Since the 1840s, critics have lambasted Wagner for lacking the ability to compose melody. But for him, melody was fundamental - 'music's only form'. This incongruity testifies to the surprising difficulties during the nineteenth century of conceptualizing melody. Despite its ind…
Since the 1840s, critics have lambasted Wagner for lacking the ability to compose melody. But for him, melody was fundamental - 'music's only form'. This incongruity testifies to the surprising difficulties during the nineteenth century of conceptualizing melody. Despite its ind…
Since the 1840s, critics have lambasted Wagner for lacking the ability to compose melody. But for him, melody was fundamental--'music's only form'. This incongruity testifies to the surprising difficulties during the nineteenth century of conceptualizing melody. Despite its indi…
Wagner's Melodies places the composer's ideas about melody in the context of the scientific discourse of his age.
Since the 1840s, critics have lambasted Wagner for lacking the ability to compose melody. But for him, melody was fundamental - 'music's only form'. This incongruity testifies to the surprising difficulties during the nineteenth century of conceptualizing melody. Despite its ind…
This book draws on previous studies of Irish music and general melodic theory to describe the inner workings of a rich melodic tradition. Irish folk music, resting upon monophonic melodies which are varied and ornamented, are thus viewed from several perspectives - ethnographic …
This is a major work, at once synthetic and analytical. The author has drawn on previous studies of Irish music and general melodic theory to describe the inner workings of a rich melodic tradition. Irish folk music, resting upon monophonic melodies which are varied and ornament…
