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• Title:Chopin : the preludes and beyond / Bengt Edlund.
  
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• Author/Creator:Edlund, Bengt.
  
• Published/Created:New York ; Frankfurt am Main : Peter Lang, 2013.
  

• Holdings

  Holdings Record Display

  • Location:MAA LIBRARY (IKB) stacksWhere is this?
    
  • Call Number: ML410.C54 E25 2013
    
  • Number of Items:1
    
  • Status:Available
    

   
• Library of Congress Subjects:Chopin, Frédéric, 1810-1849. Piano music.
  Piano music--19th century--Analysis, appreciation.
  Dies irae (Music)--Instrumental settings--History and criticism.
  
• Description:532 pages : music ; 22 cm
  
• ISBN:9783631645208
  3631645201
  
• Contents:Machine generated contents note: ch. 1 Allusions and affinities. Tracing an ominous motif
  Dies Irae as a source of allusions
  Alluding to Dies Irae; some methodological considerations
  notion of similarity; further methodological considerations
  investigation and its aims
  A-minor Prelude
  External evidence
  B-minor Prelude
  E-minor Prelude
  Preludes in dark moods
  Preludes in bright moods
  Summary and discussion
  Other approaches to integration and symbolism in the Preludes
  chronology of the Preludes
  question of integral performances
  In defence of the study of motivic integration
  Bb-minor Sonata: the first and fourth movements
  Bb-minor Prelude
  Funeral March; its progenitor and congeners
  Bb-minor Sonata: Scherzo and Trios
  Other approaches to thematic integration in the sonata
  C#-minor Scherzo
  C-minor Polonaise and the B-minor Prelude
  Second Ballade
  F-minor Prelude and the Etude in F minor from Methode
  F#-major Impromptu
  Extending the investigation
  Pre- and post-"Mallorcan" works
  Eb-minor Etude
  Finale of the B-minor Sonata and the B-minor Prelude
  other movements of the B-minor Sonata
  Summary and conclusions
  ch. 2 Evidence and counter-evidence. Making sense of the A-minor Prelude
  Problems of proportion
  Uncertainty and expectation
  Rhetoric and the reality of the contingent
  prelude as an impossible object
  Ominous allusions
  Tonal analysis
  explanatory comparison
  bottom/up reduction
  non-orthodox tonal reduction
  Some remarks on interpretation
  ch. 3 Music at the analyst's couch and at the musician's stand. The tonal structure of the E-minor Prelude
  Retrieving the missing third degree
  Adjusting the harmonic progressions
  stretto passage
  melodic recurrence
  melodic descents
  consequent as a compressed antecedent
  Some additional remarks
  Summary of critical observations
  clarifying comparison
  melodic/harmonic process
  Escape and resumption
  Outbreak and dissipation
  alternative structural account
  ch. 4 Left-hand melody and tonal structure. Towards a non-Schenkerian account of the B-minor Prelude
  Top voice vs. structural upper line
  temporary relocation of the structural upper line
  Clarification of the actual voice-leading
  Motivic relationships
  relocation of the entire structural upper line
  tonal structure of the prelude
  Some connections across registers
  Formal considerations; structural and focal events
  antecedent part
  consequent part
  Intertextual allusions
  "foreground" as a structural duet
  Three "background" structures; conclusions
  ch. 5 How could analysis be deconstructed by the A-major Prelude?
  Some introductory remarks on deconstruction
  Bass fundaments and harmonic roots
  Metre and rhythm
  phrase structure
  digression on manual matters
  Understanding in terms of melodic reconstruction
  Allusive content
  critical tonal reduction
  unconsummated deconstruction of Schenkerian analysis
  impossibility of a structural descent
  How to remove the obstacle
  alternative account of the tonal structure
  Two objections
  Introducing an "alien view"
  Focal analysis and prolongational reduction
  focal analysis
  ch. 6 Reconsidering the C-minor Prelude
  Motivic structure
  Harmony and rhythmic patterning
  Melodic implications
  Schenkerian reduction
  alternative reduction
  Formal ambiguity
  ch. 7 phenomenology of fingering. Structure and ontology in the F-minor Etude from Methode des methodes
  Nelson Goodman's notion of musical identity
  Towards a more comprehensive ontology of the music work
  Motivic constituents and rhythmic properties
  Inherent and implied patterns
  Inherent gestures
  Fingerings and proprioceptive meanings
  Some general conclusions
  Reconsidering the ontology of the music work
  ch. 8 From structure to content. Ominous allusions and the programme of the Second Ballade
  Schenkerian account of the theme
  Elision or demarcation?
  initial period
  first section
  "National martyrdom" and "alienation and powerlessness"
  Narrative elements in the ballade
  ominous signifier
  ballade as a depiction of existential distress
  Searching for a literary programme
  "Switezianka" and the Second Ballade
  Conclusions
  Music Examples
  Chapter 1
  Chapter 2
  Chapter 3
  Chapter 4
  Chapter 5
  Chapter 6
  Chapter 7
  Chapter 8.