Studies in Music with Text

by David Lewin

Overview

Throughout his career, David Lewin labored to make even the most abstract theory speak to the experience of the ordinary listener. This book combines many of Lewin's classic articles on song and opera with newly drafted chapters on songs of Brahms, Robert Schumann, Clara Schumann, and Milton Babbitt. Bound together by Lewin's cogent insight, the resulting collection constitutes a major statement concerning the methodological problems associated with interpretation of texted music.

Product Details

ISBN-13:	9780199884636
Publisher:	Oxford University Press
Publication date:	01/05/2006
Series:	Oxford Studies in Music Theory
Sold by:	Barnes & Noble
Format:	eBook
File size:	26 MB
Note:	This product may take a few minutes to download.

About the Author

David Lewin taught composition at UC Berkeley and at SUNY Stony Brook, and later taught music theory at Yale and Harvard Universities. His music-theoretic writings include many articles and two previous books: Generalized Musical Intervals and Transformations (1987), and Musical Form and Transformation (1993). He was the recipient of honorary degrees from the University of Chicago and from the New England Conservatory of Music for his work in music theory.

Table of Contents

Introduction
Section I
Introduction.
1. Figaro's Mistakes
2. Musical analysis as stage direction
3. Crudel! perchè finora . . .
Postscript.
Section II
Introduction.
4. Music Theory, Phenomenology, and Modes of Perception
5. Auf dem Flusse: Image and Background in a Schubert Song
6. Ihr Bild
Section III
Introduction
7. Clara Schumann's Setting of "Ich stand"
8. R. Schumann's Anfangs wollt' ich: A study in Phrygian and modern minor
9. Auf einer Burg (In a fortress)
Section IV
Introduction
10. Amfortas's Prayer to Titurel and the Role of D in Parsifal: The Tonal Spaces of the Drama and the Enharmonic Cb/B
11. Some Notes on Analyzing Wagner: The Ring and Parsifal
12. Tristan-well-made-play and theater of passion; the teleology of functional tonality and the self-propagation of transformational atonality
Section V
13. Die Schwestern
Section VI
Introduction.
14. Women's Voices and the Fundamental Bass
15. Toward the Analysis of a Schoenberg Song (Op. 15, No. XI)
16. A Way into Schoenberg's Opus 15, Number 7
17. Vocal Meter in Schoenberg's Atonal Music, with a Note on a Serial Haupstimme
18. Moses und Aron: Some General Remarks, and Analytic Notes for Act I, Scene 1
Section VII
Introduction.
19. Some Problems and Resources of Music Theory
4. Contributors: Not applicable

Editorial Reviews

This volume comprises essays (some previously published) on the interrelationship of words and music in selected works by Mozart, Schubert, the Schumanns, Wagner, Brahms, Schoenberg, and Babbitt. The breadth of the late author's knowledge is, by itself, astonishing. A composer and a professor of music at Harvard, Lewin (1933-2003) is a widely recognized as one of he most important theorists of the 20th century. His wife, friends, and colleagues made sure that his final manuscript was brought to publication. It is a superb testimonial to his lifelong concern with text as an essential element of music deserving as much attention as the notes. Although these essays were written primarily for theorists, those passionate about singing, opera, or interdisciplinary approaches to music will find much here to interest them. Lewin's theory is never far from practice and his observations, cleanly argued, seem inevitable. —Choice



This volume comprises essays (some previously published) on the interrelationship of words and music in selected works by Mozart, Schubert, the Schumanns, Wagner, Brahms, Schoenberg, and Babbitt. The breadth of the late author's knowledge is, by itself, astonishing. A composer and a professor of
music at Harvard, Lewin (1933-2003) is a widely recognized as one of he most important theorists of the 20th century. His wife, friends, and colleagues made sure that his final manuscript was brought to publication. It is a superb testimonial to his lifelong concern with text as an essential element
of music deserving as much attention as the notes. Although these essays were written primarily for theorists, those passionate about singing, opera, or interdisciplinary approaches to music will find much here to interest them. Lewin's theory is never far from practice and his observations, cleanly
argued, seem inevitable. —Choice



This volume comprises essays (some previously published) on the interrelationship of words and music in selected works by Mozart, Schubert, the Schumanns, Wagner, Brahms, Schoenberg, and Babbitt. The breadth of the late author's knowledge is, by itself, astonishing. A composer and a professor of
music at Harvard, Lewin (1933-2003) is a widely recognized as one of he most important theorists of the 20th century. His wife, friends, and colleagues made sure that his final manuscript was brought to publication. It is a superb testimonial to his lifelong concern with text as an essential element
of music deserving as much attention as the notes. Although these essays were written primarily for theorists, those passionate about singing, opera, or interdisciplinary approaches to music will find much here to interest them. Lewin's theory is never far from practice and his observations, cleanly
argued, seem inevitable. —Choice


This volume comprises essays (some previously published) on the interrelationship of words and music in selected works by Mozart, Schubert, the Schumanns, Wagner, Brahms, Schoenberg, and Babbitt. The breadth of the late author's knowledge is, by itself, astonishing. A composer and a professor of
music at Harvard, Lewin (1933-2003) is a widely recognized as one of he most important theorists of the 20th century. His wife, friends, and colleagues made sure that his final manuscript was brought to publication. It is a superb testimonial to his lifelong concern with text as an essential element
of music deserving as much attention as the notes. Although these essays were written primarily for theorists, those passionate about singing, opera, or interdisciplinary approaches to music will find much here to interest them. Lewin's theory is never far from practice and his observations, cleanly
argued, seem inevitable. —Choice

From the Publisher