More Than Meets the Ear: A Study of the Semantics of MusicRejecting the need for theories about theories, this book suggests that one can find the meaning of classical musical compositions by attending just "to the facts themselves." Seeking to promote critical and intelligent appreciation of music, the author discusses a range of classical works, pointing out what he believes the composer is communicating and the way in which it is communicated. He examines (and offers examples of) musical games, symbolism, musical tension, melody and melodic line. The latter half of the work is devoted to applying the preceding topics to specific works by Bach, Beethoven, Debussy, Ravel, and other composers. Annotation copyrighted by Book News, Inc., Portland, OR. |
Contents
The Game of Likenesses | 9 |
The Sound of Music | 19 |
The Materials of Music | 31 |
Musical Hermeneutics | 43 |
Listening Historically | 49 |
Principles Specific to Music Chapter 10 Musical Tension | 59 |
Other Sources of Tension | 79 |
Song and Dance | 85 |
Short Classic and Baroque Compositions | 229 |
Compositions of Intermediate Length | 253 |
Theme and Variations | 267 |
Beethoven Sonatas | 291 |
Other Composers | 325 |
Romantic Sonatas and Fantasies | 375 |
Back to Bach | 441 |
Fugue after Bach | 473 |
Some Consequences | 93 |
The Literature of the Piano Chapter 14 Introductory Remarks | 99 |
Mephisto Waltz | 107 |
TwoPart Inventions in F and fm | 117 |
Reflets dans leau | 131 |
Works by Bach Byrd Mozart Chopin Schubert and Rachmaninoff | 137 |
Short Romantic Compositions | 159 |
Short Romantic Compositions cont | 191 |
Debussy and Ravel | 493 |
More Clothes for the Emperor | 533 |
More Clothes for the Emperor cont | 559 |
Later Developments | 575 |
Appendix Rhetorical Figures in Music | 581 |
Notes | 603 |
Index | 607 |
Copyright | |