-
1
-
-
79954681461
-
-
Madrid published as 'Heinrich Schenker, Anti-historicist', Revista de Musicologia [1994])
-
My thanks to Laurie Stras, Jose Bowen, and various anonymous referees for their comments on this article, which incorporates some materials I presented in a round table session at the Symposium of the International Musicological Society, Madrid, 1992; published as 'Heinrich Schenker, Anti-historicist', Revista de Musicologia, 16 (1993 [1994]), pp. 24-36
-
(1992)
Symposium of the International Musicological Society
, vol.16
, pp. 24-36
-
-
Stras, L.1
Bowen, J.2
-
2
-
-
63849160173
-
-
John Holloway, 'Corelli's Op. 5:Text, Act ... and Reaction'
-
See in particular the three articles, one by each member of the Trio Veracini, published in Early Music, 24 (1996): John Holloway, 'Corelli's Op. 5:Text, Act ... and Reaction' (pp. 635-40)
-
(1996)
Early Music
, vol.24
, pp. 635-640
-
-
Veracini, T.1
-
5
-
-
79954920774
-
-
This edition was issued in Amsterdam by the publishing houses Roger and Mortier; a pirate edition was published by Walsh and Hare in London. There has been disagreement about when it first appeared. Hans-Peter Schmitz (Die Kunst der Verzierung im 18. Jahrhundert (Kassel: Barenreiter, 1955), p. 30)
-
(1955)
Die Kunst der Verzierung im 18. Jahrhundert Kassel: Barenreiter
, pp. 30
-
-
Schmitz, H.1
-
8
-
-
79954683268
-
Baroque Music: A Practical Guide for the Performer
-
all suggest a date around 1715, after Corelli's death, though elsewhere Donington revises this to c. 1712 (review of Rangel-Ribeiro's 'Baroque Music: A Practical Guide for the Performer', Music and Letters, 63 (1982), p. 313)
-
(1982)
Music and Letters
, vol.63
, pp. 313
-
-
Rangel-Ribeiro1
-
9
-
-
79954983359
-
-
Corelli New York: Norton pp. 110ff
-
On the other hand Marc Pincherle (Corelli (New York: Norton, 1956), pp. 110ff.)
-
(1956)
On the other hand Marc Pincherle
-
-
-
10
-
-
63249107691
-
Some Unknown Embellishments of Corelli's Violin Sonatas'
-
Hans Joachim Marx ('Some Unknown Embellishments of Corelli's Violin Sonatas', The Musical Quarterly, 61 (1975), pp. 65-76 (74))
-
(1975)
The Musical Quarterly
, vol.61
, Issue.74
, pp. 65-76
-
-
Joachim Marx, H.1
-
11
-
-
63249130183
-
Corelli's Solo Violin Sonatas Grac'd by Dubourg
-
Copenhagen: Hansen
-
and David Boyden ('Corelli's Solo Violin Sonatas "Grac'd" by Dubourg', in Festskrift Jens Peter Larsen (Copenhagen: Hansen, 1972), pp. 113-25 (113)) favour an earlier date; this is clearly correct, for Marx cites an advertisement for the Roger edition that appeared in an Amsterdam journal in May 1710, while advertisements for the Walsh edition appeared in December 1711
-
(1972)
Festskrift Jens Peter Larsen
, Issue.113
, pp. 113-125
-
-
Boyden, D.1
-
18
-
-
79954935559
-
Edward R.
