's fascinating projections of his own personality--the
characters Florestan and Eusebius--as one means of addressing the
biographical and aesthetic context of the music.
In der Sektoruntersuchung Stromerzeugung/Stromgrosshandel halt das Bundeskartellamt an dem Konzept des sogenannten Erstabsatzmarktes fest. Die Autoren stellen die Diskrepanz zwischen dem der Marktabgrenzung zugrundeliegenden und dem tatsachlichen Marktgeschehen und die daraus resultierende Fehlerhaftigkeit der Marktabgrenzung des Amtes dar. Die im Rahmen der Sektoruntersuchung entwickelte, auf ein oekonometrisches Instrument gestutzte Rechtsfigur der Einzelmarktbeherrschung durch mehrere Unternehmen erscheint weder rechtlich noch oekonomisch tragfahig. Methodische Defizite treten hinzu. Daher ist nach Ansicht der Autoren der vom Bundeskartellamt in der Sektoruntersuchung eingeschlagene aufwendige Weg ungeeignet zur Begrundung der Marktbeherrschung elektrizitatserzeugender Unternehmen.
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