A Theory Of Musical Narrative
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| Author | : Byron Almén |
| Publisher | : Indiana University Press |
| Total Pages | : 263 |
| Release | : 2017-09-04 |
| Genre | : Music |
| ISBN | : 0253030285 |
Byron Almén proposes an original synthesis of approaches to musical narrative from literary criticism, semiotics, historiography, musicology, and music theory, resulting in a significant critical reorientation of the field. This volume includes an extensive survey of traditional approaches to musical narrative illustrated by a wide variety of musical examples that highlight the range and applicability of the theoretical apparatus. Almén provides a careful delineation of the essential elements and preconditions of musical narrative organization, an eclectic analytical model applicable to a wide range of musical styles and repertoires, a classification scheme of narrative types and subtypes reflecting conceptually distinct narrative strategies, a wide array of interpretive categories, and a sensitivity to the dependence of narrative interpretation on the cultural milieu of the work, its various audiences, and the analyst. A Theory of Musical Narrative provides both an excellent introduction to an increasingly important conceptual domain and a complex reassessment of its possibilities and characteristics.
| Author | : Byron Almén |
| Publisher | : |
| Total Pages | : 272 |
| Release | : 2008-11-26 |
| Genre | : Literary Criticism |
| ISBN | : |
Byron Almén proposes an original synthesis of approaches to musical narrative from literary criticism, semiotics, historiography, musicology, and music theory, resulting in a significant critical reorientation of the field. This volume includes an extensive survey of traditional approaches to musical narrative illustrated by a wide variety of musical examples that highlight the range and applicability of the theoretical apparatus. Almén provides a careful delineation of the essential elements and preconditions of musical narrative organization, an eclectic analytical model applicable to a wide range of musical styles and repertoires, a classification scheme of narrative types and subtypes reflecting conceptually distinct narrative strategies, a wide array of interpretive categories, and a sensitivity to the dependence of narrative interpretation on the cultural milieu of the work, its various audiences, and the analyst. A Theory of Musical Narrative provides both an excellent introduction to an increasingly important conceptual domain and a complex reassessment of its possibilities and characteristics.
| Author | : Michael L. Klein |
| Publisher | : Indiana University Press |
| Total Pages | : 445 |
| Release | : 2013 |
| Genre | : Music |
| ISBN | : 0253006449 |
This comprehensive volume offers a wide-ranging perspective on the stories that art music has told since the start of the 20th century. Contributors challenge the broadly held opinion that the loss of tonality in some music after 1900 also meant the loss of narrative in that music. To the contrary, the editors and essayists in this book demonstrate how experiments in approaching narrative in other media, such as fiction and cinema, suggested fresh possibilities for musical narrative, which composers were quick to exploit. The new conceptions of time, narrative voice, plot, and character that accompanied these experiments also had a significant impact on contemporary music. The repertoire explored in the collection ranges across a wide variety of genres and includes composers from Charles Ives and the Pet Shop Boys to Thomas Adès and Dmitri Shostakovich.
| Author | : Eero Tarasti |
| Publisher | : Indiana University Press |
| Total Pages | : 356 |
| Release | : 1994-12-22 |
| Genre | : Literary Criticism |
| ISBN | : 9780253356499 |
"Since [Tarasti's] is unquestionably the most fully developed narrative theory in the literature, this book is an important landmark . . . " —Music & Letters Eero Tarasti advances a semiotic theory of music based on information provided by the history of Western music and by various sign theories. A Theory of Musical Semiotics provides a model for the semiotic analysis of both musical structure and semantics. It introduces English-language readers to musical narratology, which has been largely the province of European researchers.
| Author | : Martin Boykan |
| Publisher | : Scarecrow Press |
| Total Pages | : 282 |
| Release | : 2004 |
| Genre | : Music |
| ISBN | : 9780810847514 |
Time is of the essence in music because the ear can only perceive sequentially-one thing at a time-unlike the eye, which is capable of panoramic view. Silence and Slow Time proposes a way of thinking about music that is faithful to the experience of playing or listening during a real performance. Boykan argues against the common assumption that thematic relationships automatically insure musical coherence, because the repetition or the transformation of a theme is only meaningful if we consider when it occurs. This argument is developed through a close reading of passages from the full range of Western music. Analyses of dramatic narratives in Haydn, Beethoven, Schubert, and Chopin reveal a richness that can only be captured if thematic or voice-leading relationships are placed within a temporal context. Other kinds of narrative are explored in a Renaissance motet, and in the music of Wolf and Debussy at the end of the 19th Century. The book devotes several chapters to the great innovators of the 20th Century, and concludes with a detailed study of the Schoenberg Trio that traces its thematic and harmonic process to suggest a somewhat oblique relation to the apocalyptic moment when it was composed.
