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(Ebook) Bruckner s Eighth Symphony A Listener Guided Analysis 1st Edition by David B Greene ISBN 9781495503221 1495503224

  • SKU: EBN-46508426
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Instant download (eBook) Bruckner's Eighth Symphony: A Listener-Guided Analysis after payment.
Authors:David B. Greene
Pages:170 pages.
Year:2015
Publisher:Edwin Mellen Press
Language:english
File Size:22.73 MB
Format:pdf
ISBNS:9781495503221, 1495503224
Categories: Ebooks

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(Ebook) Bruckner s Eighth Symphony A Listener Guided Analysis 1st Edition by David B Greene ISBN 9781495503221 1495503224

(Ebook) Bruckner s Eighth Symphony A Listener Guided Analysis 1st Edition by David B Greene - Ebook PDF Instant Download/Delivery: 9781495503221 ,1495503224
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ISBN 10: 1495503224
ISBN 13: 9781495503221
Author: David B Greene

David Greene's careful, close, and imaginative description of Anton Bruckner's Symphony No. 8 in C minor makes for a rich examination of subjectivity in the musical experience of the individual listener. Few composers are heard more differently among concertgoers; while for some, Bruckner stands with Mahler as the last of the great romantic symphonists, for others his music is "inlaid with gold and weighted with lead." Some listeners have had something akin to an epiphany; others have found the experience tedious. Thomas Beecham said of Bruckner's Seventh, "In the first movement alone, I took note of six pregnancies and at least four miscarriages." Like much music of the late nineteenth century, Bruckner's Eighth offers an experience of extremes. Listeners of a more Classical, moderate persuasion would find its extremes, perhaps, off-putting, exaggerated, and overblown. David Greene and other critics have heard in this behemoth the deepest abyss and darkest despair expressible t'lrough music, as well as the most celestial light and heavenly height. At a social gathering of colleagues some time ago, someone asked me, rather out of the blue, what I thought of Bruckner's Eighth Symphony. Without hesitating, I answered, "It's the greatest symphony ever written." I had come to this conclusion fifty years before as a high school orchestral cellist-in-training. It indeed has a great ceHo part, its pallet suffuse with the richness of my instrument. But as my life took other turns, I found in this great work at several of the more difficult turns a great consolation and hope. At any rate, 1 was delighted that my colleague didn't argue. He may have been as surprised by my answer as I was by his question. Yet both those who, like me, find Bruckner's symphonies enthralling and those who don't may well be hearing the same tonal centers, chromatic progressions, repeated motivic ceils that musicologists describe in their analysis of the "musical object."

(Ebook) Bruckner s Eighth Symphony A Listener Guided Analysis 1st Edition Table of contents:

Chapter One: Some Kind Words for Subjectivity

  1. Sounds‑in‑Relation and the Listening Subject
     i. Sounding Relations
     ii. The Listening Subject: Relating to Sounds‑in‑Relation
     iii. Strategies for Describing Listeners’ Relation to Sounds‑in‑Relation

  2. Describing Bruckner’s Eighth Symphony / Describing the Symphony’s Listeners
     i. The First Movement
     ii. The Scherzo
     iii. The Adagio
     iv. The Finale

Chapter Two: The First Movement — Torn Narrative Threads Mending One Another

  1. The First Narrative

  2. The Second Narrative

  3. The Third Narrative

  4. The Fourth Narrative

  5. The Fifth Narrative

  6. The Sixth Narrative

  7. The Seventh Narrative

  8. The Eighth Narrative

  9. The Ninth Narrative

  10. The Narrative of the Movement as a Whole
     i. The Suffusion of Tearing and Mending throughout the Movement
     ii. The Suffusion of Disruption and Wholeness in The Temple
     iii. Suffusion and Intimations of the Divine

Chapter Three: The Scherzo — Transmuting Futility

  1. Scherzo: A Section

  2. Scherzo: B Section

  3. Scherzo: Reprise of A

  4. Trio

  5. The Movement as a Whole: Scherzo – Trio – Scherzo

Chapter Four: The Adagio — Becoming a Subject

  1. Processes
     i. Apt Succession and Culmination
     ii. Apt Succession, Culmination, and Becoming a Subject

  2. Becoming a Musical Passage / Becoming a Subject
     i. A: The First Event
     ii. A′B: The Second Event
     iii. A″B′A″: The Third Event
    iv. The Question of the Unity of the Movement

Chapter Five: The Finale — Along the Line of Non‑Linearity

  1. Linear and Non‑Linear Elements in the Finale

  2. Ways of Relating to the Co‑presence of Linearity and Non‑Linearity

  3. Non‑Problematic Co‑Presence of Linear and Non‑Linear Processes

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