Browsing by Subject "music theory"
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Item Addendum to the Historical Survey, with an Index(2017-03-04) Neumeyer, DavidThis is an addendum to the essay Ascending Cadence Gestures: A Historical Survey from the 16th to the Early 19th Century (published on Texas Scholar Works, July 2016), consisting of posts since that date to my blog “Ascending Cadence Gestures” (on Google blogpost). This is also an index to musical compositions discussed in essays published or re-published on this platform since 2010, through 03 March 2017.Item Alternate cadences in recordings of "All the Things You Are" and "Embraceable You"(2021-07-15) Neumeyer, DavidSome cadences in European and European-influenced tonal music show a contradiction in direction between registral stasis and linear movement, an example being alternative endings written into a song by Jerome Kern. The topic is explored through analysis of 51 recorded performances. In addition, a registrally complex cadence in Gershwin’s “Embraceable You” is surveyed through 44 recordings.Item Analyses of Schubert, Waltz, D. 779n13: Guide to the Readings(2022-02-03) Neumeyer, DavidMy blog on Google’s blogspot platform has 209 posts as of 03 July 2016. Tags (Google’s “Labels”) are even greater in number. This document offers a “research guide” to the blog, including live links. Four sections discuss topical emphases, ranging from a catalogue of musical analyses to dance culture in Vienna during Schubert’s lifetime. Seven appendices provide lists of the blog posts with links, tags, analyses by category, and a bibliography.Item Analyses of Schubert, Waltz, D.779n13(2015-03-21) Neumeyer, DavidThis article gathers a large number of analyses of a single waltz by Franz Schubert: the anomalous A-major waltz, no. 13 in the Valses sentimentales, D 779. The goal is to make more vivid through examples a critical position that came to the fore in music theory during the course of the 1980s: a contrast between a widely accepted “diversity” standard and the closed, ideologically bound habits of descriptive and interpretative practice associated with classical pc-set analysis and Schenkerian analysis.Item Analytic Diversity and Institutional Discourse: Views of Beethoven, String Quartet in A Minor, Op. 132, I(2022-11-14) Neumeyer, DavidAs part of a larger project to show how a critical anti-foundationalism can be reconciled with the hegemonic biases of music analysis based on simple hierarchies, this essay examines multiple analyses and disciplinary discourse in published readings of Beethoven, String Quartet, Op. 132, first movement (Agawu, McClary, Chua, and Morgan, along with responses). Paul B. Armstrong's model for literary criticism intervenes in this proliferation to provide a framework for comparison and evaluationItem Ascending Cadence Gestures in Waltzes by Johann Strauss, sr.(2017-01-03) Neumeyer, DavidRising melodic figures have a long history in cadences in European music of all genres. This essay documents examples from an especially influential repertoire of social dance music, the Viennese waltz in the first half of the 19th century. The two most important figures were both violinists, orchestra leaders, and composers: Josef Lanner (d. 1843) and Johann Strauss, sr. (d. 1849). Strauss is the focus here, through twenty five waltz sets published between 1827 and 1848.Item Ascending Cadence Gestures in Waltzes by Joseph Lanner(2017-01-03) Neumeyer, DavidRising melodic figures have a long history in cadences in European music of all genres. This essay documents and analyzes examples from an especially influential repertoire of social dance music, the Viennese waltz in the first half of the 19th century. The two most important figures were both violinists, orchestra leaders, and composers: Josef Lanner (d. 1843) and Johann Strauss, sr. (d. 1849). Lanner is the focus of this essay, with waltz sets ranging from prior to 1827 through 1842.Item Ascending Cadence Gestures, New Historical Survey, Part 2: European Modal Music (to 1650)(2019-05-14) Neumeyer, DavidThis is a documentation of traditional European music with ascending lines and cadence gestures. Part 2 covers the fifteenth century through 1650. The content is spread across three files: Part 2a from a variety of sources and genres, Part 2b from vocal music, Part 2c from instrumental ensemble music. Part 2d is an index.Item Ascending Cadence Gestures, A New Historical Survey, Part 2e: to 1650, addendum(2019-10-29) Neumeyer, DavidThis is Part 2e of a multi-part essay gathering compositions with ascending lines and cadence gestures in European and European-influenced music. Compositions include psalm settings by Le Jeune and Schütz, sacred songs by Henry and William Lawes, music from Felipe Pedrell’s historical anthology of Spanish organ music, keyboard music by Trabaci, instrumental ensemble music by Buonamente, Merula, and Turini.Item Ascending Cadence Gestures, A New Historical Survey, Part 2f: to 1650, addendum 2(2020-06-14) Neumeyer, DavidPart 2f of a multi-part essay gathers additional compositions with ascending and upper-register cadence gestures in European and European-influenced music