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Full Description
In a striking theoretical re-positioning, Barbara Barry proposes that problem-solving, as in scientific theory, asks strategic questions of "how" and "why" important musical compositions work the way they do. She focuses on three criteria of investigation: identity, implementation and intrusion, in order to define normative frameworks of style and form. These normative constructs provide frames of reference by which to evaluate powerful innovation in music, and in larger contexts of art, literature and the history of ideas.
Contents
Introduction - The Making of the Motif: The Contour of Melancholy in the Lute-Songs of John Dowland - The Re-Making of the Motif: Literary Contexts as Determinants in Bach and Berlioz - The Transformation of the Motif: Lamp-Lighters in Mahler's Musical World - In Beethoven's Clockshop: Discontinuity in the Opus 18 Quartets - Spiral Time and the Paradigm of Persuasion: Recontextualizing Beethoven's String Quartet Op. 127 - Invisible Cities and Imaginary Landscapes 'quasi una fantasia': On Beethoven's Op. 131 - 'Mind the Gap': Pitch Connectors and Sectional Disjunction in Schubert's Late Instrumental Music - Chronicles and Witnesses: 'A Survivor from Warsaw' in Adorno's Broken Mirror - Coda - Bibliography