-
2nd edn, New York: Schirmer Books
-
translated by Edward R. Reilly as On Playing the Flute (2nd edn, New York: Schirmer Books, 1985), pp. 179-80
-
(1985)
Reilly as On Playing the Flute
, pp. 179-180
-
-
-
22
-
-
63249135472
-
Ornaments for Corelli's Violin Sonatas, Op. 5
-
103-5
-
Zaslaw, 'Ornaments for Corelli's Violin Sonatas, Op. 5' (Early Music, 24 (1996), pp. 95-115), pp. 103-5
-
(1996)
Early Music
, vol.24
, pp. 95-115
-
-
Zaslaw1
-
26
-
-
84959843130
-
Schenkers Ein Beitrag zur Ornamentik
-
Universal Edition,Vienna, in 1904. An English translation by of the revised (1908) edition appeared
-
Schenker's Ein Beitrag zur Ornamentik was originally published by Universal Edition,Vienna, in 1904. An English translation by Hedi Siegel of the revised (1908) edition appeared in The Music Forum, 4 (1976), pp. 1-139
-
(1976)
The Music Forum
, vol.4
, pp. 1-139
-
-
Siegel, H.1
-
27
-
-
79954817469
-
-
update the formerly authoritative list of ornamented versions and arrangements in Marx's Catalogue raisonée, pp. 314-25
-
The tables in Zaslaw's 'Ornaments for Corelli's Violin Sonatas', pp. 97-9, update the formerly authoritative list of ornamented versions and arrangements in Marx's Catalogue raisonée, pp. 314-25
-
'Ornaments for Corelli's Violin Sonatas'
, pp. 97-99
-
-
Zaslaw1
-
29
-
-
63849248535
-
Yet More Ornaments for Corelli's Violin Sonatas, Op. 5
-
for a list of variations). No such listing can long remain complete, and Zaslaw's article was followed within a few months by H. Diack Johnstone's 'Yet More Ornaments for Corelli's Violin Sonatas, Op. 5' (Early Music, 24 (1996), pp. 623-33)
-
(1996)
Early Music
, vol.24
, pp. 623-633
-
-
Diack Johnstone, H.1
-
30
-
-
79954950775
-
An Investigation into Arcangelo Corelli's Influence on Eighteenth-Century Spain
-
mention might also be made of the Spanish version mentioned in Craig Russell, 'An Investigation into Arcangelo Corelli's Influence on Eighteenth-Century Spain', Current Musicology, 34 (1982), pp. 42-52
-
(1982)
Current Musicology
, vol.34
, pp. 42-52
-
-
Russell, C.1
-
31
-
-
79954768163
-
-
There are a few anomalies; in his preface to the Moeck edition of the 1707 arrangement for recorder (see n. 16 below) Gerhard Braun advises the performer to study the ornamented version by Nicola Matteis once owned by Quantz but assumed to be lost (see Zaslaw, p. 96), while Donington quotes a few bars from what he calls 'Corelli's playing version' of Op. 5 No. 9, adding that this was communicated privately to him by Sol Babitz (Baroque Music: Style and Performance, p. 104)
-
Baroque Music: Style and Performance
, pp. 104
-
-
Babitz, S.1
-
32
-
-
84900948653
-
Corelli's Tonal Models: The Trio-Sonata
-
Op. in Sergio Durante and Pierluigi Petrobelli (eds.) Florence: Leo S. Olschki (p. 31)
-
Christopher Wintle, 'Corelli's Tonal Models: The Trio-Sonata Op. III, n. 1', in Sergio Durante and Pierluigi Petrobelli (eds.), Nuovissimi Studi Corelliani (Florence: Leo S. Olschki, 1982), pp. 29-69 (p. 31)
-
(1982)
Nuovissimi Studi Corelliani
, vol.3
, Issue.1
, pp. 29-69
-
-
Wintle, C.1
-
34
-
-
79954660317
-
Of the Manner of Playing the Adagio: Structural Levels and Performance Practice in Quantz's
-
Stephen Hefling, '"Of the Manner of Playing the Adagio": Structural Levels and Performance Practice in Quantz's Versuch', Journal of Music Theory, 31 (1987), pp. 205-23
-
(1987)
Versuch', Journal of Music Theory
, vol.31
, pp. 205-223
-
-
Hefling, S.1
-
38
-
-
63249104583
-
'Performing Corelli's Violin Sonatas
-
Most of the performers who adopt the 1710 graces leave these bars as written, with the exception of Catherine Mackintosh who continues the ornamentation; see the discussion of this passage in Peter Walls, 'Performing Corelli's Violin Sonatas, Op. 5' (Early Music, 24 (1996), pp. 133-42), p. 138
