This book offers critical demonstrations of various methods and concepts currently used in music analysis. Among the subjects are musical implications, tonal analysis, generative theory, ambiguity, similarity, and the key criteria met with in lawsuits of plagiarism. Finally, can a composers sexual leanings be derived from his music?
In what ways can analytic reection be of avail when engaging in music as a musician? What restrictions of the interpreters freedom do musical scores impose? Which licences do musicians in fact allow themselves? Can hierarchical tonal analysis really guide musicians towards artistically rewarding interpretations? Or is perhaps a painstaking and sensitive study of the musical details, revealing continuous processes, a more productive path to telling performances? roughout the book, the views and discussions are amplied by music examples.
Analytical Variations on a Theme by Mozart In Defence of Musical Ambiguity Mozart out of Proportion Hidden Repetitions and Uncovered Parallelisms An das ferne Verwandte Warum Grillen? Suing a Sound-Alike Schuberts Promissory Note. Further Exercises in Musical Hermeneutics.
Bengt Edlund, trained as a pianist, has been active as a music critic, and as a lecturer at the Department of Musicology, University of Lund, where he was appointed a professor in 2000. His main elds of interest are music theory and analysis, music cognition and aestethics, and musical interpretation.
