HOME > 상세정보

상세정보

The classical style : Haydn, Mozart, Beethoven Expanded ed

The classical style : Haydn, Mozart, Beethoven Expanded ed (3회 대출)

자료유형
단행본
개인저자
Rosen, Charles , 1927-.
서명 / 저자사항
The classical style : Haydn, Mozart, Beethoven / Charles Rosen.
판사항
Expanded ed.
발행사항
New York :   W. W. Norton ,   c1997   (1998 printing)  
형태사항
xxx, 533 p. : ill. ; 25 cm.
ISBN
0393040208 0393317129 (pbk.) 9780393317121 (pbk.)
일반주기
First published as a Norton paperback 1998.  
서지주기
Includes bibliographical references and index.
일반주제명
Classicism in music. Music -- 18th century -- History and criticism.
주제명(개인명)
Haydn, Joseph,   1732-1809   Criticism and interpretation.  
Mozart, Wolfgang Amadeus,   1756-1791   Criticism and interpretation.  
Beethoven, Ludwig van,   1770-1827   Criticism and interpretation.  
000 01270camuu2200337 a 4500
001 000045533499
005 20090701101932
008 960710s1997 nyuam b 001 0 eng
010 ▼a 96027335
020 ▼a 0393040208
020 ▼a 0393317129 (pbk.)
020 ▼a 9780393317121 (pbk.)
035 ▼a (KERIS)REF000003693606
040 ▼a DLC ▼c DLC ▼d DLC ▼d 211009
050 0 0 ▼a ML195 ▼b .R68 1997
082 0 0 ▼a 780/.9/033 ▼2 22
090 ▼a 780.9033 ▼b R813c1
100 1 ▼a Rosen, Charles , ▼d 1927-.
245 1 4 ▼a The classical style : ▼b Haydn, Mozart, Beethoven / ▼c Charles Rosen.
250 ▼a Expanded ed.
260 ▼a New York : ▼b W. W. Norton , ▼c c1997 ▼g (1998 printing)
300 ▼a xxx, 533 p. : ▼b ill. ; ▼c 25 cm.
500 ▼a First published as a Norton paperback 1998.
504 ▼a Includes bibliographical references and index.
600 1 0 ▼a Haydn, Joseph, ▼d 1732-1809 ▼x Criticism and interpretation.
600 1 0 ▼a Mozart, Wolfgang Amadeus, ▼d 1756-1791 ▼x Criticism and interpretation.
600 1 0 ▼a Beethoven, Ludwig van, ▼d 1770-1827 ▼x Criticism and interpretation.
650 0 ▼a Classicism in music.
650 0 ▼a Music ▼y 18th century ▼x History and criticism.
945 ▼a KINS

소장정보

No. 소장처 청구기호 등록번호 도서상태 반납예정일 예약 서비스
No. 1 소장처 중앙도서관/서고7층/ 청구기호 780.9033 R813c1 등록번호 111540146 도서상태 대출중 반납예정일 2022-01-13 예약 예약가능 R 서비스 M

컨텐츠정보

책소개

A detailed analysis of the musical styles and forms developed by Mozart, Haydn, and Beethoven


