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Among the more striking developments in contemporary North American music theory is the centrality that questions of musical form (Formenlehre) have enjoyed in recent decades. Formal Functions in Perspective presents thirteen studies that engage with musical form in a variety of ways. The essays, written by established and emerging scholars from the United States, the United Kingdom, Canada, and the European continent, run the chronological gamut from Haydn and Clementi to Leibowitz and Adorno; they discuss Lieder, arias, and choral music as well as symphonies, concerti, and chamber works; they treat Haydn's humor and Saint-Saëns's politics, while discussions of particular pieces range from Mozart's arias to Schoenberg's Verklärte Nacht. Running through all of these essays and connecting them thematically is the central notion of formal function. CONTRIBUTORS: Brian Black, L. Poundie Burstein, Andrew Deruchie, Julian Horton, Steven Huebner, Harald Krebs, Henry Klumpenhouwer, Nathan John Martin, François de Médicis, Christoph Neidhöfer, Julie Pedneault-Deslauriers, Giorgio Sanguinetti, Janet Schmalfeldt, Peter Schubert, Steven Vande Moortele Steven Vande Moortele is assistant professor of music at the University of Toronto. Julie Pedneault-Deslauriers is assistant professor of music at the University of Ottawa. Nathan John Martin is assistant professor of music at the University of Michigan.

Musical form. --- Formes musicales --- Form, Musical --- Music --- Adorno. --- Contemporary Music. --- Essays. --- Formal Analysis. --- Formal Functions. --- Haydn. --- Music Theory. --- Musical Form.

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Since the early transformation of European music practice and theory in the cultural centers of Asia, Latin America, and Africa around 1900, it has become necessary for music history to be conceived globally - a challenge that musicology has hardly faced yet. This book discusses the effects of cultural globalization on processes of composition and distribution of art music in the 20th and 21st century. Christian Utz provides the foundations of a global music historiography, building on new models such as transnationalism, entangled histories, and reflexive globalization. The relationship between music and broader changes in society forms the central focus and is treated as a pivotal music-historical dynamic.

MUSIC / History & Criticism. --- 20th Century. --- Asia. --- China. --- Cultural History. --- Cultural Studies. --- Entangled Histories. --- Globalization. --- Interculturalism. --- Japan. --- Korea. --- Music. --- Musicology. --- Transnationalism. --- Contemporary Music; 20th Century; Globalization; Transnationalism; Entangled Histories; Asia; China; Japan; Korea; Music; Musicology; Interculturalism; Cultural Studies; Cultural History

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Wallace Stevens’s musicality is so profound that scholars have only begun to grasp his ties to the art of music or the music of his own poetry. In this study, two long-time specialists present a polyphonic composition in which they pursue various interlocking perspectives. Their case studies demonstrate how music as a temporal art form may affect a poetic of ephemerality, sensuous experience, and affective intensification. Such a poetic, they argue, invites flexible interpretations that respond to poetry as an art of textual performance. How did Stevens enact the relation between music and memory? How can we hear his verse as a form of melody-making? What was specific to his ways of recording birdsong? Have we been missing the latent music of Richard Strauss, Gustav Mahler, and Claude Debussy in particular poems? What were the musical poetics he shared with Igor Stravinsky? And how is our experience of the late poetry transformed when we listen to a musical setting by Ned Rorem? The Poetic Music of Wallace Stevens will appeal to experts in the poet’s work, students of Modernism in the arts, and a wider audience fascinated by the dynamics of exchange between music and poetry. Bart Eeckhout is Professor of English and American Literature at the University of Antwerp, Belgium, and has been Editor of The Wallace Stevens Journal since 2011. His books include Wallace Stevens and the Limits of Reading and Writing (2002), five co-edited volumes on Stevens, and twelve co-edited thematic issues of The Wallace Stevens Journal. Most recently he co-edited The New Wallace Stevens Studies (2021). Eeckhout is a Member of the Royal Flemish Academy of Belgium for Science and the Arts. Lisa Goldfarb is Professor at New York University’s Gallatin School, USA, President of The Wallace Stevens Society, and Associate Editor of The Wallace Stevens Journal. She is the author of The Figure Concealed: Wallace Stevens, Music, and Valéryan Echoes (2011) and Unexpected Affinities: Modern American Poetry and Symbolist Poetics (2018), as well as co-editor of several edited collections on Stevens and special issues of The Wallace Stevens Journal. She has recently contributed a chapter, “Music of the Sea: Elizabeth Bishop and Symbolist Poetics,” to Elizabeth Bishop and the Music of Literature (Palgrave 2019).

Music and literature. --- Stevens, Wallace, --- Criticism and interpretation. --- Literature and music --- Literature --- Poetry. --- Literature, Modern --- Music --- Music theory. --- Poetry and Poetics. --- Twentieth-Century Literature. --- Contemporary Music. --- Theory of Music. --- 20th century. --- History and criticism.

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This book offers an in-depth analysis of Janelle Monáe’s Dirty Computer, an Afrofuturist project that appeared simultaneously as a concept album and a visual album or “emotion picture” in spring 2018. In the previous decade, Janelle Monáe has developed into a global media personality who effortlessly unites speculative world-building with social and political activism. Across the intersecting album and film that together make up Dirty Computer, Monáe brings together the science-fictional themes that informed her previous work, resulting in a powerfully focused artistic and political statement. While the music on the album can be enjoyed as an accessible collection of pop tracks, the accompanying film, music videos, and media paratexts add layers of meaning that combine speculative world-building with anti-racist activism. This unique convergence of energies, ideas, and media platforms has made Dirty Computer a new classic of Afrofuturist science fiction.

Philosophy and psychology of culture --- Sociology of culture --- International relations. Foreign policy --- populaire cultuur --- cultuur --- Amerikaanse cultuur --- United States of America --- America --- Popular music. --- African Americans. --- Culture. --- Music --- Popular Culture. --- Popular Music. --- African American Culture. --- Contemporary Music. --- History and criticism.

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When listeners talk about their listening experiences, they often refer to music as if it were a narrative. But can music actually tell a story? Can music be narrative? Traditionally, narrativity is associated with verbal and visual texts, and the mere possibility of musical narrativity is highly debated. In this study, Vincent Meelberg demonstrates that music can indeed be narrative, and that the study of musical narrativity can be very productive. Moreover, Meelberg even makes a stronger claim by contending that contemporary music, too, can be narrative. More specifically, Meelberg suggests considering contemporary musical narratives as metanarratives, i.e. narratives that tell the story of the process of narrativization.

Music --- Music --- Discourse analysis, Narrative. --- Analysis, appreciation. --- Analysis, appreciation. --- intermediality --- musical story --- musical narrative --- music --- contemporary music --- muziek --- musical tense --- musical comprehension --- narratology --- musical text --- narrativizering --- atonality --- fabula --- linearity --- metaverhalen --- atonal music --- metanarrative --- musical narrativity --- Concert --- Timbre