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Book
10 v. ; 24 cm. + 1 CD-ROM + Supplbd.
  • Bd. 1. Allgemeine Theorie der Musik I : Historik, Grundlagen der Musik, Ästhetik
  • Bd. 2. Allgmeine Theorie der Musik II : Kritik, Musiktheorie/Opern- und Librettotheorie, Musikwissenschaft
  • Bd. 3. Musiktheorie des 17. Jahrhunderts-18. Jahrhunderts
  • Bd. 4. 19. Jahrhundert I. Theorie / Asthetik / Geschichte: Monographien
  • Bd. 5. 19. Jahrhundert II. Theorie/Asthetik/Geschichte: monographien
  • Bd. 6. 19. Jahrhundert III. Ludwig van Beethoven ; Aufsätze zur Ideen- und Kompositionsgeschichte ; Texte zur Instrumentalmusik
  • Bd. 7. 19. Jahrhundert IV. Richard Wagner - Texte zum Musiktheater
  • Bd. 8. 20. Jahrhundert. Historik, Ästhetik, Theorie, Oper; Arnold Schönberg
  • Bd. 9. Rezensionen
  • Bd. 10. Varia
  • Supplbd. Register - Verzeichnisse.
Music Library, SAL3 (off-campus storage)
Book
xxxiii, 204 pages ; 22 cm.
Music Library
Book
v. : ill. ; 24 cm.
  • Bd. 1. Oper und symphonischer Stil, 1770-1820
  • Bd. 2. Oper und symphonischer Stil 1800-1850 : von E.T.A. Hoffmann zu Richard Wagner.
Music Library
Book
550 leaves : music.
Music Library
Book
xxviii, 254 p., 16 p. of plates : ill. ; 25 cm.
  • Life and work' personal style and the individuality of single works-- "Ingenium" and "Witz"-- the symphonic style-- issues in sonata form-- theme and character-- the "underlying idea"-- form as idea-- the "new path"-- "Fidelio"-- church music and the religion of art-- subthematicism' late works.
  • (source: Nielsen Book Data)9780198161486 20160527
In this volume, an author combines interpretations of individual works which go into issues of composition and musical history, instead of merely duplicating in words what can already be read in the scores, with excursions into the musical aesthetics of the period around 1800 - an age which was not only a "classical" period in the history of the arts but also one in which aesthetics carved itself a place in the centre of philosophical attention. The theme of the book is the reconstruction of Beethoven's "musical thinking" from the evidence in the works themselves and their context in the history of ideas.
(source: Nielsen Book Data)9780198161486 20160527
Music Library
Book
xv, 389 p. : music ; 25 cm.
Music Library
Book
1 online resource (406 pages) : music
  • *FrontMatter, pg. i*Contents, pg. v*Translator's Preface, pg. vii*A Guide to the Terminology of German Harmony, pg. xi*Introduction, pg. 1*I. The Theory of Harmonic Tonality, pg. 7*II. Intervallic and Chordal Composition, pg. 67*III. Mode and System, pg. 153*IV. Analyses, pg. 249*Notes, pg. 325*Bibliography, pg. 371*Index, pg. 381.
  • (source: Nielsen Book Data)9780691608624 20180530
Carl Dahlhaus was without doubt the premier musicologist of the postwar generation, a giant whose recent death was mourned the world over. Translated here for the first time, this fundamental work on the development of tonality shows his complete mastery of the theory of harmony. In it Dahlhaus explains the modern concepts of harmony and tonality, reviewing in the process the important theories of Rameau, Sechter, Ftis, Riemann, and Schenker. He contrasts the familiar premises of chordal composition with the lesser known precepts of intervallic composition, the basis for polyphonic music in the late Middle Ages and Renaissance. Numerous quotations from theoretical treatises document how early music was driven forward not by progressions of chords but by simple progressions of intervals. Exactly when did composers transform intervallic composition into chordal composition? Modality into tonality? Dahlhaus provides extensive analyses of motets by Josquin, frottole by Cara and Tromboncino, and madrigals by Monteverdi to demonstrate how, and to what degree, such questions can be answered. In his bold speculations, in his magisterial summaries, in his command of eight centuries of music and writings on music, and in his deep understanding of European history and culture, Carl Dahlhaus sets a standard that will seldom be equalled. Originally published in 1990. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
(source: Nielsen Book Data)9780691608624 20180530
Book
x, 176 p. ; 22 cm.
Music Library
Book
x, 417 p. : ill., music ; 26 cm.
A survey of the most popular period in music history details many of the socio-historical influences on music of this period, the impact of Beethoven's death, and the rise of grand opera.
(source: Nielsen Book Data)9780520052918 20160528
Green Library, Music Library, SAL3 (off-campus storage)
Book
331 p. : ill. ; 19 cm.
Music Library
Book
512 p. : ill. ; 25 cm.
Music Library
Book
320 p. : ill., ports., music ; 23 cm.
Music Library
Book
viii, 305 p. : ill. ; 24 cm.
  • Translators' introduction-- 1. 'New Music' as historical category-- 2. Progress and the avant garde-- 3. Avant garde and popularity-- 4. New Music and the problem of musical genre-- 5. Problems of rhythm in the New Music-- 6. Tonality: structure or process?-- 7. Schoenberg's poetics of music-- 8. Schoenberg's aesthetic theology-- 9. Schoenberg and programme music-- 10. Musical prose-- 11. Emancipation of the dissonance-- 12. What is 'developing variation'?-- 13. Schoenberg and Schenker-- 14. Schoenberg's Orchestral Piece Op. 16, No. 3 and the concept of Klangfarbenmelodie-- 15. 'The Obbligato Recitative'-- 16. Expressive principle and orchestral polyphony in Schoenberg's Erwartung-- 17. Schoenberg's late works-- 18. The fugue as prelude: Schoenberg's Genesis composition, Op. 44-- 19. Rhythmic structures in Webern's Orchestral Pieces, Op. 6-- 20. Analytical instrumentation: Bach's six-part ricercar as orchestrated by Anton Webern-- 21. Schreker and modernism: on the dramaturgy of Der ferne Klang-- 22. Structure and expression in the music of Scriabin-- 23. Plea for a Romantic category: the concept of the work of art in the newest music-- 24. On the decline of the concept of the musical work-- 25. The musical work of art as a subject of sociology-- 26. Form Translated by Stephen Hinton-- 27. Composition and improvisation-- 28. A rejection of material thinking?-- Notes-- List of sources-- Index.
  • (source: Nielsen Book Data)9780521332514 20160528
This book is a collection of essays, by the leading German musicologist of our day, on one of the most controversial and influential composers of our century: Arnold Schoenberg. Schoenberg is considered here as a historical figure, as a thinker and theoretician and as a composer whose works may be subjected to technical analysis and/or examined in relation to the history of ideas. Above all, he is considered in the context of the 'New Music', the historical and cultural movement of the first two decades of this century which embrace musicians such as Webern, Schreker and Scriabin (all of whom are allotted individual essays), as well as Schoenberg himself. In addition to historical and analytical essays there are essays of a broader cultural-historical and even sociological import which should interest all those involved with twentieth-century music and ideas.
(source: Nielsen Book Data)9780521332514 20160528
Music Library
Book
vii, 131 p. ; 23 cm.
  • Translator's note-- 1. Introduction-- 2. What is musical realism?-- 3. 'True reality' and music-- 4. The 'descriptive' and the 'ugly'-- 5. 'Bourgeois realism' and Biedermeier-- 6. Realism as rebellion-- 7. Anti-romanticism-- 8. Realism in Italian opera-- 9. Literature, history and 'history'-- 10. The 'musical novel'-- 11. Realistic melody and dramaturgical construction-- 12. The natural world and the 'folklike tone'-- 13. The dialectics of the concept of reality-- 14. Conclusion-- References-- Index.
  • (source: Nielsen Book Data)9780521278416 20160528
The music of the nineteenth century was - and still is - thought of as a 'romantic' art, whereas the main current of the literature and fine arts of the age was 'realist' from about 1830. Yet some works are consistently described as 'realistic': Musorgsky's Boris and Bizet's Carmen are only the most frequently cited examples. Professor Dahlhaus sets out the criteria of realism, with particular reference to French and German theorists, and examines the extent to which they apply to music too. While his findings do not reverse the verdict that the music of the age was in general romantic, he demonstrates that musical realism consists in much more than imitation of natural sounds or tone-painting. The notes are revised here for the English-speaking reader.
(source: Nielsen Book Data)9780521261159 20160528
Music Library

