The musical language of Berlioz
著者
書誌事項
The musical language of Berlioz
(Cambridge studies in music)
Cambridge University Press, 1983
大学図書館所蔵 全8件
  青森
  岩手
  宮城
  秋田
  山形
  福島
  茨城
  栃木
  群馬
  埼玉
  千葉
  東京
  神奈川
  新潟
  富山
  石川
  福井
  山梨
  長野
  岐阜
  静岡
  愛知
  三重
  滋賀
  京都
  大阪
  兵庫
  奈良
  和歌山
  鳥取
  島根
  岡山
  広島
  山口
  徳島
  香川
  愛媛
  高知
  福岡
  佐賀
  長崎
  熊本
  大分
  宮崎
  鹿児島
  沖縄
  韓国
  中国
  タイ
  イギリス
  ドイツ
  スイス
  フランス
  ベルギー
  オランダ
  スウェーデン
  ノルウェー
  アメリカ
注記
Bibliography: p. 293-296
Includes index
内容説明・目次
内容説明
This book is an analytical and critical study of Berlioz's unique musical style. It does not undertake to analyse all his works, but rather to separate characteristic elements and observe them in action. Berlioz's writings and those of his critics are called upon to help focus the discussion. Part I includes material on the sources of Berlioz's idiosyncrasy and a discussion of fundamental pitch elements. Part II pursues this discussion into textural, contrapuntal and orchestral features, and considers melody and rhythm. Part III deals with whole musical forms, vocal and instrumental. The book includes copious musical illustration, much of it analytical reduction, and the expressive purpose of the features analysed is fully considered. The conclusion is that Berlioz's musical language is inescapably peculiar, though not necessarily inept; features which seem inexplicable in the light of compositional theory nearly always contribute to the musical and expressive exactness of communication.
目次
- Part I: 1. Background and education (I): 2. Concerning method and style
- 3. Concerning pitch (I): chord and progression
- 4. Concerning pitch (2): chromaticism, tonal relations, and modality
- 5. Education (2): concerning Catel, the guitar, and works of the 1820s
- Part II: 6. Concerning instrumentation
- 7. Concerning the bass
- 8. Concerning counterpoint, pedal, and fugue
- 9. Concerning rhythm
- 10. Melody
- Part III: 11. Vocal forms: Satz and Ursatz
- 12. Formal schemes in instrumental music
- 13. The Overture Benvenuto Cellini: an analysis
- 14. The figure and the background: Faust in La damnation 15. In Conclusion.
「Nielsen BookData」 より