Perspectives on Contemporary Music Theory: Essays in Honor of Kevin Korsyn

Cover
Half Title
Series Information
Title Page
Copyright Page
Table of Contents
List of Examples
List of Contributors
Introduction
	Bibliography
An Interview With Kevin Korsyn
	Bibliography
Part I Close Reading and the Problematics of Analysis
	1 Extraordinary Measures: Disability and Metrical Conflict in Schubert’s “Der Blinde Knabe”
		1.1 Introduction
		1.2 Colley Cibber’s Blind Boy
		1.3 Craigher’s Blind Boy
		1.4 Schubert’s Blind Boy
		1.5 Conclusion
		Notes
		Bibliography
	2 Rethinking Self-Referentiality in Schubert’s Setting of Platen’s “Die Liebe Hat Gelogen,” D. 751 (Op. 23, No. 1)
		2.1 Closure and Frames
		2.2 Parerga
		2.3 Musical Riddles
		2.4 Temporal Deferrals
		Notes
		Bibliography
3 The E-Flat/B Complex in Nineteenth-Century Music and Its Hermeneutic Dimensions
	3.1 Introduction
	3.2 Mozart’s E-Flat/B Problem
	3.3 The Schubert Cluster
	3.4 The Symphonic Cluster
	3.5 The Faust Cluster
	3.6 Conclusion
	Appendix A
	Notes
	Bibliography
Part II Compositional Constraints and Compositional Process
	4 Take It Away: How Shortened and Missing Sections Energize Rondo Forms
		Notes
		Bibliography
	5 “All-Comprehending” Invertible Counterpoint: Bach’s Fugue in G Minor From Book 2 of The Well-Tempered Clavier
		5.1 Fugue Subject and Countersubject
		5.2 Overall Plan of the G-Minor Fugue
		5.3 Fugal Exposition (Bars 1–17)
		5.4 First and Second Episodes and Middle Group of Entries (Bars 17–40)
		5.5 Third Episode and Tonicization of C Minor (Bars 40–45)
		5.6 Fourth Episode and Fugal Entries in Parallel Thirds and Sixths (Bars 45–55)
		5.7 Fifth Episode and Invertible Counterpoint of Subject and Countersubject in Parallel Thirds (Bars 55–63)
		5.8 Sixth Episode (Bars 63–67)
		5.9 Final Cadence (Bars 67–75) and Coda (Bars 75–84)
		5.10 Overview of the Entire Fugue
		Notes
		Bibliography
Part III Music and Interdisciplinarity
	6 Chopin’s Preludes, Creatures of Prometheus, and the Posthuman
		6.1 A Personal Note as Introduction
		6.2 Decentering Chopin’s Preludes
		6.3 Prometheus and the Humanist Subject
		6.4 Raindrops in Context
		6.5 Chopin Discovers the Unconscious
		6.6 The Gothic in Prometheus
		6.7 What Makes Music Whole Or Fragmented?
		Notes
		Bibliography
	7 Walter Riezler on the Unity of the Arts: Unsiloing Art and Music in the Weimar Era
		7.1 Riezler: Munich, Stettin, Munich
		7.2 The Fourth Aesthetics Congress, Hamburg, 1930
		7.3 Riezler on “The New Sense of Space in Art and Music”
		7.4 The “Unity of the Arts” Revisited: Riezler’s Postwar Reflections
		7.5 An Afterthought on Interdisciplinarity
		Notes
		Bibliography
	8  Completing the Triad: Schenker and Kantian Practical Philosophy
		8.1 Introduction
		8.2 Schenker as “Ethicist” and “Kantian Ethicist”
		8.3 Schenker’s Ersatz Kantian Ethics?
		8.4 Levels of Interpretation
		8.5 Late-Middleground Kantianism Part 1: Synthesis, Rationalism, and the Tripartite Structure of Kant’s Ethics
		8.6 Late-Middleground Kantianism Part 2: Tones as Ends
		8.7 Late-Middleground Kantianism Part 3: Analysis as Criterial Formalism
		8.8 Late-Middleground Kantianism Part 4: Musical Virtue
		8.9 Early-Middleground (Un- )Kantianism
		8.10 Background Kantianism
		8.11 Conclusion
		Notes
		Bibliography
	9 Leni Riefenstahl’s “Ballet” Olympia
		Notes
		Bibliography
Index