-
(1996)
Early Music
, vol.24
, pp. 133-142
-
-
Walls, P.1
-
39
-
-
79954909572
-
-
No. 11 in Marx's list of manuscript versions, though no MS has survived (Catalogue raisonée, p. 323); the whole sonata is reprinted on pp. 62-9 of Schmitz's anthology, and has been recorded by the Locatelli Trio
-
Catalogue raisonée
, pp. 323
-
-
-
40
-
-
79953539371
-
-
On p. 75 ('Some Unknown Embellishments'), Marx gave a spectacular graph collating all the graced versions of the opening two bars of this movement known to him. This graph is reproduced in Stowell, Violin Technique and Performance Practice, p. 340
-
Violin Technique and Performance Practice
, pp. 340
-
-
Stowell1
-
42
-
-
79954859455
-
Performing Corelli's Violin Sonatas
-
Walls, 'Performing Corelli's Violin Sonatas', p. 138
-
-
-
Walls1
-
43
-
-
84868824057
-
The Corelli Solo Sonatas and their Ornamental Additions by Corelli, Geminiani, Dubourg, Tartini, and the Walsh Anonymous
-
Boyden reproduces the equivalent passage (bars 27-30) of Dubourg's performing version of this movement in 'Corelli's Solo Violin Sonatas "Grac'd" by Dubourg', p. 120 (the opening may be found on p. 601 of his article 'The Corelli "Solo" Sonatas and their Ornamental Additions by Corelli, Geminiani, Dubourg, Tartini, and the "Walsh Anonymous'", Musica Antigua III: Acta Scientifica (Bydgoszcz: Bydgoskie Towarzystwo Naukowe, 1972), pp. 591-607, as well as on pp. 118-19 of Pincherle's book)
-
(1972)
Musica Antigua III: Acta Scientifica
, pp. 591-607
-
-
-
44
-
-
79954727386
-
-
Ex. 3
-
Dubourg's version (no. 9 in Marx's list of MSS, p. 322 in the Catalogue raisonée) is much less distinctive than Geminiani's - in effect he relies on scalar filling of Corelli's leaps - but the aim appears to be the same: to turn what Corelli wrote into a motivically consistent theme. Another version, clearly modelled on Geminiani's, is the recently-discovered one by Geminiani's pupil Michael Festing (reproduced in Johnstone, 'Yet More Ornaments', Ex. 3)
-
Yet More Ornaments
-
-
Johnstone1
-
45
-
-
63249107332
-
-
Marx ('Some Unknown Embellishments', p. 67), referring to the altered (but not ornamented) version of the first two movements from Op. 5 No. 2 in a manuscript in the Henry Watson Music Library, Manchester; see below, n. 41
-
Some Unknown Embellishments
, pp. 67
-
-
Marx1
-
47
-
-
84926276423
-
Geminiani the Editor
-
quoted by Susan Kirakowska in her survey of Geminiani's arrangements and revisions of his own and other people's compositions ('Geminiani the Editor', The Music Review, 44 (1983), pp. 13-24)
-
(1983)
The Music Review
, vol.44
, pp. 13-24
-
-
Kirakowska, S.1
-
50
-
-
79954928986
-
Dissertazioni sopra l'Opera Quinta del Corelli
-
See Mary Gray White, 'F. M. Veracini's "Dissertazioni sopra l'Opera Quinta del Corelli"', The Music Review, 32 (1971), pp. 1-26
-
(1971)
The Music Review
, vol.32
, pp. 1-26
-
-
Gray White, M.1
Veracini, F.M.2
-
52
-
-
79954890044
-
The Anti-Galant Attitude of F. M. Veracini
-
John Walter Hill (ed.) Kassel: Barenreiter p. 188. In 'Corelli's Tonal Models', Wintle remarks on the decorative rather than structural qualities of Corelli's fugal thematicism
-
Translated in John Walter Hill, 'The Anti-Galant Attitude of F. M. Veracini' (in John Walter Hill (ed.), Studies in Musicology in Honor of Otto E. Albrecht (Kassel: Barenreiter, 1980), pp. 158-96), p. 188. In 'Corelli's Tonal Models', Wintle remarks on the decorative rather than structural qualities of Corelli's fugal thematicism
-
(1980)
Studies in Musicology in Honor of Otto E. Albrecht
, pp. 158-196
-
-
Walter Hill, J.1
-
53
-
-
79954820468
-
-
