By James M. Baker, David W. Beach, Jonathan W. Bernard
This number of nineteen essays, all through leaders within the box of song conception, displays the wealthy range of subject matters and ways presently being explored. The contributions fall inside 3 significant components of analysis that haveremained on the center of the self-discipline. One is historic learn, inclusive of efforts to track the advance of theoretical principles and their philosophical bases. Representing this vast class are essays facing matters like Scriabin's mysticism, neoclassicism, glossy aesthetics, and the advance of the idea that of pitch assortment in twentieth-century theoretical writings. the second one sector embraces the speculation and research of common-practicetonality and its linked repertoire (including chromatic and `transitional' music). inside of this type are a number of experiences comparable on to or derived from Schenkerian conception, overlaying repertoire from Bach via Schubert and Chopin to Gershwin. Complementing those articles are a examine of a chromatic paintings through Liszt and an essay on Schoenberg's inspiration of tonality. The 3rd huge class comprises the massive physique of labor linked to the theoryand research of post-tonal track. Representing this large sector of inquiry are essays facing voice top in atonal song and increasing Allen Forte's thought of the set advanced, and analytical stories facing works via Schoenberg and Webern. including to those contributions are articles that take care of works through composers much less often mentioned within the analytical literature, Milhaud and Peter Maxwell Davies, and an empirical research of aural cognition of atonal and tonal track. those essays, all via colleagues, acquaintances, and scholars of Allen area of expertise are meant as a celebrationof his huge, immense contribution to the self-discipline of tune concept. JAMES BAKER is Professor of track at Brown college; DAVID seashore is Dean of the college of song on the collage of Toronto; JONATHAN BERNARD is Professor of tune on the college of Washington.
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Extra info for Music Theory in Concept and Practice
All the barriers built up by convention and habit seemed to shrivel, and I felt in those few moments a free and purposeful individual. The sound of her voice stayed with me, and became a physical sensation, almost like a taste, that one can recall at will” (Davenport, 225–7). 46 For Cather, too, the singing voice is vessel for a fluid stream that gushes from, and overflows, her metaphor for art as a sheath or mold that imprisons for a moment desire for life itself (Cather, 367). 47 “What if one’s second self could somehow speak to all these second selves in the people who cared, believed in her?
Mary McIntosh, “The Homosexual Role,” Social Problems 16, no. 2 (Fall 1968); reprinted in The Making of the Modern Homosexual, ed. Kenneth Plummer (London: Hutchinson, 1981), 32. 3. David M. Halperin, One Hundred Years of Homosexuality and Other Essays on Greek Love (New York: Routledge, 1990), 7. Eve Kosofsky Sedgwick, Epistemology of the Closet (Berkeley: University of California Press, 1990), 40. ” 5. Diana Fuss, Essentially Speaking (New York: Routledge, 1989), xiv. Sedgwick, Epistemology of the Closet, 43.
As she becomes her roles, “her artistic imagination on fire,” an avenging female desire ignites her art: “Passion is the stimulant, the drink, the food, the fertilizer for art,” cries Styr. “Nurse this! …Let the passions of all womankind tear my heart as they tore Isolde’s when they transformed her into a fate and the avenger of her sex” (Atherton, 95, 110, 281). Lena Geyer is “suspicious and harsh” toward men whom she rejects (Davenport, 213). Her one intimate relationship is with a shy, devoted fan, Elsie deHaven, who in 1907 becomes Lena’s live-in and touring companion, beloved confidante, and “invisible necessity” (216).