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Brings together in one volume the full text of some 450 letters in
first-time English translation, organized into sections each
prefaced by an introduction. All the letters are fully annotated
and they yield information about Viennese society, culture and
politics of the time. The work of Heinrich Schenker (1868-1935),
widely regarded as the most important music theorist of the
twentieth century, has shaped the teaching of music theory in the
United States profoundly and influenced theorists there, in Europe,
and throughout the world. Living and working in Vienna, Schenker
maintained a vigorous correspondence with a large circle of
professional musicians, writers, music critics, institutions,
administrators, patrons, friends, and pupils. A large part of his
correspondence was preserved after his death: some 7,000 letters,
postcards, telegrams, etc., to and from 400 correspondents. His
diaries record the fabric of his personal life and his activities
asa private music teacher and writer; they also provide a detailed
commentary on historical and political events and offer a window on
to the conditions of life in Vienna. Taken together, these
documents contribute vividly to the picture of cultural life in
Vienna, and elsewhere, from the perspective of a Jewish
intellectual and his circle of musical and artistic friends.
Heinrich Schenker: Selected Correspondence represents a concise
edition ofsome of the theorist's most important and revelatory
letters and diary entries. It offers the full text of some 450
letters in English translation, organized into sections devoted to
various aspects of his professional life: teaching, writing,
administration, and maintaining contact with an ever widening
circle including Ferruccio Busoni, Julius Roentgen, Otto Erich
Deutsch, Alphons von Rothschild, Paul von Klenau, Wilhelm
Furtwangler, Paul Hindemith, MorizViolin, John Petrie Dunn, and
Hans Weisse. Extracts from the diaries provide a summary of
important parts of the correspondence that do not survive. The
volume includes a detailed exposition of the editorial method,
biographicalnotes on correspondents, and a substantial general
introduction. Each of the sections is prefaced by an introduction
which provides essential historical context, and the letters and
diary entries are fully annotated. IAN BENT is Emeritus Professor
of Music at Columbia University in New York, and lives in the
United Kingdom. DAVID BRETHERTON is Lecturer in Music at the
University of Southampton. WILLIAM DRABKIN is Professorof Music at
the University of Southampton. CONTRIBUTORS: Marko Deisinger,
Martin Eybl, Christoph Hust, Kevin C. Karnes, John Koslovsky, Lee
Rothfarb, John Rothgeb, Hedi Siegel, Arnold Whittall
Twelve authors probe the mind of the Romantic era in its thinking
about music. They provide a searching examination of writings by
music theorists, critics, aestheticians, philosophers, and
commentators from 1800 to 1875. In doing so, they wield new
critical tools as well as old, casting fresh light, for example, on
familiar problems of musical form by inspecting eighteenth-century
rhetoric and nineteenth-century gendered discourse; exploring
Schubertian modulation and Wagnerian motif with the insights of
cognitive science; reinterpreting pianistic finger exercise by way
of Michel Foucault and Frankenstein and so on. The impact of Hegel
and Schelling on music theory occupies an important place, as does
Schleiermacher's hermeneutics on analysis and criticism. The
brilliant group of young historians of theory, represented here,
provides an array of approaches, from detailed music analysis,
through close reading of texts, through critical discourse, to
philosophical enquiry.
In this second volume of nineteenth-century music analyses, Ian
Bent provides a further selection of newly translated writings of
nineteenth-century music critics and theorists, including composers
such as Wagner, Schumann and Berlioz, and critics such as A. B.
Marx and E. T. A. Hoffmann. Where Volume I, on Fugue, Form and
Style, presented nineteen analyses of a technical nature, all the
writing here involves a metaphorical style of verbalised
description, some pure examples, and others hybrid forms mixed with
technical analysis. The music analysed is amongst the best-known in
the repertoire: Wagner writes on Beethoven's Ninth Symphony, E. T.
A. Hoffmann on the Fifth, Schumann writes on Berlioz, and Berlioz
on Meyerbeer. Professor Bent presents each analysis with its own
detailed introduction and each is amplified by supporting
information in footnotes.
This is the first intellectual biography of the French composer and
theorist Jean-Philippe Rameau. Rameau synthesised the vocabulary
and grammar of musical practice into a concise scientific system,
earning himself the popular title of 'Newton of the Arts'. Ranging
widely over the musical and intellectual thought of the eighteenth
century, Thomas Christensen is able to orient Rameau's
accomplishments in the light of speculative and practical
considerations of music theory as well as many of the scientific
ideas current in the French Enlightenment. He shows how Rameau
incorporates ideas ranging from neoplatonic thought and Cartesian
mechanistic metaphysics to Locke's empirical psychology and
Newtonian experimental science. Additional primary documents help
clarify Rameau's fascinating and stormy relationship with the
Encyclopedists, Diderot, Rousseau and d'Alembert.
This book demonstrates, in fascinating diversity, how musicians in
the nineteenth century thought about and described music. The
analysis of music took many forms (verbal, diagrammatic, tabular,
notational, graphic), was pursued for many different purposes
(educational, scholarly, theoretical, promotional) and embodied
very different approaches. This, the first volume, is concerned
with writing on fugue, form and questions of style in the music of
Palestrina, Handel, Bach, Mozart, Beethoven and Wagner and presents
analyses of complete works or movements by the most significant
theorists and critics of the century. The analyses are newly
translated into English and are introduced and thoroughly annotated
by Ian Bent, making this a volume of enormous importance to our
understanding of the nature of music reception in the nineteenth
century.
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