Carl Stumpf
- Published in print:
- 2012
- Published Online:
- September 2012
- ISBN:
- 9780199695737
- eISBN:
- 9780191742286
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199695737.003.0004
- Subject:
- Psychology, Music Psychology, Developmental Psychology
This chapter presents Part II of Carl Stumpf's The Origins of Music, which analyses of melodies from non-European cultures to demonstrate the psychological principles of tonal organization. It ...
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This chapter presents Part II of Carl Stumpf's The Origins of Music, which analyses of melodies from non-European cultures to demonstrate the psychological principles of tonal organization. It includes an Appendix with images of primitive instruments.Less
This chapter presents Part II of Carl Stumpf's The Origins of Music, which analyses of melodies from non-European cultures to demonstrate the psychological principles of tonal organization. It includes an Appendix with images of primitive instruments.
Carl Stumpf
- Published in print:
- 2012
- Published Online:
- September 2012
- ISBN:
- 9780199695737
- eISBN:
- 9780191742286
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199695737.001.0001
- Subject:
- Psychology, Music Psychology, Developmental Psychology
This book was first published in German in 1911. The text sets out a path-breaking hypothesis on the earliest musical sounds in human culture. Alongside research in such diverse fields as classical ...
More
This book was first published in German in 1911. The text sets out a path-breaking hypothesis on the earliest musical sounds in human culture. Alongside research in such diverse fields as classical philosophy, acoustics, and mathematics, Stumpf became one of the most influential psychologists of the late 19th century. He was the founding father of Gestalt psychology, and collaborated with William James, Edmund Husserl, and Wolfgang Köhler. This book was the culmination of more than twenty-five years of empirical and theoretical research in the field of music. The first part of the book discusses the origin and forms of musical activities as well as various existing theories on the origin of music, including those of Darwin, Rousseau, Herder, and Spencer. The second part summarizes his works on the historical development of instruments and music, and studies a putatively global range of music from non-European cultures to demonstrate the psychological principles of tonal organization, as well as providing a range of cross-cultural musical transcriptions and analyses. This became a foundation document for comparative musicology, the elder sibling to modern Ethnomusicology, and the book provides access to the original recordings Stumpf used in this process. This book is available for the first time in the English language.Less
This book was first published in German in 1911. The text sets out a path-breaking hypothesis on the earliest musical sounds in human culture. Alongside research in such diverse fields as classical philosophy, acoustics, and mathematics, Stumpf became one of the most influential psychologists of the late 19th century. He was the founding father of Gestalt psychology, and collaborated with William James, Edmund Husserl, and Wolfgang Köhler. This book was the culmination of more than twenty-five years of empirical and theoretical research in the field of music. The first part of the book discusses the origin and forms of musical activities as well as various existing theories on the origin of music, including those of Darwin, Rousseau, Herder, and Spencer. The second part summarizes his works on the historical development of instruments and music, and studies a putatively global range of music from non-European cultures to demonstrate the psychological principles of tonal organization, as well as providing a range of cross-cultural musical transcriptions and analyses. This became a foundation document for comparative musicology, the elder sibling to modern Ethnomusicology, and the book provides access to the original recordings Stumpf used in this process. This book is available for the first time in the English language.
Joseph Kerman
- Published in print:
- 2001
- Published Online:
- May 2012
- ISBN:
- 9780520225640
- eISBN:
- 9780520925786
- Item type:
- chapter
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520225640.003.0004
- Subject:
- Music, History, Western
The “Wanderer” Fantasy sets itself apart from most of Schubert's instrumental music not only because of its unusual form and virtuosic character, but also because of the place it occupies in his ...
