This innovative book continues David Damschroder's radical reformulation of harmonic theory, presenting a dynamic exploration of harmony in the compositions of Mendelssohn and Schumann, two key figures of nineteenth-century classical music. This volume's introductory chapters creatively introduce the basic tenets of the system, with reference to sound files rather than notated music examples permitting a more direct interaction between reader and music. In the Masterworks section that follows, Damschroder presents detailed analyses of movements from piano, vocal, and chamber music, and compares his outcomes with those of other analysts, including Benedict Taylor, L. Poundie Burstein, and Peter H. Smith. Expanding upon analytical practices from the eighteenth and nineteenth centuries, and strongly influenced by Schenkerian principles, this fresh perspective offers a stark contrast to conventional harmonic analysis - both in terms of how Roman numerals are deployed and how musical processes are described in words.
Accessible to novices of all ages, these easy-to-play renditions include selections from "Forest Scenes," "Scenes from Childhood," "Album for the Young," and "Carnaval.
This new study draws on analysis, literary criticism, and source studies to propose a new conception of the nineteenth-century romantic cycle. Rather than a unified whole, the cycle is seen as a fragmentary and open-ended form, which enables Schumann to express the romantic themes of transcendence and ineffability in musical terms.
This new study draws on analysis, literary criticism, and source studies to propose a new conception of the nineteenth-century romantic cycle. Rather than a unified whole, the cycle is seen as a fragmentary and open-ended form, which enables Schumann to express the romantic themes of transcendence and ineffability in musical terms.
Crow lovers and children everywhere will adore this charming tale as crows teach numbers from 1-11. These are not just any old crows, but creatures depicted by writer and illustrator, David Schumann, as magical, comical and extraordinary. One by one I watch them land While underneath the tree I stand. One by one, the number grows, I've never seen so many crows! Think you know how the story ends? Don't count on it!
David kann es selbst kaum glauben: Morgen geht sein Flug nach Tokio, wo er die nächsten Monate in einer Gastfamilie wohnen und an der Uni studieren wird. Was hat er sich bloß dabei gedacht? In Japan angekommen, ist er erst einmal überwältigt von der Schnelligkeit und Unübersichtlichkeit der Riesenstadt Tokio. Hier ist er jetzt einer unter Millionen, ohne Familie und Freunde, ganz allein auf sich gestellt. Höhen und Tiefen durchlebend, schafft David es, sich zu etablieren. Er findet Freunde, Jobs und spielt bald in zwei Bands. Nur mit den Frauen läuft es so gar nicht. Eines Tages wird David von einer Fotografin auf der Straße angeworben. Auch wenn er sich nicht vorstellen kann, was er als tätowierter Ex-Punker auf so einem Shooting soll, beschließt er hinzugehen. Drei Wochen später erscheint eine Fotostrecke von ihm in einem großen Modemagazin und er findet sich in der Kartei einer angesehenen Tokioter Modelagentur wieder ...
Throughout his career, David Lewin labored to make even the most abstract theory speak to the experience of the ordinary listener. This book combines many of Lewin's classic articles on song and opera with newly drafted chapters on songs of Brahms, Robert Schumann, Clara Schumann, and Milton Babbitt. Bound together by Lewin's cogent insight, the resulting collection constitutes a major statement concerning the methodological problems associated with interpretation of texted music.
David Whitwell has drawn together a valuable collection of Liszt’s own intimate revelations on his personality, his character and his health. Here as well the reader will find Liszt’s personal insights on his own musical studies, his creative process and on some of his compositions. Liszt has also left fascinating first-hand observations on other pianists, composers and personalities whom he knew.
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