Download Studies in Music with Text (Oxford Studies in Music Theory) by David Lewin PDF
By David Lewin
Hailed via the recent Grove Dictionary of song (2nd variation) as "the most unusual and far-ranging theorist of his generation," David Lewin (1933-2003) explored for over 4 many years how composers within the German culture set poetry and drama to track. He conceived stories in song with textual content as a unified assortment, reproducing papers on tune via Mozart, Schubert, Wagner, Schoenberg, and Babbitt, a lot of that have turn into classics within the fields of track idea and ancient musicology. He additionally integrated new analytical essays on Mozart, Wagner, and Schubert, and supplied clean readings of chosen songs via Clara Schumann, Robert Schumann, and Johannes Brahms.
The analyses accrued the following concentrate on how the song, from its small info to its huge formal schemes, engages the poetic and dramatic dynamics of the works handy, and the way song and textual content enact one another reciprocally. A recurrent subject is the theatricality of texted tune for the live performance in addition to operatic degree, and Lewin's views provide many interpretive insights and conceptual views for the musical performer. A methodological eclectic, Lewin cultivated a magisterial command of ancient theories and inspiration deeply approximately how these theories might tell modern realizing. Analytical versions through Zarlino, Schenker, Riemann, Rameau, and Babbitt are introduced into play, and the diversity of poetic and dramatic questions that emerge are explored, bearing on inter alia mental and social identification, the relation of mental internal worlds to out of the ordinary fact, and the narrowly biographical and largely ancient stipulations of inventive construction. because it illuminates the richness and profundity of the language/music partnership, stories in tune with textual content bargains incisive wondering the scope--and limitations--of descriptive and analytical discourse approximately track.
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From the Preface :
This ebook illustrates a set of song manuscripts which was once made lately to profit the basis for modern functionality Arts. the gathering was firm through conditions instead of any means of choice. hence it exhibits the various instructions within which track notation is now going. The manuscripts usually are not prepared in response to different types of track, yet alphabetically in response to the composer's identify. No explanatory info is given.
The textual content for the e-book is the results of a technique using I-Ching likelihood operations. those made up our minds what percentage phrases concerning his paintings have been to be written by way of or approximately which of 2 hundred and sixty-nine composers. the place those passages (never greater than sixty-four phrases, occasionally just one) were in particular written for this booklet, they're preceded via a paragraph signal and through the author's identify. different feedback have been selected or written through the editors - John Cage and Alison Knowles. not just the variety of phrases and the writer, however the typography too - letter dimension, depth, and typeface - have been all decided accidentally operations. This strategy used to be as a way to decrease the adaptation among textual content and illustrations. The composition of the pages is the paintings of Alison Knowles.
A precedent for the textual content is the Questionnaire. (The composers have been requested to write down approximately notation or some· factor proper to it. ) A precedent for the absence of knowledge which characterizes this publication is the modern aquarium (no longer a depressing hallway with each one species in its personal illuminated tank separated from the others and named in Latin): a wide glass residence with the entire fish in it swimming as in an ocean. the gathering of manuscripts constitutes an archive, the contents of that are indexed on the finish of this booklet. The editors are thankful to the various composers and tune publishers who've made this presentation of mid-twentieth century tune notation attainable.
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Extra info for Studies in Music with Text (Oxford Studies in Music Theory)
Example text
9. , Music and Text: Critical Inquiries, Cambridge and New York: Cambridge University Press (1992), 93–117. CHAPTER Three Crudel! perchè finora . . Da Ponte’s text takes Beaumarchais’s Act III, Scene IX, as its point of departure: C. Pourquoi donc, cruelle fille, ne me l’avoir pas dit plus tôt? S. Est-il jamais trop tard pour dire la vérité? C. Tu te rendrais sur la brune [at twilight] au jardin? S. Est-ce que je ne m’y promène pas tous les soirs? C. Tu m’as traité ce matin si sévèrement! (etc. at some length.
Voi che intendete amor” (mm. 32–35), in the A major section, might seem somewhat more of a tonic answer to the Count’s original dominant questioning, but that reading does not hold water very well. First, she sings this material as an aside to the audi- CHAPTER 3 Crudel! perchè finora . . 33 self with his big A major tonic downbeat at “Mi sento,” where he finally stops asking questions and makes a declarative statement. This curious musical behavior, which engages the single largest musical articulation within the piece, will receive a good deal of our attention.
It will be helpful to inspect the text. 1 1. The Italian text is taken from Robert Pack and Marjorie Lelash, Mozart’s Librettos (Cleveland, 1961), 114–116. The French is taken from Beaumarchais, Le Mariage de Figaro, vol. 1, ed. Pierre Richard, in the series Classiques Larousse (Montrouge, 1934), 60. 1 Italian and French text for the opening of the first act trio in Figaro. ) LE COMTE se lève. IL CONTE: Come! Che dicon tutti? DON BASILIO (a parte): Oh bella! SUSANNA (a parte): O cielo! —Comment, tout le monde en parle!