This book approaches Schenkerian analysis in a practical and accessible manner fit for the classroom, guiding readers through a step-by-step process. It is suitable for advanced undergraduates and graduate students of musicology, music theory, composition, and performance, and it is replete with a wide variety of musical examples.
This book approaches Schenkerian analysis in a practical and accessible manner fit for the classroom, guiding readers through a step-by-step process. It is suitable for advanced undergraduates and graduate students of musicology, music theory, composition, and performance, and it is replete with a wide variety of musical examples.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Eric Wen is recognized as one of today's preeminent experts in Schenkerian analysis. He has published numerous academic articles, and presented papers at many universities and conferences, including all five International Schenker Symposiums. A member of the faculty at The Curtis Institute of Music in Philadelphia since 1999, Wen has also taught in the doctoral program at The Graduate Center (CUNY), as well as at the Juilliard School and Mannes College of Music in New York. Before then he taught at the University of London, as well as the Guildhall School and Royal Academy of Music in London, where he also served as editor of The Strad magazine and The Musical Times.
Inhaltsangabe
Section 1 - Graphic Music Analysis Chapter 1: Highlighting Notes and Making Connections between Them Chapter 2: Figuration Chapter 3: The Linear Progression Chapter 4: The 5-6 succession Chapter 5: Structural Levels Chapter 6: The Introduction to Mozart's "Dissonance" Quartet Section 2 - Semper idem, sed non eodem modo Chapter 7: The Fundamental Structure (Ursatz) Chapter 8: Urlinie Descents from 3 Chapter 9: Urlinie Descents from 5 Section 3 - Techniques of Elaborating the Ursatz Chapter 10: Substitution Chapter 11: Delaying the Initial Tone of the Urlinie Chapter 12: Boundary Play and the Obligatory Register Chapter 13: Sequences Chapter 14: Non-Structural Harmonies Chapter 15: Implied Tones Chapter 16: Mixture Chapter 17: Relocating the Urlinie Chapter 18: The Phrygian 2 Chapter 19: The Auxiliary Cadence Chapter 20: Non-Tonic Expansions Section 4 - Tonal Structure and Musical Form Chapter 21: The Parallel Period (A A¿) Chapter 22: Variants of the Parallel Period Chapter 23: A B A Form Chapter 24: A B A' Form (with simple A) Chapter 25: A B A' Form (with compound A) Chapter 26: Sonata Form in the Major Mode Chapter 27: Sonata Form in the Minor Mode Epilogue
Section 1 - Graphic Music Analysis Chapter 1: Highlighting Notes and Making Connections between Them Chapter 2: Figuration Chapter 3: The Linear Progression Chapter 4: The 5-6 succession Chapter 5: Structural Levels Chapter 6: The Introduction to Mozart's "Dissonance" Quartet Section 2 - Semper idem, sed non eodem modo Chapter 7: The Fundamental Structure (Ursatz) Chapter 8: Urlinie Descents from 3 Chapter 9: Urlinie Descents from 5 Section 3 - Techniques of Elaborating the Ursatz Chapter 10: Substitution Chapter 11: Delaying the Initial Tone of the Urlinie Chapter 12: Boundary Play and the Obligatory Register Chapter 13: Sequences Chapter 14: Non-Structural Harmonies Chapter 15: Implied Tones Chapter 16: Mixture Chapter 17: Relocating the Urlinie Chapter 18: The Phrygian 2 Chapter 19: The Auxiliary Cadence Chapter 20: Non-Tonic Expansions Section 4 - Tonal Structure and Musical Form Chapter 21: The Parallel Period (A A¿) Chapter 22: Variants of the Parallel Period Chapter 23: A B A Form Chapter 24: A B A' Form (with simple A) Chapter 25: A B A' Form (with compound A) Chapter 26: Sonata Form in the Major Mode Chapter 27: Sonata Form in the Minor Mode Epilogue
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