| Author | : Nina Penner |
| Publisher | : Indiana University Press |
| Total Pages | : 312 |
| Release | : 2020-10-06 |
| Genre | : Music |
| ISBN | : 0253049989 |
Storytelling in Opera and Musical Theater is the first systematic exploration of how sung forms of drama tell stories. Through examples from opera's origins to contemporary musicals, Nina Penner examines the roles of character-narrators and how they differ from those in literary and cinematic works, how music can orient spectators to characters' points of view, how being privy to characters' inner thoughts and feelings may evoke feelings of sympathy or empathy, and how performers' choices affect not only who is telling the story but what story is being told. Unique about Penner's approach is her engagement with current work in analytic philosophy. Her study reveals not only the resources this philosophical tradition can bring to musicology but those which musicology can bring to philosophy, challenging and refining accounts of narrative, point of view, and the work-performance relationship within both disciplines. She also considers practical problems singers and directors confront on a daily basis, such as what to do about Wagner's Jewish caricatures and the racism of Orientalist operas. More generally, Penner reflects on how centuries-old works remain meaningful to contemporary audiences and have the power to attract new, more diverse audiences to opera and musical theater. By exploring how practitioners past and present have addressed these issues, Storytelling in Opera and Musical Theater offers suggestions for how opera and musical theater can continue to entertain and enrich the lives of 21st-century audiences.
| Author | : Professor Ryan McClelland |
| Publisher | : Ashgate Publishing, Ltd. |
| Total Pages | : 344 |
| Release | : 2013-01-28 |
| Genre | : Music |
| ISBN | : 1409494020 |
Despite the incredible diversity in Brahms's scherzo-type movements, there has been no comprehensive consideration of this aspect of his oeuvre. Professor Ryan McClelland provides an in-depth study of these movements that also contributes significantly to an understanding of Brahms's compositional language and his creative dialogue with musical traditions. McClelland especially highlights the role of rhythmic-metric design in Brahms's music and its relationship to expressive meaning. In Brahms's scherzo-type movements, McClelland traces transformations of primary thematic material, demonstrating how the relationship of the initial music to its subsequent versions creates a musical narrative that provides structural coherence and generates expressive meaning. McClelland's interpretations of the expressive implications of Brahms's fascinatingly intricate musical structures frequently engage issues directly relevant to performance. This illuminating book will appeal to music theorists, musicologists working on nineteenth-century instrumental music and performers.
| Author | : Esti Sheinberg |
| Publisher | : Routledge |
| Total Pages | : 448 |
| Release | : 2020-03-17 |
| Genre | : Music |
| ISBN | : 1351237519 |
The Routledge Handbook of Music Signification captures the richness and complexity of the field, presenting 30 essays by recognized international experts that reflect current interdisciplinary and cross-disciplinary approaches to the subject. Examinations of music signification have been an essential component in thinking about music for millennia, but it is only in the last few decades that music signification has been established as an independent area of study. During this time, the field has grown exponentially, incorporating a vast array of methodologies that seek to ground how music means and to explore what it may mean. Research in music signification typically embraces concepts and practices imported from semiotics, literary criticism, linguistics, the visual arts, philosophy, sociology, history, and psychology, among others. By bringing together such approaches in transparent groupings that reflect the various contexts in which music is created and experienced, and by encouraging critical dialogues, this volume provides an authoritative survey of the discipline and a significant advance in inquiries into music signification. This book addresses a wide array of readers, from scholars who specialize in this and related areas, to the general reader who is curious to learn more about the ways in which music makes sense.
| Author | : Marie-Laure Ryan |
| Publisher | : U of Nebraska Press |
| Total Pages | : 436 |
| Release | : 2004-01-01 |
| Genre | : Language Arts & Disciplines |
| ISBN | : 9780803289932 |
Narratology has been conceived from its earliest days as a project that transcends disciplines and media. The essays gathered here address the question of how narrative migrates, mutates, and creates meaning as it is expressed across various media. Dividing the inquiry into five areas: face-to-face narrative, still pictures, moving pictures, music, and digital media, Narrative across Media investigates how the intrinsic properties of the supporting medium shape the form of narrative and affect the narrative experience. Unlike other interdisciplinary approaches to narrative studies, all of which have tended to concentrate on narrative across language-supported fields, this unique collection provides a much-needed analysis of how narrative operates when expressed through visual, gestural, electronic, and musical means. In doing so, the collection redefines the act of storytelling. Although the fields of media and narrative studies have been invigorated by a variety of theoretical approaches, this volume seeks to avoid a dominant theoretical bias by providing instead a collection of concrete studies that inspire a direct look at texts rather than relying on a particular theory of interpretation. A contribution to both narrative and media studies, Narrative across Media is the first attempt to bridge the two disciplines.
| Author | : Guido Heldt |
| Publisher | : Intellect (UK) |
| Total Pages | : 312 |
| Release | : 2013 |
| Genre | : Music |
| ISBN | : |
Music and Levels of Narration in Film is the first book-length study to synthesize scholarly contributions toward a narrative theory of film music. Moving beyond the distinction between diegetic and nondiegetic music--or music that is not understood as part of a film's "story world"--Guido Heldt systematically discusses music at different levels of narration, from the extrafictional to "focalizations" of subjectivity. Heldt then applies this conceptual toolkit to study the narrative strategies of music in individual films, as well as genres, including musicals and horror films. The resulting volume will be an indispensable resource for anyone researching or studying film music or film narratology. A PDF version of this book is available for free in open access via the OAPEN Library platform, www.oapen.org It has been made available under a Creative Commons Attribution 4.0 International Public License and is part of Knowledge Unlatched.
