Structure and Meaning in Tonal Music

by Carl Schachter, L. Poundie Burstein, David Gagné

2006 · Pendragon Press

Introduction -- Expression. The two curious moments in Chopin's E-flat major prelude / Charles Burkhart ; Circular motion in Chopin's late B-major nocturne (op. 62, no. 1) / William Rothstein ; Of species counterpoint, gondola songs, and sordid boons / Poundie Burstein -- Theory. The spirit and technique of Schenker pedagogy / David Gagné and Allen Cadwallader ; Prolongational and hierarchical structures in 18th-century theory / Joel Lester ; Thoughts on Schenker's treatment of diminution and repetition in part III of Free composition, and its implications for analysis / Wayne Petty ; Looking at the Urlinie / Hedi Siegel -- Style. Rhythmic displacement in the music of Bill Evans / Steven Larson ; Levels of voice leading in the music of Louis Couperin / Drora Pershing ; The analysis of east Asian music / David Loeb ; Baroque styles and the analysis of baroque music / Channan Willner -- Words and music. Schumann's Das ist ein Flöten und Geigen : conflicts between local and global perspectives / Lauri Suurpaa ; Reinterpreting the past : Brahms's link to Bach in the setting of Mit Fried und Freud ich fahr dahin, from the motet op. 74, no. 1 / Robert Cuckson ; Hinauf strebt's : song study with Carl Schachter / Timothy Jackson ; Intimate immensity in Schubert's The shepherd on the rock / Frank Samarotto -- Form. Tonal conflicts in Haydn's development sections : the role of C major in symphonies nos. 93 and 102 / Mark Anson-Cartwright ; Aspects of structure in Bach's F-minor fugue, WTC II / William Renwick ; The andante from Mozart's symphony no. 40, K. 5

Journeys Through Galant Expositions

by L. Poundie Burstein

2020

While descriptions of musical form have, from the nineteenth century until today, come to rely heavily on architectonic analogies, commentators previously often invoked the metaphor of a journey to describe the structure of a composition. In Journeys Through Galant Expositions, author L. Poundie Burstein encourages readers to view the form of Galant music as a movement toward a destination that unfolds in time and is punctuated by a series of resting points - -just as those who composed, performed, and listened to music in the mid-1700s would have experienced it.By elucidating eighteenth-century notions and analytic approaches of musical form and applying them to a wide range of compositions, from those of Haydn and Mozart to others that are often overlooked, this innovative study provides an accessible new window into the music of this time. Rather than just dissecting concepts from the 1700s as a historical exercise or treating them as a precursor of later theories, Burstein invigorates the ideas of theorists such as Heinrich Christoph Koch and shows how they can directly impact our understanding and appreciation of Galant music as audiences and performers.