Perspectives on Contemporary Music Theory

Essays in Honor of Kevin Korsyn
1. Auflage 2023
ISBN: 978-1-032-41372-3
Verlag: Routledge

Buch, Englisch, 362 Seiten, Format (B × H): 161 mm x 240 mm, Gewicht: 710 g

Reihe: Routledge Research in Music

Kevin Korsyn is a renowned music theorist, musicologist, and pedagogue who has taught at the University of Michigan since 1992. He has published widely and influentially in areas as diverse as Beethoven and Brahms studies, chromatic tonality, disciplinarity and metatheory, history of theory, musical meaning and hermeneutics, poststructuralism (deconstruction, intertextuality, etc.), and Schenkerian theory and analysis. Because of the scope and caliber of his published work, and also his legacy as a pedagogue, Korsyn has had a profound impact on the field of music theory, along with the related fields of historical musicology and aesthetics.

This book, a festschrift for Korsyn, comprises essays that constellate around his numerous scholarly foci. Represented in the volume are not only familiar music-theoretical topics such as chromaticism, form, Schenker, and text-music relations, but also various interdisciplinary topics such as deconstruction, disability studies, German Idealism, posthumanism, and psychoanalysis. The book thus reflects the increasingly multifaceted intellectual landscape of contemporary music theory.

Zielgruppe

Academic, Postgraduate, and Undergraduate Advanced

Autoren/Hrsg.

Parkhurst, Bryan

Swinkin, Jeffrey

Fachgebiete

• Geisteswissenschaften Musikwissenschaft Geschichte der Musik
• Geisteswissenschaften Musikwissenschaft Musikwissenschaft Allgemein Musiktheorie, Musikästhetik, Kompositionslehre
• Geisteswissenschaften Musikwissenschaft Musikgattungen Sinfonische Musik & Ensembles

Inhaltsverzeichnis

Introduction

An Interview with Kevin Korsyn

I. CLOSE READING AND THE PROBLEMATICS OF ANALYSIS

Chapter 1. Extraordinary Measures: Disability and Metrical Conflict in Schubert’s ‘Der blinde Knabe’

Chapter 2. Rethinking Self-referentiality in Schubert’s Setting of Platen’s ‘Die Liebe hat gelogen,’ D. 751 (op. 23, no. 1)

Chapter 3. The E-Flat/B Complex in Nineteenth-Century Music and its Hermeneutic Dimensions

II. COMPOSITIONAL CONSTRAINTS AND COMPOSITIONAL PROCESS

Chapter 4. Take It Away: How Shortened and Missing Sections Energize Rondo Forms

Chapter 5. Beyond Constraints: Bach’s Fugue in G minor from Book 2 of The Well-Tempered Clavier

III. MUSIC AND INTERDISCIPLINARITY

Chapter 6. Chopin’s Preludes, Creatures of Prometheus, and the Posthuman

Chapter 7. Walter Riezler on the Unity of the Arts: Unsiloing Art and Music in the Weimar Era

Chapter 8. Completing the Triad: Schenker and Kantian Practical Philosophy

Chapter 9. Leni Riefenstahl’s ‘Ballet’ Olympia

Über Autor(innen)

Bryan Parkhurst is Associate Professor of Music Theory and Philosophy at Oberlin College and Conservatory, U.S.A.

Jeffrey Swinkin is Associate Professor of Music (Theory) at The University of Oklahoma, U.S.A.