Displays the range and diversity of Schenkerian studies today in fifteen essays covering music from Bach through Debussy and Strauss.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Preface A Letter about the C Major Fugue from The Well Tempered Clavier, Book 1 Charles Burkhart The Opening Tonal Complex of Bach's St. Matthew Passion: A Linear View Mark Anson Cartwright Recurrence and Fantasy in C. P. E. Bach's Rondo in G Major Frank Samarotto Voice Leading Procedures in Galant Expositions L. Poundie Burstein The First Movements of Anton Eberl's Symphonies in E flat Major and D Minor, and Beethoven's Eroica: Toward "New" Sonata Forms? Timothy Jackson Schubert's "Unfinished" Symphony: Analytical Observations David W. Beach Structural and Form Functional Ambiguities in the First Movement of Schubert's Octet in F Major, D. 803 Su Yin Mak The Form of Chopin's Prelude in B flat Major, Op. 28, No. 21 Roger Kamien "All That Is Solid Melts into Air": Schumann's Overture to Manfred William Rothstein Endings without Resolution: The Slow Movement and Finale of Schumann's Second Symphony Lauri Suurpää Half Diminished Seventh Openings in Brahms's Lieder Ryan McClelland Motivic Enlargement in Dvorák's Symphony Op. 70 Leslie Kinton Deliverance and Compositional Design in the "Libera me" of Verdi's Messa da Requiem Donald R. McLean Polyphony and Cacophony? A Schenkerian Reading of Strauss's "Dance of the Seven Veils" Matthew Brown A Force of Nature: Debussy and the Chromatically Displaced Dominant Boyd Pomeroy Appendix: An Interview with Edward Laufer Stephen Slottow
Preface A Letter about the C Major Fugue from The Well Tempered Clavier, Book 1 Charles Burkhart The Opening Tonal Complex of Bach's St. Matthew Passion: A Linear View Mark Anson Cartwright Recurrence and Fantasy in C. P. E. Bach's Rondo in G Major Frank Samarotto Voice Leading Procedures in Galant Expositions L. Poundie Burstein The First Movements of Anton Eberl's Symphonies in E flat Major and D Minor, and Beethoven's Eroica: Toward "New" Sonata Forms? Timothy Jackson Schubert's "Unfinished" Symphony: Analytical Observations David W. Beach Structural and Form Functional Ambiguities in the First Movement of Schubert's Octet in F Major, D. 803 Su Yin Mak The Form of Chopin's Prelude in B flat Major, Op. 28, No. 21 Roger Kamien "All That Is Solid Melts into Air": Schumann's Overture to Manfred William Rothstein Endings without Resolution: The Slow Movement and Finale of Schumann's Second Symphony Lauri Suurpää Half Diminished Seventh Openings in Brahms's Lieder Ryan McClelland Motivic Enlargement in Dvorák's Symphony Op. 70 Leslie Kinton Deliverance and Compositional Design in the "Libera me" of Verdi's Messa da Requiem Donald R. McLean Polyphony and Cacophony? A Schenkerian Reading of Strauss's "Dance of the Seven Veils" Matthew Brown A Force of Nature: Debussy and the Chromatically Displaced Dominant Boyd Pomeroy Appendix: An Interview with Edward Laufer Stephen Slottow
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