Explorations in Schenkerian Analysis
1st Edition
Published on 1. December 2016
372 pages
978-1-78204-863-3 (ISBN)
Description
Displays the range and diversity of Schenkerian studies today in fifteen essays covering music from Bach through Debussy and Strauss.
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Other editions
Additional editions
David Beach | Su Yin Mak
Explorations in Schenkerian Analysis
Book
12/2016
University of Rochester Press
€157.20
Shipment within 3-4 weeks
Persons
Brown Matthew:
Matthew Brown is Professor of Music Theory at the Eastman School of Music.
Matthew Brown is Professor of Music Theory at the Eastman School of Music.
Content
Preface
A Letter about the C-Major Fugue from The Well-Tempered Clavier, Book 1 - Charles Burkhart
The Opening Tonal Complex of Bach's St. Matthew Passion: A Linear View - Mark Anson-Cartwright
Recurrence and Fantasy in C. P. E. Bach's Rondo in G Major - Frank Samarotto
Voice-Leading Procedures in Galant Expositions - L. Poundie Burstein
The First Movements of Anton Eberl's Symphonies in E-flat Major and D Minor, and Beethoven's Eroica: Toward "New" Sonata Forms? - Timothy Jackson
Schubert's "Unfinished" Symphony: Analytical Observations - David W. Beach
Structural and Form-Functional Ambiguities in the First Movement of Schubert's Octet in F Major, D. 803 - Su Yin Mak
The Form of Chopin's Prelude in B-flat Major, Op. 28, No. 21 - Roger Kamien
"All That Is Solid Melts into Air": Schumann's Overture to Manfred - William Rothstein
Endings without Resolution: The Slow Movement and Finale of Schumann's Second Symphony - Lauri Suurpää
Half-Diminished-Seventh Openings in Brahms's Lieder - Ryan McClelland
Motivic Enlargement in Dvorák's Symphony Op. 70 - Leslie Kinton
Deliverance and Compositional Design in the "Libera me" of Verdi's Messa da Requiem - Donald R. McLean
Polyphony and Cacophony? A Schenkerian Reading of Strauss's "Dance of the Seven Veils" - Matthew Brown
A Force of Nature: Debussy and the Chromatically Displaced Dominant - Boyd Pomeroy
Appendix: An Interview with Edward Laufer - Stephen Slottow
A Letter about the C-Major Fugue from The Well-Tempered Clavier, Book 1 - Charles Burkhart
The Opening Tonal Complex of Bach's St. Matthew Passion: A Linear View - Mark Anson-Cartwright
Recurrence and Fantasy in C. P. E. Bach's Rondo in G Major - Frank Samarotto
Voice-Leading Procedures in Galant Expositions - L. Poundie Burstein
The First Movements of Anton Eberl's Symphonies in E-flat Major and D Minor, and Beethoven's Eroica: Toward "New" Sonata Forms? - Timothy Jackson
Schubert's "Unfinished" Symphony: Analytical Observations - David W. Beach
Structural and Form-Functional Ambiguities in the First Movement of Schubert's Octet in F Major, D. 803 - Su Yin Mak
The Form of Chopin's Prelude in B-flat Major, Op. 28, No. 21 - Roger Kamien
"All That Is Solid Melts into Air": Schumann's Overture to Manfred - William Rothstein
Endings without Resolution: The Slow Movement and Finale of Schumann's Second Symphony - Lauri Suurpää
Half-Diminished-Seventh Openings in Brahms's Lieder - Ryan McClelland
Motivic Enlargement in Dvorák's Symphony Op. 70 - Leslie Kinton
Deliverance and Compositional Design in the "Libera me" of Verdi's Messa da Requiem - Donald R. McLean
Polyphony and Cacophony? A Schenkerian Reading of Strauss's "Dance of the Seven Veils" - Matthew Brown
A Force of Nature: Debussy and the Chromatically Displaced Dominant - Boyd Pomeroy
Appendix: An Interview with Edward Laufer - Stephen Slottow
