MARC Record from marc_columbia

LEADER: 03419fam a2200361 a 4500
001 1856510
005 20220609012151.0
008 950406t19961996nbua b 001 0 eng
010 $a 95016160
020 $a0803227248 (alk. paper)
035 $a(OCoLC)32348135
035 $a(OCoLC)ocm32348135
035 $9ALU3084CU
035 $a(NNC)1856510
035 $a1856510
040 $aDLC$cDLC$dDLC$dOrLoB-B
050 00 $aML3811$b.S43 1996
082 00 $a781.2/6/09034$220
245 04 $aThe second practice of nineteenth-century tonality /$cedited by William Kinderman and Harald Krebs.
260 $aLincoln :$bUniversity of Nebraska Press,$c[1996], ©1996.
300 $a279 pages :$billustrations ;$c26 cm
336 $atext$btxt$2rdacontent
337 $aunmediated$bn$2rdamedia
504 $aIncludes bibliographical references (p. [259]-272) and index.
505 00 $tIntroduction /$rWilliam Kinderman --$gPt. 1.$tThe Origins and General Principles of Tonal Pairing and Directional Tonality.$tSome Early Examples of Tonal Pairing: Schubert's "Meeres Stille" and "Der Wanderer" /$rHarald Krebs.$tChopin's Alternatives to Monotonality: A Historical Perspective /$rJim Samson.$tDirectional Tonality and Intertextuality: Brahm's Quintet op. 88 and Chopin's Ballade op. 38 /$rKevin Korsyn --$gPt. 2.$tThe Second Practice of Nineteenth-Century Tonality.$tAn Evolutionary Perspective on Nineteenth-Century Semitonal Relations /$rPatrick McCreless.$tThe Mind's Chronology: Narrative Times and Harmonic Disruption in Postromantic Music /$rChristopher Lewis --$gPt. 3.$tStudies of Works.$tFranz Liszt, Carl Friedrich Weitzmann, and the Augmented Triad /$rR. Larry Todd.$tDramatic Recapitulation and Tonal Pairing in Wagner's Tristan und Insolde and Parsifal /$rWilliam Kinderman.$tWolf's Dissonant Prolongations /$rJohn Williamson.$tTonal Dualism in Bruckner's Eighth Symphony /$rWilliam E. Benjamin.
520 $aIn 1861, a half-century before Arnold Schoenberg's break with tonality, a young composer associated with Liszt saw a threshold to musical modernism as lodged in the "suspension of the main key." As the unified tonal perspective of the earlier music yielded increasingly to dualistic key structures often laden with chromaticism, the language of music was transformed.
520 8 $aIn The Second Practice of Nineteenth-Century Tonality, nine prominent theorists and historians explore aspects of this musical evolution, from Schubert to the end of the nineteenth-century. Many works discussed are masterpieces of the performance repertory, ranging from Chopin's piano pieces and Wagner's music dramas to the symphonies of Bruckner. The integration of analytical and historical approaches in the essays seeks to avoid narrow specialization as well as the polemic stance of some recent studies.
520 8 $aA critical assessment of issues including inter-textuality, narrative, and dramatic symbolism enriches this investigation of what may be described as the "second practice" of nineteenth-century tonality.
650 0 $aTonality.$0http://id.loc.gov/authorities/subjects/sh85135965
650 0 $aMusic$y19th century$xHistory and criticism.$0http://id.loc.gov/authorities/subjects/sh2001000179
700 1 $aKinderman, William.$0http://id.loc.gov/authorities/names/n85269702
700 1 $aKrebs, Harald,$d1955-$0http://id.loc.gov/authorities/names/n87811906
852 00 $boff,mus$hML3811$i.S43 1996