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The “Wanderer” Fantasy sets itself apart from most of Schubert's instrumental music not only because of its unusual form and virtuosic character, but also because of the place it occupies in his compositional career. At the time of its composition, late in 1822, Schubert had not completed a large-scale instrumental piece in three years. He turned to it, as already mentioned, from his work on the “Unfinished” Symphony, which he had brought closer to completion than any other instrumental work in several movements since the “Trout” Quintet and the Piano Sonata in A Major, D. 664, of 1819. In the intervening three years, Schubert had occupied himself primarily with dramatic music, but without much public success. This chapter suggests that the “Wanderer” Fantasy, in the way it dramatizes the emergence of its C♯-minor song yet also integrates it into its C-major surroundings, provides a model for cyclic tonal organization. It also offers, through the song, a key to its interpretation.Less
The “Wanderer” Fantasy sets itself apart from most of Schubert's instrumental music not only because of its unusual form and virtuosic character, but also because of the place it occupies in his compositional career. At the time of its composition, late in 1822, Schubert had not completed a large-scale instrumental piece in three years. He turned to it, as already mentioned, from his work on the “Unfinished” Symphony, which he had brought closer to completion than any other instrumental work in several movements since the “Trout” Quintet and the Piano Sonata in A Major, D. 664, of 1819. In the intervening three years, Schubert had occupied himself primarily with dramatic music, but without much public success. This chapter suggests that the “Wanderer” Fantasy, in the way it dramatizes the emergence of its C♯-minor song yet also integrates it into its C-major surroundings, provides a model for cyclic tonal organization. It also offers, through the song, a key to its interpretation.
Christopher Hasty
- Published in print:
- 2020
- Published Online:
- May 2020
- ISBN:
- 9780190886912
- eISBN:
- 9780197506561
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780190886912.003.0005
- Subject:
- Music, Theory, Analysis, Composition
This chapter addresses the opposition of metrical and tonal organization that appears in many current theories of musical rhythm. This disparity arises from conceiving of duration as abstract ...
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This chapter addresses the opposition of metrical and tonal organization that appears in many current theories of musical rhythm. This disparity arises from conceiving of duration as abstract quantity or “time span” rather than as endurance or the process through which something comes to endure. In this abstraction, “motion,” “energy,” and “tension and relaxation” are ascribed to things that happen “in” time—and not to time itself. Abstract duration, conceived as quantitatively determinant time span, is solely the product of measurement; and to take a measurement, one must isolate points of initiation and termination. These points, even if they are not represented by numbers, have the properties of numbers, among which is the property of discontinuity. Meanwhile, the idea of continuous tonal motion, based on the notions of co-presence and the priority of whole over part, points to a way of detaching duration from numerical measurement.Less
This chapter addresses the opposition of metrical and tonal organization that appears in many current theories of musical rhythm. This disparity arises from conceiving of duration as abstract quantity or “time span” rather than as endurance or the process through which something comes to endure. In this abstraction, “motion,” “energy,” and “tension and relaxation” are ascribed to things that happen “in” time—and not to time itself. Abstract duration, conceived as quantitatively determinant time span, is solely the product of measurement; and to take a measurement, one must isolate points of initiation and termination. These points, even if they are not represented by numbers, have the properties of numbers, among which is the property of discontinuity. Meanwhile, the idea of continuous tonal motion, based on the notions of co-presence and the priority of whole over part, points to a way of detaching duration from numerical measurement.
Heinrich Schenker
John Rothgeb (ed.)
- Published in print:
- 2015
- Published Online:
- October 2015
- ISBN:
- 9780199914227
- eISBN:
- 9780190243623
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199914227.001.0001
- Subject:
- Music, Theory, Analysis, Composition
Piano Sonata in A♭ Major, Op. 110 comprises three movements: I. Moderato cantabile, molto espressivo, A♭ major; II. Allegro molto, F minor; and III. Adagio ma non troppo (Arioso dolente); Fuga ...
