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Print Price: $154.99

Format:
Hardback
368 pp.
151 illus. & musical examples, 236 mm x 168 mm

ISBN-13:
9780195170108

Publication date:
November 2004

Imprint: OUP US

Engaging Music

Essays in Music Analysis

Edited by Deborah Stein

The first collection of its kind, Engaging Music: Essays in Music Analysis includes twenty-two selections by highly esteemed contemporary music theorists, sixteen of which were written especially for this volume. Featuring work by such luminaries as Charles Burkhart, Edward T. Cone, Allen Forte, David B. Lewin, and Carl Schachter, the book is an ideal text for undergraduate and graduate courses in form and analysis. It also serves as an invaluable reference for music teachers, students, and musicians.
Opening with an introduction to writing analytical essays, Engaging Music then presents introductory readings that describe analytical approaches to rhythm, meter, and phrase; pitch (twelve-tone music); form in jazz and rock music; and musical ambiguity. The following essays offer exemplary models of analysis that cover a wide range of composers, from the Baroque (Purcell and Bach) and the Classical (Beethoven, Haydn, and Mozart) to the 19th-century (Brahms, Chopin, Schubert, Schumann, and Wagner) and the early 20th-century (Bartók, Schoenberg and Webern). The selections explore a diversity of genres--from opera to music for computer-generated tape--and a variety of analytical approaches, from Schenkerian to feminist. The volume also includes analyses of popular music (from jazz to a Sarah MacLachlan song) and of a relatively recent work by Barbara Kolb. A comprehensive glossary defines terms and concepts that may be unfamiliar to students, and a selected bibliography suggests other appropriate readings. Reflecting the broad spectrum of current interests and perspectives in the field, Engaging Music provides a unique window into the multifaceted world of music theory and analysis.

Preface
William Marvin: Introduction to Writing Analytical Essays
Part I. Introduction to Analytical Topics and Techniques
Rhythm, Meter, and Phrase:
1. Charles Burkhart: The Phrase Rhythm (and willful slurs) of Chopin's A-flat Mazurka, Op. 59, No. 2
2. Harald Krebs: Hypermeter and Hypermetric Irregularity in the Songs of Josephine Lang
Pitch:
3. Schenker's Conception of Musical Structure, Allen Forte
4. Andrew Mead: "Learn to Draw Bob Hope!" Mort Drucker, Arnold Schoenberg, and Twelve-Tone Music
Form:
5. Ramon Satyendra: Analyzing the Unity within Contrast: Chic Corea's "Starlight"
6. John Covach: Form in Rock Music: A Primer
Musical Ambiguity:
7. Deborah Stein: Introduction to Musical Ambiguity
8. Edward T. Cone: Attacking a Brahms Puzzle
Part II. Model Essays: Text and Music
9. David B. Lewin: Figaro's Mistakes
10. Motive and Text in Four Schubert Songs, Carl Schachter
11. Patrick McCreless: Isolde's Transfiguration in Words and Music
12. Lori Burns: Meaning in a Popular Song: The Representation of Masochistic Desire in Sarah McLachlan's "Ice"
13. Janet Schmalfeldt: In Search of Purcell's Dido
Part III. Model Essays: Instrumental
Performance and Analysis:
14. Joel Lester: The Presto from Bach's G-Minor Sonata for Violin Solo: Style, Rhythm, and Form in a Baroque Moto Perpetuo
15. Marion A. Gluck: Dramatic Progression in Haydn, Sonata No. 46 in A-flat, Adagio
Form:
16. Roger Graybill: Formal and Expressive Intensification in Shostakovich's String Quartet No. 8, Second Movement
17. William Rothstein: Playing with Forms: Mozart's Rondo in D Major, K. 485
Pitch:
18. Joseph N. Straus: Two Post-tonal Analyses, Webern, "Wie bin ich froh!" from Three Songs, Op. 25; Schoenberg, "Nacht," from Pierrot Lunaire, Op. 21
19. Richard Cohn: "This music crept by me upon the waters": Introverted Motives in Beethoven's "Tempest" Sonata
20. Charles J. Smith: Rounding Up the Usual Suspects?: The Enigmatic Narrative of Chopin's C-sharp Minor Prelude
Texture:
21. Judith Lochhead: Texture and Timbre in Barbara Kolb's Millefoglie for Chamber Orchestra and Computer-Generated Tape
Scores
Glossary
Selected Bibliography
Index

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Deborah Stein is at New England Conservatory of Music.

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