In a striking theoretical re-positioning, Barbara Barry proposes that problem-solving, as in scientific theory, asks strategic questions of how and why important musical compositions work the way they do. She focuses on three criteria of investigation: identity, implementation and intrusion, in order to define normative frameworks of style and form. These normative constructs provide frames of reference by which to evaluate powerful innovation in music, and in larger contexts of art, literature and the history of ideas.
Introduction - The Making of the Motif: The Contour of Melancholy in the
Lute-Songs of John Dowland - The Re-Making of the Motif: Literary Contexts as
Determinants in Bach and Berlioz - The Transformation of the Motif:
Lamp-Lighters in Mahler's Musical World - In Beethovens Clockshop:
Discontinuity in the Opus 18 Quartets - Spiral Time and the Paradigm of
Persuasion: Recontextualizing Beethoven's String Quartet Op. 127 - Invisible
Cities and Imaginary Landscapes 'quasi una fantasia': On Beethoven's Op. 131
- Mind the Gap: Pitch Connectors and Sectional Disjunction in Schuberts
Late Instrumental Music - Chronicles and Witnesses: 'A Survivor from Warsaw'
in Adorno's Broken Mirror - Coda - Bibliography
In a striking theoretical re-positioning, the author proposes that problem-solving, as in scientific theory, asks strategic questions of how and why important musical compositions work the way they do. She focuses on three criteria of investigation: identity, implementation and intrusion, in order to define normative frameworks of style and form. These normative constructs provide frames of reference by which to evaluate powerful innovation in music, and in larger contexts of art, literature and the history of ideas.
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