Subject Area: Beethoven
A biography of Alexander Wheelock Thayer which brings new insight into his study of the life of Beethoven.2005 0-7734-6197-32010 0-7734-4665-6
This book takes up pieces of music that imagine community. These works do not illustrate concepts of community or make community an explicit theme. Nevertheless, the particular techniques and structure of each work project an imagining of community that is unique to the piece. Studying the pieces together lays the groundwork for re-imagining the relation of arts and society.2016 1-4955-0516-2
This work examines a specific technical and expressive means by which the various ecclesiastical modes persisted and were integrated into compositional practices of the tonal period, from the time of Bach through to the early twentieth century.
It is demonstrated that a technique of integrating modes into tonal music is not through the use of melodic or harmonic materials, but through modulation. Modulations can be drawn from and limited to those keys which derive from chords that exist in the modal scale of the final key of a composition. This leads to what can only be referred to as a kind of pseudo-diatonic chromaticism. Modulations are limited by a diatonic scale, but that scale is distinct from the major-minor scale system which characterizes the surface level musical activity of a composition. Hence the modulations are chromatic according to a given key, but individual keys visited are limited by a very traditional set of diatonic relationships among themselves.2008 0-7734-4981-7
Examines the teaching of Professor Hautzig, which continues the Romantic piano tradition of late nineteenth- and early twentieth-century Europe, and stresses individuality allied with faithfulness to the score. This book contains four black and white photographs.2012 0-7734-2589-6
In pieces of music set to biblical or liturgical texts, the musical connections of one passage or one movement to one another. In a musical sense, these texts have a meaning and significance that can be and often distinct from the meanings achieved by syntactic relationships. Sometimes the syntactic meanings are lost in the musical repetitions and overlapping entries of many voices; in the case of texts for different movements, syntactic relations often simply do not exist. Consequently, the music does not merely parallel or illustrates the text’s theological meaning or guide an affective response to an already familiar contemplation of God and the Divine presence in the world. Rather, it relates the texts’ images to one another in a specific and particular way and achieves a theological coherence that is distinctive to the particular piece.
The book carries out this approach in analyzing three works of sacred music: The Christmas portion of Handel’s Messiah
, the Credo
of Beethoven’s Mass in D, and the Dies Irae of Verdi’s Requiem
. The analyses show how the composers’ melodic, harmonic, and structural events work on and determine the ideas and images in the texts. The goal is to point to the “heard analogy” that becomes available when listeners pay attention to the musical relationships and their impact on the contemplation of God.