Ian Bent - Böcker
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16 produkter
16 produkter
Del 11 - Cambridge Studies in Music Theory and Analysis
Schenker's Interpretive Practice
Häftad, Engelska, 2005
496 kr
Skickas inom 7-10 vardagar
Schenker's Interpretive Practice is the first comprehensive study of this century's most influential music theorist, Heinrich Schenker. Since the 1960s, American theorists and musicologists have focused almost exclusively on analytical methods distilled from Schenker's writings. Breaking from that tradition, Robert Snarrenberg returns to Schenker's texts and to the humanist roots of his approach, situating Schenker's work in the broader context of his desire to portray the richness and particularity of musical experience. Snarrenberg concentrates on four aims that Schenker hoped to achieve: to present a theoretical account of musical effects encountered in European music of the eighteenth and nineteenth centuries, to represent the mindset shared among composers of that music, to convey the expressive interaction of musical effects in individual artwork, and to promote continued creative and re-creative participation in the musical tradition. Author recipient of the 1998 Young Scholar Award from the Society of Music Theory.
577 kr
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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.
Del 14 - Cambridge Studies in Music Theory and Analysis
Reading Renaissance Music Theory
Hearing with the Eyes
Häftad, Engelska, 2006
387 kr
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This book examines a central group of music theory treatises that have formed the background to the study of Renaissance music. Taking theorists' music examples as a point of departure, it explores fundamental questions about how music was read, and by whom, situating the reading in specific cultural contexts. Numerous broader issues are addressed in the process: the relationship of theory and praxis; access to, and use of, printed musical sources; stated and unstated agendas of theorists; orality and literacy as it was represented via music print culture; the evaluation of anonymous repertories; and the analysis of repertories delineated by boundaries other than the usual ones of composer and genre. In particular this study illuminates the ways in which Renaissance theorists' choices have shaped later interpretation of earlier practice, and reflexively the ways in which modern theory has been mapped on to that practice.
Del 15 - Cambridge Studies in Music Theory and Analysis
Gendering Musical Modernism
The Music of Ruth Crawford, Marion Bauer, and Miriam Gideon
Häftad, Engelska, 2006
645 kr
Skickas inom 7-10 vardagar
This book explores the work of three significant American women composers of the twentieth century: Ruth Crawford, Marion Bauer and Miriam Gideon. It offers a unique approach to a rich body of music that deserves theoretical scrutiny and provides information on both the lives and music of these fascinating women, skilfully interweaving history and musical analysis in ways that both the specialist and the more general reader will find compelling. In this important study, Ellie Hisama has employed forms of analysis by which she links musical characteristics with aspects of the composers' identities. This is revealing both for questions of music and gender and the continuing search for meaning in music. The book thus draws attention to the value of the music of these three composers and contributes to the body of analytical work concerned with the explanation of musical language.
Del 17 - Cambridge Studies in Music Theory and Analysis
Chromatic Transformations in Nineteenth-Century Music
Häftad, Engelska, 2006
726 kr
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David Kopp's book develops a model of chromatic chord relations in nineteenth-century music by composers such as Schubert, Beethoven, Chopin, Schumann and Brahms. The emphasis is on explaining chromatic third relations and the pivotal role they play in theory and practice. The book traces conceptions of harmonic system and of chromatic third relations from Rameau through nineteenth-century theorists such as Marx, Hauptmann and Riemann, to the seminal twentieth-century theorists Schenker and Schoenberg and on to the present day. Drawing on tenets of nineteenth-century harmonic theory, contemporary transformation theory and the author's own approach, the book presents a clear and elegant means for characterizing commonly acknowledged but loosely defined elements of chromatic harmony, and integrates them as fully fledged entities into a chromatically based conception of harmonic system. The historical and theoretical argument is supplemented by plentiful analytic examples.
Del 9 - Cambridge Studies in Music Theory and Analysis
Schenker's Argument and the Claims of Music Theory
Häftad, Engelska, 2006
523 kr
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Heinrich Schenker's theoretical and analytical works claim to resubstantiate the unique artistic presence of the canonic work, and thus reject those musical disciplines such as psychoacoustics and systematic musicology which derive from the natural sciences. In this respect his writing reflects the counter-positivism endemic to the German academic discourse of the first decades of the twentieth century. The rhetoric of this stance, however, conceals a sophisticated programme wherein Schenker situates his project in relation to these sciences, arguing his reading of the musical text as a synthesis of a descriptive psychology and an explanatory historiography (which itself embeds both paleographic and philological assumptions). This book rereads Schenker's project as an attempt to reconstruct music theory as a discipline against the background of the empirical musical sciences of the later nineteenth century.
Del 13 - Cambridge Studies in Music Theory and Analysis
Franz Schubert
Sexuality, Subjectivity, Song
Häftad, Engelska, 2003
577 kr
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This is the first book to examine Schubert's songs as active shaping forces in the culture of their era rather than as mere reflections of it. Responding to rising new forms of social organisation, Schubert discovered that songs could serve as a medium for shuffling and reshuffling the basic building blocks of identity and desire, especially sexual desire. His songs project a kaleidoscopic array of unexpected human types, all of whom are eligible for a sympathetic response, even the strangest and most disconcerting. Schubert sought to validate these subjective types without subordinating them to a central social or sexual norm. The book describes and contextualises this process and tracks it concretely in a wide variety of songs. Combining close attention to both music and poetry, the book addresses both specialists and non-specialists in a lively, accessible style unburdened by excessive jargon.
