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LEADER 00000cam a2200517Ki 4500 
003    OCoLC 
005    20190409062544.2 
006    m     o  d         
007    cr cnu---unuuu 
008    170210s2012    nyua    ob    001 0 eng d 
019    JSTORocn972092460 
020    9781576472552|q(electronic bk.) 
020    1576472558|q(electronic bk.) 
020    |z9781576472118 
020    |z1576472116 
037    22573/ctt1kt7zk3|bJSTOR 
040    N$T|beng|erda|epn|cN$T|dOCLCO|dYDX|dJSTOR|dOCLCA|dIOG|dEZ9
049    MAIN 
050  4 ML410.M5|bR29 2012eb 
082 04 784.092|223 
100 1  Rapoport, Erez,|d1959-2009. 
245 10 Mendelssohn's instrumental music :|bstructure and style /
       |cErez Rapoport. 
264  1 Hillsdale, NY :|bPendragon Press,|c©2012. 
300    1 online resource (xvii, 182 pages) :|billustrations. 
336    text|btxt|2rdacontent 
337    computer|bc|2rdamedia 
338    online resource|bcr|2rdacarrier 
347    data file|2rda 
490 1  Harmonologia: studies in music theory ;|vnumber 18 
504    Includes bibliographical references and index. 
505 0  Phrase and subphrase overlap -- Unusual treatment of the 
       reprise in small forms -- Deviations from the norms at the
       beginning of the recapitulation in sonata forms -- Joining
       together other sections in sonata forms -- Linking 
       movements in multi-movement works -- Summary : historical 
520    What is it that makes Mendelssohn's music recognizably 
       unique? This study hopes to make a contribution to the 
       answer through an analysis of an extensive sample of 
       Mendelssohn's instrumental music. I identify a 
       compositional practice which I believe to be a hallmark of
       his style: the smoothing over of formal junctures of 
       various types. By and large, Mendelssohn's dynamic 
       treatment of formal junctures reflects a general concern 
       with enhancing continuity and momentum in longer forms, a 
       compositional issue that has always presented a challenge 
       to composers in the Western music tradition. The main 
       purpose of our investigation, then, is to delineate the 
       specific techniques that Mendelssohn used in his 
       characteristic effort to bridge over formal divisions. 
       Many of Mendelssohn's works reveal this clear (and 
       evidently deliberate) propensity to create larger 
       continuities by means of bridging over divisions, 
       regardless of the formal prototype or level of structure. 
       At the same time, an almost Mozartian clarity of form 
       often is preserved. This might at first seem contradictory,
       but Mendelssohn, as I shall attempt to demonstrate, was 
       able to find ingenious ways of having his cake and eating 
       it, too [From author's introduction]. 
600 10 Mendelssohn-Bartholdy, Felix,|d1809-1847.|tInstrumental 
650  0 Instrumental music|xHistory and criticism. 
655  4 Electronic books. 
655  7 Criticism, interpretation, etc.|2fast|0(OCoLC)fst01411635 
710 2  JSTOR|eissuing body. 
776 08 |iPrint version:|aRapoport, Erez, 1959-2009.
       |tMendelssohn's instrumental music.|dHillsdale, NY : 
       Pendragon Press, ©2012|z9781576472118|w(DLC)  2012037228
830  0 Harmonologia series ;|vno. 17. 
830  0 Books at JSTOR Evidence Based Acquisitions 
856 40 |u
       stable/10.7722/j.ctt1kt82q2|zConnect to ebook (University 
       of Melbourne only) 
990    JSTOR EBA Evidence Based Acquisitions 
990    Batch Ebook load (bud2) - do not edit, delete or attach 
       any records. 
991    |zUPDATED Custom text change 2019-04-08 
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