Modal Ethos and Semiotics in Tonal Music: Bach, Mozart, Beethoven, Schumann, Brahms, Massenet, Mahler and Debussy

Abstract
Foreword by Dr. Sergey Bogza
Preface
Chapter 1: Purpose and Scope of the Present Work
Purpose
Analytical Approach
Definition
Problems Addressed
Outline of the Following Study
Conclusion
Chapter 2: Bach’s Method of Integrating Mode and Tonality through Modulation
“Wenn ich einmal soll scheiden”
Contract with Schenkerian Analysis
Conclusion
Chapter 3: Analysis of Debussy’s Syrinx: Impressionism, Expressionism and Tuning
Introduction
Importance of Syrinx in the Flute Repertoire
Contradictory Analytical Approaches to Syrinx
Background
Debussy’s State of Mind When Composing Syrinx
The Failed Tristan Project
The Story of Syrinx
Analysis
Method
The Opening
The Central Episode
Recapitulation
Coda and Resolution
The Key to Syrinx
Pan = Tristan?
Discussion
Structure and Expression
Tuning in Performance
Impressionism or Expressionism?
Conclusion
Chapter 4: The Case foe the Authenticity of BWV 565
Introduction
Discussion
Analysis Part I: Key Structure of the Fugue
Analysis Part II: Correspondences Between Various Organ Compositions of Bach
Analysis Part III: Musical Action in BWV 565
I. Toccata
II. Fugue
III. Cadenza
Musical Action of the Entire Composition
Meaning and Metaphor in BWV 565
Chapter 5: Mahler’s Adagietto a Study of Seduction
Part I. Gustav and Alma
The Story
Adagietto
Part II. Death in Venice
1. A minor= Aschenbach
2. F major = The Attraction of an Object of Desire
Conclusion
Chapter 6: Beethoven’s Heilige Dankgesang
Have you Met Lydian?
Modal and Tonal Relationship and Associated Ethos
Chapter 7: Bach and Mozart go Locrian
Bach’s Locrian New Year
Mozart’s Locrian and Pedrillo’s Failed Heroism
Chapter 8: Schumann’s Dichterliebe: Flowers that Bloom in the Spring
Chapter 9: Massenet’s Pseudo Phrygian Meditation
Chapter 10: Brahm’s Concerto Against D Major
Chapter 11: Some Summing Up
Chapter 12: New Directions in Modal Ethos
Introduction
Structural Characteristics of Modes
Twelve-Tone Serial Structures
Trichords and Expression
Mechanics of Twelve-Tone Rows Based on Trichords
Conclusion
Bibliography
Index