| Contents |
The phrase rhythm of Chopin's A-flat Mazurka, op. 59, no. 2 / Charles Burkhart -- Hypermeter and hypermetric irregularity in the songs of Josephine Lang / Harald Krebs -- Schenker's conception of musical structure / Allen Forte -- "Learn to draw Bob Hope!": Mort Drucker, Arnold Schoenberg, and twelve-tone music / Andrew Mead -- Analyzing the unity within contrast: Chick Corea's "Starlight" / Ramon Satyendra -- Form in rock music: a primer / John Covach -- Introduction to musical ambiguity / Deborah Stein -- Attacking a Brahms puzzle / Edward T. Cone -- Figaro's mistakes / David B. Lewin -- Motive and text in four Schubert songs / Carl Schachter -- Isolde's transfiguration in words and music / Patrick McCreless -- Meaning in a popular song: the representation of masochistic desire in Sarah McLachlan's "Ice" / Lori Burns -- In search of Purcell's Dido / Janet Schmalfeldt -- The Presto from Bach's G-minor sonata for violin solo: style, rhythm, and form in a baroque Moto Perpetuo / Joel Lester -- Dramatic progression in Haydn, sonata no. 46 in A-flat, Adagio / Marion A. Guck -- Formal and expressive intensification in Shostakovich's string quartet no. 8, second movement / Roger Graybill -- Playing with forms: Mozart's Rondo in D major, K. 485 / William Rothstein -- Two post-tonal analyses, Webern, "Wie bin ich froh!" from Three songs, op. 25; Schoenberg, "Nacht," from Pierrot Lunaire, op. 21 / Joseph N. Straus -- "This music crept by me upon the waters": introverted motives in Beethoven's "Tempest" sonata / Richard Cohn -- "Rounding up the usual suspects?": the enigmatic narrative of Chopin's C-sharp minor prelude / Charles J. Smith -- Texture and timbre in Barbara Kolb's Millefoglie for chamber orchestra and computer-generated tape / Judith Lochhead. |
| Abstract |
The first collection of its kind, this book includes twenty-two selections by highly esteemed contemporary music theorists, seventeen of which were written especially for this volume. Featuring work by such luminaries as Charles Burkhart, Edward T. Cone, Allen Forte, David B. Lewin, and Carl Schachter, the book is an ideal text for undergraduate and graduate courses in form and analysis. It also serves as an invaluable reference for music teachers, students, and musicians. Opening with an introduction to writing analytical essays, this book then presents introductory readings that describe analytical approaches to rhythm, meter, and phrase; pitch (twelve-tone music); form in jazz and rock music; and musical ambiguity. The following essays offer exemplary models of analysis that cover a wide range of composers, from the Baroque (Purcell and Bach) and the Classical (Beethoven, Haydn, and Mozart) to the nineteenth century (Brahms, Chopin, Schubert, Schumann, and Wagner) and the early twentieth century (Bartok, Schoenberg, and Webern). The selections explore a diversity of genres--from opera to music for computer-generated tape--and a variety of analytical approaches, from Schenkerian to feminist. The volume also includes analyses of popular music (from jazz to a Sarah MacLachlan song) and of a relatively recent work by Barbara Kolb. A comprehensive glossary defines terms and concepts that may be unfamiliar to students, and a selected bibliography suggests other appropriate readings. Reflecting the broad spectrum of current interests and perspectives in the field, this book provides a unique window into the multifaceted world of music theory and analysis. |
