Music, as any fine art, expresses human values, not merely musical values. In More than Meets the Ear, Gilbert R. Fischer shows what the ways are, through the work of particular composers in particular pieces, and how theoretical dogmas prevent meaningful expression.
Music, as any fine art, expresses human values, not merely musical values. In More than Meets the Ear, Gilbert R. Fischer shows what the ways are, through the work of particular composers in particular pieces, and how theoretical dogmas prevent meaningful expression.
Chapter 1 Preface Chapter 2 Acknowledgments Chapter 3 General Principles: Chapter 4 Roots and Sources. Music Games Chapter 5 The Game of Likenesses Chapter 6 The Sound of Music Chapter 7 Symbolism and Semiotics in Music Chapter 8 The Materials of Music Chapter 9 The Rhetoric of Music Chapter 10 Musical Hermeneutics Chapter 11 Listening Historically Chapter 12 Point of View in Music Chapter 13 Principles Specific to Music: Chapter 14 Musical Tension Chapter 15 Other Sources of Tension Chapter 16 Song and Dance Chapter 17 Melody and Melodic Line: Some Consequences Chapter 18 The Literature of the Piano: Chapter 19 Introductory Remarks Chapter 20 First Analysis: Mephisto Waltz Chapter 21 Second Analysis: Two-Part Inventions in F and fm Chapter 22 Third Analysis: Reflets dans l'eau Chapter 23 Moods: Works by Bach, Byrd, Mozart; Chopin, Schubert and Rachmaninoff Chapter 24 Short Romantic Compositions Chapter 25 Short Romantic Compositions (cont.) Chapter 26 Short Classic and Baroque Compositions Chapter 27 Compositions of Intermediate Length Chapter 28 Theme and Cariations Chapter 29 Beethoven Sonatas Chapter 30 The Sonata: Other Composers Chapter 31 Romantic Sonatas and Fantasies Chapter 32 Nationalism Chapter 33 Back to Bach Chapter 34 Fugue after Bach Chapter 35 Debussy and Ravel Chapter 36 More Clothes for the Emperor Chapter 37 More Clothes for the Emperor (cont.) Chapter 38 Later Developments Chapter 39 Appendix Chapter 40 Notes Chapter 41 Index
Chapter 1 Preface Chapter 2 Acknowledgments Chapter 3 General Principles: Chapter 4 Roots and Sources. Music Games Chapter 5 The Game of Likenesses Chapter 6 The Sound of Music Chapter 7 Symbolism and Semiotics in Music Chapter 8 The Materials of Music Chapter 9 The Rhetoric of Music Chapter 10 Musical Hermeneutics Chapter 11 Listening Historically Chapter 12 Point of View in Music Chapter 13 Principles Specific to Music: Chapter 14 Musical Tension Chapter 15 Other Sources of Tension Chapter 16 Song and Dance Chapter 17 Melody and Melodic Line: Some Consequences Chapter 18 The Literature of the Piano: Chapter 19 Introductory Remarks Chapter 20 First Analysis: Mephisto Waltz Chapter 21 Second Analysis: Two-Part Inventions in F and fm Chapter 22 Third Analysis: Reflets dans l'eau Chapter 23 Moods: Works by Bach, Byrd, Mozart; Chopin, Schubert and Rachmaninoff Chapter 24 Short Romantic Compositions Chapter 25 Short Romantic Compositions (cont.) Chapter 26 Short Classic and Baroque Compositions Chapter 27 Compositions of Intermediate Length Chapter 28 Theme and Cariations Chapter 29 Beethoven Sonatas Chapter 30 The Sonata: Other Composers Chapter 31 Romantic Sonatas and Fantasies Chapter 32 Nationalism Chapter 33 Back to Bach Chapter 34 Fugue after Bach Chapter 35 Debussy and Ravel Chapter 36 More Clothes for the Emperor Chapter 37 More Clothes for the Emperor (cont.) Chapter 38 Later Developments Chapter 39 Appendix Chapter 40 Notes Chapter 41 Index
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