Form vs. work: a major antinomy of music theory and analysis
The antinomy of musical work and musical form has been central for music theory for centuries. Musical work is complete and all-inclusive, which makes it an ideal object of study. However, the teaching of musical form, albeit selective, is self-sufficient and epistemologically sovereign. The book of...
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| Format: | Buch |
| Sprache: | English |
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Singapore
Jenny Stanford Publishing
[2024]
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| Online-Zugang: | Inhaltsverzeichnis |
| Zusammenfassung: | The antinomy of musical work and musical form has been central for music theory for centuries. Musical work is complete and all-inclusive, which makes it an ideal object of study. However, the teaching of musical form, albeit selective, is self-sufficient and epistemologically sovereign. The book offers both the historical overview and the analytical discourse on this antinomy in both Western and Russian perspectives. It presents an insider's view of the latter and contains materials never previously published |
| Beschreibung: | viii, 329 Seiten Illustrationen, Notenbeispiele 24 cm |
| ISBN: | 9789815129014 |
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| 505 | 8 | |a Cover -- Half Title -- Title Page -- Copyright Page -- Table of Contents -- Introduction -- Chapter 1: The Antinomy of Musical Form vs. Work: Integralism vs. Formalism -- 1.1: Conceptual Framework of the Problem: Music Analysis and Its Objects -- 1.2: Practical Implications -- 1.3: Philosophical Investigation of the Problem -- 1.4: Musicological Dimension -- 1.5: Distinction of Antinomy "Form vs. Work" from the Binary Opposition "Form vs. Content" -- 1.6: Russian and Soviet Ideas on Relationship of Form vs. Work -- 1.7: Elaborations on the Same or Similar Topics in Western Music Theory | |
| 505 | 8 | |a 1.8: The Semiotic Angle and the French Approach to the Problem -- 1.9: The Definition of Form during the Classical Period: A. B. Marx -- 1.10: The Russian Approach to Classic-Romantic Musical Form -- 1.11: Russian Definitions of Musical Work -- 1.12: German Theory of the Mid-Twentieth Century: Similarities with Soviet Ideas -- 1.13: Eastern European Contributions to the Subject -- 1.14: The Antinomy of Form vs. Work in Chinese and Arabic Traditions -- Chapter 2: Early Stages of Integralism in Russia: Eleventh through Seventeenth Centuries -- 2.1: Holistic Nature of Russian Orthodox Church Chant | |
| 505 | 8 | |a 2.2: The Theory of Russian Orthodox Church Chant -- 2.3: Similarities and Differences with Byzantine Chant -- 2.4: Holistic Definitions of Neumes -- 2.5: The Folk Song as a Source for the Chant -- 2.6: Aesthetic and Philosophical Components of Russian Orthodox Chant Theory -- 2.7: Some Possible Questions for and Critique of Western Theory from the Russian Chant Theorists -- Chapter 3: Encounters with Western Formalism: Seventeenth-Twentieth Centuries -- 3.1: Transitional Period: Acceptance of Formalist Aesthetics and Techniques | |
| 505 | 8 | |a 3.2: Russian Eighteenth and Nineteenth Centuries: Adoption of Core Categories of Music Theory -- 3.3: The Indigenous Russian Category of Lad and the Problems of Its Translations -- 3.4: Lad and New Music: Yavorsky's Use of the Term -- 3.5: Russian Theories of Harmony: From Diletsky to Kholopov -- 3.6: The Chord, Function, Voice Leading, Scale Step and Their Further Development -- 3.7: Tonal-Harmonic Function, Metric Period, and Musical Syntax -- 3.8: The Art of Harmonization of Unfigured Melody -- 3.9: Modulation, the Russian Style | |
| 505 | 8 | |a 3.10: Counterpoint, Figured Bass and Partimento as Formalist Strategies -- 3.11: The Importance of Motive as the Nucleus of Form -- 3.12: Rhythm as the Essence of Motive -- 3.13: Dual Function of Motive, as a Part of Formal Design and the Element of Integralist Semantics -- 3.14: Nineteenth Century: Mature Formalist Approaches -- 3.15: Formalism and Integralism as Reflections of Conservatory vs. University Training Systems -- 3.16: Russian and Soviet Formenlehre -- 3.17: Formal Functions and Their Types of Presentations by Sposobin, Tyulin and Skrebkov | |
