| Preface 1 Styles and ideas 1.1 Aims and context 1.2 A musicological context 1.3 Elgar the progressive 2 A Heideggerian refinement of Schenker’s theory 2.1 Analytical preliminaries 2.2 Temporality and the Augenblick 2.3 Mimesis and disclosure 2.4 Heideggerian intentionality and musical phenomenology 2.5 The musical Augenblick 3 Immuring and immured tonalities：tonal malaise in the First Symphony，Op.55 3.1 Hepokoski’s analysis and a Hepokoskian analysis 3.2 A Heideggerian-Schenkerian analysis 4 ’Fracted and corroborate’：narrative implications of form and tonality in Falstaff，Op. 68 4.1 The nature，subject，and intent of a symphonic study 4.2 Preliminary analytical questions 4.3 An overview of the form： deformation and rotation 4.4 Associative tonality and the unpicking of identity 5 Hermeneutics and mimesis 5.1 Heidegger，Schenker，music，and modern musicology 5.2 The mimetic function of sonata form： fairy-stories，the quest narrative，and humankind’s historical and temporal existence 6 The annihilation of hope and the unpicking of identity：Elgarian hermeneutics 6.1 ’A nice sub-acid feeling’： the First Symphony 6.2 Elgar’s invention of the human：’Falstaff （ [ micro-] tragedy）’ 7 Modern music,modern man Golssary Bibliography Index |
内容加载中，请稍后...
商品评论（0条）