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Art of Post-Tonal Analysis: Thirty-Three Graphic Music Analyses [Kõva köide]

(Distinguished Professor, Graduate Center, City University of New York)
  • Formaat: Hardback, 238 pages, kõrgus x laius x paksus: 260x183x18 mm, kaal: 531 g, 400 examples
  • Ilmumisaeg: 13-Jun-2022
  • Kirjastus: Oxford University Press Inc
  • ISBN-10: 0197543979
  • ISBN-13: 9780197543979
Teised raamatud teemal:
Art of Post-Tonal Analysis: Thirty-Three Graphic Music AnalysesSuurem pilt
  • Formaat: Hardback, 238 pages, kõrgus x laius x paksus: 260x183x18 mm, kaal: 531 g, 400 examples
  • Ilmumisaeg: 13-Jun-2022
  • Kirjastus: Oxford University Press Inc
  • ISBN-10: 0197543979
  • ISBN-13: 9780197543979
Teised raamatud teemal:
Püsilink: https://www.kriso.ee/db/9780197543979.html
Märksõnad:
The Art of Post-Tonal Analysis consists of analyses of thirty-three musical passages or entire short works in a variety of post-tonal styles. For each piece author Joseph N. Straus shows how it is put together and what sense might be made of it: how the music goes. Along the way, he shows
the value of post-tonal theory in addressing these questions, and in revealing something of the fascination and beauty of this music. The works under study are taken from throughout the long twentieth century, from 1909 to the present. Within the atonal wing of modern classical music, the
composers discussed here, some canonical and some not, represent a diversity of musical style, chronology, geography, gender, and race/ethnicity.
Musical examples, plus a companion website full of analytical videos, carry the burden of the analytical argument, with rarely more than a few sentences of prose at a time. In writing these analyses, Straus imagined teaching these pieces to a class of undergraduate or graduate students, seated at
the piano, pointing at score, listening as they go--the book is intended as a record of these (hypothetical) classes. His approach could be loosely described as transformational, rooted in an interest in seeing how musical ideas (shapes, intervals, motives) grow, change, and effloresce. When
musical ideas are obviously dissimilar and possibly in conflict, the book teases out subtle points of connection between them. Above all, the book aims to create rich networks of relatedness, allowing our musical minds and musical ears to lead each other along some of the many enjoyable pathways
through this challenging and beautiful music.

Arvustused

Joseph Straus, who has given us the classic text Introduction to Post-Tonal Theory, now provides a refreshingly diverse introduction to post-tonal repertoire. Concise multimedia analyses offer entry-points into pieces, composers, and analytical skills. These Graphic Music Analyses will be tremendously useful for teachers and students alike. * Daphne Leong, University of Colorado Boulder * Equal parts brass tacks and fudge brownies, these analyses will challenge and delight. The repertoire is appealingly varied, the musical instincts spot-on, and the prose clear and compact. * Julian Hook, Jacobs School of Music, Indiana University * Author of Introduction to Post-Tonal Theory (2016), Joseph Straus has gifted post-tonal pedagogues with this compendium that complements many of the concepts and analyses in his popular textbook. This text is unique in its assemblage of self-contained analytical vignettes, brought to life through multimedia. This last element-multimedia integration-makes the text particularly appropriate for use in the classroom. Those who engage this text without pedagogical intentions but, rather, for the pleasure of analysis itself will find Strausâs work enriching. He has placed great care into both selecting previously underappreciated works that provide opportunities for compelling interpretative arguments and reexamining familiar works through a fresh lens. There is something for everyoneâfrom the novice post-tonal instructor to the experienced analyst-to enjoy. * Gerardo Lopez, Integral * Straus is... a leading authority on disability studies, and some of the features of the book and accompanying website seem designed to accommodate different learning styles...He also consistently uses analysis to support issues of interpretation, particularly of text-setting. * Christian Carey, Tempo * Joseph N. Straus's most recent book is a masterclass in the pedagogical presentation of post-tonal analysis. Straus defines his approach within the domain of post-tonal theory, primarily focusing on pitch, through a lens that "could be loosely described as transformational". * David Floyd, Notes: the Quarterly Journal of the Music Library Association 81:1 *

