LEADER 00000cam a2200481 i 4500 
001    ocn761854505 
005    20140619144756.0 
008    130509s2012    nyuag    b    001 0 eng   
010      2012023747 
020    9781580461948|q(hardcover)|q(alkaline paper) 
020    1580461948|q(hardcover)|q(alkaline paper) 
024 8  40021813443 
035    (OCoLC)ocn761854505 
035    (OCoLC)761854505 
035    590832 
040    ICU/DLC|beng|erda|cUBY|dCGU|dDLC|dYUS|dBTCTA|dYDXCP|dTDF
       |dBUF|dIG#|dBWX|dCOD|dOCLCF|dWCH 
042    pcc 
049    WCHA 
050 00 MT90|b.H37 2012 
082 00 781|223 
090    MT90.H26 T48 
100 1  Hanninen, Dora A.,|0https://id.loc.gov/authorities/names/
       no2012080075|eauthor. 
245 12 A theory of music analysis :|bon segmentation and 
       associative organization /|cDora A. Hanninen. 
264  1 Rochester, N.Y. :|bUniversity of Rochester Press ;
       |aWoodbridge, Suffolk :|bBoydell & Brewer Limited,|c2012. 
300    530 pages :|billustrations, music ;|c24 cm. 
336    text|2rdacontent 
337    unmediated|2rdamedia 
338    volume|2rdacarrier 
490 1  Eastman studies in music,|x1071-9989 ;|vv. 92 
504    Includes bibliographical references (pages 489-502) and 
       indexes. 
505 0  A theory of music analysis -- Orientations, criteria, 
       segments -- Associative sets and associative organization 
       -- Beethoven, Piano sonata no. 2 in A major, op. 2, no. 2,
       I -- Debussy, 'Harmonie du soir, ' Cinq poèmes de 
       Baudelaire, no. 2 -- Nancarrow, Study no. 37 : calibrated 
       canons, changeable landscapes -- Riley, In C : 
       configurations and landscape studies of select plots in 
       four performances -- Feldman, Palais de mari : pattern and
       design in a changing landscape -- Morris, Nine piano 
       pieces : between moment and memory : reflections on and 
       among the Nine -- Further considerations and extended 
       applications. 
520    This book introduces a theory of music analysis--a 
       language and conceptual framework--that analysts can use 
       to delve into aspects of segmentation and associative 
       organization in a wide range of repertoire from the 
       Baroque to the present. Rather than a methodology, the 
       theory provides analysts with a precise language and broad,
       flexible conceptual framework that they can when 
       formulating and investigating questions of interest and 
       develop their own interpretations of individual pieces and
       passages. The theory begins with a basic distinction among
       three domains of musical experience and discourse about it
       : the sonic (psychoacoustic); the contextual (or 
       associative, sparked by varying degrees of repetition); 
       and the structural (guided by a specific theory of musical
       structure or syntax invoked by the analyst). A 
       comprehensive presentation of the theory (with copious 
       musical illustrations) is balanced with close analyses of 
       works by Beethoven, Debussy, Nancarrow, Riley, Feldman, 
       and Morris -- Publisher summary. 
650  0 Musical analysis.|0https://id.loc.gov/authorities/subjects
       /sh85088952 
650  7 Musical analysis.|2fast|0https://id.worldcat.org/fast/
       1030696 
830  0 Eastman studies in music ;|0https://id.loc.gov/authorities
       /names/n93090808|vv. 92. 
901    MARCIVE 20231220 
935    590832 
948    201401|bff 
994    C0|bWCH