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Departing from the traditional German school of music theorists, Michael Klein injects a unique French critical theory perspective into the framework of music and meaning. Using primarily Lacanian notions of the symptom, that unnamable jouissance located in the unconscious, and the registers of subjectivity (the Imaginary, the Symbolic Order, and the Real), Klein explores how we understand music as both an artistic form created by ""the subject"" and an artistic expression of a culture that imposes its history on this modern subject. By creatively navigating from critical theory to music, film
Musical analysis. --- Music --- Analysis, Musical --- Analytical guides (Music) --- Hermeneutics (Music) --- Music analysis --- Music theory --- Music appreciation --- Musical aesthetics --- Aesthetics --- Music psychology --- Philosophy and aesthetics. --- Psychological aspects. --- Analysis, appreciation --- Analytical guides --- Instruction and study --- Philosophy --- Psychology --- Lacan, Jacques, --- Lacan, Jacques --- Philosophy.
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Bach to Brahms presents current analytic views by established scholars of the traditional tonal repertoire, with essays on works by Bach, Handel, Haydn, Mozart, Beethoven, Schubert, Chopin, and Brahms. The fifteen essays are divided into three groups, two of which focus primarily on the interaction of elements of musical design (formal, metric, and tonal organization) and voice leading at multiple levels of structure. The third group of essays focusses on the 'motive' from different perspectives. The result is a volume of integrated studies on the music of the common-practice period, a body of music that remains at the core of modern concert and classroom repertoire. Contributors: Eytan Agmon, David Beach, Charles Burkhart, L. Poundie Burstein, Yosef Goldenberg, Timothy Jackson, William Kinderman, Joel Lester, Boyd Pomeroy, John Rink, Frank Samarotto, Lauri Suurpää, Naphtali Wagner, Eric Wen, Channan Willner. David Beach is professor emeritus and former dean of the Faculty of Music, University of Toronto. Recent publications include Advanced Schenkerian Analysis, and Analysis of 18th- and 19th-Century Musical Works in the Classical Tradition (co-authored with Ryan McClelland). Yosef Goldenberg teaches at the Hebrew University of Jerusalem and at the Jerusalem Academy of Music and Dance, where he also serves as head librarian. He is the author of Prolongation of Seventh Chords in Tonal Music (Edwin Mellen Press, 2008) and published in leading journals on music theory and on Israeli music.
Musical analysis. --- Music --- Analyse musicale --- Musique --- History and criticism. --- Histoire et critique --- 1700 - 1899 --- Analysis, Musical --- Analytical guides (Music) --- Hermeneutics (Music) --- Music analysis --- Music theory --- Music appreciation --- Analysis, appreciation --- Analytical guides --- Instruction and study --- Muziekanalyses --- Barok --- Classicisme --- Romantiek --- Muzieksystemen --- Muziekgeschiedenis --- Analysis. --- Bach. --- Beethoven. --- Brahms. --- Chopin. --- Classical Composers. --- Common-Practice Period. --- Concert Repertoire. --- Essays. --- Handel. --- Haydn. --- Mozart. --- Music. --- Musical Design. --- Musicology. --- Schubert. --- Structure. --- Tonal Repertoire.
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"Cet ouvrage réunit un ensemble de textes rédigés durant les trente dernières années, et, pour la plupart, déjà publiés ici et là, dans des revues et des ouvrages collectifs dont certains sont aujourd'hui difficiles d'accès."--Page 9
Composition (Music) --- Music --- Composition (Musique) --- Musique --- History and criticism. --- Histoire et critique --- Webern, Anton, --- Debussy, Claude, --- Boulez, Pierre, --- Criticism and interpretation. --- Critique et interprétation --- Debussy, Claude --- Critique et interprétation. --- Musical analysis --- Analysis, Musical --- Analytical guides (Music) --- Hermeneutics (Music) --- Music analysis --- Music theory --- Music appreciation --- Analysis, appreciation --- Analytical guides --- Instruction and study
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Musical analysis --- Analysis, Musical --- Analytical guides (Music) --- Hermeneutics (Music) --- Music --- Music analysis --- Music theory --- Music appreciation --- Analysis, appreciation --- Analytical guides --- Instruction and study --- Stravinsky, Igor, --- Stravinsky, Igor --- Stravinski, Igor --- Strawinsky, Igor --- Strawinski, Igor --- Criticism and interpretation. --- Stravinskij, Igor' Fëdorovič --- Musical analysis. --- Istrāvīnskī, Īgūr, --- Stravinski, Igor, --- Stravinskiĭ, I. F. --- Stravinskiĭ, Igorʹ Fedorovich, --- Stravinskij, Igor Fiodorovič, --- Strawiński, Igor Fiodorowicz, --- Strawinskij, Igor, --- Strawinsky, I. --- Strawinsky, Igor, --- Strawinsky, Jgor, --- Стравинский, Игорь, --- סטראווינסקי, איגור --- סטראוינסקי, איגור
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A free ebook version of this title is available through Luminos, University of California Press's new open access publishing program for monographs. Visit www.luminosoa.org to learn more. Fugue for J. S. Bach was a natural language; he wrote fugues in organ toccatas and voluntaries, in masses and motets, in orchestral and chamber music, and even in his sonatas for violin solo. The more intimate fugues he wrote for keyboard are among the greatest, most influential, and best-loved works in all of Western music. They have long been the foundation of the keyboard repertory, played by beginning students and world-famous virtuosi alike. In a series of elegantly written essays, eminent musicologist Joseph Kerman discusses his favorite Bach keyboard fugues-some of them among the best-known fugues and others much less familiar. Kerman skillfully, at times playfully, reveals the inner workings of these pieces, linking the form of the fugues with their many different characters and expressive qualities, and illuminating what makes them particularly beautiful, powerful, and moving. These witty, insightful pieces, addressed to musical amateurs as well as to specialists and students, are beautifully augmented by performances made specially for this volume: Karen Rosenak, piano, playing two preludes and fugues fromTheWell-Tempered Clavier-C Major, book 1; and B Major, book 2--and Davitt Moroney playing the Fughetta in C Major, BWV 952, on clavichord; the Fugue on ";Jesus Christus unser Heiland,"; BWV 689, on organ; and the Fantasy and Fugue in A Minor, BWV 904, on harpsichord.
