Author: Jeraldine M. KotaniPublisher:
ISBN:
Category :
Languages : en
Pages : 192
Book Description
An Analysis of Anton Webern's Six Pieces for Orchestra, Opus 6
Author: Jeraldine M. KotaniAn Analysis of Anton Webern's Six Songs for Voice, Clarinet, Bass Xlaeinwr, Violin, and Cello, Op 14
Author: Barton McLeanAn Analysis of Four Pieces, Op.7, for Violin and Piano by Anton Webern
Author: Jeanne Nadine Ashby CoburnPublisher:
ISBN:
Category :
Languages : en
Pages : 72
Book Description
An Analysis of Anton Webern's Variations for Orchestra
Author: Rudyard Keith McGaryAnton Webern
Author: Darin HoskissonPublisher: Taylor & Francis
ISBN: 1317672682
Category : Music
Languages : en
Pages : 238
Book Description
Anton Webern: A Research and Information Guide offers carefully selected and annotated sources regarding Webern from 1975 to present day, including sources on Webern’s life, his music, and the interpretation and reception of his music. Along with this comprehensive annotated listing of print and online sources, the book discusses the history of research on Webern and includes a brief chronology of his life. It is a major reference tool for those interested in Webern and his music and valuable for researchers of 20th century music and the Second Viennese School.
An Analysis of Alban Berg's "Praeludium," from Three Orchestral Pieces, Op. 6
Author: William Lyle PeltoComprehensive Musical Analysis
Author: John David WhitePublisher: Rowman & Littlefield
ISBN: 081082681X
Category : Musical analysis
Languages : en
Pages : 316
Book Description
Presents material on Heinrich Schenker and reductive linear analysis and additional material on set theoretical analysis. Replete with musical examples, charts, and diagrams.
Listening Awry
Author: David SchwarzPublisher: U of Minnesota Press
ISBN: 1452908907
Category :
Languages : en
Pages : 241
Book Description
In his first book, Listening Subjects, David Schwarz succeeded in fusing post-Lacanian psychoanalytic, musical-theoretical, and musical-historical perspectives. In Listening Awry, he expands his project to “tell a story of historical modernism writ large”—how German music spanning two centuries refracts changes in society and culture, as well as the impacts of concepts introduced by psychoanalysis. Schwarz shows how post-Lacanian psychoanalysis can be applied to ideological interpellation that connects psychoanalysis to culture and how music theory can ground these considerations in precise details of musical textuality. He “listens awry” in several ways: by understanding musical meaning in both objective and socially structured ways, by embracing historical and also aesthetic approaches, by addressing high art as well as popular music, and by listening “around” conventional forms of musical meaning to reach toward that which evades signification. Structured around four themes—trauma, the other/Other, the look/gaze binary, and Judaism—Listening Awry explores five key moments in post-Enlightenment music: the rise of the singular orchestral conductor and the emergence of a new form of alterity, the Art Song and “the sublime of the delicate” (a correlate of the Kantian mathematical and dynamical sublime), the birth of psychoanalysis and the twentieth-century turn toward atonality, German war songs and the subversion of German music by the Nazis, and two different versions of Wagner’s Parsifal that were performed one hundred years apart and in radically different contexts. This highly original work, filled with imaginative readings and disquieting observations, links trauma with the culture and history of modernity and German music, deftly tying the experience of the body to the sounds it hears: how it reaches us slowly, penetrates the skin, and resonates. David Schwarz is assistant professor of music at the University of North Texas. He is the author of Listening Subjects: Music, Psychoanalysis, Culture.
Five orchestral pieces, op. 16
Author: Arnold SchoenbergPublisher: Courier Corporation
ISBN: 0486406423
Category : Music
Languages : en
Pages : 82
Book Description
Possessing a soloistic texture and variations in instrumental color defined by Grove's as "chamber music for full orchestra," this 1909 work demonstrates the composer's daring explorations in music that renounces motivic connections and tonality. Includes bar-numbered movements and ample margins at the bottom of each page for notes and analysis.
Author: