Form vs. Work : a major antinomy of music theory and analysis / Ildar D. Khannanov.
The antinomy of musical work and musical form has been central for music theory for centuries. Musical work is complete and all-inclusive, which makes it an ideal object of study. However, the teaching of musical form, albeit selective, is self-sufficient and epistemologically sovereign. The book of...
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| Language: | English |
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Singapore :
Jenny Stanford Publishing Pte. Ltd.,
[2024]
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| 100 | 1 | |a Khannanov, Ildar Damirovich. |0 http://id.loc.gov/authorities/names/no2006033852 |1 http://isni.org/isni/0000000044463825 | |
| 245 | 1 | 0 | |a Form vs. Work : |b a major antinomy of music theory and analysis / |c Ildar D. Khannanov. |
| 264 | 1 | |a Singapore : |b Jenny Stanford Publishing Pte. Ltd., |c [2024] | |
| 300 | |a 1 online resource (viii, 329 pages) : |b illustrations | ||
| 336 | |a text |b txt |2 rdacontent | ||
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| 545 | 0 | |a Ildar D. Khannanov is associate professor of music theory at Peabody Institute, Johns Hopkins University. He is a student of Yuri Kholopov (Moscow Conservatory), Pieter C. Van den Toorn (University of California, Santa Barbara), and Jacques Derrida (University of California, Irvine) and is a member of the Scientific Committee of EuroMAC. His scholarly interests range from music theory and analysis to philosophy, Soviet music theory, musical semiotics, ethnomusicology, and film music. Dr Khannanov has authored books and articles in English and Russian languages, including The Nonverbal Specificity of Music: Music Beyond Logos (2019), Music of Sergei Rachmaninoff: Seven Musical-Theoretical Etudes (2011), translation of Boleslav Yavorsky's treatise The Design of Musical Speech (2022), chapters in Sounding the Virtual: Gilles Deleuze and the Theory and Philosophy of Music (2011), L'Analyse aujourd'hui (2015), and The Routledge Companion on Music and Space (2023). He actively participates in international conferences globally and took part in organizing the 10th European Music Analysis Conference (EuroMAC-10). | |
| 504 | |a Includes bibliographical references and index. | ||
| 520 | |a The antinomy of musical work and musical form has been central for music theory for centuries. Musical work is complete and all-inclusive, which makes it an ideal object of study. However, the teaching of musical form, albeit selective, is self-sufficient and epistemologically sovereign. The book offers both the historical overview and the analytical discourse on this antinomy in both Western and Russian perspectives. It presents an insider's view of the latter and contains materials never previously published. | ||
| 505 | 0 | |a Cover -- Half Title -- Title Page -- Copyright Page -- Table of Contents -- Introduction -- Chapter 1: The Antinomy of Musical Form vs. Work: Integralism vs. Formalism -- 1.1: Conceptual Framework of the Problem: Music Analysis and Its Objects -- 1.2: Practical Implications -- 1.3: Philosophical Investigation of the Problem -- 1.4: Musicological Dimension -- 1.5: Distinction of Antinomy "Form vs. Work" from the Binary Opposition "Form vs. Content" -- 1.6: Russian and Soviet Ideas on Relationship of Form vs. Work -- 1.7: Elaborations on the Same or Similar Topics in Western Music Theory | |
| 505 | 8 | |a 1.8: The Semiotic Angle and the French Approach to the Problem -- 1.9: The Definition of Form during the Classical Period: A. B. Marx -- 1.10: The Russian Approach to Classic-Romantic Musical Form -- 1.11: Russian Definitions of Musical Work -- 1.12: German Theory of the Mid-Twentieth Century: Similarities with Soviet Ideas -- 1.13: Eastern European Contributions to the Subject -- 1.14: The Antinomy of Form vs. Work in Chinese and Arabic Traditions -- Chapter 2: Early Stages of Integralism in Russia: Eleventh through Seventeenth Centuries -- 2.1: Holistic Nature of Russian Orthodox Church Chant | |
| 505 | 8 | |a 2.2: The Theory of Russian Orthodox Church Chant -- 2.3: Similarities and Differences with Byzantine Chant -- 2.4: Holistic Definitions of Neumes -- 2.5: The Folk Song as a Source for the Chant -- 2.6: Aesthetic and Philosophical Components of Russian Orthodox Chant Theory -- 2.7: Some Possible Questions for and Critique of Western Theory from the Russian Chant Theorists -- Chapter 3: Encounters with Western Formalism: Seventeenth-Twentieth Centuries -- 3.1: Transitional Period: Acceptance of Formalist Aesthetics and Techniques | |
| 505 | 8 | |a 3.2: Russian Eighteenth and Nineteenth Centuries: Adoption of Core Categories of Music Theory -- 3.3: The Indigenous Russian Category of Lad and the Problems of Its Translations -- 3.4: Lad and New Music: Yavorsky's Use of the Term -- 3.5: Russian Theories of Harmony: From Diletsky to Kholopov -- 3.6: The Chord, Function, Voice Leading, Scale Step and Their Further Development -- 3.7: Tonal-Harmonic Function, Metric Period, and Musical Syntax -- 3.8: The Art of Harmonization of Unfigured Melody -- 3.9: Modulation, the Russian Style | |
| 505 | 8 | |a 3.10: Counterpoint, Figured Bass and Partimento as Formalist Strategies -- 3.11: The Importance of Motive as the Nucleus of Form -- 3.12: Rhythm as the Essence of Motive -- 3.13: Dual Function of Motive, as a Part of Formal Design and the Element of Integralist Semantics -- 3.14: Nineteenth Century: Mature Formalist Approaches -- 3.15: Formalism and Integralism as Reflections of Conservatory vs. University Training Systems -- 3.16: Russian and Soviet Formenlehre -- 3.17: Formal Functions and Their Types of Presentations by Sposobin, Tyulin and Skrebkov | |
| 588 | |a Description based on online resource; title from digital title page (viewed on April 02, 2024). | ||
| 650 | 0 | |a Music theory. |0 http://id.loc.gov/authorities/subjects/sh85088826 | |
| 650 | 0 | |a Musical analysis. |0 http://id.loc.gov/authorities/subjects/sh85088952 | |
| 776 | 0 | 8 | |i Print version: |z 9815129015 |z 9789815129014 |w (OCoLC)1402164097 |
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