Informationen zum Autor Jeffrey Swinkin is Associate Professor of Music (Theory) at The University of Oklahoma. He has published many essays on a wide array of topics, including Adorno, Beethoven, chromaticism, form theory, musical meaning, pedagogy, performance and analysis, and performance practice. He is the author and editor of several books, including Performative Analysis: Reimagining Music Theory for Performance and Teaching Performance: A Philosophy of Piano Pedagogy. Klappentext Variation is among the most fundamental and essential musical processes. Yet, variation as a form has often been overlooked and undervalued for several reasons, including its formally fragmentary nature and its heavy reliance on melodic decoration. Across forty-two newly commissioned essays by forty-six authors from around the world, The Oxford Handbook of Musical Variation seeks to restore faith in this traditionally underemphasized form. It also examines variation as a technique apart from variation form--a technique that is integral to music of virtually all styles, forms, and genres. While exploring the traits of musical variation that have proven consistent over time, the volume also considers the diverse ways in which those traits have been treated, analyzing myriad works and their unique deployment of variational techniques. This handbook examines both sectional and continuous variation forms, from Heinrich Biber to Samuel Coleridge-Taylor. Subtopics include music cognition, Schenkerian approaches, hermeneutics, and variation in songs and sonata form. It surveys techniques such as developing variation, thematic work, contrapuntal treatment, leitmotifs, and thematic recurrence. It also considers variations that span the movements of a work (cyclicity) and even that span different works entirely (intertextuality). The concluding section delves into the teaching of variation, especially from historical vantages. Traversing virtually the entire history of Western music, from Renaissance music to jazz, The Oxford Handbook of Musical Variation is a multifarious exploration of the most cardinal of compositional practices and encompasses the plurality of topics and musics that characterizes modern musicology. Inhaltsverzeichnis Acknowledgments List of Contributors Introduction Jeffrey Swinkin Part I. Variation Forms A. Introduction Chapter 1. The Variation Tradition: Some Themes Roman Ivanovitch B. Cognition Chapter 2. Music Analysis as the Cognition of Similarity Relationships: The Music of Charles Mingus as a Case Study Morgan Patrick and Daniel Shanahan C. Methodology Chapter 3. What Variations Do: Toward a Methodology for Analyzing Tonal Variation Sets Jeffrey Swinkin Chapter 4. Difference, Repetition, and Crystallization: A Deleuzian View of Variation Form Kai Yin (Eric) Lo D. Historical Vantages Chapter 5. The Ground-Bass Variation Dances of Marin Marais Geoffrey Burgess Chapter 6. Variation at the Intersection of Composition and Performance in the Seventeenth and Eighteenth Centuries Dorian Bandy Chapter 7. The Development and Deconstruction of Variation Form in Nineteenth-Century Paris Kristin Taavola E. Schenkerian Considerations Chapter 8. Reexamining the Challenges of Variation Form for Schenkerian Analysis Hiu-Wah Au Chapter 9. Zusammenhang, Verknüpfung, and Verkettung: In Defense of Schenker's Model of Coherence in his Analysis of Brahms' Variations and Fugue on a Theme by Handel Marc Rigaudière F. Harmony Chapter 10. Unraveling Tonic Identity and Function in Reger's "Mozart" Variations David Heetderks G. Expressive Approaches Chapter 11. Topics and Tropes in Mozart's Variations for Piano Melanie Lowe Chapter 12. Alternating Variations, Structure, and Subjectivity in Beethoven's Piano Trio in E-flat, op. 70, no. 2, Second Movement...

Autorentext

Jeffrey Swinkin is Associate Professor of Music (Theory) at The University of Oklahoma. He has published many essays on a wide array of topics, including Adorno, Beethoven, chromaticism, form theory, musical meaning, pedagogy, performance and analysis, and performance practice. He is the author and editor of several books, including Performative Analysis: Reimagining Music Theory for Performance and Teaching Performance: A Philosophy of Piano Pedagogy.

Klappentext

Variation is among the most fundamental and essential musical processes. Yet, variation as a form has often been overlooked and undervalued for several reasons, including its formally fragmentary nature and its heavy reliance on melodic decoration. Across forty-two newly commissioned essays by forty-six authors from around the world, The Oxford Handbook of Musical Variation seeks to restore faith in this traditionally underemphasized form. It also examines variation as a technique apart from variation form--a technique that is integral to music of virtually all styles, forms, and genres. While exploring the traits of musical variation that have proven consistent over time, the volume also considers the diverse ways in which those traits have been treated, analyzing myriad works and their unique deployment of variational techniques.

This handbook examines both sectional and continuous variation forms, from Heinrich Biber to Samuel Coleridge-Taylor. Subtopics include music cognition, Schenkerian approaches, hermeneutics, and variation in songs and sonata form. It surveys techniques such as developing variation, thematic work, contrapuntal treatment, leitmotifs, and thematic recurrence. It also considers variations that span the movements of a work (cyclicity) and even that span different works entirely (intertextuality). The concluding section delves into the teaching of variation, especially from historical vantages.

Traversing virtually the entire history of Western music, from Renaissance music to jazz, The Oxford Handbook of Musical Variation is a multifarious exploration of the most cardinal of compositional practices and encompasses the plurality of topics and musics that characterizes modern musicology.

Inhalt

• Acknowledgments

• List of Contributors

• Introduction

• Jeffrey Swinkin

• Part I. Variation Forms

• A. Introduction

• Chapter 1. The Variation Tradition: Some Themes

• Roman Ivanovitch

• B. Cognition

• Chapter 2. Music Analysis as the Cognition of Similarity Relationships: The Music of Charles Mingus as a Case Study

• Morgan Patrick and Daniel Shanahan

• C. Methodology

• Chapter 3. What Variations Do: Toward a Methodology for Analyzing Tonal Variation Sets

• Jeffrey Swinkin

• Chapter 4. Difference, Repetition, and Crystallization: A Deleuzian View of Variation Form

• Kai Yin (Eric) Lo

• D. Historical Vantages

• Chapter 5. The Ground-Bass Variation Dances of Marin Marais

• Geoffrey Burgess

• Chapter 6. Variation at the Intersection of Composition and Performance in the Seventeenth and Eighteenth Centuries

• Dorian Bandy

• Chapter 7. The Development and Deconstruction of Variation Form in Nineteenth-Century Paris

• Kristin Taavola

• E. Schenkerian Considerations

• Chapter 8. Reexamining the Challenges of Variation Form for Schenkerian Analysis

• Hiu-Wah Au

• Chapter 9. Zusammenhang, Verknüpfung, and Verkettung: In Defense of Schenker's Model of Coherence in his Analysis of Brahms' Variations and Fugue on a Theme by Handel

• Marc Rigaudière

• F. Harmony

• Chapter 10. Unraveling Tonic Identity and Function in Reger's "Mozart" Variations

• David Heetderks

• G. Expressive Approaches

• Chapter 11. Topics and Tropes in Mozart's Variations for Piano

• Melanie Lowe

• Chapter 12. Alternating Variations, Structure, and Subjectivity in Beethoven's Piano Trio in E-flat, op. 70, no. 2, Second Movement

• Jeffrey Perry

• Chapter 13. Samuel Coleridge-Taylor's Symphonic Variations on an African Air: S…