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Piano Sonata in A♭ Major, Op. 110 comprises three movements: I. Moderato cantabile, molto espressivo, A♭ major; II. Allegro molto, F minor; and III. Adagio ma non troppo (Arioso dolente); Fuga (Allegro ma non troppo), L’istesso tempo di Arioso; L’istesso tempo della Fuga, A♭ major. The first is a lyrical sonata form, the second a ternary construction in the manner of a scherzo with trio, while the third is an interlacing of a fugue with a slower-paced song of lament (which is itself preludized by a recitative of six bars). Form and tonal organization are elucidated in detail section by section; an appendix affords access to Schenker’s voice-leading graphs of certain portions of the music from some twelve years later, originally published in his Masterwork I. Performance instructions pertaining to tempo, dynamics, fingering, etc., are given for each section of the music. Critical evaluation is provided, with reference to the composer’s Autograph, of various earlier editions, including the Original Edition, the so-called Urtext Edition, the Gesamtausgabe edition, and several performing editions. Insights about Beethoven’s creative process are gleaned from his compositional sketches and from revisions found in the Autograph score.Less
Piano Sonata in A♭ Major, Op. 110 comprises three movements: I. Moderato cantabile, molto espressivo, A♭ major; II. Allegro molto, F minor; and III. Adagio ma non troppo (Arioso dolente); Fuga (Allegro ma non troppo), L’istesso tempo di Arioso; L’istesso tempo della Fuga, A♭ major. The first is a lyrical sonata form, the second a ternary construction in the manner of a scherzo with trio, while the third is an interlacing of a fugue with a slower-paced song of lament (which is itself preludized by a recitative of six bars). Form and tonal organization are elucidated in detail section by section; an appendix affords access to Schenker’s voice-leading graphs of certain portions of the music from some twelve years later, originally published in his Masterwork I. Performance instructions pertaining to tempo, dynamics, fingering, etc., are given for each section of the music. Critical evaluation is provided, with reference to the composer’s Autograph, of various earlier editions, including the Original Edition, the so-called Urtext Edition, the Gesamtausgabe edition, and several performing editions. Insights about Beethoven’s creative process are gleaned from his compositional sketches and from revisions found in the Autograph score.
Heinrich Schenker
John Rothgeb (ed.)
- Published in print:
- 2015
- Published Online:
- October 2015
- ISBN:
- 9780199914203
- eISBN:
- 9780190243616
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199914203.001.0001
- Subject:
- Music, Theory, Analysis, Composition
Piano Sonata in E Major, Op. 109 comprises three movements: I. Vivace, E major; II. Prestissimo, E minor; and III. Andante molto cantabile ed espressivo, E major. The first two are composed in sonata ...
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Piano Sonata in E Major, Op. 109 comprises three movements: I. Vivace, E major; II. Prestissimo, E minor; and III. Andante molto cantabile ed espressivo, E major. The first two are composed in sonata form, while the third is a theme with six variations. Form and tonal organization of each movement are examined and elucidated section by section. In this, the first-published of the Editions with Elucidation, the text already uses some notational simplifications of the diminution-rich content in order to reveal the underlying tonal shapes. These figures are forerunners of his later voice-leading sketches, which will make their appearance in Op. 101. In keeping with the author’s procedure in his earlier works, Bach’s Chromatic Fantasy and Fugue and Beethoven’s Ninth Symphony, he supplements his analytic commentary with specific performance instructions for each section that refer to tempo, dynamics, fingering, and pedaling; he moreover provides text-critical commentary with reference to the composer’s Autograph, a Revised Copy, the Original Edition, the Gesamtausgabe, and a number of editions by celebrated performers of the nineteenth century. Especially in Op. 109, this critical comparison led to a greatly improved musical score; Schenker declared his edition “practically an exhumation.” Beethoven’s compositional sketches are cited in the discussions of many sections for the inferences they support about his creative process.Less
Piano Sonata in E Major, Op. 109 comprises three movements: I. Vivace, E major; II. Prestissimo, E minor; and III. Andante molto cantabile ed espressivo, E major. The first two are composed in sonata form, while the third is a theme with six variations. Form and tonal organization of each movement are examined and elucidated section by section. In this, the first-published of the Editions with Elucidation, the text already uses some notational simplifications of the diminution-rich content in order to reveal the underlying tonal shapes. These figures are forerunners of his later voice-leading sketches, which will make their appearance in Op. 101. In keeping with the author’s procedure in his earlier works, Bach’s Chromatic Fantasy and Fugue and Beethoven’s Ninth Symphony, he supplements his analytic commentary with specific performance instructions for each section that refer to tempo, dynamics, fingering, and pedaling; he moreover provides text-critical commentary with reference to the composer’s Autograph, a Revised Copy, the Original Edition, the Gesamtausgabe, and a number of editions by celebrated performers of the nineteenth century. Especially in Op. 109, this critical comparison led to a greatly improved musical score; Schenker declared his edition “practically an exhumation.” Beethoven’s compositional sketches are cited in the discussions of many sections for the inferences they support about his creative process.
