How is it possible to talk or write about music? What is the link between graphic signs and music? What makes music meaningful? In this book, distinguished scholar Leo Treitler explores the relationships among language, musical notation, performance, compositional practice, and patterns of culture in the presentation and representation of music. Treitler engages a wide variety of historical sources to discuss works from medieval plainchant to Berg's opera Lulu and a range of music in between.
How is it possible to talk or write about music? What is the link between graphic signs and music? What makes music meaningful? In this book, distinguished scholar Leo Treitler explores the relationships among language, musical notation, performance, compositional practice, and patterns of culture in the presentation and representation of music. Treitler engages a wide variety of historical sources to discuss works from medieval plainchant to Berg's opera Lulu and a range of music in between.
Leo Treitler is Distinguished Professor of Music Emeritus, CUNY Graduate Center, and Fellow, American Academy of Arts and Sciences.
Inhaltsangabe
Introduction I. Language 1. Language and the Interpretation of Music 2. Being at a Loss for Words 3. Beethoven's "Expressive" Markings II. Performance- 4. The Immanence of Performance in Medieval Song 5. Early Recorded Performances of Chopin Waltzes and Mazurkas: The Relation to the Text III. Notation 6. What Kind of Thing is Musical Notation? 7. Sketching Music, Writing Music IV. Interpretative Frames 8. The Lulu Character and the Character of Lulu 9. History and Archetypes 10. Gender and Other Dualities of Music History 11. Hermeneutics, Exegetics, or What? 12. Facile Metaphors, Hidden Gaps, Short Circuits: Should We Adore Adorno? Notes Bibliography Index
Introduction I. Language 1. Language and the Interpretation of Music 2. Being at a Loss for Words 3. Beethoven's "Expressive" Markings II. Performance- 4. The Immanence of Performance in Medieval Song 5. Early Recorded Performances of Chopin Waltzes and Mazurkas: The Relation to the Text III. Notation 6. What Kind of Thing is Musical Notation? 7. Sketching Music, Writing Music IV. Interpretative Frames 8. The Lulu Character and the Character of Lulu 9. History and Archetypes 10. Gender and Other Dualities of Music History 11. Hermeneutics, Exegetics, or What? 12. Facile Metaphors, Hidden Gaps, Short Circuits: Should We Adore Adorno? Notes Bibliography Index
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