Hill, 'The Life andWorks', p. 287. In brief, the first group of entries is followed (after a half-bar extension) by a second group in which entries continue to alternate between violin and bass but occur at different tonal levels and at diminishing intervals, culminating in a climactic section that consists of three repetitions of the first four notes of the head motive in sequence. This leads with a clear sense of home-coming to a brief final section consisting of two entries, both in the tonic, in stretto; Veracini's movement bears the traces of the beginning-middle-end paradigm associated with the sonata style in a way that Corelli's does not
-
The Life andWorks
, pp. 287
-
-
Hill1
-
57
-
-
84968283725
-
Interrelationships in Corelli
-
Hill's account of Veracini's retrospective and in this sense neo-classicising reception of Corelli can be profitably read in the context of Dennis Libby's suggestive remarks about the eighteenth-century construction of 'the meek, timid, and gentle character of Corelli', as Burney put it ('Interrelationships in Corelli', Journal of the American Musicological Society, 26 (1973), pp. 263-287)
-
(1973)
Journal of the American Musicological Society
, vol.26
, pp. 263-287
-
-
Hill1
-
58
-
-
79954713774
-
-
The Bologna manuscript generally lacks figures in the bass, eliminates dynamic and bowing indications together with Corelli's 'arpeggio' markings, and contains a number of terminal copying errors (Hill, Life and Works, p. 287
-
Life and Works
, pp. 287
-
-
Hill1
-
59
-
-
79954881164
-
-
White, 'F. M. Veracini's "Dissertazioni"', p. 9). It should be noted that it is not an autograph
-
Veracinis
, pp. 9
-
-
White, F.M.1
-
60
-
-
79954881164
-
-
Dissertazioni
-
In 'Some Unknown Embellishments' Marx describes the recomposed version of the first two movements from Op. 5 No. 2 contained in a MS in the Henry Watson Music Library, Manchester, and putatively attributes it to Corelli's pupil Pietro Castrucci (an attribution which Zaslaw does not accept). But while he comments that 'the compositional structure has been tampered with' (p. 67), he does not observe that these reworkings are closely related to Veracini's; indeed they are far closer to Veracini than to Corelli. And it is striking that the largest number of deviations occur at the point which appears to have given Veracini most trouble in his reworking (the 'Fuga di cinque note' in the second movement, of which the 'Dissertazioni' include two versions, both included in the Kolneder edition; see White, 'F. M. Veracini's "Dissertazioni"', pp. 25-6)
-
Veracini's
, pp. 25-26
-
-
White, F.M.1
-
61
-
-
79954843728
-
-
The link between the Handel circle and the 'Dissertazioni', which are not otherwise known to have circulated in Veracini's lifetime, suggests that they may have originated from the period of Veracini's residence in London (1733-45), while the evidence of watermarks indicates that the Manchester manuscripts date from 1748-50 ('Some Unknown Embellishments', p. 68)
-
Some Unknown Embellishments
, pp. 68
-
-
-
62
-
-
84897237339
-
-
The date of composition may then have been significantly earlier than that of the Bologna MS, which Hill assigns to about 1760 - the same time as the treatise (Life and Works, p. 82)
-
Life and Works
, pp. 82
-
-
-
63
-
-
79954639955
-
-
she remarks (specifically in relation to his use of non-harmonic notes), 'cannot always be accurately determined'
-
White seems at times perplexed by the lack of consistency in Veracini's procedures; 'Veracini's preferences', she remarks (specifically in relation to his use of non-harmonic notes), 'cannot always be accurately determined' (p. 7)
-
Veracini's preferences
, pp. 7
-
-
-
65
-
-
79954981641
-
