Author: William S. NewmanPublisher:
ISBN:
Category : Classicism in music
Languages : en
Pages : 917
Book Description
The Sonata in the Classic Era
Author: William S. NewmanPublisher:
ISBN:
Category : Classicism in music
Languages : en
Pages : 917
Book Description
Sonata Forms
Author: Charles RosenPublisher: W. W. Norton & Company
ISBN: 9780393302196
Category : Music
Languages : en
Pages : 438
Book Description
"Nobody writes better about music .... again and again, unerring insight into just the features that make the music special and fine."--The New York Review of Books
The Sonata in the Classic Era
Author: William S. NewmanPublisher:
ISBN:
Category : Classicism in music
Languages : en
Pages : 897
Book Description
The Classical Style
Author: Charles RosenPublisher: W. W. Norton & Company
ISBN: 9780393040203
Category : Music
Languages : en
Pages : 564
Book Description
Presents a detailed analysis of the musical styles and forms developed by Mozart, Haydn, and Beethoven.
Elements of Sonata Theory
Author: James HepokoskiPublisher: Oxford University Press
ISBN: 0199890234
Category : Music
Languages : en
Pages : 692
Book Description
Elements of Sonata Theory is a comprehensive, richly detailed rethinking of the basic principles of sonata form in the decades around 1800. This foundational study draws upon the joint strengths of current music history and music theory to outline a new, up-to-date paradigm for understanding the compositional choices found in the instrumental works of Haydn, Mozart, Beethoven, and their contemporaries: sonatas, chamber music, symphonies, overtures, and concertos. In so doing, it also lays out the indispensable groundwork for anyone wishing to confront the later adaptations and deformations of these basic structures in the nineteenth and earlier twentieth centuries. Combining insightful music analysis, contemporary genre theory, and provocative hermeneutic turns, the book brims over with original ideas, bold and fresh ways of awakening the potential meanings within a familiar musical repertory. Sonata Theory grasps individual compositions-and each of the individual moments within them-as creative dialogues with an implicit conceptual background of flexible, ever-changing historical norms and patterns. These norms may be recreated as constellations "compositional defaults," any of which, however, may be stretched, strained, or overridden altogether for individualized structural or expressive purposes. This book maps out the terrain of that conceptual background, against which what actually happens-or does not happen-in any given piece may be assessed and measured. The Elements guides the reader through the standard (and less-than-standard) formatting possibilities within each compositional space in sonata form, while also emphasizing the fundamental role played by processes of large-scale circularity, or "rotation," in the crucially important ordering of musical modules over an entire movement. The book also illuminates new ways of understanding codas and introductions, of confronting the generating processes of minor-mode sonatas, and of grasping the arcs of multimovement cycles as wholes. Its final chapters provide individual studies of alternative sonata types, including "binary" sonata structures, sonata-rondos, and the "first-movement form" of Mozart's concertos.
A History of the Sonata Idea
Author: William S. NewmanPublisher: UNC Press Books
ISBN: 1469643731
Category : Music
Languages : en
Pages : 924
Book Description
This definitive volume, the second, largest, and most central in Newman's History of the Sonata Idea, covers the period from the first sample Italian sonatas using the new techniques of the Alberti bass about 1735 to the succession of masterpieces by Haydn, Mozart, and Beethoven which extended until about 1820. It is one of the few books to deal exclusively with the classical era in music. Originally published in 1963. A UNC Press Enduring Edition -- UNC Press Enduring Editions use the latest in digital technology to make available again books from our distinguished backlist that were previously out of print. These editions are published unaltered from the original, and are presented in affordable paperback formats, bringing readers both historical and cultural value.
Violin and Keyboard
Author: Abram LoftPublisher: New York : Grossman Publishers
ISBN:
Category : Music
Languages : en
Pages : 392
Book Description
Emily Bronte and Beethoven
Author: Robert K. WallacePublisher: University of Georgia Press
ISBN: 082033295X
Category : Literary Criticism
Languages : en
Pages : 250
Book Description
When Emily Brontë was studying music in Brussels in 1842, she was drawn into the city's appreciation of Beethoven. After her exposure to the works of the great composer, Brontë's creativity flourished and she went on to compose what was to be her only novel--Wuthering Heights. In Emily Brontë and Beethoven, Robert K. Wallace continues to work from the perspective he developed in his Jane Austen and Mozart--integrating two fields that have traditionally been kept apart. Wallace compares Brontë and Beethoven through a close examination of the Romantic traits that their works share. Innovative and stimulating, Wallace's study extends literary criticism into a new context where equilibrium, balance, proportion and symmetry serve as a fulcrum to launch the reader into a new understanding of the formal parallels, the moods and emotions that connect music and literature.
Sonatas for Violin and Basso continuo, Opus 3
Author: Pierre GaviniésPublisher: A-R Editions, Inc.
ISBN: 0895795019
Category : Music
Languages : en
Pages : 74
Book Description
Parts available, $22.00 per set
How Sonata Forms
Author: Yoel GreenbergPublisher: Oxford University Press
ISBN: 0197526284
Category : History
Languages : en
Pages : 265
Book Description
Traditional approaches to musical form have always adopted a top-down perspective whereby a work's form organizes and unifies the individual parts of the work through an overarching logic. How Sonata Forms turns this view on its head, proposing instead that it was the parts that conditioned and enabled the whole. Relying on a corpus of over a thousand works, author Yoel Greenberg illustrates how the elements of sonata form arose independently of one another, with an overarching idea of form only emerging at the tail end of its formative period during the eighteenth century. Appreciation of the bottom-up nature of sonata form's evolution reveals it not as a stable package of features that all serve a common aesthetic or formal goal, but rather as an unstable collection of disparate and sometimes even contradictory common practices. The resolution of these contradictions presents a challenge to composers, rendering form a creative catalyst in itself, rather than as a compositional convenience. More generally, the deeply diachronic perspective of How Sonata Forms offers an alternative to the traditional synchronic outlook that pervades music theory in general and the study of form in particular. Rather than focus on definitions and taxonomies, How Sonata Forms proposes a focus on the motion of the system of form as a whole, suggesting that it is often more productive to appreciate the dynamics of a system than it is to rigorously define its parts.