정보제공 : Aladin

목차


CONTENTS
Preface to the First Edition = xi
A New Preface = xiii
Acknowledgments = xxvii
Bibliographical Note = xxix
Note on the Music Examples = xxxi
Ⅰ INTRODUCTION
 1. THE MUSICAL LANGUAGE OF THE LATE EIGHTEENTH CENTURY = 19
  Period style and group style = 20
  Tonality = 23
  Tonic-dominant polarity = 25
  Modulation = 26
  Equal temperament = 27
  Weakening of linear form = 28
 2. THEORIES OF FORM = 30
  Nineteenth-century conception of sonata form = 30
  Twentieth-century revisions = 32
  Schenker = 33
  Motivic analysis = 36
  Vulgar errors = 40
 3. THE ORIGINS OF THE STYLE = 43
  Dramatic character of the classical style = 43
  Range of styles 1755-1775 = 44
  Public and private music = 45
  Mannerist period = 47
  Proto-classical symmetries and patterns = 49
  Determinants of form = 51
Ⅱ THE CLASSICAL STYLE
 1. THE COHERENCE OF THE MUSICAL LANGUAGE = 57
  Periodic phrase = 57
  Symmetry and rhythmic transition = 58
  Homogeneous(Baroque) vs. heterogeneous(classical) rhythmic systems = 60
  Dynamics and ornamentation = 62
  Rhythmic and dynamic transition(Haydn Quartet op. 33 no. 3) = 64
  Harmonic transition(modulation) = 68
  Decorative vs. dramatic styles = 70
  Conventional material = 71
  Tonal stability and resolution = 72
  Recapitulation and articulation of tension = 74
  Reinterpretation and secondary tonalities = 78
  Subdominants = 79
  Contrast of themes = 80
  Reconciliation of contrasts, symmetrical resolution = 82
  Relation of large form to phrase, expansion technique(Haydn Piano Trio, H.19) = 83
  Correspondence of note, chord, and modulation = 89
  Articulation of rhythm, weight of individual beat = 90
  Sonata style and eccentric material : fantasy form(Mozart, Fantasy K. 475) = 91
  Audible vs. inaudible form = 93
  Extra-musical influence = 94
  Wit in music = 95
 2. STRUCTURE AND ORNAMENT = 99
  Sonata forms generalized = 99
  Structure vs. ornament = 100
  Ornamentation in the late eighteenth century = 101
  Radical change in function of decoration = 107
Ⅲ HAYDN FROM 1770 TO THE DEATH OF MOZART
 1. STRING QUARTET = 111
  Haydn and Carl Philipp Emanuel Bach = 111
  Beginning in a false key = 112
  Innovations of the Scherzi quartets, thematic accompaniment = 115
  Energy latent in musical material = 120
  Dissonance as principal source of energy = 120
  Directional power of material = 129
  Sequence as source of energy = 134
  Reinterpretation by transposition = 135
  Relation of string quartet to classical tonal system = 137
  Further development of Haydn's string quartets = 138
  String quartet and the art of conversation = 141
 2. SYMPHONY = 143
  Development of the orchestra and symphonic style = 143
  stylistic progress = 146
  Sturm und Drang style = 147
  Symphony no. 46 = 147
  Weakness of rhythmic organization of early Haydn = 149
  Symphony no. 47 = 151
  Influence of opera = 153
  Symphony no. 75 = 155
  New clarity and sobriety = 157
  Symphony no. 81 = 157
  Wit and symphonic grandeur = 159
  Oxford Symphony = 159
  Haydn and pastoral = 162
Ⅳ SERIOUS OPERA = 164
 Problematic status of opera seria = 166
 Conventions of opera seria and buffa = 167
 Eighteenth-century tragedy = 168
 High Baroque style = 169
 Dramatic and elegiac modes = 170
 Gluck = 170
 Neo-classical doctrine = 171
 Music and the aesthetic of expression = 173
 Words and music = 173
 Gluck and rhythm = 174
 Mozart and Idomeneo = 177
 Recitative and complex forms = 178
 Fusion of seria and buffa, Marriage of Figaro = 181
 Fidelio = 183
Ⅴ MOZART
 1. THE CONCERTO = 185
  Mozart and dramatic form = 185
  Tonal stability = 186
  Symmetry and the flow of time = 187
  Continue playing in the late eighteenth century = 191
  Musical significance of the continue = 194
  Concerto as drama = 196
  Opening ritornello = 197
  Concerto in E flat K.271 = 198
  Piano exposition as dramatization of orchestral exposition = 205
  Symmetry of climax = 207
  Secondary development within recapitulation = 211
  Slow movement of K.271 as expansion of opening phrase = 211
  Mirror symmetry = 212
  Concerto finale = 213
  Sinfonia Concertante K. 364 = 214
  Thematic relationships = 215
  K.412, K.413, K.415 = 218
  K.449 = 219
  K.456, modulating second theme = 221
  Dramatic range of slow movement = 223
  Variation-finales = 225
  K.459 and fugal finales = 226
  K.466, art of rhythmic acceleration = 227
  Thematic unity = 233
  K.467 and symphonic style = 235
  Slow movement, improvisation, and symmetry = 238
  K.482, orchestral color = 240
  K.488, articulation of close of exposition = 241
  Slow movement and melodic structure = 243
  K.503, technique of repetition = 251
  Major and minor = 254
  Sense of mass = 256
  K.537, proto-Romantic style and loose melodic structure = 258
  Clarinet Concerto, continuity of overlapping phrases = 260
  K.595, resolution of chromatic dissonance = 263
 2. STRING QUINTET = 264
  Concertante style = 264
  K.174, expanded sonority and expanded form = 265
  K.515, irregular proportions = 267
  Expansion of form = 273
  K-516, problem of classical finale = 274
