This philosophically-inspired approach to the perception of form in early nineteenth-century music invites listeners and especially performers to assess and participate in the interpretation of transformative formal processes as they unfold in time. It proposes new ways of hearing beloved works of the romantic generation as representative of their striving for novel, intensely self-reflective modes of communication.
This philosophically-inspired approach to the perception of form in early nineteenth-century music invites listeners and especially performers to assess and participate in the interpretation of transformative formal processes as they unfold in time. It proposes new ways of hearing beloved works of the romantic generation as representative of their striving for novel, intensely self-reflective modes of communication.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Janet Schmalfeldt is Associate Professor of Music Theory at Tufts University. She has taught at McGill University and at Yale, where she was awarded the Clauss Prize for Teaching Excellence in the Humanities in 1993. She is the author of Berg's "Wozzeck": Harmonic Language and Dramatic Design and of numerous articles. In 1997-99, she served as President of the Society for Music Theory. Her performances in the role of pianist have included solo, concerto, and chamber music.
Inhaltsangabe
* Preface * Chapter 1 Introduction: The Idea of Musical Form as Process * Chapter 2 The Beethoven Hegelian Tradition and the "Tempest" Sonata * Formation of the Tradition * Dahlhaus and the "Tempest" Sonata * Post Dahlhausian Critiques * The question of a secondary theme * Introduction or main theme * ST2 and the final cadence of the exposition * Chapter 3 The Processual Legacy of the Late Eighteenth Century * Haydn String Quartet in C Major, Op. 33, No. 3 (Hob. III:39), first movement * Haydn Piano Trio in C Major (Hob. XV:27), finale * Clementi Piano Sonata in F Minor, Op. 13, No. 6, first movement * Mozart Le nozze di Figaro, Act I, No. 7, Trio in B flat * Chapter 4 Beethoven's "Bridgetower" Sonata, Op. 47 * Chapter 5 On Performance, Analysis, and Schubert * Schubert Piano Sonata in A Minor, Op. 42, D. 845 * Chapter 6 Music that Turns Inward: New Roles for Interior Movements and Secondary Themes * Schubert Allegro in A Minor for Four Hands, "Lebensstürme," D. 947 * Schubert Piano Trio in E flat Major, Op. 100, D. 929 * Chapter 7 Mendelssohn the "Mozartean" * String Quartet in A Minor, Op. 13: opening of the finale * The Piano Trio in D Minor, Op. 49, first movement: opening of the exposition * The Octet, Op. 20 * The finale * The opening of the first movement * More on Mendelssohn's codas: Overture to Midsummer Night's Dream and the Scherzo of the D minor Piano Trio * Chapter 8 sed non eodem modo: Chopin's Ascending Thirds Progression and his Cello Sonata, Op. 65 * Overview with respect to Chopin's genres * First movement of the Cello Sonata: Allegro moderato * Third movement of the Cello Sonata: Largo * Chapter 9 Coming Home * Robert Schumann "Mondnacht," from Liederkreis, Op. 39 * Robert Schumann "Widmung," from Myrthen, Op. 25 * Clara Schumann "Die stille Lotosblume," Op. 13, No. 6 * Robert Schumann Arabeske, Op. 18 * Robert Schumann Fantasie, Op. 17 * Notes * Bibliography * Index
* Preface * Chapter 1 Introduction: The Idea of Musical Form as Process * Chapter 2 The Beethoven Hegelian Tradition and the "Tempest" Sonata * Formation of the Tradition * Dahlhaus and the "Tempest" Sonata * Post Dahlhausian Critiques * The question of a secondary theme * Introduction or main theme * ST2 and the final cadence of the exposition * Chapter 3 The Processual Legacy of the Late Eighteenth Century * Haydn String Quartet in C Major, Op. 33, No. 3 (Hob. III:39), first movement * Haydn Piano Trio in C Major (Hob. XV:27), finale * Clementi Piano Sonata in F Minor, Op. 13, No. 6, first movement * Mozart Le nozze di Figaro, Act I, No. 7, Trio in B flat * Chapter 4 Beethoven's "Bridgetower" Sonata, Op. 47 * Chapter 5 On Performance, Analysis, and Schubert * Schubert Piano Sonata in A Minor, Op. 42, D. 845 * Chapter 6 Music that Turns Inward: New Roles for Interior Movements and Secondary Themes * Schubert Allegro in A Minor for Four Hands, "Lebensstürme," D. 947 * Schubert Piano Trio in E flat Major, Op. 100, D. 929 * Chapter 7 Mendelssohn the "Mozartean" * String Quartet in A Minor, Op. 13: opening of the finale * The Piano Trio in D Minor, Op. 49, first movement: opening of the exposition * The Octet, Op. 20 * The finale * The opening of the first movement * More on Mendelssohn's codas: Overture to Midsummer Night's Dream and the Scherzo of the D minor Piano Trio * Chapter 8 sed non eodem modo: Chopin's Ascending Thirds Progression and his Cello Sonata, Op. 65 * Overview with respect to Chopin's genres * First movement of the Cello Sonata: Allegro moderato * Third movement of the Cello Sonata: Largo * Chapter 9 Coming Home * Robert Schumann "Mondnacht," from Liederkreis, Op. 39 * Robert Schumann "Widmung," from Myrthen, Op. 25 * Clara Schumann "Die stille Lotosblume," Op. 13, No. 6 * Robert Schumann Arabeske, Op. 18 * Robert Schumann Fantasie, Op. 17 * Notes * Bibliography * Index
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