Muu info

Winner of Winner, Pedagogy of Music Theory Award, Society for Music Theory.
Preface vii
About the Companion Website and Analytical Videos ix
1 Arnold Schoenberg, Piano Pieces, Op. 11, No. 1 (1909)
1(6)
2 Anton Webern, Movements for String Quartet, Op. 5, No. 2 (1909)
7(4)
3 Alban Berg, "Schlafend tragt man mich," from Four Songs, Op. 2, No. 2 (1910)
11(4)
4 Igor Stravinsky, The Rite of Spring, Introduction to Part I (1913)
15(5)
5 Igor Stravinsky, Three Pieces for string quartet, No. 2 (1914)
20(6)
6 Arnold Schoenberg, Five Piano Pieces, Op. 23, No. 3 (1923)
26(3)
7 Bela Bartok, String Quartet No. 3, Prima parte (1927)
29(4)
8 Aaron Copland, Piano Variations, Theme (1930)
33(6)
9 Ruth Crawford Seeger, Diaphonic Suite No. 1, first movement (1930)
39(5)
10 Ruth Crawford Seeger, String Quartet, first movement (1931)
44(6)
11 Anton Webern, "Wie bin ich froh!" from Three Songs, Op. 25, No. 1 (1934)
50(5)
12 Milton Babbitt, "The Widow's Lament in Springtime" (1951)
55(4)
13 Luigi Dallapiccola, "Die Sonne kommt!" from Goethe Lieder, No. 2 (1953)
59(4)
14 Igor Stravinsky, "Music to Hear," from Three Shakespeare Songs, No. 2 (1953)
63(8)
15 Louise Talma, "La Corona," from Holy Sonnets (1955)
71(8)
16 Hale Smith, Three Brevities for Solo Flute, No. 2 (1969)
79(5)
17 Elisabeth Lutyens, Two Bagatelles, Op. 48, No. 1 (1962)
84(6)
18 Igor Stravinsky, Fanfare for a New Theatre (1964)
90(5)
19 Igor Stravinsky, "Exaudi," from Requiem Canticles (1966)
95(7)
20 Ursula Mamlok, Panta Rhei for piano, violin, and cello, third movement (1981)
102(6)
21 Elliott Carter, Riconoscenza per Goffredo Petrassi for solo violin (1984)
108(6)
22 Tania Leon, Ritual (1987)
114(12)
23 Tan Dun, Intercourse of Fire and Water for solo cello (1996)
126(6)
24 Shulamit Ran, Soliloquy for violin, cello, and piano (1997)
132(6)
25 Kaija Saariaho, Papillons for solo cello, No. 3 (2000)
138(4)
26 Joan Tower, Vast Antique Cubes (2000)
142(7)
27 John Adams, On the Transmigration of Souls (2002)
149(5)
28 Sofia Gubaidulina, Reflections on the Theme B--A--C--H (2002)
154(7)
29 Thomas Ades, The Tempest, Act III, Scene 5 (2003)
161(7)
30 Thomas Ades, "Days," from Four Quarters for string quartet (2010)
168(5)
31 Caroline Shaw, Valencia for string quartet (2012)
173(5)
32 Chen Yi, Energetic Duo for two violins (2015)
178(5)
33 Suzanne Farrin, "Unico spirto," from Dolce la morte (2016)
183(8)
Post-Tonal Primer 191(18)
Bibliography and Suggestions for Further Reading 209(8)
Index 217
Joseph N. Straus is Distinguished Professor at the Graduate Center, City University of New York, where he has taught since 1985. After receiving his Ph.D. from Yale in 1981, he taught briefly at the University of Wisconsin and, in addition to his work at CUNY, has since held visiting positions at the University of Chicago, Harvard, Yale, Princeton, and NYU. During that time, he has written numerous articles and scholarly monographs on a variety of topics in modernist music. In recent years, he has also written a series of articles and books that engage disability as a cultural practice. He was President of the Society for Music Theory in the late 1990s.