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Published by Jenny Stanford Publishing Pte. Ltd. 101 Thomson Road #06-01, United Square Singapore 307591 Email: editorial@jennystanford.com Web: www.jennystanford.com British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library. Form vs. Work: A Major Antinomy of Music Theory and Analysis Copyright © 2024 Jenny Stanford Publishing Pte. Ltd. All rights reserved. This book, or parts thereof, may not be reproduced in any form or by any means, electronic or mechanical, including photocopying, recording or any information storage and retrieval system now known or to be invented, without written permission from the publisher. ISBN 978-981-5129-01-4 (Hardcover] ISBN 978-1-032-69416-0 (eBook] Bayerische Staatsbibliothek München
Contents 1 Introduction 1. The Antinomy of Musical Form vs. Work: Integralism vs. Formalism 1.1 3 Conceptual Framework of the Problem: Music Analysis and Its Objects 3 1.2 Practical Implications 1.3 Philosophical Investigation of the Problem 1.4 Musicological Dimension 1.5 1.6 1.7 1.8 1.9 Distinction of Antinomy "Form vs. Work” from the Binary Opposition "Form vs. Content" Russian and Soviet Ideas on Relationship of Form vs. Work Elaborations on the Same or Similar Topics in Western Music Theory The Semiotic Angle and the French Approach to the Problem The Definition of Form during the Classical Period: A. B. Marx 6 8 9 12 17 24 29 30 1.10 The Russian Approach to Classic-Romantic Musical Form 1.11 Russian Definitions of Musical Work 1.12 German Theory of the Mid-Twentieth Century: Similarities with Soviet Ideas 1.13 Eastern European Contributions to the Subject 36 38 1.14 The Antinomy of Form vs. Work in Chinese and Arabic Traditions 40 31 35
vi Contents 2. Early Stages of Integralism in Russia: Eleventh through Seventeenth Centuries 2.1 2.2 2.3 45 Holistic Nature of Russian Orthodox Church Chant The Theory of Russian Orthodox Church Chant 48 Similarities and Differences with Byzantine Chant 51 46 54 2.4 2.5 Holistic Definitions of Neumes The Folk Song as a Source for the Chant 58 2.6 Aesthetic and Philosophical Components of Russian Orthodox Chant Theory 59 Some Possible Questions for and Critique of Western Theory from the Russian Chant Theorists 61 2.7 Encounters with Western Formalism: Seventeenth-Twentieth Centuries 3.1 3.2 65 Transitional Period: Acceptance of Formalist Aesthetics and Techniques 66 Russian Eighteenth and Nineteenth Centuries: Adoption of Core Categories of Music Theory 67 3.3 The Indigenous Russian Category of Lad and the Problems of Its Translations 69 3.4 Lad and New Music: Yavorsky’s Use of the Term 81 3.5 Russian Theories of Harmony: From Diletsky to Kholopov 83 3.6 The Chord, Function, Voice Leading, Scale Step and Their Further Development 92 Tonal-Harmonic Function, Metric Period, and Musical Syntax 104 3.7 3.8 The Art of Harmonization of Unfigured Melody 109 Modulation, the Russian Style 116 3.10 Counterpoint, Figured Bass and Partimento as Formalist Strategies 122 3.11 The Importance of Motive as the Nucleus of Form 132 3.9
Contents I vii 3.12 3.13 3.14 3.15 3.16 3.17 4. Rhythm as the Essence of Motive Dual Function of Motive, as a Part of Formal Design and the Element of Integralist Semantics 134 Nineteenth Century: Mature Formalist Approaches Formalism and Integralism as Reflections of Conservatory vs. University Training Systems 140 Russian and Soviet Formenlehre Formal Functions and Their Types of Presentations by Sposobin, Tyulin and Skrebkov 145 138 143 148 3.18 Alexei Losef's Definition of Form as Eidos and Number 3.19 Russian Literary Formalism as a Source for Understanding of Musical Form 155 Reemergence of Integralism in the Nineteenth and Twentieth Centuries 163 149 4.1 4.2 Russian Integralism in the Nineteenth Century Integral, Tselostnyi Analiz: The Ideas of the 1920s 168 4.3 Integral Analysis and the Phenomenology of a Musical Work References to Musical Semiotics and Semantics 179 180 4.4 4.5 4.6 4.7 4.8 4.9 4.10 4.11 4.12 Soviet Theory of Musical Genre as a Core of Integralists Strategy The Crowning Category of Integralism: Intonatsia of Yavorsky and Asafiev The Language of Description: a Major Requirement of the Integral Analysis A Hybrid Graph as the Tool of Integralist Analysis of Musical Dramaturgy Folk Song as an Artwork and as the Source of Forms The Folk Song and Mid-Twentieth Century Musical Modernism Formalism and Modernism Soviet Events of 1936 and 1948 as the Struggle with Formalism and Modernism 164 181 183 184 190 193 197 199 200
