Results 41 to 50 of about 3,898 (184)
Music Analysis, Volume 44, Issue 1, Page 3-43, March 2025.ABSTRACT Is musical analysis meant to guide performance – or to be based on it? Can a Schenkerian analysis of a piece be corroborated by a performance or an arrangement? This article addresses these questions through a well‐known test case – the first prelude of the first book of Bach's Well‐Tempered Clavier, as analysed by Heinrich Schenker in Five ...
NAPHTALI WAGNER, RAM REUVEN
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Music Analysis, Volume 44, Issue 1, Page 73-99, March 2025.ABSTRACT In contrast to the teleological nature of Western art music, minimalism has long been purported to be ‘anti‐teleological’ (Meyer 1963) – that is, the latter lacks the goal‐directedness that Wim Mertens (1983) views as a defining feature of the former.
Hunter Hoyle
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A Multilevel Analysis of Fazil Say’s Sonata for Violin and Piano Op.7
Studia Universitatis Babeş-Bolyai. MusicaThis article introduces Fazıl Say’s Sonata for Violin and Piano op. 7, composed in 1997, shortly after his international success. Despite being an early work, it exhibits the architectural complexity characteristic of Say’s style, blending his Turkish ...
Botond SZŐCS +2 more
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STYLISTIC INFLUENCES IN THE SONATA FOR VIOLIN AND PIANO IN SI MINOR BY STEFAN NEAGA [PDF]
Studiul Artelor şi Culturologie: Istorie, Teorie, Practică, 2018 Ștefan Neaga (1900-1951), descendant of a family of folk musicians, became a true professional after graduating from the Bucharest Royal Academy of Music and Dramatic Art (1927 - piano, 1933 – composition), and improving his abilities at l`Ecole Normalle
FLOREA AUGUSTINA
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Jean‐Luc Nancy's Conception of Listening
Educational Theory, Volume 74, Issue 6, Page 915-941, December 2024.Abstract In this article Sophie Haroutunian‐Gordon and Megan Jane Laverty discuss Jean‐Luc Nancy's conception of listening as presented in his seminal work, À l'écoute. The authors argue that Nancy uses the term “listening” to refer to the experience of coming to an idea of sound(s) initially encountered as puzzling.
Sophie Haroutunian‐Gordon +1 more
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RONDO FOR VIOLIN AND PIANO BY ALEXANDR MULEAR: HISTORICAL AND COMPOSITIONAL ASPECTS [PDF]
Studiul Artelor şi Culturologie: Istorie, Teorie, PracticăThe article reveals historical information regarding the importance of the Rondo for violin and piano in the compositional work of A. Mulear. The composer complements the rondo form with certain elements of the sonata form, associating them with the ...
TROCINEL, DANIELA
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Music Analysis, Volume 43, Issue 1, Page 3-35, March 2024.ABSTRACT This article examines the elaborate compositional processes at work in the opening movement of Mendelssohn's Quartet in D major, Op. 44 No. 1 (1838) in the service of advancing and further refining the application of contemporary Formenlehre to nineteenth‐century music.
Benedict Taylor
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Emanuel Borok, violin and Boris Berman, piano, November 7, 1983 [PDF]
, 1983 This is the concert program of the Emanuel Borok, violin and Boris Berman, piano performance on Monday, November 7, 1983 at 8:00 p.m., at the Concert Hall, 855 Commonwealth Avenue. Works performed were Sonata for violin and piano, Op.
School of Music, Boston University
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Studia Universitatis Babeş-Bolyai. MusicaThis is a study on the microtonal aspects of György Ligeti’s Hamburgisches Konzert für Horn und Kammerorchester mit 4 obligaten Naturhörnern, with special reference to its relationship with the American composer Harry Partch.
Manfred STAHNKE
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Violin and piano sonata recital
, 2008 Sonata in G major for violin and piano, BWV 1019, Johann Sebastian Bach (1685-1750) -- Sonata no. 1 in D minor, op. 75, Camille Saint-Saëns (1835-1921) -- Sonata no. 3 in D minor, op.
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