If It's Baroque, Don't Fix It": Reflections on Lydia Goehr's "work-Concept" and the Historical Integrity of Musical Composition'
-
For an argument that the concept of the musical work is implicit in musical practice prior to 1800, see Harry White, '"If It's Baroque, Don't Fix It": Reflections on Lydia Goehr's "Work-Concept" and the Historical Integrity of Musical Composition', Acta Musicologica, 59 (1997), pp. 94-104
-
(1997)
Acta Musicologica
, vol.59
, pp. 94-104
-
-
White, H.1
-
66
-
-
60949465019
-
Musical Pasts and Postmodern Musicologies: A Response to Lawrence Kramer
-
See, in particular, Gary Tomlinson, 'Musical Pasts and Postmodern Musicologies: A Response to Lawrence Kramer', Current Musicology, 53 (1993), pp. 18-24
-
(1993)
Current Musicology
, vol.53
, pp. 18-24
-
-
Tomlinson, G.1
-
67
-
-
0013538656
-
-
Chicago: Chicago University Press
-
The general position advanced here is familiar from Jerome McGann, A Critique of Modern Textual Cricitism (Chicago: Chicago University Press, 1983)
-
(1983)
A Critique of Modern Textual Cricitism
-
-
McGann, J.1
-
69
-
-
79954662106
-
The Chopin Problem: Simultaneous Variants and Alternate Versions
-
chap. 7 Cambridge, MA: Harvard University Press
-
republished with minor changes as 'The Chopin "Problem": Simultaneous Variants and Alternate Versions', chap. 7 of Kallberg's Chopin at the Boundaries: Sex, History, and Musical Genre (Cambridge, MA: Harvard University Press, 1996)
-
(1996)
Kallberg's Chopin at the Boundaries: Sex, History, and Musical Genre
-
-
-
71
-
-
0004183695
-
-
for a fuller explanation of the concept of musical affordance see Nicholas Cook, Analysing Musical Multimedia (Oxford: Clarendon Press, 1998), pp. 96-7
-
(1998)
Analysing Musical Multimedia
, pp. 96-97
-
-
Cook, N.1
-
72
-
-
79954882968
-
-
rans. and ed. Ernst Oster New York: Longman
-
Heinrich Schenker, trans. and ed. Ernst Oster, Free Composition (New York: Longman, 1979), Vol. l, p. 68
-
(1979)
Free Composition
, vol.50
, pp. 68
-
-
Schenker, H.1
-
73
-
-
79954720984
-
-
Schenker specifically anticipates this objection near the beginning of chap. 1: 'A particular form of the fundamental structure by no means requires particular prolongations; if it did, all forms of the fundamental structure would have to lead to the same prolongational forms' (Free Composition,Vol. 1, p. 25)
-
Free Composition
, vol.1
, pp. 25
-
-
-
74
-
-
60949184667
-
-
For a discussion of this passage (with a different translation), see Robert Snarrenberg, Schenker's Interpretive Practice (Cambridge: Cambridge Unversity Press, 1997), p. 98
-
(1997)
Schenker's Interpretive Practice
, pp. 98
-
-
Snarrenberg, R.1
-
76
-
-
60949198869
-
-
I have discussed this in a pedagogical context in Analysis through Composition (Oxford: Oxford University Press, 1996), chap. 6
-
(1996)
Analysis through Composition
-
-
-
77
-
-
0041198695
-
-
Oxford: Clarendon Press
-
see also Music, Imagination, and Culture (Oxford: Clarendon Press, 1990), pp. 64-5
-
(1990)
Music, Imagination, and Culture
, pp. 64-65
-
-
-
78
-
-
79954725522
-
Arrangement as Analysis
-
'Arrangement as Analysis', Journal of Music Theory Pedagogy, 1 (1987), pp. 77-89
-
(1987)
Journal of Music Theory Pedagogy
, vol.1
, pp. 77-89
-
-
-
79
-
-
84950663380
-
-
279
-
This position resonates with Libby's general claim about Corelli that 'Very often one feels that the music is similar to something used elsewhere because it is the underlying harmonic progression and the way that it fits into the overall tonal format that really interests Corelli much more than the surface character of the music'; in 'Corelli's Tonal Models', Wintle might be seen as providing a theoretical framework for Libby's informal observations. Libby's implied association of underlying structure and work identity is undermined, however, by his subsequent statement that 'often in Corelli's music one feels similarities of differing degrees of preciseness of harmonic and tonal design and of skeletal pitch outline between movements or parts of them' ('Interrelationships', pp. 267, 279)