viii Contents 5. Late Soviet and Post-Soviet Developments of the Opposition Form vs. Work 5.1 5.2 5.3 5.4 5.5 211 The Thaw The Coexistence of Both Doctrines in the Conservatory Programs One More Round of Struggle in the 1960s and 1980s 1991 Until 2014: Formalism as the Way of Re-Integration into the Western Tradition 211 213 219 2014: New Paradigms in lieu of an Old One 6. Sample Analyses: Formalist, Integralist and Mixed 221 225 227 6.1 6.2 A Sample of Yuri Kholopov’s Formalist Analysis Viktor Tsukkerman’s Sample of Integral Analysis 227 238 6.3 A Sample of Analysis Using Both Integralist and Formalist Methods 246 7. In Lieu of Conclusion: Contemplation on the Categories of the Whole, Logos and Theory 267 7.1 7.2 The Whole Logos 267 268 7.3 Theory 272 Appendices Notes 275 289 Index 321 |
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| contents | Cover -- Half Title -- Title Page -- Copyright Page -- Table of Contents -- Introduction -- Chapter 1: The Antinomy of Musical Form vs. Work: Integralism vs. Formalism -- 1.1: Conceptual Framework of the Problem: Music Analysis and Its Objects -- 1.2: Practical Implications -- 1.3: Philosophical Investigation of the Problem -- 1.4: Musicological Dimension -- 1.5: Distinction of Antinomy "Form vs. Work" from the Binary Opposition "Form vs. Content" -- 1.6: Russian and Soviet Ideas on Relationship of Form vs. Work -- 1.7: Elaborations on the Same or Similar Topics in Western Music Theory 1.8: The Semiotic Angle and the French Approach to the Problem -- 1.9: The Definition of Form during the Classical Period: A. B. Marx -- 1.10: The Russian Approach to Classic-Romantic Musical Form -- 1.11: Russian Definitions of Musical Work -- 1.12: German Theory of the Mid-Twentieth Century: Similarities with Soviet Ideas -- 1.13: Eastern European Contributions to the Subject -- 1.14: The Antinomy of Form vs. Work in Chinese and Arabic Traditions -- Chapter 2: Early Stages of Integralism in Russia: Eleventh through Seventeenth Centuries -- 2.1: Holistic Nature of Russian Orthodox Church Chant 2.2: The Theory of Russian Orthodox Church Chant -- 2.3: Similarities and Differences with Byzantine Chant -- 2.4: Holistic Definitions of Neumes -- 2.5: The Folk Song as a Source for the Chant -- 2.6: Aesthetic and Philosophical Components of Russian Orthodox Chant Theory -- 2.7: Some Possible Questions for and Critique of Western Theory from the Russian Chant Theorists -- Chapter 3: Encounters with Western Formalism: Seventeenth-Twentieth Centuries -- 3.1: Transitional Period: Acceptance of Formalist Aesthetics and Techniques 3.2: Russian Eighteenth and Nineteenth Centuries: Adoption of Core Categories of Music Theory -- 3.3: The Indigenous Russian Category of Lad and the Problems of Its Translations -- 3.4: Lad and New Music: Yavorsky's Use of the Term -- 3.5: Russian Theories of Harmony: From Diletsky to Kholopov -- 3.6: The Chord, Function, Voice Leading, Scale Step and Their Further Development -- 3.7: Tonal-Harmonic Function, Metric Period, and Musical Syntax -- 3.8: The Art of Harmonization of Unfigured Melody -- 3.9: Modulation, the Russian Style 3.10: Counterpoint, Figured Bass and Partimento as Formalist Strategies -- 3.11: The Importance of Motive as the Nucleus of Form -- 3.12: Rhythm as the Essence of Motive -- 3.13: Dual Function of Motive, as a Part of Formal Design and the Element of Integralist Semantics -- 3.14: Nineteenth Century: Mature Formalist Approaches -- 3.15: Formalism and Integralism as Reflections of Conservatory vs. University Training Systems -- 3.16: Russian and Soviet Formenlehre -- 3.17: Formal Functions and Their Types of Presentations by Sposobin, Tyulin and Skrebkov |
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| id | DE-604.BV049764624 |
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| indexdate | 2024-11-11T09:08:34Z |
| institution | BVB |
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| language | English |
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| publisher | Jenny Stanford Publishing |
| record_format | marc |
