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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.
Based on years of study of unpublished letters, musical
autographs, reviews, and the autobiographical poetry of Lang's
husband, Reinhold Kostlin, the biographical portions of the book
offer a stunning portrait of the composer as a woman and an artist.
In-depth musical analyses interwoven with the biography will be
illuminating to scholars and to musicians of all skill levels. The
analyses reveal Lang's sensitivity to her chosen poetic texts, as
well as the validity of her claim that her songs were her diary;
the authors demonstrate that many of the songs are directly
connected to the events of Lang's life. The analyses are
illustrated by an abundance of musical examples, including a number
of complete songs. A companion CD, on which the authors have
recorded 30 songs by Lang, complements the text.
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 counterpoint with the remarks of these personae, Krebs develops
an original theory of metrical conflict by adapting the concepts of
consonance and dissonance to metrical analysis. He investigates how
states of metrical dissonance arise, and shows how they are
manipulated and resolved in the course of compositions. He offers
new methods for understanding the metrical progressions of entire
works or movements, and studies the interaction of metrical
conflict with form, with pitch structure, and with the texts of
Schumann's vocal works. Krebs includes a wealth of illustrations
from the whole range of Schumann's work and offers numerous
insights important for performance. In the final chapter, he
provides richly detailed studies of pieces by Schumann in various
genres, interspersing them with shorter discussions of music by
Berlioz, Chopin, Clara Schumann, Ives, and Schoenberg.
This is a book that will appeal not only to students and scholars
of music theory, but to all musicians interested in the life, work,
and unique personality of Robert Schumann.
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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