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LEADER 04046cam 2200409 a 4500

001 ocm11866774;

005 20141212074556.0;

008 850314s1985 miug b 001 0 eng ;

010 a| 85001166;

020 a| 0835714691 (alk. pap.);

035 a| (Sirsi) o11866774;

035 a| (OCoLC)11866774;

040 a| DLCc| DLCd| EREd| UtOrBLW;

049 a| NPEEa| EREM;

050 00 a| ML410.W8b| S8 1985;

082 0 a| 784.3/0092/42| 19;

092 a| 784.3b| W83s;

100 1 a| Stein, Deborah J.q| (Deborah Jane)=| ^A191889;

245 10 a| Hugo Wolf's Lieder and extensions of tonality /c| by Deborah J. Stein.;

300 a| x, 237 pages :b| music ;c| 24 cm.;

336 a| text2| rdacontent;

337 a| unmediated2| rdamedia;

338 a| volume2| rdacarrier;

490 1 a| Studies in musicology ;v| no. 82 [i.e. 72];

500 a| Revision of the author's thesis (Yale University, 1982).;

504 a| Includes bibliography (pages 231-233) and index.;

520 a| The harmonic language of the late nineteenth-century is studied here as a development of common-practice tonality, taking as a model selected songs by Hugo Wolf. Late nineteenth-century romantic composers employed extended-tonal language in a variety of genres, and a special feature of such tonal expansion was the use of extra musical elements. Hugo Wolf's output, encompassing over 160 miniature masterworks, displays all the necessary characteristics, and makes an ideal subject for studying extensions of tonality. The study is organised to focus on individual techniques of tonal expansion, then to explore the foundations of that technique, and finally, to illustrate the conclusions with particular Wolf songs. Necessarily, Wolf's relationship to Richard Wagner, and to Wagner's revolutionary musical language, forms a part of this study, and so too does the similarity of Wolf's music to that of his contemporaries.;

600 10 a| Wolf, Hugo,d| 1860-1903.t| Songs.=| ^A495842;

650 0 a| Tonality.=| ^A26035;

830 0 a| Studies in musicology ;v| no. 82.=| ^A163772;

919 a| BOOK;

590 a| Little-251287;

596 a| 2 3;

998 a| 263118;

999 a| ML410.W8 S8 1985w| LCc| 1i| 30372003685945d| 4/18/2019e| 2/19/2019f| 4/14/2025g| 5l| MCSm| JMUSICn| 20r| Ys| Yt| MCSSBKu| 8/31/1989x| BOOKz| MCIRCo| .STAFF. enhanced 10/7/22 -jjab;

Hugo Wolf's Lieder and extensions of tonality / by Deborah J. Stein.

Author/creator	Stein, Deborah J.
Format	Book
Publication Info	Ann Arbor, MI : UMI Research Press, ©1985.
Description	x, 237 pages : music ; 24 cm.
Subjects	Wolf, Hugo, 1860-1903. Songs. Tonality.

Series	Studies in musicology ; no. 82 [i.e. 72] Studies in musicology ; no. 82. ^A163772
Contents	Introduction to the music and the methodology. Analytical methodology: use of Schenkerian analysis ; Wolf's relation to the text ; The ambiguity principle ; The special characteristics of Wolf's harmonic language: double tonality and harmonic substitution -- The Plagal domain. Historical context for the Plagal domain ; Wolf's expansion of the subdominant ; Special characteristics of the Plagal domain ; Analysis of songs containing Plagal ambiguity and dominant ; Replacement: "Harfenspieler I" and "Begegnung" ; Conclusion -- Third relations. Third relations in historical context ; Schenker and third relations ; Wolf's use of third relations ; Third relations witin a tonic-dominant axis: "Ach, des Knaben Augen" and "Wie lange schon war immer mein Verlangen" ; Third relations within a tonic-dominant axis that are circular progressions ; Songs with a chain of thirds: "Das Ständchen," "In dem Schatten meiner Locken," und "Und steht Ihr früh' ; Third relations and poetic metaphor: "Gesegnet sei das Grün" ; Conclusion -- Directional tonality. Wolf's concept of tonality in historical context ; Directional tonality ; Applicability of Schenker ; Directional tonality and third relations: "Der Mond hat eine schwere Klag'erhoben" ; Directional tonality and plagal relations: "Mir ward gesagt" and "Lebewohl" ; Conclusion -- Combinations of extended-tonal techniques. Transformation of tonic function and third relations: "Wir haben beide lange Zeit geschwiegen" ; Plagal ambiguity, dominant replacement, and third relations: "In der Frühe" ; Combination of all categories of extended-tonal techniques: "An den Schlaf" ; Conclusion.
Abstract	The harmonic language of the late nineteenth-century is studied here as a development of common-practice tonality, taking as a model selected songs by Hugo Wolf. Late nineteenth-century romantic composers employed extended-tonal language in a variety of genres, and a special feature of such tonal expansion was the use of extra musical elements. Hugo Wolf's output, encompassing over 160 miniature masterworks, displays all the necessary characteristics, and makes an ideal subject for studying extensions of tonality. The study is organised to focus on individual techniques of tonal expansion, then to explore the foundations of that technique, and finally, to illustrate the conclusions with particular Wolf songs. Necessarily, Wolf's relationship to Richard Wagner, and to Wagner's revolutionary musical language, forms a part of this study, and so too does the similarity of Wolf's music to that of his contemporaries.
Local note	Little-251287
General note	Revision of the author's thesis (Yale University, 1982).
Bibliography note	Includes bibliography (pages 231-233) and index.
LCCN	85001166
ISBN	0835714691 (alk. pap.)

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Music	Closed Stacks - Ask at Circulation Desk	ML410.W8 S8 1985	✔ Available	Place Hold

Hugo Wolf's Lieder and extensions of tonality / by Deborah J. Stein.

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