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The tone of the debates among Caplin, Hepokoski, and Webster (in the form of comments on each author''s essay and then responses to the comments), though tactful, is obliquely blunt and tendentious; like the best of tennis pros, each author strives to serve an ace and defends the net against a passing shot (with Caplin, the ace is for formal function; with Hepokoski for Sonata Theory and dialogic form; with Webster for multivalent analysis). But we can trust that this provocative exchange will thoroughly invigorate discussions about classical form and encourage diverse approaches to its analys

Musical form.

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muziekanalyse --- muziektheorie --- Music --- vormleer --- Form [Musical ] --- Forme musicale --- Musical form --- Muzikale vorm --- Musical analysis --- Formes musicales --- Analyse musicale --- Congresses --- Congrès --- 513 --- Academic collection --- Muziekanalyse - vormleer --- Musical form. --- Componeren. --- Vormleer (muziek) --- Vormleer (muziek). --- Congrès --- Form, Musical

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The years of the Great Depression, World War II, and their aftermath brought a sea change in American music. This period of economic, social, and political adversity can truly be considered a musical golden age. In the realm of classical music, Aaron Copland, Samuel Barber, Howard Hanson, Virgil Thompson, and Leonard Bernstein -- among others -- produced symphonic works of great power and lasting beauty during these troubled years. It was during this critical decade and a half that contemporary writers on American culture began to speculate about "the Great American Symphony" and looked to these composers for music that would embody the spirit of the nation. In this volume, Nicholas Tawa concludes that they succeeded, at the very least, in producing music that belongs in the cultural memory of every American. Tawa introduces the symphonists and their major works from the romanticism of Barber and the "all-American" Roy Harris through the theatrics of Bernstein and Marc Blitzstein to the broad-shouldered appeal of Thompson and Copland. Tawa's musical descriptions are vivid and personal, and invite music lovers and trained musicians alike to turn again to the marvelous and lasting music of this time.

World War, 1939-1945 --- Symphony --- Sinfonietta --- Symphonies --- Symphonietta --- Musical form --- Music and the war. --- Songs and music --- History and criticism --- Symphonie --- 2ème guerre mondiale --- Musique et guerre

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Two-Dimensional Sonata Form is the first book dedicated to the combination of the movements of a multimovement sonata cycle with an overarching single-movement form that is itself organized as a sonata form. Drawing on a variety of historical and recent approaches to musical form (e.g., Marxian and Schoenbergian Formenlehre, Caplin's theory of formal functions, and Hepokoski and Darcy's Sonata Theory), it begins by developing an original theoretical framework for the analysis of this type of form that is so characteristic of the later nineteenth and early twentieth century. It then offers an in-depth examination of nine exemplary works by four Central European composers: the Piano Sonata in B minor and the symphonic poems Tasso and Die Ideale by Franz Liszt, Richard Strauss's tone poems Don Juan and Ein Heldenleben, the symphonic poem Pelleas und Melisande, the First String Quartet and the First Chamber Symphony by Arnold Schoenberg, and Alexander Zemlinsky's Second String Quartet.

muziekanalyse --- muziektheorie --- Music --- sonatenvorm --- Forme sonate --- Sonata form --- Sonatevorm --- 78.08 --- Academic collection --- Muzikale vormen --- Instrumental music --- Sonata form. --- Analysis, appreciation. --- Instrumental music -- Analysis, appreciation. --- Music, Dance, Drama & Film --- Music Instruction & Study --- Analysis, appreciation --- 78.08 Muzikale vormen --- Sonata-allegro form --- Musical form --- Zemlinsky, Alexander von. 1871-1942

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Before the nineteenth century, instrumental music was considered inferior to vocal music. Kant described wordless music as "more pleasure than culture," and Rousseau dismissed it for its inability to convey concepts. But by the early 1800's, a dramatic shift was under way. Purely instrumental music was now being hailed as a means to knowledge and embraced precisely because of its independence from the limits of language. What had once been perceived as entertainment was heard increasingly as a vehicle of thought. Listening had become a way of knowing. Music as Thought traces the roots of this fundamental shift in attitudes toward listening in the late eighteenth and early nineteenth centuries. Focusing on responses to the symphony in the age of Beethoven, Mark Evan Bonds draws on contemporary accounts and a range of sources--philosophical, literary, political, and musical--to reveal how this music was experienced by those who heard it first. Music as Thought is a fascinating reinterpretation of the causes and effects of a revolution in listening.

Symphony --- Music --- Music appreciation --- Symphonie --- Musique --- Philosophy and aesthetics --- Philosophie et esthétique --- Appréciation --- Sinfonietta --- Symphonietta --- Music appreciation. --- History of civilization --- Aesthetics of art --- anno 1700-1799 --- anno 1800-1899 --- Symphonies --- Musical form --- Hermeneutics (Music) --- Musical aesthetics --- Aesthetics --- Music theory --- Analytical guides (Music) --- Appreciation of music --- Musical appreciation --- Musical analysis --- History and criticism --- Philosophy --- Analysis, appreciation --- Analytical guides --- Appreciation --- Instruction and study --- Philosophy and aesthetics.