By Robert G. Hopkins

Through scrupulous and perceptive analyses, Hopkins indicates how parameters except melody, concord, and rhythm make amends for the weakening of tonal syntax in Mahler's music.

Closure and Mahler's Music presents a conceptual framework which can increase figuring out of the stylistic alterations that happened in the course of the first a part of the 20 th century.

Show description

Read or Download Closure and Mahler's Music: The Role of Secondary Parameters (Studies in the Criticism and Theory of Music) PDF

Best composition & performance books

Music and the emotions: the philosophical theories

The main basic debate within the philosophy of song includes the query of no matter if there's an artistically vital connection among track and the sentiments. Many theories of the character and importance of song as an paintings shape have maintained that at the least one vital worth of track is its potential to symbolize, show, speak, or represent a number of extra-musical feelings or a undeniable element of emotion.

Robert Schumann: Herald of a ''New Poetic Age''

Pressured by way of a hand harm to desert a occupation as a pianist, Robert Schumann went directly to turn into one of many world's nice composers. between many works, his Spring Symphony (1841), Piano Concerto in A Minor (1841/1845), and the 3rd, or Rhenish, Symphony (1850) exemplify his infusion of classical kinds with excessive, own emotion.

Frontiers of Meaning: Three Informal Lectures on Music

What does it suggest to appreciate track? What, if something, does song suggest? Composers, performers, listeners, and teachers may perhaps resolution those questions another way, yet what feel of song do they percentage? while track turns out surprising or not like something we've got heard earlier than, we may perhaps say that we do not "like" it.

Extra resources for Closure and Mahler's Music: The Role of Secondary Parameters (Studies in the Criticism and Theory of Music)

Sample text

In tonal music, any interval larger than a whole step can be heard as a gap that implies a subsequent conjunct fill, though tonal pitch patterns that are triadic or include an octave leap do not necessarily imply a conjunct fill, nor does an anacrusis that skips to the tonic a fourth above. 21 In general, the greater the gap between pitches, the more strongly some kind of fill is implied, but at some point a threshold is passed and the pitches will seem to be separate enough that no fill is anticipated.

We become familiar with intelligible orders as we become familiar with a musical style. Thus syntactic relationships are style dependent. 35 The rules of musical syntax establish possible orderings of musical elements through which the elements acquire meaning in their relationships to one another. For a parameter to be syntactic therefore, we must be able to perceive and relate discrete elements, and we must have < previous page page_20 next page > < previous page page_21 next page > Page 21 rules that define closure and rules that define functional relationships between elements.

The word banana has meaning because it signifies something beyond itself: it refers to a specific kind of fruit. 34 In a piece of program music. for instance, the chord may come to signify a character, object, or event; or in a specific tonal context the chord may signify the tonic or subdominant or dominant (among other possibilities). In music, then, what an element means depends upon its role in a string of elements. Musical syntax is the way in which musical elements are arranged to form coherent phrases, periodsin short, structures with the inherent quality of intelligible order.

Download PDF sample

Rated 4.11 of 5 – based on 41 votes