Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

Conçu comme un hommage à celui qui a ouvert la voie à la musique nouvelle, le Malher d'Adorno se présente comme une tentative d'interprétation d'ensemble de l'oeuvre musicale du compositeur. Dépassant l'opposition d'un discours purement technique et d'une exégèse arbitraire, l'auteur fait apparaître le contenu spirituel de la musique de Malher tel qu'il se concrétise dans les formes spécifiques de ses lieder et de ses symphonies. C'est le premier témoignage décisif d'une nouvelle forme de critique musicale qui se proposerait de "faire parler la musique au moyen de la théorie".

Musique contemporaine --- Musicien --- Mahler, Gustav --- 20e siècle --- Mahler, Gustav,

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

Mahler, Gustav --- Criticism and interpretation

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

The volume traces the life and career of Mahler from his birth to his appointment to the Vienna Hofoper.00This long awaited revised volume I completes Henry-Louis de La Grange's four-volume English language biography of the Austrian composer Gustav Mahler (1860-1911), which is widely considered to be the definitive work on the subject. The present instalment, covering the years 1860 to 1897, traces the life and career of Mahler from his birth in a small village in Bohemia to his appointment to the Vienna Hofoper, then the most prestigious opera house in the world. It describes his family background, his student days at the Vienna Conservatory, his private life, and his burgeoning career as both conductor and composer. Starting at a small summer theatre in Bad Hall, his first engagements took him to Laibach (Ljubljana), Olmütz (Olomouc), Kassel, Prague, and Leipzig, before he was appointed to principal posts at the important opera houses of Budapest (1888) and Hamburg (1891). By now Mahler had also begun to establish himself as a composer. Some of his major works - starting with 'Das Klagende Lied' (1881) - the early 'Wunderhorn' songs, 'Lieder eines fahrenden Gesellen', and the first three symphonies date from this period of his life. While regularly rejected by contemporary critics, today they are favourites of the concert repertoire.00Widely recognised as Gustav Mahler's pre-eminent biographer, Henry-Louis de La Grange (1924?2017) - author of the 4-volume, 5,000-page definitive study of the composer's life and work - was awarded a professorship by the government of Austria and an honorary Doctorate from the Juilliard School of Music. 0German musicologist and conductor Sybille Werner started working with Henry-Louis de La Grange in 2003.

Mahler, Gustav --- Mahler, Gustav, --- Maler, Gustav, --- Maler, G. --- Mārā, Gusutafu, --- Mahler, Gustav, - 1860-1911

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

Composers --- Compositeurs --- Biography --- Biographies --- Mahler, Gustav, --- Austria

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

For centuries, the augmented sixth sonority has fascinated composers and intrigued music analysts. Here, Dr Mark Ellis presents a series of musical examples illustrating the 'evolution' of the augmented sixth and the changing contexts in which it can be found. Surprisingly, the sonority emerged from one of the last remnants of modal counterpoint to survive into the tonal era: the Phrygian Cadence. In the Baroque period, the 'terrible dissonance' was nearly always associated with negative textual imagery. Charpentier described the augmented sixth as 'poignantly expressive'. J. S. Bach considered an occurrence of the chord in one of his forebear's motets 'remarkably bold'. During Bach's composing lifetime, the augmented sixth evolved from a relatively rare chromaticism to an almost commonplace element within the tonal spectrum; the chord reflects particular chronological and stylistic strata in his music. Theorists began cautiously to accept the chord, but its inversional possibilities proved particularly contentious, as commentaries by writers as diverse as Muffat, Marpurg and Rousseau reveal. During the eighteenth century, the augmented sixth became increasingly significant in instrumental repertoires - it was perhaps Vivaldi who first liberated the chord from its negative textual associations. By the later eighteenth century, the chord began to function almost as a 'signpost' to indicate important structural boundaries within sonata form. The chord did not, however, entirely lose its darker undertone: it signifies, for example, the theme of revenge in Mozart's Don Giovanni. Romantic composers uncovered far-reaching tonal ambiguities inherent in the augmented sixth. Chopin's Nocturnes often seem beguilingly simple, but the surface tranquillity masks the composer's strikingly original harmonic experiments. Wagner's much-analyzed 'Tristan Chord' resolves (according to some theorists) on an augmented sixth. In Tristan und Isolde, the chord's mercurial character - its tonal ambivalence - symbolizes the 'distortion of reality' induced by the Magic Potion. As Schoenberg wrote, the chord of the augmented sixth stands 'on the fringes of tonality'. The book concludes with a discussion of the role of the chord in the decay of the tonal system, and its 'afterlife' in the post-tonal era. This book will appeal to music analysts by providing a chronological framework for further stylistic and harmonic analysis. To ensure its accessibility in graduate classes, the author includes a straightforward introduction to the augmented sixth and its theoretical background.

Muziek --- harmonieleer --- muziektheorie --- Mahler, Gustav --- Monteverdi, Claudio --- Music