Search Results for art

... State University, March 18 . https://www.youtube.com/watch?v=JHvtuqJ07DQ . Browne Richmond . 1981 . “ Tonal Implications of the Diatonic Set .” In Theory Only 5 , nos. 6–7 : 3 – 21 . Busse Berger Anna Maria . 2005 . Medieval Music and the Art of Memory . Berkeley...

...Jonathan De Souza Hatten Robert S. . A Theory of Virtual Agency for Western Art Music . Indiana University Press , 2018 : x + 326 pp. ( $85.00 cloth, $32.00 paper, $31.99 ebook) Copyright © 2020 by Yale University 2020 Works Cited Allanbrook Wye Jamison...

...Leslie Kinton The Art of Performance Heinrich Schenker edited by Heribert Esser translated by Irene Schreier Scott New York: Oxford Univ. Press, 2000 xxvii, 101 pp. 2001 © Yale University, New Haven, Connecticut 06520 2001 The Art of Performance Heinrich Schenker edited by Heribert...

...Kofi Agawu Schachter Carl . Edited by Straus Joseph N. , The Art of Tonal Analysis: Twelve Lessons in Schenkerian Theory , Oxford University Press , 2016 : v + 295 pp. ( $45.00 cloth) Copyright © 2018 by Yale University 2018 Works Cited Agawu Kofi . 2009...

...Elizabeth Hellmuth Margulis Huron David Voice Leading: The Science behind a Musical Art MIT Press , 2016 : vii + 263 pp. ( $38.00 cloth) Copyright © 2019 by Yale University 2019 Works Cited Huron David . 2006 . Sweet Anticipation: Music and the Psychology...

... , and the Journal of the American Musicological Society and as editor of Music Perception . His work on the teaching methods of the Neapolitan conservatories in the days of Bach and Mozart can be found through an Internet search for the term partimenti . Sanguinetti Giorgio The Art of Partimento...

... on J. S. Bach .” In Alte Musik: Praxis und Reflexion, ed. Reidemeister Peter Gutmann Veronika , 203 – 40 . Winterhur : Amadeus . Zarlino Gioseffo . 1558 . Le istitutioni harmoniche . Venice . Mersenne and the Art of Delivery...

... of time, however, the distance between Cavell's and the postmodernists' views concerning subjectivity and the role of the arts in defining it have become increasingly clear. In Cavell's scenario, a contemporary listener or critic confronted with the new music faces a sort of existentialist crisis: he...

...Eric Drott In his classic essay “Music Discomposed,” Stanley Cavell draws attention to the threat of fraudulence that pervades contemporary art music. With the erosion of convention, not only is the ability of listeners to comprehend new music called into question, so too is their ability...

...-garde art) from its more stringent critics. I then explain how my early work, while sharing Cavell's general aims, diverges from his specific claims. This involves considering some ways in which false beliefs can contribute to human flourishing. I then explore general objections to redemptive narratives...

... survived in many sources, but they cover only the first stage of realization because the techniques for more advanced realizations were transmitted orally. With the decadence and extinction of the living tradition, the realization of partimenti became a lost art. However, some principles for advanced...

... and purposive form, eschewing “charms and emotions”; and on the other hand, Hegel’s focus on art’s spirituality, its “ideal content,” in characterizing the specifically musical, which for Hanslick embodies a “full share of ideality.” Clustered ideologically around Kant, Hegel, and Hanslick in closer or more...

... offer some of the most intriguing proofs that late-eighteenth-century music was conceived of as an art of communication between composers and listeners. Yale University 2011 Danuta Mirka is reader in music at the University of Southampton. She is the author of The Sonoristic Structuralism...

... pratique (1760), with particular attention to the extensive discussion of the topic in the “Art de la basse fondamentale” (c. 1737–43). To a considerable degree, Rameau’s conception of supposition was worked out in dialogue with his critics. Retracing that dialogue helps to clarify a number of points...

... importance to modernist art. It functions as a metaphor in se , representing Cavell's hypothetical example of a solution to a compositional problem that “has become identical with the aesthetic result itself.” Lachenmann's Kontrakadenz (1970–71) concerns itself with the strained relation of artwork...

... that such categories have never ceased playing a decisive role in the production, circulation, and reception of post-1945 art music. In interrogating the assumptions that underpin the “decline-of-genre” thesis, this article underlines the utility that renewed attention to genre and its framing effects may have...

... often treated as musical styles or topics than as movement patterns, and the minuet, with more explicit connections to art music, has received more attention than the contredanse. This article analyzes the choreography as well as the music of eighteenth-century contredanses to show how this dance...

... dance and musical structures, encouraging readers to contemplate the artful interpretations presented by experienced dance practitioners and to engage with these interesting musical passages more intimately by trying out the dance steps for themselves. While I disagree with Sheller that dancers...

... . “Dig They Freedom: Meditations on History and the Black Avant-Garde.” Lenox Avenue 3 : 13 -27. Kernfeld, Barry. 1983 . “Two Coltranes.” Annual Review of Jazz Studies 2 : 7 -66. Kiroff, Matthew John. 1997 . “Caseworks as Performed by Cecil Taylor and the Art Ensemble of Chicago...

... and the Theory and Philosophy of Music , ed. Hulse Brian Nesbitt Nick . London : Ashgate . Gould Timothy . 1998 . Hearing Things: Voice and Method in the Writing of Stanley Cavell . Chicago : University of Chicago Press . Grosz Elizabeth . 2008 . Chaos, Territory, Art...