Fugue. --- MUSIC / Genres & Styles / Classical. --- 18th century fugues. --- 18th century music. --- bach. --- classical music. --- clavichord music. --- fugue in c major. --- fugue in c minor. --- fugues. --- harpsichord music. --- history of music. --- intimate fugues. --- keyboard composition. --- keyboard music. --- music appreciation. --- music composition. --- music theory. --- musical analysis. --- musical commentary. --- musical scores. --- musicology. --- organ music. --- organ toccatas. --- piano keyboard. --- studies in classical music. --- technical music analysis. --- the well tempered clavier. --- Bach, Johann Sebastian, --- Keyboard music (Bach, Johann Sebastian)
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A free ebook version of this title is available through Luminos, University of California Press's new open access publishing program for monographs. Visit www.luminosoa.org to learn more. Fugue for J. S. Bach was a natural language; he wrote fugues in organ toccatas and voluntaries, in masses and motets, in orchestral and chamber music, and even in his sonatas for violin solo. The more intimate fugues he wrote for keyboard are among the greatest, most influential, and best-loved works in all of Western music. They have long been the foundation of the keyboard repertory, played by beginning students and world-famous virtuosi alike. In a series of elegantly written essays, eminent musicologist Joseph Kerman discusses his favorite Bach keyboard fugues-some of them among the best-known fugues and others much less familiar. Kerman skillfully, at times playfully, reveals the inner workings of these pieces, linking the form of the fugues with their many different characters and expressive qualities, and illuminating what makes them particularly beautiful, powerful, and moving. These witty, insightful pieces, addressed to musical amateurs as well as to specialists and students, are beautifully augmented by performances made specially for this volume: Karen Rosenak, piano, playing two preludes and fugues fromTheWell-Tempered Clavier-C Major, book 1; and B Major, book 2--and Davitt Moroney playing the Fughetta in C Major, BWV 952, on clavichord; the Fugue on ";Jesus Christus unser Heiland,"; BWV 689, on organ; and the Fantasy and Fugue in A Minor, BWV 904, on harpsichord.
Fugue. --- Bach, Johann Sebastian, --- Keyboard music (Bach, Johann Sebastian) --- 18th century fugues. --- 18th century music. --- bach. --- classical music. --- clavichord music. --- fugue in c major. --- fugue in c minor. --- fugues. --- harpsichord music. --- history of music. --- intimate fugues. --- keyboard composition. --- keyboard music. --- music appreciation. --- music composition. --- music theory. --- musical analysis. --- musical commentary. --- musical scores. --- musicology. --- organ music. --- organ toccatas. --- piano keyboard. --- studies in classical music. --- technical music analysis. --- the well tempered clavier.
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A free ebook version of this title is available through Luminos, University of California Press's new open access publishing program for monographs. Visit www.luminosoa.org to learn more. Fugue for J. S. Bach was a natural language; he wrote fugues in organ toccatas and voluntaries, in masses and motets, in orchestral and chamber music, and even in his sonatas for violin solo. The more intimate fugues he wrote for keyboard are among the greatest, most influential, and best-loved works in all of Western music. They have long been the foundation of the keyboard repertory, played by beginning students and world-famous virtuosi alike. In a series of elegantly written essays, eminent musicologist Joseph Kerman discusses his favorite Bach keyboard fugues-some of them among the best-known fugues and others much less familiar. Kerman skillfully, at times playfully, reveals the inner workings of these pieces, linking the form of the fugues with their many different characters and expressive qualities, and illuminating what makes them particularly beautiful, powerful, and moving. These witty, insightful pieces, addressed to musical amateurs as well as to specialists and students, are beautifully augmented by performances made specially for this volume: Karen Rosenak, piano, playing two preludes and fugues fromTheWell-Tempered Clavier-C Major, book 1; and B Major, book 2--and Davitt Moroney playing the Fughetta in C Major, BWV 952, on clavichord; the Fugue on ";Jesus Christus unser Heiland,"; BWV 689, on organ; and the Fantasy and Fugue in A Minor, BWV 904, on harpsichord.
Fugue. --- MUSIC / Genres & Styles / Classical. --- Fugue. --- Bach, Johann Sebastian, --- Keyboard music (Bach, Johann Sebastian) --- 18th century fugues. --- 18th century music. --- bach. --- classical music. --- clavichord music. --- fugue in c major. --- fugue in c minor. --- fugues. --- harpsichord music. --- history of music. --- intimate fugues. --- keyboard composition. --- keyboard music. --- music appreciation. --- music composition. --- music theory. --- musical analysis. --- musical commentary. --- musical scores. --- musicology. --- organ music. --- organ toccatas. --- piano keyboard. --- studies in classical music. --- technical music analysis. --- the well tempered clavier.
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