Del 9 - Cambridge Studies in Music Theory and Analysis
Schenker's Argument and the Claims of Music Theory
Inbunden, Engelska, 1996
1 295 kr
Skickas inom 7-10 vardagar
Heinrich Schenker's theoretical and analytical works claim to resubstantiate the unique artistic presence of the canonic work, and thus reject those musical disciplines such as psychoacoustics and systematic musicology which derive from the natural sciences. In this respect his writing reflects the counter-positivism endemic to the German academic discourse of the first decades of the twentieth century. The rhetoric of this stance, however, conceals a sophisticated programme wherein Schenker situates his project in relation to these sciences, arguing his reading of the musical text as a synthesis of a descriptive psychology and an explanatory historiography (which itself embeds both paleographic and philological assumptions). This book rereads Schenker's project as an attempt to reconstruct music theory as a discipline against the background of the empirical musical sciences of the later nineteenth century.
Del 6 - Cambridge Studies in Music Theory and Analysis
Mahler's Sixth Symphony
A Study in Musical Semiotics
Häftad, Engelska, 2004
577 kr
Skickas inom 7-10 vardagar
The terms of structuralist and post-structuralist theory have been widely debated within the field of music analysis in recent years. However, very few analyses have attempted to address the repertoire of large orchestral works of the turn of the century - works which seem most obviously to escape the categories of conventional analysis. This study uses a semiotic theory of signification in order to investigate different types of musical communication. Musical meaning is defined on several levels from structures immanent to the work, through questions of tradition and genre, to consideration of the symphony as a narrative alongside other contemporary non-musical texts. Ideas from Eco, Barthes, and Derrida are deployed within the context of close analysis of the score in order to unite specifically analytical insights with cultural hermeneutics.
Del 16 - Cambridge Studies in Music Theory and Analysis
Stravinsky's Late Music
Häftad, Engelska, 2004
318 kr
Skickas inom 7-10 vardagar
This book is the first to be devoted to the music of Stravinsky's last compositional period. In the early 1950s, Stravinsky's compositional style began to change and evolve with astonishing rapidity. He abandoned the musical neoclassicism to which he had been committed for the preceding three decades and, with the stimulus provided by his newly gained knowledge of the music of Schoenberg and Webern, launched himself on a remarkable voyage of compositional discovery. The book focuses on five historical, analytical, and interpretive issues: Stravinsky's relationship to his serial predecessors and contemporaries; his compositional process; the problem of creating formal continuity in a repertoire so obviously discontinuous in so many ways; the problem of writing serial harmony; and the problem of expression and meaning. Challenging conventional interpretations, the book shows that Stravinsky's serial music is not only of great historical significance, but also of astonishing structural originality and emotional power.
387 kr
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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.
Del 1 - Cambridge Studies in Music Theory and Analysis
Haydn's 'Farewell' Symphony and the Idea of Classical Style
Through-Composition and Cyclic Integration in his Instrumental Music
Häftad, Engelska, 2004
441 kr
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This volume offers a new view of Joseph Haydn's instrumental music. It argues that many of Haydn's greatest and most characteristic instrumental works are 'through-composed' in the sense that their several movements are bound together into a cycle. This cyclic integration is articulated, among other ways, by the 'progressive' form of individual movements, structural and gestural links between the movements, and extramusical associations. Central to the study is a detailed and comprehensive analysis of the 'Farewell' Symphony, No. 45 in F sharp minor (1772). The analysis is distinguished by its systematic use of different methods (Toveyan formalism, Schenkerian voice leading, Schoenbergian developing variation) to elucidate the work's overall coherence. The work's unique musical processes, in turn, suggest an interpretation of the entire piece (not merely the famous 'farewell' finale) in terms of the familiar programmatic story of the musicians' wish to leave Castle Eszterhaza. In a book which relates systematically the results of analysis and interpretation, Professor Webster challenges the concept of 'classical style' which, he argues has distorted our understanding of Haydn's development, and he stresses the need for a greater appreciation of Haydn's early music and of his stature as Beethoven's equal.
Del 4 - Cambridge Studies in Music Theory and Analysis
Rameau and Musical Thought in the Enlightenment
Häftad, Engelska, 2004
387 kr
Skickas inom 7-10 vardagar
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.
Del 15 - Cambridge Studies in Music Theory and Analysis
Gendering Musical Modernism
The Music of Ruth Crawford, Marion Bauer, and Miriam Gideon
Inbunden, Engelska, 2001
1 295 kr
Skickas inom 7-10 vardagar
This book explores the work of three significant American women composers of the twentieth century: Ruth Crawford, Marion Bauer and Miriam Gideon. It offers a unique approach to a rich body of music that deserves theoretical scrutiny and provides information on both the lives and music of these fascinating women, skilfully interweaving history and musical analysis in ways that both the specialist and the more general reader will find compelling. In this important study, Ellie Hisama has employed forms of analysis by which she links musical characteristics with aspects of the composers' identities. This is revealing both for questions of music and gender and the continuing search for meaning in music. The book thus draws attention to the value of the music of these three composers and contributes to the body of analytical work concerned with the explanation of musical language.
387 kr
Skickas inom 7-10 vardagar
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.
374 kr
Skickas inom 5-8 vardagar
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 Röntgen, Otto Erich Deutsch, Alphons von Rothschild, Paul von Klenau, Wilhelm Furtwängler, 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