Analysis Of 18th And 19th Century Musical Works In The Classical Tradition

Analysis of 18th- and 19th-Century Musical Works in the Classical Tradition is a textbook for upper-level undergraduate and graduate courses in music analysis. It outlines a process of analyzing works in the Classical tradition by uncovering the construction of a piece of music—the formal, harmonic, rhythmic, and voice-leading organizations—as well as its unique features. It develops an in-depth approach that is applied to works by composers including Haydn, Mozart, Beethoven, Schubert, Schumann, and Brahms. The book begins with foundational chapters in music theory, starting with basic diatonic harmony and progressing rapidly to more advanced topics, such as phrase design, phrase expansion, and chromatic harmony. The second part contains analyses of complete musical works and movements. The text features over 150 musical examples, including numerous complete annotated scores. Suggested assignments at the end of each chapter guide students in their own musical analysis.

Since it was first published in 1993, the Sourcebook for Research in Music has become an invaluable resource in musical scholarship. The balance between depth of content and brevity of format makes it ideal for use as a textbook for students, a reference work for faculty and professional musicians, and as an aid for librarians. The introductory chapter includes a comprehensive list of bibliographical terms with definitions; bibliographic terms in German, French, and Italian; and the plan of the Library of Congress and the Dewey Decimal music classification systems. Integrating helpful commentary to instruct the reader on the scope and usefulness of specific items, this updated and expanded edition accounts for the rapid growth in new editions of standard works, in fields such as ethnomusicology, performance practice, women in music, popular music, education, business, and music technology. These enhancements to its already extensive bibliographies ensures that the Sourcebook will continue to be an indispensable reference for years to come.

Displays the range and diversity of Schenkerian studies today in fifteen essays covering music from Bach through Debussy and Strauss.

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 music of the nineteenth century was - and still is - thought of as a 'romantic' art, whereas the main current of the literature and fine arts of the age was 'realist' from about 1830. Yet some works are consistently described as 'realistic': Nusorgsky's Boris and Bizet's Carmen are only the most frequently cited examples. Professor Dahlhaus sets out the criteria of realism, with particular reference to French and German theorists and examines the extent to which they apply to music too. While his findings do not reverse the verdict that the music of the age was in general romantic, he demonstrates that musical realism consists in much more than imitation of natural sounds or tone-painting. The notes are revised here for the English-speaking reader.

Accompanying CD-ROM in pocket at the rear of book.

In this second volume of nineteenth-century music analyses, Ian Bent provides a further selection of newly translated writings of nineteenth-century music critics and theorists, including composers such as Wagner, Schumann and Berlioz, and critics such as A. B. Marx and E. T. A. Hoffmann. Where Volume I, on Fugue, Form and Style, presented nineteen analyses of a technical nature, all the writing here involves a metaphorical style of verbalised description, some pure examples, and others hybrid forms mixed with technical analysis. The music analysed is amongst the best-known in the repertoire: Wagner writes on Beethoven's Ninth Symphony, E. T. A. Hoffmann on the Fifth, Schumann writes on Berlioz, and Berlioz on Meyerbeer. Professor Bent presents each analysis with its own detailed introduction and each is amplified by supporting information in footnotes.

Excerpt from Complete Musical Analysis: A System Designed to Cultivate the Art of Analyzing and Criticising and Assist in the Performance and Understanding of the Works of the Great Composers of the Different Epochs Whenever a certain style or form is described the description should be followed by a performance of that particular type, in order to stamp the unsealed impression of the worded explanation upon the mind. In these cases the questions are to be omitted until the chapter has been concluded. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

This ambitious study offers a panoramic survey of musical thought in the eighteenth century and, at the same time, a close analysis of the important theoretical topics of the period. The result is the most comprehensive account ever given of the theory behind the music of late Baroque and early Classical composers from Bach to Beethoven. While giving preeminent theorists their due, Joel Lester also examines the works of over one hundred eighteenth- and seventeenth-century writers to show how prominent theories were received and applied in actual teaching situations. Beginning with the influence of Zarlino and seventeenth-century theorists, Lester goes on to focus on central traditions emerging from definitive works in the early eighteenth century: species counterpoint in the writings of Fux; thoroughbass as presented by Niedt and Heinichen; Rameau's harmonic theories and Mattheson's views on melodic structure. The author traces the development and interactions of these traditions over the remainder of the century, through the writings of Albrechtsberger, C. P. E. Bach, Kirnberger, Koch, Marpurg, Martini, Nichelmann, Riepel, and many others. This historical overview is leavened throughout with accounts of individual composers grappling with theoretical issues - Haydn's careful study of Fux's treatise, Mozart's instructions on harmony to his composition students, Beethoven's own student exercises. The links between various theoretical traditions, the pervasive influence of Rameau's harmonic thinking, and the harmonic theories of Koch are just some of the numerous topics given their first full treatment here. Many of the theorists Lester cites are either unknown or often misunderstoodtoday. By bringing their contributions to light and placing them within the context of theoretical tradition, Lester offers a fresh perspective, one that will inform and enhance any future study of this magnificent era in Western music.