| spelling | Khannanov, Ildar Damirovich Verfasser (DE-588)1048288978 aut Form vs. work a major antinomy of music theory and analysis Ildar D. Khannanov Form versus work Singapore Jenny Stanford Publishing [2024] © 2024 viii, 329 Seiten Illustrationen, Notenbeispiele 24 cm txt rdacontent n rdamedia nc rdacarrier Cover -- Half Title -- Title Page -- Copyright Page -- Table of Contents -- Introduction -- Chapter 1: The Antinomy of Musical Form vs. Work: Integralism vs. Formalism -- 1.1: Conceptual Framework of the Problem: Music Analysis and Its Objects -- 1.2: Practical Implications -- 1.3: Philosophical Investigation of the Problem -- 1.4: Musicological Dimension -- 1.5: Distinction of Antinomy "Form vs. Work" from the Binary Opposition "Form vs. Content" -- 1.6: Russian and Soviet Ideas on Relationship of Form vs. Work -- 1.7: Elaborations on the Same or Similar Topics in Western Music Theory 1.8: The Semiotic Angle and the French Approach to the Problem -- 1.9: The Definition of Form during the Classical Period: A. B. Marx -- 1.10: The Russian Approach to Classic-Romantic Musical Form -- 1.11: Russian Definitions of Musical Work -- 1.12: German Theory of the Mid-Twentieth Century: Similarities with Soviet Ideas -- 1.13: Eastern European Contributions to the Subject -- 1.14: The Antinomy of Form vs. Work in Chinese and Arabic Traditions -- Chapter 2: Early Stages of Integralism in Russia: Eleventh through Seventeenth Centuries -- 2.1: Holistic Nature of Russian Orthodox Church Chant 2.2: The Theory of Russian Orthodox Church Chant -- 2.3: Similarities and Differences with Byzantine Chant -- 2.4: Holistic Definitions of Neumes -- 2.5: The Folk Song as a Source for the Chant -- 2.6: Aesthetic and Philosophical Components of Russian Orthodox Chant Theory -- 2.7: Some Possible Questions for and Critique of Western Theory from the Russian Chant Theorists -- Chapter 3: Encounters with Western Formalism: Seventeenth-Twentieth Centuries -- 3.1: Transitional Period: Acceptance of Formalist Aesthetics and Techniques 3.2: Russian Eighteenth and Nineteenth Centuries: Adoption of Core Categories of Music Theory -- 3.3: The Indigenous Russian Category of Lad and the Problems of Its Translations -- 3.4: Lad and New Music: Yavorsky's Use of the Term -- 3.5: Russian Theories of Harmony: From Diletsky to Kholopov -- 3.6: The Chord, Function, Voice Leading, Scale Step and Their Further Development -- 3.7: Tonal-Harmonic Function, Metric Period, and Musical Syntax -- 3.8: The Art of Harmonization of Unfigured Melody -- 3.9: Modulation, the Russian Style 3.10: Counterpoint, Figured Bass and Partimento as Formalist Strategies -- 3.11: The Importance of Motive as the Nucleus of Form -- 3.12: Rhythm as the Essence of Motive -- 3.13: Dual Function of Motive, as a Part of Formal Design and the Element of Integralist Semantics -- 3.14: Nineteenth Century: Mature Formalist Approaches -- 3.15: Formalism and Integralism as Reflections of Conservatory vs. University Training Systems -- 3.16: Russian and Soviet Formenlehre -- 3.17: Formal Functions and Their Types of Presentations by Sposobin, Tyulin and Skrebkov The antinomy of musical work and musical form has been central for music theory for centuries. Musical work is complete and all-inclusive, which makes it an ideal object of study. However, the teaching of musical form, albeit selective, is self-sufficient and epistemologically sovereign. The book offers both the historical overview and the analytical discourse on this antinomy in both Western and Russian perspectives. It presents an insider's view of the latter and contains materials never previously published Musikalische Analyse (DE-588)4040814-0 gnd rswk-swf Komposition (DE-588)4032012-1 gnd rswk-swf Musiktheorie (DE-588)4040876-0 gnd rswk-swf Musikalische Form (DE-588)4040821-8 gnd rswk-swf Music theory Musical analysis Théorie musicale Analyse musicale Komposition (DE-588)4032012-1 s Musikalische Form (DE-588)4040821-8 s Musiktheorie (DE-588)4040876-0 s Musikalische Analyse (DE-588)4040814-0 s DE-604 Erscheint auch als Online-Ausgabe, EPUB 978-1-032-69416-0 Digitalisierung BSB München - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=035105954&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Khannanov, Ildar