-
Interrelationships
, pp. 267
-
-
-
81
-
-
60949263637
-
-
n. 41 above
-
No. 5 in Marx's list of MS elaborations (Catalogue raisonée, p. 322); see n. 41 above
-
Catalogue raisonée
, pp. 322
-
-
Marxs1
-
82
-
-
49949091538
-
Either/Or
-
Hedi Siegel ed, Cambridge: Cambridge University Press
-
Carl Schachter, 'Either/Or', in Hedi Siegel (ed.), Schenker Studies (Cambridge: Cambridge University Press, 1990), pp. 165-79
-
(1990)
Schenker Studies
, pp. 165-179
-
-
Schachter, C.1
-
83
-
-
35448965896
-
The Musical Text
-
Nicholas Cook and, eds, Oxford: Oxford University Press
-
Stanley Boorman, 'The Musical Text' (in Nicholas Cook and Mark Everist (eds.), Rethinking Music (Oxford: Oxford University Press, 1999), pp. 403-23), p. 416
-
(1999)
Rethinking Music
, pp. 403-423
-
-
Boorman, S.1
-
84
-
-
84912908609
-
Narrative Versions, Narrative Theories
-
p. 216
-
Barbara Herrnstein Smith, 'Narrative Versions, Narrative Theories' (Critical Inquiry, 7 (1980), pp. 213-36), p. 216
-
(1980)
Critical Inquiry
, vol.7
, pp. 213-236
-
-
Herrnstein Smith, B.1
-
85
-
-
84968118323
-
The History of Remembered Innovation: Tradition and its Role in the Relationship between Musical Works and their Performances
-
p. 147
-
José A. Bowen, 'The History of Remembered Innovation: Tradition and its Role in the Relationship between Musical Works and their Performances' (Journal of Musicology, 11 (1993), pp. 139-73), p. 147
-
(1993)
Journal of Musicology
, vol.11
, pp. 139-173
-
-
Bowen, J.A.1
-
86
-
-
5844279684
-
-
Berkeley: University of California Press
-
Charles Seeger, Studies in Musicology 1935-75 (Berkeley: University of California Press, 1977), p. 316
-
(1977)
Studies in Musicology 1935-75
, pp. 316
-
-
Seeger, C.1
-
87
-
-
79954885416
-
Musical Historiography from an Other Perspective
-
Harold Powers attributes a similar structure to what, by association with Goehr's work-concept, he calls the 'raga-concept' of Indian classical music (Harold Powers, 'Musical Historiography from an Other Perspective', in 'Round Table IV: Historiography', Acta Musicologica, 59 (1997), pp. 25-8)
-
(1997)
Round Table IV: Historiography, Acta Musicologica
, vol.59
, pp. 25-28
-
-
Powers, H.1
-
89
-
-
79954948910
-
-
Oxford: Blackwell
-
Wittgenstein develops the concept of family resemblances in the course of a well-known discussion of games, in which he argues that there is no one feature that all games have in commmon, but that any game has features that it shares with other games, in the same way that members of a family look like one another even though there may be no single characteristic that they all share (Ludwig Wittgenstein, Philosophical Investigations, trans. G. E. M. Anscombe (Oxford: Blackwell, 1968), pp. 31-2)
-
(1968)
Ludwig Wittgenstein, Philosophical Investigations
, pp. 31-32
-
-
Anscombe, G.E.M.1
-
90
-
-
79954841274
-
Open concept
-
Lydia Goehr discusses family resemblances in relation to what she calls the 'open concept' of the musical work (The Imaginary Museum, pp. 90-95
-
The Imaginary Museum
, pp. 90-95
-
-
Goehr, L.1
-
91
-
-
79954963622
-
-
also p. 62
-
see also p. 62)
-
-
-
-
92
-
-
65849112855
-
-
others to invoke family resemblances in this context include José Bowen, who applies it to jazz standards ('The History of Remembered Innovation', pp. 145-7)
-
The History of Remembered Innovation
, pp. 145-147
-
-
Bowen, J.1
-
93
-
-