  Major ending to a work in the minor = 276
  Expressive limits of the style = 277
  Place of minuet in the order of movements = 280
  Virtuosity and chamber music = 281
  K.593 = 281
  Slow introductions = 282
  Harmonic structure and sequences = 283
  K.614, influence of Haydn = 286
 3. COMIC OPERA = 288
  Music and spoken dialogue = 288
  Classical style and action = 289
  Ensembles, sextet from The Marriage of Figaro, and sonata form = 290
  Sextet from Don Giovanni and sonata proportions = 296
  Tonal relations in opera = 298
  Recapitulation and dramatic exigency = 301
  Operatic finales = 302
  Arias = 306
  'Se vuol ballare' from The Marriage of Figaro = 308
  Coincidence of musical and dramatic events : graveyard scene from Dow Giovanni = 309
  Comedy of intrigue = 312
  Eighteenth-century concept of personality = 313
  Comedy of experimental psychology and Marivaux, Cos$$\grave i$$ fan tutte = 314
  Virtuosity of tone = 316
  Die Zauberfl$$\ddot o$$te, Carlo Gozzi and the dramatic fable = 317
  Music and moral truth = 319
  Don Giovanni and the mixed genre = 321
  Scandal and politics = 322
  Mozart as subversive = 324
Ⅵ HAYDN AFTER THE DEATH OF MOZART
 1. THE POPULAR STYLE = 329
  Haydn and folk music = 329
  Fusion of high art and popular style = 332
  Integration of popular elements = 333
  Surprise return of theme in finales = 337
  Minuets and popular style = 340
  Orchestration = 342
  Introduction as dramatic gesture = 345
 2. PIANO TRIO = 351
  Reactionary form = 351
  Chamber music and pianistic virtuosity = 352
  Instruments in Haydn's day = 353
  Doubling of bass line by cello = 354
  H.14 = 355
  H.22 and expansion of the phrase = 356
  H.28 Haydn's early style transformed = 359
  H.26 acceleration of motivic elements within a phrase = 361
  H.31 luxuriant variation technique = 362
  H.30 Haydn's chromaticism = 363
 3. CHURCH Music = 366
  Expressive vs. celebrative aesthetic = 366
  Opera buffa style and religious music = 367
  Mozart's parodies of Baroque style = 367
  Haydn and religious music = 368
  Oratorios and pastoral style = 370
  'Chaos' and sonata form = 370
  Beethoven's Mass in C Major problems of pacing = 373
  D Major Mass = 375
Ⅶ BEETHOVEN
 1. BEETHOVEN = 379
  Beethoven and post-classical style = 381
  Beethoven and the Romantics = 381
  Substitutes for dominant-tonic relationship = 382
  harmonic innovations of the Romantics = 383
  Beethoven and his contemporaries = 386
  G Major Piano Concerto, creation of tension by tonic chord = 387
  Return to classical principles = 389
  Eroica, proportions, codas, and repeats = 392
  Waldstein, unity of texture and theme = 396
  Appassionato and unity of work = 399
  Romantic experiments in Beethoven C Minor Variations = 400
  Program music = 401
  An die feme Geliebte = 402
  Years 1813-1817 = 403
  Hammerklavier, intimate relation between large form and material = 404
  Role of descending thirds in construction of sequence = 407
  Sequential structure of development of the Hammerklavier = 409
  Relation to large key-sequence = 413
  Relation to thematic structure = 415
  A# vs. A○ = 420
  Metronome and tempo = 421
  Change in style since op.22 = 422
  Scherzo = 423
  Slow movement = 424
  Introduction to finale = 427
  Fugue = 429
  Place of Hammerklavier in Beethoven's work = 434
  Transformation of variation form into classical form = 440
  Op.111 = 441
  Beethoven and the weight of musical proportions = 445
 2. BEETHOVEN'S LATER YEARS AND THE CONVENTIONS OF His CHILDHOOD = 449
  Beethoven's originality and the style of the 1770s = 449
  The cadential trill in op.111 = 449
  The traditional final trill in concerto cadenzas = 450
  The suspended afterbeat : Sonata op.101 = 457
  Conventional concerto figuration transferred to piano sonata = 458
  Two stereotypes of the 1770s : Subdominant in the recapitulation, relative minor in the development = 460
  Subdominant transferred to coda = 463
  Convention and innovation : Relative minor in Mozart's K.575 and Coronation Concerto = 467
  Haydn's consistent use of the stereotype = 471
  Beethoven's naked display of the convention = 474
  Stereotype and inspiration in op.106 = 484
  The two conventions in op.110 = 488
  Integration and motivic alternation in op.110 = 494
  Integration of tempi = 499
  Espressivo and rubato = 499
  Radical key relations and dramatic structure = 501
  Dramatization of the academic elements of fugue = 502
  Unity of tempo and the rhythmic notation of the finale = 506
  Beethoven's amiability = 507
  Pushing back the limits of contemporary style = 508
  Synthesis of 18th-century conventions of the variation set = 509
  Late Beethoven, 18th-century sociability, and the language of music = 510
EPILOGUE = 513
 Schumann's monument to Beethoven(C Major Fantasy) = 451
 Return to Baroque = 453
 Change in tonal language = 453
 Schubert = 454
 His relation to classical style = 455
 Use of middle-period Beethoven as model = 456
 Classical principles in late Schubert = 459
 Classical style as archaism = 460
INDEX OF NAMES AND WORKS = 523


관련분야 신착자료