This book demonstrates, in fascinating diversity, how musicians in the nineteenth century thought about and described music. The analysis of music took many forms (verbal, diagrammatic, tabular, notational, graphic), was pursued for many different purposes (educational, scholarly, theoretical, promotional) and embodied very different approaches. This, the first volume, is concerned with writing on fugue, form and questions of style in the music of Palestrina, Handel, Bach, Mozart, Beethoven and Wagner and presents analyses of complete works or movements by the most significant theorists and critics of the century. The analyses are newly translated into English and are introduced and thoroughly annotated by Ian Bent, making this a volume of enormous importance to our understanding of the nature of music reception in the nineteenth century.... only one single law for modulation, but 142 Technical analysis of form and style. 75 76 78 79 8o 6 3!, 6 3!, 5 6 456 456 3 4 5 4 3d 4d 6 4 3Ar 4d 6 6d 6 6 Bass -line ft A ft ft A G Fd B D C B ft F D 7a#39;agt; 5 7a#39;agt; 5 13 12 5 3Ar 3* 71, 3d 7a#39;agt; 31) 3lagt; 31l 5 anbsp;...
|Title||:||Music Analysis in the Nineteenth Century: Fugue, form, and style|
|Publisher||:||Cambridge University Press - 1994|