Quartet in E Major, No. 59. Op. 54 No. 3
| Author | : Joseph Haydn |
| Publisher | : |
| Total Pages | : |
| Release | : 1920* |
| Genre | : |
| ISBN | : |
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Quartet no. 59, E major, for 2 violins, viola and violoncello, op. 54, no. 3
| Author | : Joseph Haydn |
| Publisher | : |
| Total Pages | : 32 |
| Release | : 1975 |
| Genre | : String quartets |
| ISBN | : |
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String Quartet, Op. 54, No. 3, E Major
| Author | : Joseph Haydn |
| Publisher | : |
| Total Pages | : |
| Release | : 19?? |
| Genre | : |
| ISBN | : |
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The Finale in Western Instrumental Music
| Author | : Michael Talbot |
| Publisher | : Oxford Monographs on Music |
| Total Pages | : 272 |
| Release | : 2001 |
| Genre | : Language Arts & Disciplines |
| ISBN | : 9780198166955 |
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The knowledge that finales are by tradition (and perhaps also necessarily) 'different' from other movements has been around a long time, but this is the first time that the special nature of finales in instrumental music has been examined comprehensively and in detail. Three main types offinale, labelled 'relaxant', 'summative', and 'valedictory', are identified. Each type is studied closely, with a wealth of illustration and analytical commentary covering the entire period from the Renaissance to the present day. The history of finales in five important genres -- suite, sonata,string quartet, symphony, and concerto -- is traced, and the parallels and divergences between these traditions are identified. Several wider issues are mentioned, including narrativity, musical rounding, inter-movement relationships, and the nature of codas. The book ends with a look at thefinales of all Shostakovich's string quartets, in which examples of most of the types may be found.
Interpreting Musical Gestures, Topics, and Tropes
| Author | : Robert S. Hatten |
| Publisher | : Indiana University Press |
| Total Pages | : 372 |
| Release | : 2017-09-04 |
| Genre | : Literary Criticism |
| ISBN | : 0253030277 |
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"Robert Hatten's new book is a worthy successor to his Musical Meaning in Beethoven, which established him as a front-rank scholar . . . in questions of musical meaning. . . . [B]oth how he approaches musical works and what he says about them are timely and to the point. Musical scholars in both musicology and theory will find much of value here, and will find their notions of musical meaning challenged and expanded." —Patrick McCreless This book continues to develop the semiotic theory of musical meaning presented in Robert S. Hatten's first book, Musical Meaning in Beethoven (IUP, 1994). In addition to expanding theories of markedness, topics, and tropes, Hatten offers a fresh contribution to the understanding of musical gestures, as grounded in biological, psychological, cultural, and music-stylistic competencies. By focusing on gestures, topics, tropes, and their interaction in the music of Mozart, Beethoven, and Schubert, Hatten demonstrates the power and elegance of synthetic structures and emergent meanings within a changing Viennese Classical style. Musical Meaning and Interpretation—Robert S. Hatten, editor
Menahem Pressler
| Author | : William Brown |
| Publisher | : Indiana University Press |
| Total Pages | : 329 |
| Release | : 2008-12-03 |
| Genre | : Biography & Autobiography |
| ISBN | : 0253013526 |
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As soloist, master class teacher, and pianist of the world-renowned Beaux Arts Trio, Menahem Pressler can boast of four Grammy nominations, three honorary doctorates, more than 80 recordings, and lifetime achievement awards presented by France, Germany, and Israel. Former Pressler student William Brown traces the master's pianistic development through Rudiakov, Kestenberg, Vengerova, Casadesus, Petri, and Steuermann, blending techniques and traditions derived from Beethoven, Chopin, Liszt, and J. S. Bach. Brown presents Pressler's approach to performance and teaching, including technical exercises, principles of relaxation and total body involvement, and images to guide the pianist's creativity toward expressive interpretation. Insights from the author's own lessons, interviews with Pressler, and recollections of more than 100 Pressler students from the past 50 years are gathered in this text. Measure-by-measure lessons on 23 piano masterworks by, among others, Bach, Bartók, Debussy, and Ravel as well as transcriptions of Pressler's fingerings, hand redistributions, practicing guidelines, musical scores, and master class performances are included.
Twelve Miniatures
| Author | : César Cui |
| Publisher | : Alfred Music |
| Total Pages | : 68 |
| Release | : |
| Genre | : Music |
| ISBN | : 9781457470721 |
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Cui composed character pieces that are appropriate for lessons or recitals.
Harmony in Beethoven
| Author | : David Damschroder |
| Publisher | : Cambridge University Press |
| Total Pages | : 307 |
| Release | : 2016-03-31 |
| Genre | : Music |
| ISBN | : 1107134587 |
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David Damschroder's new analytical perspective sheds fresh light on Beethoven's harmonic structures.
Graphic Music Analysis
| Author | : Eric Wen |
| Publisher | : Rowman & Littlefield |
| Total Pages | : 390 |
| Release | : 2019-02-14 |
| Genre | : Music |
| ISBN | : 1538104679 |
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This book approaches Schenkerian analysis in a practical and accessible manner fit for the classroom, guiding readers through a step-by-step process. It is suitable for advanced undergraduates and graduate students of musicology, music theory, composition, and performance, and it is replete with a wide variety of musical examples.
Rudolf Serkin
| Author | : Stephen Lehmann |
| Publisher | : Oxford University Press |
| Total Pages | : 361 |
| Release | : 2003-01-16 |
| Genre | : Music |
| ISBN | : 0195351444 |
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This book is the first biography of 20th-century pianist Rudolf Serkin, providing a narrative of Serkin's life with emphasis on his European roots and the impact of his move to America. Based on his personal papers and correspondence, as well as extensive interviews with friends, family, and colleagues, the authors focus on three key aspects of Serkin's work, particularly as it unfolded in America: his art and career as a pianist, his activities as a pedagogue, including his long association with the Curtis Institute in Philadelphia, and his key role in institutionalizing a redefinition of musical values in America through his work as artistic director of the Marlboro Music School and Festival in Vermont. A candid and colorful blend of narrative and interviews, it offers a probing look into the life and character of this very private man and powerful musical personality.
