دانلود کتاب Derrick Puffett on Music

فهرست مطالب :

Cover
Half Title
Dedication
Title Page
Copyrigt Page
Contents
Acknowledgements
Editor\'s Introduction
PART I: THE ANALYST SPEAKS
1 Editorial: In Defence of Formalism
2 Schenker\'s \'Eroica\'
I
II
III
IV
PART II: LINER AND PROGRAMME NOTES
3 Wagner: Overtures and Orchestral Music
4 Richard Strauss: Tod und Verkliirung and Don Quixote
5 Richard Strauss: Symphonia Domestica and Parergon
6 The \'Tawdriness\' of Salome
PART III: ENGLISH MUSIC
7 A Nietzschean Libretto: Delius and the Text for A Mass of Life
Circumstances of composition
Delius\'s text in context
Issues of form
The libretto
ERSTER TElL (PART ONE)
ZWEITER TElL (PART TWO)
8 In the Garden of Fand: Arnold Bax and the \'Celtic Twilight\'
I
II
III
IV
V
VI
9 The Fugue from Tippett\'s Second String Quartet
I
II
III
IV
V
10 Tippett and the Retreat from Mythology
I
II
III
11 ... an Analytical Offering (A. G. 1992) ... On Goehr\'s Homage to Bach
Introduction
Compositional technique
Structure
Conclusion
Postscript
Editorial note (from Finding the Key)
PART IV: RUSSIAN AND FRENCH MUSIC
12 A Graphic Analysis of Musorgsky\'s \'Catacombs\'
13 Eight Bars of Stravinsky: The Septet Revisited
I
II
III
IV
V
14 Debussy\'s Ostinato Machine
I
II
III
PART V: OPERA
15 Siegfried in the Context of Wagner\'s Operatic Writing
I
II
III
IV
16 Schoeck\'s Operas: A Question of Genre
17 Some Reflections onLiteraturoper
18 Berg and German Opera
A passage from Wozzeck
German opera 1900-1920
Wozzeck reconsidered
German opera 1920-1935
Lulu reconsidered
Conclusion
19 Salome: an Introduction
I
II
20 Images of Salome
21 Strauss\'s Scenario for the \'Dance of the Seven Veils\'
22 Salome as Music Drama
I
II
III
IV
V
23 Elektra: Beginnings
I
II
III
24 The Music of Elektra: Some Preliminary Thoughts
I
II
III
IV
25 An Introduction to Der Rosenkavalier
I
II
III
PART VI: VIENNA
26 Transcription and Recomposition: The Strange Case of Zemlinsky\'s Maeterlinck Songs
I
II
III
IV
\'Die Miidchen mit den verbundenen Augen\'
\'Lied der Jungfrau\'
\'Und kehrt er einst heim\'
\'Als ihr Geliebter schied\'
\'Die drei Schwestern\'
\'Sie kam zum SchloB gegangen\'
V
VI
VII
27 A Notational Peculiarity in Early Webem and its Implications
28 Gone with the Summer Wmd; or, What Webem Lost
I
II
III
IV
V
VI
VII
VIII
IX
29 \'Music that Echoes within One\' for a Lifetime: Berg\'s Reception of Schoenberg\'s Pelleas und Melisande
I
II
III
IV
V
THEMATIC ANALYSIS
FIRST PART OF THE SYMPHONY
SECOND PART OF THE SYMPHONY
THIRD PART OF THE SYMPHONY
FOURTH (AND LAST) PART OF THE SYMPHONY
EPILOGUE
30 Berg, Mahler and the Three Orchestral Pieces, Op. 6
Berg and Mahler
Mahler\'s \'world\'
Symphonies, syncretism and the concept of the \'piece\'
Op. 6 viewed as a whole
Prliludium
Reigen
Marsch
PART VII: GERMAN MUSIC
31 \'Lasser die Musi, wo sie ist\': Pitch Specificity in Strauss
I
II
III
IV
V
32 Bruckner\'s Way: The Adagio of the Ninth Symphony
Preamble
Bruckner, Laufer and Schenker
Period analysis
Bruckner\'s ways: the Adagio as \'narrative\'
\'Chronological journey\' through the Periods
The Holy Grail motive: Bruckner by way of Wagner
Remarks on graphs and reductions
Postscript
Sources
Index