A Theory of Musical Narrative provides both an excellent introduction to an increasingly important conceptual domain and a complex reassessment of its possibilities and characteristics.
A Theory of Musical Narrative provides both an excellent introduction to an increasingly important conceptual domain and a complex reassessment of its possibilities and characteristics.
Byron Almén is Associate Professor of Music Theory at The University of Texas at Austin. He is coeditor of Approaches to Meaning in Music and coauthor of Tonal Harmony.
Inhaltsangabe
Contents Preface Acknowledgments Part 1. A Theory of Musical Narrative 1. An Introduction to Narrative Analysis: Chopin's Prelude in G Major, Op. 28, No. 3 2. Perspectives and Critiques 3. A Theory of Musical Narrative: Conceptual Considerations 4. A Theory of Musical Narrative: Analytical Considerations 5. Narrative and Topic Part 2. Archetypal Narratives and Phases 6. Romance Narratives and Micznik's Degrees of Narrativity 7. Tragic Narratives: An Extended Analysis of Schubert, Piano Sonata in B-flat Major, D. 960, First Movement 8. Ironic Narratives: Subtypes and Phases 9. Comic Narratives and Discursive Strategies 10. Summary and Conclusion Glossary Notes Bibliography Index
Contents Preface Acknowledgments Part 1. A Theory of Musical Narrative 1. An Introduction to Narrative Analysis: Chopin's Prelude in G Major, Op. 28, No. 3 2. Perspectives and Critiques 3. A Theory of Musical Narrative: Conceptual Considerations 4. A Theory of Musical Narrative: Analytical Considerations 5. Narrative and Topic Part 2. Archetypal Narratives and Phases 6. Romance Narratives and Micznik's Degrees of Narrativity 7. Tragic Narratives: An Extended Analysis of Schubert, Piano Sonata in B-flat Major, D. 960, First Movement 8. Ironic Narratives: Subtypes and Phases 9. Comic Narratives and Discursive Strategies 10. Summary and Conclusion Glossary Notes Bibliography Index
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