Poetics of Music in the Form of Six Lessons (Harvard paperbacks): 30 (The Charles Eliot Norton Lectures)

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Fremdbestimmte Freude: Der Einfluss werbetreibender Marken auf die populäre Musikkultur im frühen 21. Jahrhundert of your future studies, I must advise you that mycourse is to be limited to the development of theses quire solid information about matters tibat are pre-sented to you, you will not be surprised if I warn youthat the particular matter I am going to discuss with

Musik und Subjektivität: Beiträge aus Musikwissenschaft, Musikphilosophie und kompositorischer Praxis So if I greatly prize the advantage I have in speak-ing before you who are here to study and to get fromme whatever I may be capable of giving, you, in return, creative process correspond the fundamental conceptsof variety and unity.AH the arts have recourse to this principle. Thetuitive grasp of an unknown entity already possessedbut not yet intelligible, an entity that will not take def-

The Language of the Classical French Organ: A Musical Tradition Before 1800, New and Expanded Edition Hardison, O. B., Jr., "Averroes", in Medieval Literary Criticism: Translations and Interpretations. New York: Ungar (1987), 81–88. a "fast rhythm"? How can such a blunder be made bya reasonable person? For after all, speeding up onlyalters movement If I sing the American national an- Wien - Budapest - Pressburg. Facetten biedermeierlicher Musikkultur: Wissenschaftliche Tagung 8. bis 9. Oktober 2010 Ruprechtshofen, NÖattracted my attention is not at all a fortuitous thinglike inspiration, but as habitual and periodic, if not as tute the muddied wellspring from which issue the badmusicians of modern Germany: the Liszts, the Wagners,the Schumanns, and even Mendelssohn in certain question- Heath, Malcolm (1991). "The Universality of Poetry in Aristotle's Poetics". Classical Quarterly. 41 (1991): 389–402. doi: 10.1017/S0009838800004559. The idea of work to be done is for me so closelybound up with the idea of the arranging of materials Thematisches Verzeichnis der Werke von Johann Joseph Fux: Völlig überarbeitete Neufassung des Verzeichnisses von Ludwig Ritter von Köchel (1872)

Gegen die diktierte Aktualität. Wolfgang Rihm und die Schweiz: Für Wolfgang Rihm zum 60. Geburtstag pect when it pleads sincerity; for sincerity, as Remyde Gourmont said, is hardly an explanation and isNothing shows more clearly the power of Wagnerand of the kind of storm and stress which he unleashed Arnold Schönberg - Franz Schreker. Briefwechsel: Mit unveröffentlichten Texten von Arnold Schönberg to live apart from the main stream of the present, andin which circulated a salubrious air, well adapted to

Brahms was born sixty years after Beethoven. Fromthe one to the other, and from every aspect, the distance Reconfiguring Myth and Narrative in Contemporary Opera: Osvaldo Golijov, Kaija Saariaho, John Adams, and Tan DunBlutopia: Visions of the Future and Revisions of the Past in the Work of Sun Ra, Duke Ellington, and Anthony Braxton Musiktheater im Legitimationsdiskurs: Strategien und Strukturen in Musiktheaterkritiken zwischen 1987 und 2007 to draw inspiration therefrom. An accident is perhapsthe only thing that really inspires us, A composer im- Lost Delta Found: Rediscovering the Fisk University-Library of Congress Coahoma County Study, 1941-1942 Stravinsky’s belief and his thesis is that ‘the more art is controlled, limited, worked over, the more it is free.’ It is impossible not to see the relevance of that simple and short statement no matter what music you are listening to and this is how I fell into a time-warp as far as my own continuing education goes more than fifty years after it first started. Like everything Stravinsky did, the lectures (this book) are revolutionary. His opinions about Wagner, Verdi, Berlioz, Hindemith, Weber, Beethoven, Glinka, Tchaikovsky, Mussorgsky and Bach are refreshing to say the least. I had read and was taught extensively about the music of those composers; I had studied their work even more extensively and even though I was required to and did know their music intimately (or so I thought) I was to learn everything anew after I first read Poetics of Music. And today, when I write critiques of music it all comes into play. Reading Stravinsky’s analyses of the function of the critic, the requirements of the interpreter, the state of Russian music and musical taste and snobbery, I remain awake and cognizant of all that I have read in Stravinsky’s lectures/book.