65649149275
-
Family Resemblances and Variability in the Sephardic Romancero: A Methodological Approach to Variantal Comparison
-
and Judith Etzion and Susana Weich-Shahak ('"Family Resemblances" and Variability in the Sephardic Romancero: A Methodological Approach to Variantal Comparison', Journal of Music Theory, 37 (1993), pp. 267-309)
-
(1993)
Journal of Music Theory
, vol.37
, pp. 267-309
-
-
Etzion, J.1
Weich-Shahak, S.2
-
94
-
-
84968285637
-
-
I have suggested elsewhere that the Schenkerian model of large-scale musical form is best understood as reflecting historical patterns of compositional imagination, basing my argument on the discrepancies between this model and perceptual data ('The perception of large-scale tonal closure', Music Perception, 5 (1987), pp. 197-205)
-
(1987)
Music Perception
, vol.5
, pp. 197-205
-
-
-
95
-
-
79954832581
-
The Interpretation of Musical Sources
-
p. 154
-
Kurt von Fischer, 'The Interpretation of Musical Sources' (Fontes Artis Musicae, 19 (1972), pp. 148-54), p. 154
-
(1972)
Fontes Artis Musicae
, vol.19
, pp. 148-154
-
-
Von Fischer, K.1
-
99
-
-
84968163092
-
Theory, Text-Setting, and Performance
-
p. 62
-
Lawrence Rosenwald, 'Theory, Text-Setting, and Performance' (Journal of Musicology, 11 (1993), pp. 52-65), p. 62
-
(1993)
Journal of Musicology
, vol.11
, pp. 52-65
-
-
Rosenwald, L.1
-
100
-
-
79954894107
-
Music Minus One: Rock, Theory, and Performance
-
p. 38
-
I have previously explored some of the ramifications of this formulation in 'Music Minus One: Rock, Theory, and Performance' (New Formations, 27 (1995-6), pp. 23-41), p. 38
-
(1995)
New Formations
, vol.27
, pp. 23-41
-
-
-
103
-
-
79954644720
-
-
There is obviously an issue here of the relationship between these scores and actual performances - including performances by their authors. For one thing, some of these notated versions were no doubt produced for pedagogical purposes - to act as models for less expert players - and pedagogical representations often have a decidedly non-linear relationship to the practices they represent. For another, there is the paradox that, since free ornamentation was ideally spontanous, any performance which simply followed written-out notation would by definition be less than ideal. Such recalcitrant questions, which might be focused around Bowen's distinction between the 'sample' and the 'summary' ('The History of Remembered Innovation', p. 160)
-
The History of Remembered Innovation
, pp. 160
-
-
-
105
-
-
61049564934
-
Rink, review of Berry's
-
See, for instance, John Rink, review of Berry's Musical Structure and Performance, Music Analysis, 9 (1990), pp. 319-39
-
(1990)
Musical Structure and Performance, Music Analysis
, vol.9
, pp. 319-339
-
-
John1
-
106
-
-
60949296925
-
Performance and Analysis: Interaction and Interpretation
-
John Rink ed, Cambridge: Cambridge University Press
-
Joel Lester, 'Performance and Analysis: Interaction and Interpretation', in John Rink (ed.), The Practice of Performance: Studies in Musical Interpretation (Cambridge: Cambridge University Press, 1995), pp. 197-216
-
(1995)
The Practice of Performance: Studies in Musical Interpretation
, pp. 197-216
-
-
Lester, J.1
-
108
-
-
11144258193
-
Beyond Privileged Contexts: Intertextuality, Influence, and Dialogue
-
Cook and, eds
-
Kevin Korsyn, 'Beyond Privileged Contexts: Intertextuality, Influence, and Dialogue' (in Cook and Everist (eds.), Rethinking Music, pp. 55-72), p. 60
-
Rethinking Music
-
-
Korsyn, K.1
-
109
-
-
79954704334
-
-
Schenker, Free Composition, Vol. 1, p. 56, of apparent parallel fifths and octaves: 'Composer and listener meet in the understanding of the true situation, which is contained in the middleground.'