Heinrich Schenker and John Rothgeb
- Published in print:
- 2015
- Published Online:
- September 2015
- ISBN:
- 9780199914265
- eISBN:
- 9780190243647
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199914265.003.0001
- Subject:
- Music, Theory, Analysis, Composition
The chapter gives an overview of the sonata form in which the first movement of Op. 101 is composed. The formal components are assembled in an unusually concentrated manner such that in the First ...
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The chapter gives an overview of the sonata form in which the first movement of Op. 101 is composed. The formal components are assembled in an unusually concentrated manner such that in the First Part, the consequent phrase of the first theme immediately turns into the modulating section followed by the second theme itself as though in one breath. A précis of the tonal organization of the Development is given in the form of a voice leading sketch. The Reprise and Coda are discussed in detail. Performance instructions are given for each of the formal divisions. Text-critical reports are provided on the basis of comparison of the Autograph, the Original Edition, and several other critical and performing editions.Less
The chapter gives an overview of the sonata form in which the first movement of Op. 101 is composed. The formal components are assembled in an unusually concentrated manner such that in the First Part, the consequent phrase of the first theme immediately turns into the modulating section followed by the second theme itself as though in one breath. A précis of the tonal organization of the Development is given in the form of a voice leading sketch. The Reprise and Coda are discussed in detail. Performance instructions are given for each of the formal divisions. Text-critical reports are provided on the basis of comparison of the Autograph, the Original Edition, and several other critical and performing editions.
Heinrich Schenker
John Rothgeb (ed.)
- Published in print:
- 2015
- Published Online:
- October 2015
- ISBN:
- 9780199914241
- eISBN:
- 9780190243630
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199914241.001.0001
- Subject:
- Music, Theory, Analysis, Composition
Piano Sonata in C Minor, Op. 111 has only two movements: I. Maestoso; Allegro con brio ed appassionato, C minor; II. Arietta. Adagio molto semplice e cantabile, C major. The first movement is in ...
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Piano Sonata in C Minor, Op. 111 has only two movements: I. Maestoso; Allegro con brio ed appassionato, C minor; II. Arietta. Adagio molto semplice e cantabile, C major. The first movement is in sonata form with a slow introduction, the second an Arietta with six variations. In contrast to the other three sonatas of the four treated in these Editions with Elucidation, the sonata form of the first movement of Op. 111 is not an example of the extreme compression and condensation favored by Beethoven in some of his later works; instead, ample space is allotted to each of its formal parts to unfold at a leisurely pace. A striking feature is the lead-in to the Second Theme, which involves a dramatic enlargement of the head of the First Theme; this achievement was observed and written about for the first time by Heinrich Schenker in this Edition. Performance instructions pertaining to tempo, dynamics, fingering, etc., are given for each section of the music. Critical evaluation is provided, with reference to the composer’s Autograph, of various earlier editions, including the Original Edition, the so-called Urtext Edition, the Gesamtausgabe edition, and several performing editions. Insights about Beethoven’s creative process are gleaned from his compositional sketches and from revisions found in the Autograph score.Less
Piano Sonata in C Minor, Op. 111 has only two movements: I. Maestoso; Allegro con brio ed appassionato, C minor; II. Arietta. Adagio molto semplice e cantabile, C major. The first movement is in sonata form with a slow introduction, the second an Arietta with six variations. In contrast to the other three sonatas of the four treated in these Editions with Elucidation, the sonata form of the first movement of Op. 111 is not an example of the extreme compression and condensation favored by Beethoven in some of his later works; instead, ample space is allotted to each of its formal parts to unfold at a leisurely pace. A striking feature is the lead-in to the Second Theme, which involves a dramatic enlargement of the head of the First Theme; this achievement was observed and written about for the first time by Heinrich Schenker in this Edition. Performance instructions pertaining to tempo, dynamics, fingering, etc., are given for each section of the music. Critical evaluation is provided, with reference to the composer’s Autograph, of various earlier editions, including the Original Edition, the so-called Urtext Edition, the Gesamtausgabe edition, and several performing editions. Insights about Beethoven’s creative process are gleaned from his compositional sketches and from revisions found in the Autograph score.
