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. |
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Page 220
... contrasts are between pairs of pieces . In number 3 and again in number 6 , the contrast is within the piece itself . ( Though number 2 has a middle section , it is more a carrying out of the mood than a contrast . The contrast is with ...
... contrasts are between pairs of pieces . In number 3 and again in number 6 , the contrast is within the piece itself . ( Though number 2 has a middle section , it is more a carrying out of the mood than a contrast . The contrast is with ...
Page 295
... contrast in loudness between the first theme and the transitional material , and that contrast is repeated within the second theme group and in the closing theme . ( Secondness ) ( 4 ) The contrast in activity comes not between the main ...
... contrast in loudness between the first theme and the transitional material , and that contrast is repeated within the second theme group and in the closing theme . ( Secondness ) ( 4 ) The contrast in activity comes not between the main ...
Page 467
... contrast in dynamics and in pitch give it a delicacy which is quite different from the sturdiness of the tutti . The ... contrast between the large group and the small group , but contains also the contrast between affirmation or ...
... contrast in dynamics and in pitch give it a delicacy which is quite different from the sturdiness of the tutti . The ... contrast between the large group and the small group , but contains also the contrast between affirmation or ...
Contents
The Game of Likenesses | 9 |
The Sound of Music | 19 |
The Materials of Music | 31 |
Copyright | |
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More Than Meets the Ear: A Study of the Semantics of Music Gilbert Fischer No preview available - 2002 |
Common terms and phrases
accompaniment Allegro arpeggiated B-flat Bach Bach's bass beauty becomes Beethoven begins in measure Brahms c-minor cadence cadenza Chapter character Chopin chorale chromatic climax closing theme coda composers composition concerto contrapuntal contrast counterpoint dance Debussy Debussy's discussed dissonance dominant emotional episode Etudes example exposition expression F-sharp fact feeling figure formal fugue harmonies harpsichord Haydn hear imitation keyboard last movement Liszt major chord Mazurka meaning meas melodic line melody Mendelssohn Mephisto Mephisto Waltz minor key minuet modulating mood motif motion Mozart notes octave passage passion pattern pedal point performance perhaps piano piece play Prelude psychological Ravel recapitulation relationship repeated rhythm rhythmic Romantic rondo scale scherzo Schubert Schumann second theme sequence sighs singing slow movement Sonata sonata form song sound stretto subdominant subdominant chord symbol Symphony tempo tension third tonality tones tonic transition values variations virtuosity voices Waltz Well-Tempered Clavier words