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Studies of the genesis of musical, literary, and theatrical works.
Not only the final outcome but the process of creative endeavor has
long attracted attention in various artistic disciplines, but only
recently has the potential of such research been seriously
explored. The most rigorous basis for the study of artistic
creativity comes not from anecdotal or autobiographical reports,
but from original handwritten sketches and drafts and preliminary
studies, as well as from revised manuscripts and typescripts,
corrected proof sheets, and similar primary sources. The term
"genetic criticism" or "critique genetique" relates not to the
field of genetics, but to the genesis of works of art, as studied
in a broad and inclusive context. The essays inthis volume explore
aspects of genetic criticism in an interdisciplinary context,
emphasizing music, literature, and theater. A common thread
pertains to the essential continuity between a work and its
genesis. This volume bringstogether essays from leading scholars on
subjects ranging from biblical scholarship to Samuel Beckett, and
from Beethoven's Eroica Symphony to very recent musical
compositions. Contributors: Nicolas Donin, Daniel Ferrer, Alan
Gosman, R. B. Graves, Joseph E. Jones, William Kinderman,
Jean-Louis Lebrave, Lewis Lockwood, Geert Lernout, Peter McCallum,
Armine Kotin Mortimer, and James L. Zychowicz William Kinderman is
Professor of Musicology at the University of Illinois at
Urbana-Champaign; Joseph E. Jones is visiting Assistant Professor
of Musicology at the University of Illinois at Urbana-Champaign.
Following the earlier volumes in the Studies in Musical Genesis and
Structure series, Mahler's Fourth Symphony is a study of origins of
one of Mahler's most popular and accessible works. James Zychowicz
examines how the composition evolved from the earliest ideas to the
finished score, and in doing so sheds new light on Mahler's working
process.
Following the earlier volumes in the Studies in Musical Genesis and
Structure series, Mahler's Fourth Symphony is a study of the
origins of the work as well as a thorough examination of Mahler's
compositional process. The source of the Fourth Symphony was the
song Das himmlische Leben, which Mahler completed in 1892 and later
wished to include in a large-scale work. Originally part of a
collection of settings from Des Knaben Wunderhorn, the song became,
for a time, part of the Third Symphony (1896). Eventually Mahler
made Das himmlische Leben the source and goal of the Fourth
Symphony, which he completed in 1901. In this book, James Zychowicz
explores how Mahler's compositional process for the Fourth, from
the early movement plans to preliminary sketches, short score,
draft score, and fair copy. At each stage of the process, Mahler
added details, decided on textures, and explored tonalities until
he arrived at the finished score. This is the first comprehensive
study of Mahler's compositional method, concerning a pivotal work
in his oeuvre. The Fourth Symphony looks back toward the earlier
Wunderhorn period and simultaneously forward to the less
programmatic style of his middle symphonies.
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