Damirovich Form vs. work a major antinomy of music theory and analysis Cover -- Half Title -- Title Page -- Copyright Page -- Table of Contents -- Introduction -- Chapter 1: The Antinomy of Musical Form vs. Work: Integralism vs. Formalism -- 1.1: Conceptual Framework of the Problem: Music Analysis and Its Objects -- 1.2: Practical Implications -- 1.3: Philosophical Investigation of the Problem -- 1.4: Musicological Dimension -- 1.5: Distinction of Antinomy "Form vs. Work" from the Binary Opposition "Form vs. Content" -- 1.6: Russian and Soviet Ideas on Relationship of Form vs. Work -- 1.7: Elaborations on the Same or Similar Topics in Western Music Theory 1.8: The Semiotic Angle and the French Approach to the Problem -- 1.9: The Definition of Form during the Classical Period: A. B. Marx -- 1.10: The Russian Approach to Classic-Romantic Musical Form -- 1.11: Russian Definitions of Musical Work -- 1.12: German Theory of the Mid-Twentieth Century: Similarities with Soviet Ideas -- 1.13: Eastern European Contributions to the Subject -- 1.14: The Antinomy of Form vs. Work in Chinese and Arabic Traditions -- Chapter 2: Early Stages of Integralism in Russia: Eleventh through Seventeenth Centuries -- 2.1: Holistic Nature of Russian Orthodox Church Chant 2.2: The Theory of Russian Orthodox Church Chant -- 2.3: Similarities and Differences with Byzantine Chant -- 2.4: Holistic Definitions of Neumes -- 2.5: The Folk Song as a Source for the Chant -- 2.6: Aesthetic and Philosophical Components of Russian Orthodox Chant Theory -- 2.7: Some Possible Questions for and Critique of Western Theory from the Russian Chant Theorists -- Chapter 3: Encounters with Western Formalism: Seventeenth-Twentieth Centuries -- 3.1: Transitional Period: Acceptance of Formalist Aesthetics and Techniques 3.2: Russian Eighteenth and Nineteenth Centuries: Adoption of Core Categories of Music Theory -- 3.3: The Indigenous Russian Category of Lad and the Problems of Its Translations -- 3.4: Lad and New Music: Yavorsky's Use of the Term -- 3.5: Russian Theories of Harmony: From Diletsky to Kholopov -- 3.6: The Chord, Function, Voice Leading, Scale Step and Their Further Development -- 3.7: Tonal-Harmonic Function, Metric Period, and Musical Syntax -- 3.8: The Art of Harmonization of Unfigured Melody -- 3.9: Modulation, the Russian Style 3.10: Counterpoint, Figured Bass and Partimento as Formalist Strategies -- 3.11: The Importance of Motive as the Nucleus of Form -- 3.12: Rhythm as the Essence of Motive -- 3.13: Dual Function of Motive, as a Part of Formal Design and the Element of Integralist Semantics -- 3.14: Nineteenth Century: Mature Formalist Approaches -- 3.15: Formalism and Integralism as Reflections of Conservatory vs. University Training Systems -- 3.16: Russian and Soviet Formenlehre -- 3.17: Formal Functions and Their Types of Presentations by Sposobin, Tyulin and Skrebkov Musikalische Analyse (DE-588)4040814-0 gnd Komposition (DE-588)4032012-1 gnd Musiktheorie (DE-588)4040876-0 gnd Musikalische Form (DE-588)4040821-8 gnd |
| subject_GND | (DE-588)4040814-0 (DE-588)4032012-1 (DE-588)4040876-0 (DE-588)4040821-8 |
| title | Form vs. work a major antinomy of music theory and analysis |
| title_alt | Form versus work |
| title_auth | Form vs. work a major antinomy of music theory and analysis |
| title_exact_search | Form vs. work a major antinomy of music theory and analysis |
| title_full | Form vs. work a major antinomy of music theory and analysis Ildar D. Khannanov |
| title_fullStr | Form vs. work a major antinomy of music theory and analysis Ildar D. Khannanov |
| title_full_unstemmed | Form vs. work a major antinomy of music theory and analysis Ildar D. Khannanov |
| title_short | Form vs. work |
| title_sort | form vs work a major antinomy of music theory and analysis |
| title_sub | a major antinomy of music theory and analysis |
| topic | Musikalische Analyse (DE-588)4040814-0 gnd Komposition (DE-588)4032012-1 gnd Musiktheorie (DE-588)4040876-0 gnd Musikalische Form (DE-588)4040821-8 gnd |
| topic_facet | Musikalische Analyse Komposition Musiktheorie Musikalische Form |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=035105954&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
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