... and Reinterpretation in Chopin.” In Chopin Studies 2 , ed. John Rink and Jim Samson. Cambridge: Cambridge University Press. Darcy, Warren. 1997 . “Bruckner's Sonata Deformations.” In Bruckner Studies , ed. Timothy L. Jackson and Paul Hawkshaw. Cambridge: Cambridge University Press. Everett, Walter. 1990...

...Alan Dodson This is an analytical study on metrical structure in Chopin's Mazurka op. 17/4 (complete) and excerpts from his Mazurkas opp. 59/2 and 63/3, and on the effects of expressive details in Paderewski's recordings upon that structure. The methodology is based mainly on Harald Krebs's theory...

.... As such, the archetypes function as ideologies of the musical text and as ideologies of the reader. The article illustrates these ideas with analyses of Chopin's Nocturne in B, op. 32/1, Chopin's Second Ballade, and Brahms's Rhapsody in E♭, op. 119/4. Ironic Narrative, Ironic Reading...

... Friedman borrowing Bach in Gavotte (1948); Cavell borrowing Emerson versus Berio borrowing Mahler in Sinfonia (1960); and Cavell borrowing Derrida reading Austin versus Richard Beaudoin borrowing Martha Argerich reading Chopin in Étude d'un prélude IV—Black Wires (2009). Cavell's theories of the voice...

... of generated heptachords leading to an attractive scalar model. The theoretical model is illustrated by analyses of chromatic passages from music by Mozart, Chopin, and Debussy. A preliminary version of this article was presented at the Clough Memorial Conference, New Haven, Connecticut, June 13, 2012. I...

... as always comparative and context dependent. Illustrating these claims, repertoires of Viennese string quartet minuets and piano pieces by Chopin are analyzed. Christopher Brody is assistant professor of music theory at the Eastman School of Music. His research focuses on baroque music, keyboard...

... to be the most important collection of analyses of tonal music. Most of the essays in The Masterwork in Music focus on specific compositions by Bach, D. Scarlatti, Haydn, Mozart, Beethoven, Chopin, and Reger, in- cluding Mozart’s Symphony No. 40 in G Minor, K. 550 (in Volume II) and Beethoven’s Eroica...

... can be read in cert­ ain cont­ exts as topi­cs. For examp­ le, Zuckermann describes a pas­sage in Chopin s Fantasy, op. 49, as a fan­tast­ i­cally-mys­ter­ io­ us and enchanti­ ng . . . noc­tur­nal march, com­bin­ing the genre-topic march with obrazï (or images-topi­ csfant­ as­tic­ ally...

... techniques. Abraham, Gerald. 1973 . Chopin's Musical Style . New York: Oxford University Press. Anson-Cartwright, Mark. 1998 . “The Development Section in Haydn's Late Instrumental Works.” Ph.D. diss., City University of New York. Cadwallader, Allen. 1992 . “More on Scale Degree Three...

... have been motivated to pursue theoretical work when he saw Brahms’s artistic influence wane, it does seem a little odd that Der freie Satz features 147 examples based on Beethoven’s music, and 108 on Chopin’s, but only 34 on that of Brahms. Profiling the Oster Collection’s File 34, the “Brahms...

... resistant to any single analyti- cal bias. The book orders its essays chronologically, beginning with one on Schubert, followed by two on Chopin, and a larger group on later nine- teenth- and early twentieth-century composers. (Wagner, Liszt, Bruckner, Debussy, Wolf, Mahler, Schoenberg, and Pfitzner...

... and discerningly. Schachter’s ultimate allegiances are not to Schenker but to the great compos- ers he adored: Bach, Mozart, Schubert, Beethoven, Chopin, and Brahms. To make this distinction is to suggest that The Art of Tonal Analysis be valued not only...

... for the Instrumental Music of Haydn, Mozart, and Beethoven . New York: Oxford University Press. Chopin, Frédéric. 1943 . Preludes for the Piano . Ed. Rafael Joseffy. G. Schirmer: New York. ____. 1968 . Préludes . Ed. Ewald Zimmermann. G. Henle Verlag: Munich. Cone, Edward T. 1977 . “Three Ways to Read...

...Susan Tepping 13. Schenker Studies 2: 68. 14. Free Composition: 104, and Fig.124/5b. 15. Schenker Studies 2: 120. 16. Schenker Studies 2: 122. 17. The “twelve” included J.S. Bach, Handel, D. Scarlatti, C.P.E. Bach, Haydn, Mozart, Beethoven, Schubert, Chopin, Mendelssohn, Schumann...

... and Interpretation .” In Chopin Studies 2 , edited by Rink John Samson Jim , 161 – 82 . Cambridge : Cambridge University Press . Schoenberg Arnold . (1947) 1975 . “ Brahms the Progressive ”. In Style and Idea: Selected Writings of Arnold Schoenberg , edited by Stein Leonard , 398...

... than minor-third-related triads, while minor-third-related dominant seventh chords occur about fourteen times more often than major-third-related dom- inant seventh chords. In Chopin [the proportional disparity is 1.6 and 2.2, respectively]” (97–98). The figure...

... graduate students who are inter­ ested in the practice of music analysis” (v) a detailed look at works by Bee­ thoven, Schubert, Mendelssohn, Chopin, Liszt, Brahms, and Mahler, while setting up an analytic methodology treating music as a discourse (indebted to “Schenker, Ratner, Adorno...

... . Cambridge: MIT Press. Iser, Wolfgang. 1978 . The Act of Reading: A Theory of Aesthetic Response . Baltimore: Johns Hopkins University Press. Klein, Michael. 2004 . “Chopin's Fourth Ballade as Musical Narrative.” Music Theory Spectrum 26 : 23 -55. Knösche, Thomas R., Christiane Neuhaus, Jens...

... Schachter’s, etc. Each of these Schenkers is subtly different—much as, from a listener’s point of view, Murray Perahia’s Chopin is not precisely the same com- poser as Krystian Zimerman’s. I cannot imagine that Schenker, who styled himself always as an artist (Künstler), would have wanted it any other way...

... : University of Nebraska Press . Korsyn Kevin . 1996 . “ Directional Tonality and Intertextuality: Brahms’s Quintet op. 88 and Chopin’s Ballade op. 38 .” In The Second Practice of Nineteenth-Century Tonality , ed. Kinderman William Krebs Harald , 45 – 83 . Lincoln : University...