before 1650. Compositions include instrumental and vocal music by Arcadelt, Banchieri, Cazzati, Hammerschmidt, Marenzio, Quagliati, and Rusca (among others), as well as music from volumes published by the houses of Gardano and Vincenti. The document is in three files, Parts 2f1, 2f2, and 2f3.Item Ascending Cadence Gestures, A New Historical Survey, Part 3a: 1650-1700(2022-06-01) Neumeyer, DavidPart 3a of a multi-part essay gathers compositions with ascending lines and upper-register cadence gestures in European music from 1650 to 1700. Composers in Part 3a1 are Cazzati, Falconieri, Legrenzi, Marini, Merula, and Uccellini; in Part 3a2, Thomas Cross, John Gamble, John Jenkins, Henry Lawes, and Christopher Simpson; in Part 3a3, Aux-Cousteaux, Berthod, Cazzati, Legrenzi, Lully, and Macé; and in Part 3a4, Boyvin, Louis Couperin, Kusser, LeBègue, Mayr, Nivers, and Vitali.Item Ascending Cadence Gestures, A New Historical Survey, Part 3b: 1700-1780(2022-06-01) Neumeyer, DavidThis is Part 3b of a multi-part essay gathering compositions with ascending lines and cadence gestures in European and European-influenced music. Composers include, among others, Archimbaud, J. S. Bach, Boismortier, Fux, Kirnberger, Le Roux, Mouret, Mozart, Schulz, Tartini, and Telemann. A publisher included is Gerhard Fredrik Witvogel.Item Ascending Cadence Gestures, A New Historical Survey, Part 4a1: 1780– 1815(2022-09-28) Neumeyer, DavidThis belongs to a multi-part essay series gathering compositions with ascending lines and upper-register cadence gestures in European and European- influenced music. Part 4 covers the period 1780–1860; this section is 1780–1815. Composers include, among others, Beethoven, Doche, Hummel, Mozart, Paisiello, Pecháček, J. A. P. Schulz, and Sterkel. Organ music compiled by Kaspar Ett concludes.Item Ascending Cadence Gestures, A New Historical Survey, Part 4b2: 1780-1860, Polkas (2)(2021-07-15) Neumeyer, DavidThis essay supplements the Historical Survey Part 4b, which covered ascending cadence gestures in polkas between 1840 and 1861. Most items come from the Library of Congress collection Music for the Nation: American Sheet Music, ca. 1820 to 1860.Item Ascending Cadence Gestures, A New Historical Survey, Part 4b3: Polkas, A Second Supplement(2022-09-28) Neumeyer, DavidThis supplement has additional polkas from the 1840s and 1850s. Composers include, among others, Charles d’Albert, János Gungl, Charles Lenschow, Hans Christian Lumbye, and Johann Strauss, jr. An appendix is a list of all polkas discussed in this and previous essays,Item Ascending Cadence Gestures, A New Historical Survey, Part 4b: 1780-1860, Polkas(2020-01-08) Neumeyer, DavidThis is Part 4b of a multi-part essay gathering compositions with ascending lines and cadence gestures in European and European-influenced music. The repertoire here is polkas published in Europe or the United States between 1840 and 1861. Composers include, among others, Barili, D’Albert, Dodworth, Dressler, Grieg, Grobe, Lumbye, Rziha, Smetana, Johann Strauss, jr., Johann Strauss, sr., Valentini, Viereck, and Zawadzki. An appendix lists polkas mentioned in other publications of mine. A separate file contains data on form design in fifteen published polkas.Item Ascending Cadence Gestures, A New Historical Survey, Part 4c1: Music for Home, Salon, and Concert(2022-09-29) Neumeyer, DavidThis continues Part 4 of a multi-part essay gathering compositions with ascending lines and upper-register cadence gestures in European and European-influenced music. The time period covered in Part 4 is 1780-1860. In Part 4c1 is instrumental music by, among others, Louis Adam, Chopin, Czerny, F. David, Heller, C. Schumann (Wieck), and R. Schumann.Item Ascending Cadence Gestures, A New Historical Survey, Part 4c2: Other Dances and Dance-Songs(2024-01-24) Neumeyer, DavidThe time period covered in Part 4 is 1780-1860. Parts 4b, 4b2, and 4b3 focus on the polka, Part 4c1 on music for home or recital after 1820. The present Part 4c2 has items from contemporary anthologies: Hamilton’s Universal Tune- Book (2 vols.), Alexander’s New Scrap Book, and Köhler’s Violin Repository of Dance Music (3 vols.).Item Ascending Cadence Gestures, A New Historical Survey, Part 4d: Hymns, c1780-1860(2022-01-23) Neumeyer, DavidPart 4 of the New Historical Survey series covers the years 1780-1860. Part 4d samples hymn collections from that period, including one published for the United Brethren (Moravian) in London in 1826 but drawn mostly from an earlier volume published in 1784, the Harmonia coelestis (Hartford, 1799), Harmonia sacra (Andover, 1816), Songs of Zion (New York, 1851), the Wesleyan Hymn and Tune Book (Nashville, 1860), and The Polyphonic or Juvenile Choralist (Cincinnati, 1863).Item Ascending Cadence Gestures, A New Historical Survey, Part 5a: Songs, c1860-1890(2023-10-16) Neumeyer, DavidComposers represented in Part 5a of this multi-part essay on ascending and upper-register cadence gestures in European and European-influenced music include, among others, Bizet, Delibes, Fauré, Ganz, Gounod, Lalo, Wolf, and Zarzycki. Song collections include Matvey Bernard’s 50 Children's Songs and James William Elliott’s Mother Goose.