Style and Music: Theory, History, and IdeologyUniversity of Chicago Press, 1996 - 376 頁 Leonard Meyer proposes a theory of style and style change that relates the choices made by composers to the constraints of psychology, cultural context, and musical traditions. He explores why, out of the abundance of compositional possibilities, composers choose to replicate some patterns and neglect others. Meyer devotes the latter part of his book to a sketch-history of nineteenth-century music. He shows explicitly how the beliefs and attitudes of Romanticism influenced the choices of composers from Beethoven to Mahler and into our own time. "A monumental work. . . . Most authors concede the relation of music to its cultural milieu, but few have probed so deeply in demonstrating this interaction."—Choice "Probes the foundations of musical research precisely at the joints where theory and history fold into one another."—Kevin Korsyn, Journal of American Musicological Society "A remarkably rich and multifaceted, yet unified argument. . . . No one else could have brought off this immense project with anything like Meyer's command."—Robert P. Morgan, Music Perception "Anyone who attempts to deal with Romanticism in scholarly depth must bring to the task not only musical and historical expertise but unquenchable optimism. Because Leonard B. Meyer has those qualities in abundance, he has been able to offer fresh insight into the Romantic concept."—Donal Henahan, New York Times |
內容
Toward a Theory of Style | 3 |
Style Analysis | 38 |
HISTORY INNOVATION AND CHOICE | 67 |
Thoughts About History | 69 |
InnovationReasons and Sources | 104 |
Choice and Replication | 135 |
MUSIC AND IDEOLOGY A SKETCHHISTORY OF NINETEENTHCENTURY MUSIC | 161 |
RomanticismThe Ideology of Elite Egalitarians | 163 |
Convention DisguisedNature Affirmed | 218 |
Syntax Form and Unity | 272 |
The Persistence of Romanticism | 337 |
353 | |
365 | |
375 | |
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常見字詞
acontextual aesthetic alternatives appoggiaturas augmented sixth chord Baroque Bb Major Beethoven's beginning behavior beliefs cadence cadential Chapter characteristic chord Classic closure cognitive coherent composer's composers compositional choices concepts connection consequences conventional create culture deceptive cadences depends dialect discussed dominant egalitarian emphasized Example explain function G Major goals harmony Haydn's hierarchic human hypotheses ideology implied important individual influence innovation instance interpretation intraopus involves kind leitmotif means measure melody Minor motion motivic movement Mozart nature nineteenth century nonchord tones observed occurs Opus organic organicism pattern phrase Piano pitches plagal plagal cadence possible prevalent program music progression relationships replicated result Romantic Romantic music Romanticism rules schemata secondary parameters seems significant sonata form statistical climax strategies stretching String Quartet structure style change stylistic subdominant Symphony syntactic tend theme theory tion tonal syntax tone tonic traits triad Tristan Tristan and Isolde understanding unity Wagner