MARC Record from Marygrove College

LEADER: 06089cam a2200817 a 4500
001 ocm25628746
003 OCoLC
005 20191109071355.3
008 920313s1992 nyug b 001 0 eng
010 $a 92010566
040 $aDLC$beng$cDLC$dOCLCQ$dBAKER$dNLGGC$dBTCTA$dLVB$dYDXCP$dGEBAY$dGBVCP$dOCLCO$dOCLCF$dOCLCQ$dOCL$dKZC$dDEBBG$dOCL$dOCLCQ$dOCLCO$dSNN$dPEX$dOCLCQ$dBOS$dOCL$dOCLCA$dTLE
019 $a1022737258$a1120873849
020 $a0028720652
020 $a9780028720654
029 1 $aAU@$b000008941413
029 1 $aAU@$b000021990129
029 1 $aDEBBG$bBV008038437
029 1 $aGBVCP$b112284884
029 1 $aGEBAY$b2024326
029 1 $aHEBIS$b025326244
029 1 $aNZ1$b4142729
029 1 $aUNITY$b017386373
029 1 $aYDXCP$b9650
035 $a(OCoLC)25628746$z(OCoLC)1022737258$z(OCoLC)1120873849
050 00 $aML196$b.R27 1992
082 00 $a781/.09/034$220
084 $a24.50$2bcl
084 $aLP 19505$2rvk
084 $aLP 19506$2rvk
084 $a9,2$2ssgn
049 $aMAIN
100 1 $aRatner, Leonard G.
245 10 $aRomantic music :$bsound and syntax /$cLeonard G. Ratner.
260 $aNew York :$bSchirmer Books ;$aToronto :$bMaxwell Macmillan Canada ;$aNew York :$bMaxwell Macmillan International,$c©1992.
300 $axix, 348 pages :$bmusic ;$c25 cm
336 $atext$btxt$2rdacontent
337 $aunmediated$bn$2rdamedia
338 $avolume$bnc$2rdacarrier
504 $aIncludes bibliographical references (pages 315-320) and indexes.
505 00 $gpt. I.$tNew Sounds.$gCh. 1.$tSound as Criterion.$gCh. 2.$tTexture.$gCh. 3.$tThe Piano: Texture and Sound.$gCh. 4.$tThe Orchestra: Texture and Sound.$gCh. 5.$tChamber Music: Texture and Sound.$gCh. 6.$tHarmonic Color --$gpt. II.$tTraditional Syntax.$gCh. 7.$tPeriod Structure.$gCh. 8.$tRhetorical Reduction --$gpt. III.$tSound and Period Structure.$gCh. 9.$tSymmetrical Arrangements.$gCh. 10.$tModifications of Symmetry.$gCh. 11.$tExtensions --$gpt. IV.$tSound and Form.$gCh. 12.$tSmall Forms.$gCh. 13.$tSonata Form.
520 $aProfound changes took place in musical sound throughout the nineteenth century. An expanded range of sound in many instruments - including the piano - a new richness of timbre, and a variety of expressive sound effects opened new options for composers. Many, such as Hector Berlioz and Gustav Mahler, used the possibilities of new sounds as a strategy of composition, regarding innovative sounds as important values in their own right. For listeners, too, colorful sound was an immediate clue to the expressive content of a composition. Pushing against the perimeters of Classic syntax to form new Romantic musical styles, composers simultaneously retained the entire traditional apparatus of Classic music, including melodic construction, phrase and period structures, and harmonic progressions, while adding to it a new quality of sound that enriched the traditional possibilities of the music. Romantic Music: Sound and Syntax is the first study to examine the role played by qualities of sound in shaping Romantic musical form. By demonstrating the crucial interaction of sound and syntax in Romantic music, Leonard G. Ratner demonstrates the effectiveness of a new theoretical approach to musical analysis, incorporating sound as an analytical factor for the first time. The book is divided into 13 chapters. Chapter 1 surveys critical comments dealing with qualities of sound in the nineteenth century. Chapter 2 examines the continuity between Classic and Romantic texture and sound. Specific examples drawn from piano, orchestral, and chamber music literature are discussed in chapters 3-5. Chapter 6 explores the uses of harmonic color in the Romantic repertoire. Chapter 7 reviews the tradition of the period form in Western music and its continuity in Romantic music. Chapter 8 discusses rhetorical reduction, a technique that factors out the changes introduced by the new sound values to uncover the conventional outlines of the music. Chapter 9 examines symmetrical arrangements in the music of Johannes Brahms, Giuseppe Verdi, Felix Mendelssohn, and Robert Schumann. Chapter 10 discusses the modification of symmetry by sustained sounds and harmonic progressions in the music of Carl Maria von Weber, Franz Schubert, Frederic Chopin, and Richard Wagner. Chapter 11 explores the extensions of periodic symmetry in the music of Hector Berlioz, Gustav Mahler, Franz Liszt, Brahms, and Wagner. The last two chapters treat small forms and sonata forms in the music of Mendelssohn, Brahms, Liszt, and Mahler.
590 $bInternet Archive - 2
590 $bInternet Archive 2
650 0 $aMusic$y19th century$xHistory and criticism.
650 0 $aRomanticism in music.
650 0 $aMusical analysis.
650 6 $aMusique$y19e siècle$xHistoire et critique.
650 6 $aMusique$y19e siècle$xAnalyse et appréciation.
650 6 $aSon.
650 6 $aTimbre.
650 7 $aMusic$2fast$0(OCoLC)fst01030269
650 7 $aMusical analysis.$2fast$0(OCoLC)fst01030696
650 7 $aRomanticism in music.$2fast$0(OCoLC)fst01100148
650 17 $aRomantiek.$2gtt
650 17 $aSyntaxis.$2gtt
650 17 $aStructuuranalyse.$2gtt
650 7 $aMusik$2gnd
650 7 $aRomantik$2gnd
650 07 $aGeschichte 1790-1830.$2swd
648 7 $a1800-1899$2fast
653 0 $aMusic$a19th century$aHistory and criticism
653 0 $aMusical analysis
653 0 $aRomanticism in music
655 7 $aCriticism, interpretation, etc.$2fast$0(OCoLC)fst01411635
776 08 $iOnline version:$aRatner, Leonard G.$tRomantic music.$dNew York : Schirmer Books ; Toronto : Maxwell Macmillan Canada ; New York : Maxwell Macmillan International, ©1992$w(OCoLC)634922534
856 41 $3Table of contents$uhttp://www.gbv.de/dms/bowker/toc/9780028720654.pdf
938 $aBaker & Taylor$bBKTY$c45.00$d45.00$i0028720652$n0002140691$sactive
938 $aBaker and Taylor$bBTCP$n92010566 /MN
938 $aYBP Library Services$bYANK$n9650
994 $a92$bERR
976 $a31927000244365