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Seminar paper from the year 2011 in the subject Musicology - Miscellaneous, grade: A- (entspricht 1-), Utrecht University (Roosevelt Academy), course: Musiktheorie, language: English, abstract: Franz Schubert (1797-1828) composed one of his most famous Lieder “Gretchen am Spinnrade” (“Gretchen at the Spinning Wheel”) in 1814 when he was just seventeen years old. This Lied which is a setting of a scene of Johann Wolfgang von Goethe's Faust I exemplary shows the mastery of Schubert. With seemingly simple means he paints the clear picture of smitten Gretchen who sits at the spinning wheel and yearns for the intellectual, older, nobleman Heinrich Faust after their kiss in the garden house. The following provides an in-depth musictheoretical analysis of this Lied to show that Schubert did not only provide a suitable musical adaption of Goethe's poem but he even enhanced the picture of smitten Gretchen and “paints” beside her emotions and thoughts also her motions.
This book presents a theory of metrical conflict and applies it to the music of Schumann, thereby placing the composer's distinctive metrical style in full focus. It describes the various categories of metrical conflict that characterize Schumann's work, investigates how states of conflict are introduced and then manipulated and resolved in his compositions, and studies the interaction of such metrical conflict with form, pitch structure, and text. Throughout the text, Krebs intersperses his own theoretical assertions with Schumannesque dialogues between Florestan and Eusebius, who comment on the theory at hand while also discussing and illustrating relevant aspects of "their" metrical practices.
Music moves through time; it is not static. In order to appreciate music wemust remember what sounds happened, and anticipate what sounds might comenext. This book takes you on a journey of music from past to present, from the Middle Ages to the Baroque Period to the 20th century and beyond!
A selection of songs from Einaudi's 2007 album, specially transcribed for solo Piano. The composer writes, In this folio you will find most of the music from the Divenire album. There are a number of pieces in this book, particularly those that are accompanied by orchestra or feature electronic sounds, that Ludovico Einaudi has personally altered in order to achieve a better solo piano transcription, and the piece Svanire, for cello and strings, has been replaced with Luce, a solo piano piece that is available on iTunes as a bonus track. Songlist - Primavera - Fly - Monday - Rose - Uno - Divenire - Andare - Oltremare - L'Origine Nascosta - Ascolta - Ritornare - Luce
Claude has an intuitive faith in something splendid and feels at odds with his contemporaries. The war offers him the opportunity to forget his farm and his marriage of compromise; he enlists and discovers that he has lacked. But while war demands altruism, its essence is destructive
"A volume of Adorno is equivalent to a whole shelf of books on literature." Susan Sontag
This book is Schoenberg's last completed theoretical work and represents his final thoughts on the subject of classical and romantic harmony. The earlier chapters recapitulate in condensed form the principles laid down in his 'Theory of Harmony'; the later chapters break entirely new ground, for they analyze the system of key relationships within the structure of whole movements and affirm the principle of 'monotonality, ' showing how all modulations within a movement are merely deviations from, and not negations of, its main tonality.
Goethe's Faust, a work which has attracted the attention of composers since the late eighteenth century and played a vital role in the evolution of vocal, operatic and instrumental repertoire in the nineteenth century, hashad a seminal impact in musical realms.
Structure and Style, first published in 1962 and expanded in 1979, fills the need for new ways of analysis that put 20th-century music in perspective. It spans forms in use before 1600 through forms and techniques in use today. Anthology of Musical Forms provides musical examples of forms treated in Structure and Style. Some examples are analyzed throughout. Most are left for the student to analyze. These books reflect Leon Stein's impressive background as student, musician, and composer. Stein studied composition with Leo Sowerby, Frederick Stock (conductor of the Chicago Symphony) and orchestration with Eric DeLamarter, his assistant. He earned M. Mus and Ph.D degrees at DePaul University and was associated with its School of Music as director of the Graduate Division and chairman of the Department of Theory and Composition until his retirement in 1976. He has composed a wide variety of works, including compositions for orchestra, chamber combinations, two operas, and a violin concerto.