Mahler's Symphonic Sonatas investigates Gustav Mahler's dynamic and career-long engagement with sonata-allegro form.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Seth Monahan is Assistant Professor of Music Theory at the Eastman School of Music. He received his Ph.D. from Yale University in 2008 and has since published widely on a range of topics, including the interpretation of Classical and Romantic form, Wagnerian harmony, and the uses of metaphor in analytical writing.
Inhaltsangabe
* Contents * Acknowledgements * On the Accompanying Short Scores * Introduction * Part I * Interpreting Mahler's Sonata Forms * Chapter 1: Sonata Form in Mahler's Narrative Imagination * Chapter 2: Adorno's Novel-Symphony: The Dialectic of Freedom and Determinism * Chapter 3: Issues in Mahlerian Narrative * Part II * Mahler's "Classical" Sonatas * Chapter 4: "A Demonic Haydn": Mahler's Confrontation with Tradition in the First Movement of the Sixth * Chapter 5: "A Play within a Play": Games of Closure and Contingency in the First Movement of the Fourth * Part III * Mahler's "Epic" Sonatas * Chapter 6: "The Objectification of Chaos": Epic Form and Narrative Multiplicity in Part One of the Third * Chapter 7: "Tragedy refuses a nominalist form": "Inescapable" Coherence and the Failure of the Novel-Symphony in the Finale of the Sixth * Works Cited
* Contents * Acknowledgements * On the Accompanying Short Scores * Introduction * Part I * Interpreting Mahler's Sonata Forms * Chapter 1: Sonata Form in Mahler's Narrative Imagination * Chapter 2: Adorno's Novel-Symphony: The Dialectic of Freedom and Determinism * Chapter 3: Issues in Mahlerian Narrative * Part II * Mahler's "Classical" Sonatas * Chapter 4: "A Demonic Haydn": Mahler's Confrontation with Tradition in the First Movement of the Sixth * Chapter 5: "A Play within a Play": Games of Closure and Contingency in the First Movement of the Fourth * Part III * Mahler's "Epic" Sonatas * Chapter 6: "The Objectification of Chaos": Epic Form and Narrative Multiplicity in Part One of the Third * Chapter 7: "Tragedy refuses a nominalist form": "Inescapable" Coherence and the Failure of the Novel-Symphony in the Finale of the Sixth * Works Cited
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