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The Oxford Handbook of Topic Theory. 9780199841578

The Oxford Handbook of Topic Theory

Oxford University Press. 2014

Ficha técnica

  • EAN: 9780199841578
  • ISBN: 978-0-19-984157-8
  • Editorial: Oxford University Press
  • Fecha de edición: 2014
  • Encuadernación: Cartoné
  • Dimensiones: 17X25
  • Idioma: Inglés
  • Nº páginas: 712

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- Offers analyses from a variety of methodological perspectives
- Connects topic theory to wider musicological and music-theoretical research
- Brings music history and music theory into close discussion

Topics are musical signs developed and employed primarily during the long eighteenth century. Their significance relies on associations that are clearly recognizable to the listener with different genres, styles and types of music making. Topic theory, which is used to explain conventional subjects of musical composition in this period, is grounded in eighteenth-century music theory, aesthetics, and criticism, while drawing also from music cognition and semiotics. The concept of topics was introduced into by Leonard Ratner in the 1980s to account for cross-references between eighteenth-century styles and genres. As the invention of a twentieth-century academic, topic theory as a field is comparatively new, and The Oxford Handbook of Topic Theory provides a much-needed reconstruction of the field's aesthetic underpinnings.

The volume grounds the concept of topics in eighteenth-century music theory, aesthetics, and criticism. Documenting the historical reality of individual topics on the basis of eighteenth-century sources, it traces the origins of topical mixtures to transformations of eighteenth-century musical life, and relates topical analysis to other methods of music analysis conducted from the perspectives of composers, performers, and listeners. Focusing its scope on eighteenth-century musical repertoire, The Oxford Handbook of Topic Theory lays the foundation for further investigation of topics in music of the nineteenth, twentieth, and twenty-first centuries.


Introduction (Danuta Mirka)

- Section I. Origins and Distinctions
Chapter 1. Topics and Opera Buffa (Mary Hunter)
Chapter 2. Symphonies and the Public Display of Topics (Elaine Sisman)
Chapter 3. Topics in Chamber Music (Dean Sutcliffe)

- Section II. Contexts, Histories, Sources
Chapter 4. Music and Dance in the Ancien Régime (Lawrence Zbikowski)
Chapter 5. Ballroom Dances of the Late Eighteenth Century (Eric McKee)
Chapter 6. Hunt, Military, and Pastoral Topics (Andrew Haringer)
Chapter 7. Turkish and Hungarian-Gypsy Styles (Catherine Mayes)
Chapter 8. The Singing Style (Sarah Day-O'Connell)
Chapter 9. Fantasia and Sensibility (Matthew Head)
Chapter 10. Ombra and Tempesta (Clive McClelland)
Chapter 11. Learned Style and Learned Styles (Keith Chapin)
Chapter 12. The Brilliant Style (Roman Ivanovitch)

- Section III. Analysing Topics
Chapter 13. Topics and Meter (Danuta Mirka)
Chapter 14. Topics and Harmonic Schemata: A Case from Beethoven (Vasili Byros)
Chapter 15. Topics and Formal Functions: The Case of the Lament (William Caplin)
Chapter 16. Topics and Tonal Processes (Joel Galand)
Chapter 17. Topics and Form in Mozart's String Quintet in E flat major, K. 614/i (Kofi Agawu)
Chapter 18. Topical Figurae: The Double Articulation of Topics (Stephen Rumph)
Chapter 19. The Troping of Topics in Mozart's Instrumental Works (Robert Hatten)

- Section IV. Performing Topics
Chapter 20. Performing Topics in Mozart's Chamber Music with Piano (John Irving)
Chapter 21. Recognizing Musical Topics vs. Executing Rhetorical Figures (Tom Beghin)
Chapter 22. Eloquent Performance: The Pronuntiatio of Topics (Sheila Guymer)

- Section V. Listening to Topics
Chapter 23. Amateur Topical Competencies (Melanie Lowe)
Chapter 24. Expectation, Musical Topics, and the Problem of Affective Differentiation (Elizabeth Hellmuth Margulis)
Chapter 25. Listening to Topics in the Nineteenth Century (Julian Horton)

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