The first detailed study of a prolific and influential early twentieth-century composer, critic, educator-a true sage of music.

An annual of international Beethoven studies, Beethoven Forum promotes and sustains the high level of scholarship inspired by Beethoven’s extraordinary works. Volume 5 presents studies on Beethoven’s Fidelio, his piano sonatas, and his uses of form and dynamics, along with reviews of Theodor Adorno’s Beethoven’s Philosophie der Musik and of recent writings on the Ninth Symphony. The contributors are Michael C. Tusa, Lee Rothfarb, Miriam Sheer, Michael Spitzer, William Kinderman, Stephen Hinton, and Scott Burnham.

Originally published in 1966, the Reeseschrift remains one of the most significant collections of musicological writings ever assembled. Its fifty-six essays, written by some of the greatest scholars of our time, range chronologically from antiquity to the 17thcentury and geographically from Byzantium to the British Isles. They deal with questions of history, style, form, texture, notation, and performance practice.

A bold, deeply researched, and long-needed debunking of the platitudes and prejudices that have long clouded our view of the personality and compositional habits of Anton Bruckner. Bruckner was, and continues to be, among the most divisive figures in the history of nineteenth-century music, in large part owing to the complexities and contradictions of his personality and the amalgam of differing stylistic features that characterize his musical language. Miguel J. Ramirez's insightful book scrutinizes the stereotypes about Bruckner's personality that loom large in the public imagination, the controversial editorial policies behind the publication of his collected works, and the trends in the reception of his music that were set early on by a handful of Viennese journalists. Working to undo the platitudes and prejudices that cloud our view of Bruckner's true personality and compositional habits, this study debunks the entrenched misconception that he was a helpless victim of "the Viennese press"-a notion contradicted by the pugnacious exchange in which pro- and anti-Bruckner critics invariably engaged after the premiere of each of his works. Ramirez demonstrates that, from the mid 1880s onward, only Eduard Hanslick, Max Kalbeck, and a few other critics persisted in their opposition to the Brucknerian symphonic oeuvre and that their caustic and denigrating reviews were vastly outnumbered by those of more appreciative critics who heard what performers and listeners cherish now: the music's coherence, grandeur, and emotional sweep.adicted by the pugnacious exchange in which pro- and anti-Bruckner critics invariably engaged after the premiere of each of his works. Ramirez demonstrates that, from the mid 1880s onward, only Eduard Hanslick, Max Kalbeck, and a few other critics persisted in their opposition to the Brucknerian symphonic oeuvre and that their caustic and denigrating reviews were vastly outnumbered by those of more appreciative critics who heard what performers and listeners cherish now: the music's coherence, grandeur, and emotional sweep.adicted by the pugnacious exchange in which pro- and anti-Bruckner critics invariably engaged after the premiere of each of his works. Ramirez demonstrates that, from the mid 1880s onward, only Eduard Hanslick, Max Kalbeck, and a few other critics persisted in their opposition to the Brucknerian symphonic oeuvre and that their caustic and denigrating reviews were vastly outnumbered by those of more appreciative critics who heard what performers and listeners cherish now: the music's coherence, grandeur, and emotional sweep.adicted by the pugnacious exchange in which pro- and anti-Bruckner critics invariably engaged after the premiere of each of his works. Ramirez demonstrates that, from the mid 1880s onward, only Eduard Hanslick, Max Kalbeck, and a few other critics persisted in their opposition to the Brucknerian symphonic oeuvre and that their caustic and denigrating reviews were vastly outnumbered by those of more appreciative critics who heard what performers and listeners cherish now: the music's coherence, grandeur, and emotional sweep.ence, grandeur, and emotional sweep.

Music theory of almost all ages has relied on nature in its attempts to explain music. The understanding of what 'nature' is, however, is subject to cultural and historical differences. In exploring ways in which music theory has represented and employed natural order since the scientific revolution, this volume asks some fundamental questions not only about nature in music theory, but also the nature of music theory. In an array of different approaches, ranging from physical acoustics to theology and Lacanian psychoanalysis, these essays examine how the multifarious conceptions of nature, located variously between scientific reason and divine power, are brought to bear on music theory. They probe the changing representations and functions of nature in the service of music theory and highlight the ever-changing configurations of nature and music, as mediated by the music-theoretical discourse.

Beryl Foster's authoritative study can claim to be the most thorough investigation of this repertoire yet to have appeared in English, and is likely to remain the standard work on the subject for many years to come. TLS --

A century after his death Anton Bruckner still remains one of the most complex and enigmatic creative personalities of the nineteenth century. A leading avant-garde figure of his generation, he was an accomplished performer and teacher in addition to being a great composer; few people in the history of western music can boast his level of achievement in all these areas combined. This book, a collection of essays written by an international group of scholars, offers diverse theoretical and musicological perspectives on Bruckner the composer-teacher-performer. Facets of his formidable theoretical training and his application of it as part of the compositional process are explored. A variety of analytical methodologies is used to examine the Second through to the Ninth Symphonies, the heart of the composer?s mature repertoire. Finally, aspects of Bruckner?s career as a teacher and performer, his complex personality, his influence and dissemination of his music are considered.