Analytical Strategies and Musical Interpretation: Essays on Nineteenth- and Twentieth-Century Music
This book is devoted to music analysis as an interpretive activity. Interpretation is often considered only in theory, or as a philosophical problem, but this book attempts to demonstrate and reflect on the interpretive results of analysis. Two associated types of practice are emphasised: 'translation', the transformation of one type of experience or art object into the musical work, the artistic attempt to persuade us that the new product is as valid as its original, or more so than its origin; and 'rhetoric', the attempt to persuade us, through structure, to accept the signifying power of the work. The unifying theme of the essays is the interpretive transformation of concepts, ideas and forms that constitutes the heart of the compositional process of nineteenth- and twentieth-century music. The repertoire discussed ranges from Schumann through Wagner, Mahler, Zemlinsky, Debussy, Schoenberg, Berg, Webern and Stravinsky to Carter and Birtwistle.
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Introduction different trains
Stravinskys Symphonies accident or design?
Transcription and recomposition the strange case of Zemlinskys Maeterlinck songs
Symphony and symphonic scenes issues of structure and context in Schumanns Rhenish Symphony
The poetry of Debussys En blanc et noir
Poem as nonverbal text Elliott Carters Concerto for Orchestra and SaintJohn Perses Winds
Birtwistles secret theatres
The narrative impulse in the second Nachtmusik from Mahlers Seventh Symphony
Von heute auf morgen Schoenberg and the New Criticism
Misleading voices contrasts and continuities in Stravinsky studies
Immortal voices mortal forms
So who are you?? Weberns Op 3 No 1
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Analytical Strategies and Musical Interpretation: Essays on Nineteenth- and ...
Craig Ayrey,Mark Everist
Vista previa restringida - 2004
actual Adorno already analysis analytical appears associated bars bass becomes beginning Berg called Carter cellos character chorale chord close complete composer composition concerned Concerto context continuity contrast Correspondence course critical Debussy distinct draft early effect Example expression fact figure final follows formal fourth fourth movement hand harmony heute horn idea interpretation kind later less letter London major material means minor motive move movement narrative nature opening opera orchestral original passage performance perhaps phrase piano piece pitch play poem poetry possible present Proof published question reading reference relation role Schoenberg Schumann score seems sense similar sketches solo song sound stage Stravinsky structure suggests Symphony theme theory thing third tion tonal trans turn University Press voice wind writing Zemlinsky