1,721,031 research outputs found
Metric manipulations in Haydn and Mozart: chamber music for strings, 1787-1791
No full textPlaying with Meter makes a significant contribution to music theory and to the growing conversation on metric perception and musical composition. Focusing on the chamber music of Haydn and Mozart produced during the years 1787 to 1791, the period of most intense metric experimentation in the output of both composers, author Danuta Mirka presents a systematic discussion of metric manipulations in music of the late 18th-century. By bringing together historical and present-day theoretical approaches to rhythm and meter on the basis of their shared cognitive orientations, the book places the ideas of 18th-century theorists such as Riepe, Sulzer, Kirnberger and Koch into dialogue with modern concepts in cognitive musicology, particularly those of Fred Lerdahl and Ray Jackendoff, David Temperley, and Justin London. In addition, the book puts considerations of subtle and complex meter found in 18th-century musical handbooks and lexicons into point-by-point contact with Harald Krebs's recent theory of metrical dissonance. The result is an innovative and illuminating reinterpretation of late 18th-century music and music perception which will have resonance in scholarship and in analytical teaching and practice. Playing with Meter will appeal to students and scholars in music theory and cognition/perception, and will also have appeal to musicologists studying Haydn and Mozart
Atitikimo ciurlionio simfonineje poemoje jura [Die Idee der Correspondances in der symphonischen Dichtung Das Meer von M. K. Ciurlionis]
No full textCzy istnieje muzyczna Ekphrasis? [S. Bruhn Musical Ekphrasis. Composers responding to poetry and painting; Musical Ekphrasis in Rilkes Marien-Leben]
No full textTeozofia, muzyka i swiatlo: o funkcji swiatla w poemacie symfonicznym Prometeusz Aleksandra Skriabina
No full textTopics and meter
No full textThe connection between topics and meter was supported by Wye Allanbrook (1983) with references to eighteenth-century authors representing an old tradition of metric notation in which meter was closely related to tempo, affect, and genre. In the late eighteenth century this tradition was continued by Johann Philipp Kirnberger, who posited a standard tempo for each meter: the so-called tempo giusto. But the tradition of tempo giusto was dissolved by another tradition of metric notation in which time signatures had no tempo significance and no affective implications. While the new tradition enabled eighteenth-century composers to include several topics in one piece, it complicates the task of the analyst by making identification of topics contingent on identification of the composed meter and, in some cases, on analysis of phrase structure. This chapter demonstrates the problem of topical identification in relation to the main theme of Mozart’s Symphony in G minor, K. 550/i
Analyzing Haydn's Quartets. Book review of Floyd Grave and Margaret Grave, The String Quartets of Joseph Haydn
No full textAlthough Haydn should not be regarded as the father of the string quartet, he contributed more than any of his contemporaries to the rise and growth of the genre. Recently his quartets have been the subject of intensive research, resulting in new editions as well as historical and analytical studies of individual works. Yet this wealth of material, spread across articles in specialized journals or essay collections, is not easily accessible to an interested reader. Hence this new monograph is all the more welcome. Both of them eminent scholars, Floyd and Margaret Grave bring to this undertaking not only a comprehensive knowledge of the existing literature but also an admirable ability to present their material coherently and to supplement it with their own analytical insight
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