The first volume of a two-volume translation of Heinrich Schenker's 'Der Tonwille' (1921-24). This book includes Schenker's original, major essays on Beethoven's Fifth Symphony and piano sonatas by Haydn, Mozart, and Beethoven, shorter analyses of Bach preludes and writings that provide an extensive account of the philosophical and cultural background from which Schenker's theories emerged.
This is the second volume of a two-volume translation of Heinrich Schenker's Der Tonwille (1921-24). Among the foremost music theorists of the twentieth century, Schenker's methods of analysis continue to be one of the most important tools of musicology.
Carl Schachter is the world's leading practitioner of Schenkerian theory and analysis. His articles and books have been broadly influential, and are seen by many as models of musical insight and lucid prose. Yet, perhaps his greatest impact has been felt in the classroom. At the Mannes College of Music, the Juilliard School of Music, Queens College and the Graduate Center of the City University of New York, and at special pedagogical events around the world, he has taught generations of musical performers, composers, historians, and theorists over the course of his long career. In Fall 2012, Schachter taught a doctoral seminar at the CUNY Graduate Center in which he talked about the music and the musical issues that have concerned him most deeply; the course was in essence a summation of his extensive and renowned teaching. In The Art of Tonal Analysis, winner of the Society for Music Theory's 2017 Citation of Special Merit, music theorist Joseph Straus presents edited transcripts of those lectures. Accompanied by abundant music examples, including analytical examples transcribed from the classroom blackboard, Straus's own visualizations of material that Schachter presented aurally at the piano, and Schachter's own extended Schenkerian graphs and sketches, this book offers a vivid account of Schachter's masterful pedagogy and his deep insight into the central works of the tonal canon. In making the lectures of one of the world's most extraordinary musicians and musical thinkers available to a wide audience, The Art of Tonal Analysis is an invaluable resource for students and scholars of music.
As countries went into lockdown in 2020, people turned to music for comfort and solidarity. Neighbours sang to each other from their balconies; people participated in online music sessions that created an experience of socially distanced togetherness. Nicholas Cook argues that the value of music goes far beyond simple enjoyment. Music can enhance well-being, interpersonal relationships, cultural tolerance, and civil cohesion. At the same time, music can be a tool of persuasion or ideology. Thinking about music helps bring into focus the values that are mobilised in today’s culture wars. Making music together builds relationships of interdependence and trust: rather than escapism, it offers a blueprint for a community of mutual obligation and interdependence. Music: Why It Matters is for anyone who loves playing, listening to, or thinking about music, as well as those pursuing it as a career.
Moral Motivation presents a history of the concept of moral motivation. The book consists of ten chapters by eminent scholars in the history of philosophy, covering Plato, Aristotle, later Peripatetic philosophy, medieval philosophy, Spinoza, Locke, Hume, Kant, Fichte and Hegel, and the consequentialist tradition. In addition, four interdisciplinary "Reflections" discuss how the topic of moral motivation arises in epic poetry, Cicero, early opera, and Theodore Dreiser. Most contemporary philosophical discussions of moral motivation focus on whether and how moral beliefs by themselves motivate an agent (at least to some degree) to act. In much of the history of the concept, especially before Hume, the focus is rather on how to motivate people to act morally as well as on what sort of motivation a person must act from (or what end an agents acts for) in order to be a genuinely ethical person or even to have done a genuinely ethical action. The book shows the complexity of the historical treatment of moral motivation and, moreover, how intertwined moral motivation is with central aspects of ethical theory.
Written by one of the best-known academic writers on African music, On African Music is a collection of seven essays addressing various techniques, influences, and scholarly approaches to African music. After a concise introduction spelling out the rationale for the book, successive chapters develop answers to questions such as: How does a "minimalist impulse" animate creativity in Africa, and does "Western minimalism" differ from "African minimalism"? How do we explain the prevalence of iconic effects in African expressive forms? How has (European) tonality functioned as a "colonizing force" in African music? Why is the (written) art music of the continent talked about so little when it has been in existence since the middle of the nineteenth century? How might the discipline of music theory be rejuvenated by "aid" from Africa? What are the strengths and limitations of ethnotheory as a methodology? Who is who in theorizations of African rhythm, and how might we explain the shape of the existing archive? This book thus deals with analytical and interpretive issues, the politics of scholarship, and salient features of African music. Laced with provocative viewpoints on each page, On African Music should appeal not only to readers curious about the structural underpinnings of African music but also to those who wish to reflect critically and philosophically on how we study and write about the music of the continent, how we might approach its global status with a firm understanding from the inside, and what our priorities might be in promoting an empowering cosmopolitan discourse.
Offers a survey of the entire spectrum of contrapuntal-harmonic configurations that enable the prolongation of seventh chords, arranged logically by seventh-chord type and voice-leading procedure. This book also includes multiple voice-leading graphs that range from simple abstract configurations to sophisticated analyses of entire pieces.
This is the second volume of a two-volume translation of Heinrich Schenker's Der Tonwille (1921-24). Among the foremost music theorists of the twentieth century, Schenker's methods of analysis continue to be one of the most important tools of musicology.
