Ernst Kurth as Theorist and Analyst is the first book length study devoted to the writings of one of this century's most important music theorists. In contrast to previous discussions, Lee A. Rothfarb's study explains Kurth's theories in light of his analyses of specific musical examples. Unlike many of his contemporaries, Kurth approached music primarily from a cognitive rather than a purely technical viewpoint. In a unique kind of experiential analysis, he examined the psychological foundations of counterpoint, harmony, and form, and considered the affective, as opposed to solely structural or syntactic, effects of melody, chord, interval, and tone. The introduction provides a biographical sketch of Kurth, based on archival research and personal interview with his widow, son, and many of his doctoral students. Rothfarb also discusses the intellectual currents of the late nineteenth and early twentieth centuries, both musical and nonmusical, which shaped Kurth's outlook. Eight chapters summarize the main ideas of Grundlagen des linearen Kontrapunkts and Romantische Harmonik and show the directions Kurth took in his later works, Bruckner and Musikpsychologie. A final chapter identified his influence on several of his well-known contemporaries. Ernst Kurth as Theorist and Analyst will interest music theorists, musicologists, and advanced students of music theory.
Eduard Hanslick's On the Musically Beautiful (Vom Musikalisch-Schönen, 1854), written and published before the author turned 30, is a watershed document in the history of aesthetics, and of thought about music generally. The notion of "absolute music," which lies at the heart of the treatise, is now more than ever at the center of discussions about music, particularly that of the Classic and Romantic eras. Rothfarb and Landerer's translation includes three introductory essays offering fresh perspectives on Hanslick, and on the origins, publications, and translation history of his treatise, as well as its central concepts and philosophical underpinnings. The volume also includes thorough annotations, a readers' guide, a glossary of important terms and concepts, and an appendix, which comprises the original opening of Chapter 1, substantially rewritten in subsequent editions, as well as the original ending of the treatise that was excised by Hanslick in later editions. The book's ideas, cogently and often wittily expressed, are mandatory reading for anyone interested in eighteenth and nineteenth-century music and its cultural and intellectual background.
Eduard Hanslick's On the Musically Beautiful (Vom Musikalisch-Schönen, 1854), written and published before the author turned 30, is a watershed document in the history of aesthetics, and of thought about music generally. The notion of "absolute music," which lies at the heart of the treatise, is now more than ever at the center of discussions about music, particularly that of the Classic and Romantic eras. Rothfarb and Landerer's translation includes three introductory essays offering fresh perspectives on Hanslick, and on the origins, publications, and translation history of his treatise, as well as its central concepts and philosophical underpinnings. The volume also includes thorough annotations, a readers' guide, a glossary of important terms and concepts, and an appendix, which comprises the original opening of Chapter 1, substantially rewritten in subsequent editions, as well as the original ending of the treatise that was excised by Hanslick in later editions. The book's ideas, cogently and often wittily expressed, are mandatory reading for anyone interested in eighteenth and nineteenth-century music and its cultural and intellectual background.
Offers insight into the lesser-known complexities of the general's personality, in a biography based on his unpublished personal correspondence and covering such topics as his early years, relationships with family and slaves, and thoughts on military str
Written as a memoir by Lee's nephew and fellow soldier, General Lee paints a vivid and admiring portrait of a brilliant general and a devoted family man who, though he disliked slavery and was not in favor of secession, turned down command of the Union army in 1861 because he could not "draw his sword" against his own children, his neighbors, and his beloved Virginia.
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