-
Free Composition
, vol.1
, pp. 56
-
-
Schenker1
-
110
-
-
77950040095
-
-
PhD diss, University of California at Berkeley
-
Although conceived independently, the connections I am talking about bear a generic resemblance to the 'linear ascents' described by Robert Fink in 'Arrows of Desire: Linear Structure and the Transformation of Musical Energy' (PhD diss., University of California at Berkeley, 1994)
-
(1994)
Arrows of Desire: Linear Structure and the Transformation of Musical Energy
-
-
Fink, R.1
-
111
-
-
79954805776
-
Design as a Key to Structure in Tonal Music
-
Maury Yeston (ed.) New Haven:Yale University Press 72-93
-
Classic statements include Ernst Oster, 'Register and the Large-Scale Connection' and John Rothgeb, 'Design as a Key to Structure in Tonal Music', both in Maury Yeston (ed.), Readings in Schenker Analysis and Other Approaches (New Haven:Yale University Press, 1977), pp. 54-71, 72-93
-
(1977)
Readings in Schenker Analysis and Other Approaches
, pp. 54-71
-
-
Rothgeb, J.1
-
113
-
-
79954928980
-
Heinrich Schenker, Polemicist: A Reading of the Ninth Symphony Monograph
-
See Nicholas Cook, 'Heinrich Schenker, Polemicist: a Reading of the Ninth Symphony Monograph', Music Analysis, 14 (1995), pp. 89-105
-
(1995)
Music Analysis
, vol.14
, pp. 89-105
-
-
Cook, N.1
-
114
-
-
79954736465
-
The Artusi-Monteverdi Controversy
-
Fux, then, provides a link on the one hand with Schenker and on the other with the back-to-Palestrina movement represented by Veracini's 'Dissertazione'; in this way the seventeenth-century 'neo-severe' style, as Claude Palisca terms it ('The Artusi-Monteverdi Controversy', in Denis Arnold and Nigel Fortune (eds.). The New Monteverdi Companion (London: Faber, 1985), p. 158), provides a context for Schenker's own brand of twentieth-century retrospection
-
(1985)
The New Monteverdi Companion
, pp. 158
-
-
-
115
-
-
62449136235
-
Music Theory and Good Comparison: A Viennese Perspective
-
In this paragraph I am developing an argument that I originally outlined in 'Music Theory and "Good Comparison": a Viennese Perspective' (Journal of Music Theory, 33 (1989), pp. 117-41)
-
(1989)
Journal of Music Theory
, vol.33
, pp. 117-141
-
-
-
116
-
-
79954941950
-
The Purposes of Transcription
-
pp. 311-12
-
Pandora Hopkins, 'The Purposes of Transcription' (Ethnomusicology, 10 (1966), pp. 310-17), pp. 311-12
-
(1966)
Ethnomusicology
, vol.10
, pp. 310-317
-
-
Hopkins, P.1
-
117
-
-
60949150587
-
Chord and Discourse: Listening Through the Written Word
-
Steven Paul Scher ed, Cambridge: Cambridge University Press
-
Peter J. Rabinowitz, 'Chord and Discourse: Listening Through the Written Word', in Steven Paul Scher (ed.), Music and Text: Critical Inquiries (Cambridge: Cambridge University Press, 1992), pp. 38-56
-
(1992)
Music and Text: Critical Inquiries
, pp. 38-56
-
-
Rabinowitz, P.J.1
-
120
-
-
84933487934
-
The Editor and the Virtuoso, or Schenker versus Bülow
-
Nicholas Cook, 'The Editor and the Virtuoso, or Schenker versus Bülow', Journal of the Royal Musical Association, 116 (1991), pp. 78-95
-
(1991)
Journal of the Royal Musical Association
, vol.116
, pp. 78-95
-
-
Cook, N.1
-
121
-
-
84968217823
-
Heinrich Schenker as an Interpreter of Beethoven's Piano Sonatas
-
p. 24
-
William Rothstein, 'Heinrich Schenker as an Interpreter of Beethoven's Piano Sonatas' (19th-century Music, 8 (1984), pp. 3-28), p. 24
-
(1984)
19th-century Music
, vol.8
, pp. 3-28
-
-
Rothstein, W.1
-
122
-
-
60949210957
-
Schenker and Improvisation
-
John Rink, 'Schenker and Improvisation', Journal of Music Theory, 37 (1993), pp. 1-54
-
(1993)
Journal of Music Theory
, vol.37
, pp. 1-54
-
-
Rink, J.1
|