Quartet No 22 D Minor
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Complete String Quartets
Author | : Wolfgang Amadeus Mozart |
Publisher | : Courier Corporation |
Total Pages | : 286 |
Release | : 2013-09-26 |
Genre | : Music |
ISBN | : 0486317129 |
This single volume study score contains all 23 of Mozart's string quartets: the little-known early quartets in an Italianate manner; the six quartets dedicated to Haydn; the D Major Quartet; and more.
An Encyclopedia of the Violin
Author | : Alberto Bachmann |
Publisher | : Courier Corporation |
Total Pages | : 498 |
Release | : 2013-07-24 |
Genre | : Music |
ISBN | : 0486318249 |
First published in 1925, this renowned reference remains unsurpassed as a source of essential information, from construction and evolution to repertoire and technique. Includes a glossary and 73 illustrations.
MUSIC and CAPITALISM
Author | : Sabby Sagall |
Publisher | : Springer Nature |
Total Pages | : 368 |
Release | : 2021-10-06 |
Genre | : Political Science |
ISBN | : 1137520957 |
This book argues that the need for music, and the ability to produce and enjoy it, is an essential element in human nature. Every society in history has produced some characteristic style of music. Music, like the other arts, tells us truths about the world through its impact on our emotional life. There is a structural correspondence between society and music. The emergence of 'modern art music' and its stylistic changes since the rise of capitalist social relations reflect the development of capitalist society since the decline of European feudalism. The leading composers of the different eras expressed in music the aspirations of the dominant or aspiring social classes. Changes in musical style not only reflect but in turn help to shape changes in society. This book analyses the stylistic changes in music from the emergence of ‘tonality’ in the late seventeenth century until the Second World War.
Music Analysis in the Nineteenth Century: Volume 1, Fugue, Form and Style
Author | : Ian Bent |
Publisher | : Cambridge University Press |
Total Pages | : 404 |
Release | : 1994-03-17 |
Genre | : Music |
ISBN | : 9780521259699 |
This book demonstrates, in fascinating diversity, how musicians in the nineteenth century thought about and described music. The analysis of music took many forms (verbal, diagrammatic, tabular, notational, graphic), was pursued for many different purposes (educational, scholarly, theoretical, promotional) and embodied very different approaches. This, the first volume, is concerned with writing on fugue, form and questions of style in the music of Palestrina, Handel, Bach, Mozart, Beethoven and Wagner and presents analyses of complete works or movements by the most significant theorists and critics of the century. The analyses are newly translated into English and are introduced and thoroughly annotated by Ian Bent, making this a volume of enormous importance to our understanding of the nature of music reception in the nineteenth century.
The Beethoven Syndrome
Author | : Mark Evan Bonds |
Publisher | : Oxford University Press |
Total Pages | : 304 |
Release | : 2019-11-11 |
Genre | : Music |
ISBN | : 0190068485 |
The "Beethoven Syndrome" is the inclination of listeners to hear music as the projection of a composer's inner self. This was a radically new way of listening that emerged only after Beethoven's death. Beethoven's music was a catalyst for this change, but only in retrospect, for it was not until after his death that listeners began to hear composers in general--and not just Beethoven--in their works, particularly in their instrumental music. The Beethoven Syndrome: Hearing Music as Autobiography traces the rise, fall, and persistence of this mode of listening from the middle of the eighteenth century to the present. Prior to 1830, composers and audiences alike operated within a framework of rhetoric in which the burden of intelligibility lay squarely on the composer, whose task it was to move listeners in a calculated way. But through a confluence of musical, philosophical, social, and economic changes, the paradigm of expressive objectivity gave way to one of subjectivity in the years around 1830. The framework of rhetoric thus yielded to a framework of hermeneutics: concert-goers no longer perceived composers as orators but as oracles to be deciphered. In the wake of World War I, however, the aesthetics of "New Objectivity" marked a return not only to certain stylistic features of eighteenth-century music but to the earlier concept of expression itself. Objectivity would go on to become the cornerstone of the high modernist aesthetic that dominated the century's middle decades. Masterfully citing a broad array of source material from composers, critics, theorists, and philosophers, Mark Evan Bonds's engaging study reveals how perceptions of subjective expression have endured, leading to the present era of mixed and often conflicting paradigms of listening.
Encyclopedia of the Romantic Era, 1760–1850
Author | : Christopher John Murray |
Publisher | : Routledge |
Total Pages | : 1303 |
Release | : 2013-05-13 |
Genre | : History |
ISBN | : 1135455791 |
In 850 analytical articles, this two-volume set explores the developments that influenced the profound changes in thought and sensibility during the second half of the eighteenth century and the first half of the nineteenth century. The Encyclopedia provides readers with a clear, detailed, and accurate reference source on the literature, thought, music, and art of the period, demonstrating the rich interplay of international influences and cross-currents at work; and to explore the many issues raised by the very concepts of Romantic and Romanticism.
Discordant Melody
Author | : Lorraine Gorrell |
Publisher | : Bloomsbury Publishing USA |
Total Pages | : 326 |
Release | : 2002-09-30 |
Genre | : Music |
ISBN | : 0313095787 |
Esteemed by many of his most distinguished contemporaries, including Arnold Schoenberg , Alexander Zemlinsky (1871-1942) was a protégé of Brahms and Mahler. Despite this, he was overshadowed by the composers of the second Viennese school, and for many years after his death was remembered merely as the brother-in-law of Schoenberg. But with centenary celebrations of Zemlinsky's birth, scholars began a careful examination of his works and realized they had discovered a forgotten master. Zemlinsky's wonderful melodic gift was manifested in operas, choral works, chamber music, and symphonic pieces, but was realized most fully in his more than one hundred songs. In this important new study—the first such work in English—Lorraine Gorrell focuses on these songs, revealing the ways in which they represented a bridge between the 19th-century romantic lied and the 20th-century avant-garde. Of interest to scholars studying both the German art song and the development of the second Viennese school, Gorrell's work uses Zemlinsky's songs as a lens through which to examine an important, highly influential musical figure.