We use cookies to enhance your experience on our website. By continuing to use our website, you are agreeing to our use of cookies. You can change your cookie settings at any time. Find out more

Browse

You are looking at 41-50 of 733 items

View: Chapters  |  Books

Art for Art's Sake »

Chapter: Midcentury

Source: Music in the Nineteenth Century

Author: Richard Taruskin

Art for Art's Sake As all these Russian quotes suggest, much of the opposition to the New German School came from outside the German-speaking lands, ma...

The Art of Mélange »

Chapter: Music for an Intellectual and Political Elite

Source: Music from the Earliest Notations to the Sixteenth Century

Author: Richard Taruskin

The Art of Mélange Another motet with semibreves (in all parts this time, even the tenor) is given in Fig. 7-7 (facsimile) and Ex. 7-7 (transcription)....

The Art of Orchestration is Born »

Chapter: Reformations and Counter Reformations

Source: Music from the Earliest Notations to the Sixteenth Century

Author: Richard Taruskin

The Art of Orchestration is Born Beyond the provision of an organ bass, none of the publications mentioned so far actually specified the instrumentatio...

Artist, Politician, Farmer (Class of 1813, II) »

Chapter: Artist, Politician, Farmer (Class of 1813, II)

Source: Music in the Nineteenth Century

Author: Richard Taruskin

Richard Taruskin The invisible orchestra! The idea is not mine, but Wagner's; and it is excellent. It is impossible today to tolerate horrible tailco...

The Artwork of the Future, Modeled (as Always) on the Imagined Past »

Chapter: Deeds of Music Made Visible (Class of 1813, I)

Source: Music in the Nineteenth Century

Author: Richard Taruskin

The Artwork of the Future, Modeled (as Always) on the Imagined Past All the more ineluctable are these connections in view of Wagner's lifelong habit, ...

At the Opposite Extreme »

Chapter: Inner Occurrences (Transcendentalism, III)

Source: Music in the Early Twentieth Century

Author: Richard Taruskin

At the Opposite Extreme The idea of the “aggregate” or full chromatic gamut as symbolizing closure, or (more practically) as providing the opportunity ...

At the Pinnacle »

Chapter: Standoff (II)

Source: Music in the Late Twentieth Century

Author: Richard Taruskin

At the Pinnacle Carter had willy-nilly become the chief standard bearer for the traditional modernist view of art and its autonomous history at the ver...

Atonal Triads »

Chapter: Inner Occurrences (Transcendentalism, III)

Source: Music in the Early Twentieth Century

Author: Richard Taruskin

Atonal Triads To demonstrate this, we need only take a melodic and harmonic inventory of the opening measures (Ex. 6-17 ) and spot-check the rest. And o...

Atonality? »

Chapter: Extinguishing the “Petty ‘I’ ” (Transcendentalism, I)

Source: Music in the Early Twentieth Century

Author: Richard Taruskin

Atonality? The chief harmonic ingredient, the French sixth chord, remains recognizably a modified dominant chord in intervallic structure, but there is...

Atonality? »

Chapter: Inner Occurrences (Transcendentalism, III)

Source: Music in the Early Twentieth Century

Author: Richard Taruskin

Atonality? These are the conditions under which music becomes, in a word that has become standard terminology over Schoenberg’s objections, “atonal.” S...

View: Chapters  |  Books