Texture as a Sign in Classic and Early Romantic Music

Journal of the American Musicological Society

Volumn 35, Issue 3, 1982, Pages 482-531

  Levy, Janet M ^a  

^a NONE   (United States)

Author keywords

[No Author keywords available]

Indexed keywords

EID: 84968054144     PISSN: 00030139     EISSN: None     Source Type: Journal    
DOI: 10.2307/830985     Document Type: Article

References (28)

1. Jean S. Bamberger and Howard Brofsky, The Art of Listening: Developing Musical Perception (New York, 1975).
2. Wallace Berry, Structural Functions In Music (Englewood Cliffs, 1976).
3. Frank E. Lorince, Jr., “A Study of Musical Texture in Relation to Sonata-Form As Evidenced in Selected Keyboard Sonatas from C.P.E. Bach Through Beethoven” (Ph.D. diss., Eastman School of Music, Univ. of Rochester, 1966).
4. Orin Moe, “Texture in the String Quartets of Haydn to 1787” (Ph.D. diss., Univ. of California at Santa Barbara, 1970).
5. Leonard G. Ratner, “Texture, a Rhetorical Element in Beethoven's Quartets,” Israel Studies in Musicologa, II (1980), 51-62.
6. Aesthetics: Problems in the Philosophy of Criticism [New York, 1958], p. 332.
7. Georges de Saint-Foix, The Symphonies of Mozart, trans. Leslie Orrey [London, 1947], pp. 64-65).
8. Thayer's Life of Beethoven, ed. Elliott Forbes, rev. ed. (Princeton, 1967), p. 131.
9. William S. Newman, The Sonata in the Classic Era [Chapel Hill, 1963], p. 183).
10. “The Music of India,” The New Oxford History of Music, I: Ancient and Oriental Music, ed. Egon Wellesz [London, 1957], 215.
11. Edward T. Cone, The Composer's Voice (Berkeley, 1974).
12. Leonard B. Meyer, Emotion and Meaning in Music (Chicago, 1956).
13. Janet M. Levy, Beethoven's Compositional Choices: The Two Versions of Opus 18, No. 1, First Movement (Philadelphia, 1982).
14. H. C. Robbins Landon, in Haydn: Chronicle and Works (Bloomington, 1977), IV, 287.
15. Warren Kirkendale, Fugue and Fugato in Rococo and Classical Chamber Music (Durham, 1979), pp. 98-100.
16. Walter Wiora (The Four Ages of Music, trans. M. D. Herter Norton [New York, 1965], p. 89).
17. Alfred Einstein, Gluck, trans. Eric Blom (London, 1936), p. 73.
18. Georg Feder, “Similarities in the Works of Haydn,” Studies in Eighteenth-Century Music, ed. H. C. Robbins Landon in collaboration with Roger E. Chapman (New York, 1970), p. 194.
19. Nicholas Kenyon in The New Yorker, 11 February 1980, p. 90.
20. Nicholas Kenyon in The New Yorker, 1 June 1981, p. 128.
21. Donald Francis Tovey, Essays in Musical Analysis, III: Concertos (London, 1936), 80-81.
22. Janet M. Levy, “The Quatuor Concertant in Paris in the Latter Half of the Eighteenth-Century” (Ph.D. diss., Stanford Univ., 1971), pp. 269-72.
23. Alfred Einstein, Mozart: His Character, His Work, trans. Arthur Mendel and Nathan Broder (London, 1945), pp. 264-65.
24. Eric Blom in The Mozart Companion, ed. Louis Biancolli (New York, 1954), p. 533.
25. The Operas of Verdi, II [New York, 1979], 81.
26. Cone, The Composer's Voice, pp. 103-104.
27. Joseph Kerman, The Quartets of Beethoven (New York, 1967), pp. 355-57.
28. Clifford Geertz, The Interpretation of Culture (New York, 1973), p. 112.