Music : History & Criticism

1. Mahler and the Musical Voice. a. The Idea of Voice. b. Songs and Symphonies. c. Orchestral Voices. 2. Calling Forth a Voice. a. Calling Forth. b. Horn Calls, Birdsong and Bell. c. Calling Back. 3. Constructing a Voice. a. Artifice and Invention. b. Des Knaben Wunderhorn. c. The Middle Symphonies. 4. Plural Voices. a. Carnival Humor. b. Irony and Tone. c. Borrowed Voices. 5. Genre and Voice. a. Song. b. Opera. c. Symphony. 6. Ways of Telling. a. Literary Voices. b. Idyll, Dream and Fairytale. c. Narrative Strategies. 7. Vienna, Modernism and Modernity. a. Critical voices. b. Modernist voices. c. Political voices. 8. Performing Authenticity. a. Reception and Performance. b. Authenticity and Self-Critique. c. "As If" more...

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New York City witnessed a dazzling burst of creativity in the 1920s. In this pathbreaking study, Carol J. Oja explores this artistic renaissance from the perspective of composers of classical and modern music, who along with writers, painters, and jazz musicians, were at the heart of early modernism in America. She also illustrates how the aesthetic attitudes and institutional structures from the 1920s left a deep imprint on the arts over the 20th century. Aaron Copland, George Gershwin, Ruth Crawford Seeger, Virgil Thomson, William Grant Still, Edgar Varese, Henry Cowell, Leo Ornstein, Marion Bauer, George Antheil-these were the leaders of a talented new generation of American composers whose efforts made New York City the center of new music in the country. They founded composer societies--such as the International Composers' Guild, the League of Composers, the Pan American Association, and the Copland-Sessions Concerts--to promote the performance of their music, and they nimbly negotiated cultural boundaries, aiming for recognition in Western Europe as much as at home. They showed exceptional skill at marketing their work. Drawing on extensive archival material--including interviews, correspondence, popular periodicals, and little-known music manuscripts--Oja provides a new perspective on the period and a compelling collective portrait of the figures, puncturing many longstanding myths. American composers active in New York during the 1920s are explored in relation to the "Machine Age" and American Dada; the impact of spirituality on American dissonance; the crucial, behind-the-scenes role of women as patrons and promoters of modernist music; cross-currents between jazz and concert music; the critical reception of modernist music (especially in the writings of Carl Van Vechten and Paul Rosenfeld); and the international impulse behind neoclassicism. The book also examines the persistent biases of the time, particularly anti-Semitisim, gender stereotyping, and long more...

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Abbreviations. List of Musical Examples. List of Tables. List of Figures. Prologue: Styles and Sources. Telemann and the German Mixed Taste. Genius in the Closet. Part I: The Overture-Suites. 1. Acquiring a Mixed Taste: Telemann as "grand partisan de la musique Francaise". Telemann as Lullist. Tradition versus Innovation. The Concert en ouverture and Concerto en suite. The Overture-Suite in Retrospect. 2. Telemann's Mimetic Art: The Characteristic Overture-Suites. Characteristic Titles/Staging the Overture-Suite. The Civic Water Music/Images of Court and Country. Telemann's Wit: Burlesque, Parody, and Satire. Part II: The Concertos. 3. "Niemals recht von Herzen gegangen"?: Telemann's Concertos. The Eisenach Concertos. Concertos for the Eloquent Oboe. Concertos alla francese. Telemann and the German Ripieno Concerto. The Late Frankfurt and Hamburg Concertos. Telemann's Orchestras. 4. Bach's Debt Repaid with Interest: A Case Study of Transformative Imitation. Bach's Borrowing, Telemann's Model. Bach, Telemann, and the Eighteenth-Century Aesthetics of Musical Borrowing. Part III: The Sonatas. 5. "Something for Everyone's Taste": Telemann's Sonatas to 1725. Solos and Trios in the Italian Style. Trios alla francese. The "True Touchtone of a Genuine Contrapuntist": Quartets for Strings and Winds. When is a Quartet Not a Quartet?. Sonatas in Five to Seven Parts. Two Parisian Piracies. The Frankfurt Sonata Publications. 6. Telemann and the Sonate auf Concertenart. Defining the Sonate auf Concertenart. Titles as Signifiers of Genre. Reimagining the Sonata (Concerto). The Vivaldi Cult at Dresden and the Origins of the Sonate auf Concertenart. Telemann's Sonaten auf Concertenart. The "Sonate en concert" and French Vivaldisme. The Aesthetics of Mixed Genres. Part IV: The Hamburg Publications. 7. Telemann in the Marketplace: The Composer as Self-Publisher. Setting up Shop. Telemann's Su more...

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Based on extensive documentary and archival research, Music in Renaissance Ferrara is a study of the rise of music at a vital center of Italian Renaissance culture, focusing on the patrons and musicians whose efforts gave Ferrara a primary role in European music during the fifteenth century. The successive rulers of the Italian city-state, members of the Este dynasty, brought to Ferrara some of the most important composers of the period, including Guillaume Dufay, Johannes Martini, Jacob Obrecht, and Josquin Desprez. Moreover, Ferrara has long been famous as the seat of activity of three of the most important poets of the period - Boiardo, Ariosto, and Tasso - as well as for its school of painting and manuscript production and illumination. With Lewis Lockwood's Music in Renaissance Ferrara, the city-state steps forward as a major musical center as well. Winner of the Otto Kinkeldey Award of the American Musicological Society for its original 1985 edition, this current paperback edition of Music in Renaissance Ferrara features a new preface that re-introduces the book and reflects on its contribution to our modern knowledge of music in the culture of the Italian Renaissance. more...

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Music in the Galant Style is an authoritative and readily understandable study of the core compositional style of the eighteenth century. Gjerdingen adopts a unique approach, based on a massive but little-known corpus of pedagogical workbooks used by the most influential teachers of the century, the Italian partimenti. He has brought this vital repository of compositional methods into confrontation with a set of schemata distilled from an enormous body of eighteenth-century music, much of it known only to specialists, formative of the "galant style." more...

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