15. Was ist Musik? [1985]

Book
208 p. ; 18 cm.
Music Library
Book
v. ; 23 cm.
  • 1. T. Grundzüge einer Systematik
  • 2. T. Deutschland
SAL3 (off-campus storage)
Book
viii, 87 p. ; 24 cm.
Examines the possibility of a reconciliation between a value-free analysis and a subjective aesthetic judgement.
(source: Nielsen Book Data)9781576471494 20160528
hdl.handle.net ACLS Humanities E-Book
Music Library
Book
x, 177 p. ; 23 cm.
  • Translator's preface-- Foreword-- 1. Is history on the decline?-- 2. The significance of art: historical or aesthetic?-- 3. What is a fact of music history?-- 4. Does music history have a 'subject'?-- 5. Historicism and tradition-- 6. Hermeneutics in history-- 7. The value-judgment: object or premise of history?-- 8. The 'relative autonomy' of music history-- 9. Thoughts on structural history-- 10. Problems in reception history-- Bibliography-- Index.
  • (source: Nielsen Book Data)9780521232814 20160528
This book is the first thoroughgoing study in any language of the philosophy of music history. Drawing on competing philosophies of history throughout the ages, from the Enlightenment to the French structuralists, from the German idealist tradition to Russian formalism, the late Carl Dahlhaus applies the thoughts of these various schools to the specialist requirements of music history and assesses their advantages and shortcomings. Special attention is given to an appraisal of whether Marxist critiques are still viable and where they stand in need of rethinking. For this English edition, the author provided an extensive annotated bibliography.
(source: Nielsen Book Data)9780521232814 20160528
hdl.handle.net ACLS Humanities E-Book
Music Library, SAL3 (off-campus storage)
Book
271 p. : music ; 24 cm.
Music Library
Book
165 p. ; 19 cm.
Music Library

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