Oxford Monographs on Music-The Finale in Western Instrumental Music
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Uitgever: Oxford University Press
Auteur:
Michael Talbot
- Engels
- Hardcover
- 9780198166955
- 24 mei 2001
- 264 pagina's
Michael Talbot
Michael Talbot was an author and prominent figure in the quantum mysticism movement. Originally a science-fiction author and writer for the
Village Voice, he rose to prominence with his nonfiction works, including
Mysticism and the New Physics,
Beyond the Quantum, and
The Holographic Universe. He died in 1992.
Samenvatting
The knowledge that finales are by tradition (and perhaps also necessarily) "different" from other movements has been around a long time, but this work examines, comprehensively and in detail, the special nature of finales in instrumental music.
The knowledge that finales are by tradition (and perhaps also necessarily) 'different' from other movements has been around a long time, but this is the first time that the special nature of finales in instrumental music has been examined comprehensively and in detail. Three main types of finale, labelled 'relaxant', 'summative', and 'valedictory', are identified. Each type is studied closely, with a wealth of illustration and analytical commentary covering the entire period from the Renaissance to the present day. The history of finales in five important genres -- suite, sonata, string quartet, symphony, and concerto -- is traced, and the parallels and divergences between these traditions are identified. Several wider issues are mentioned, including narrativity, musical rounding, inter-movement relationships, and the nature of codas. The book ends with a look at the finales of all Shostakovich's string quartets, in which examples of most of the types may be found.
The knowledge that finales are by tradition (and perhaps also necessarily) 'different' from other movements has been around a long time, but this is the first time that the special nature of finales in instrumental music has been examined comprehensively and in detail. Three main types of finale, labelled 'relaxant', 'summative', and 'valedictory', are identified. Each type is studied closely, with a wealth of illustration and analytical commentary covering the entire period from the Renaissance to the present day. The history of finales in five important genres -- suite, sonata, string quartet, symphony, and concerto -- is traced, and the parallels and divergences between these traditions are identified. Several wider issues are mentioned, including narrativity, musical rounding, inter-movement relationships, and the nature of codas. The book ends with a look at the finales of all Shostakovich's string quartets, in which examples of most of the types may be found.
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