Symphonic spectacles : form, identity, and hybridity in the early twentieth century / Sam Reenan.

Format:

Book

Author/Creator:

Reenan, Sam, 1992- author.

Series:

Oxford studies in music theory.

Oxford scholarship online.

Oxford studies in music theory

Oxford scholarship online

Language:

English

Subjects (All):

Symphony--20th century.

Symphony.

Musical form--History--20th century.

Musical form.

Physical Description:

1 online resource (329 pages)

Edition:

First edition.

Place of Publication:

New York, NY : Oxford University Press, [2025]

Summary:

How did composers in the early 20th century combine traditional approaches to musical structure? In 'Symphonic Spectacles', Sam Reenan presents a set of case studies, using works by Strauss, Beach, Ellington, and Mahler among others to show readers how analyses of these works can tease apart the compositional design and reception histories of each piece. The book makes these comprehensive analyses even more relevant by including discussion of how the musical works reflect aspects of their composers' identities within their historical contexts.

Contents:

Cover

Half Title

Series Page

Title Page

Copyright Page

Contents

Acknowledgments

1 Structure, Spectacle, Symphony

1.1. Structure

1.2. Reconceiving musical expansion: the spectacle

1.3. The hybrid twentieth-century symphony

2 Genres, Systems, Networks: Intersections with Formal Analysis

2.1. Forms and/as genres

2.2. Institutions, systems, networks

2.3. Musical form, genre, and rhetoric

2.4. Networks of genre and identity: gender, race, and heterogeneity

3 Form, Drama, and Gender Politics in Strauss's Eine Alpensinfonie

3.1. The summit as dramatic microcosm

3.2. Tone poem, symphony, or music-drama?

3.3. Dramatic structure, sonata form, and large-scale narrative

3.3.1. Introduction-coda frame

3.3.2. Exposition (strong)

3.3.3. "At the Summit"

3.3.4. Second development (strong)

3.3.5. Recapitulation (weak)

3.4. Gendered spectacle

4 Cyclic Form and Programmaticism in Beach's "Gaelic" Symphony

4.1. An alternative opening to the Alla siciliana

4.2. Allegro con fuoco: supplementary counterpoint in parageneric space

4.2.1. Beach, op. 32, movement I, exposition

4.2.2. Beach, op. 32, movement I, recapitulation

4.2.3. Beach, op. 32, movement I, development

4.2.4. Beach, op. 32, movement I, coda

4.3. Programmatic elements and the "Gaelic" transsymphonic narrative

4.4. Allegro di molto: retrospective reference in a multi-movement tone poem

5 Imposed Sonata Form in "Black" from Ellington's Black, Brown &amp

Beige

5.1. Reception history and analysis: surveillance and countersurveillance

5.2. The mixed conception of Black, Brown &amp

5.3. An imposed sonata reading of "Black"

5.3.1. "Exposition"-"Work Song"

5.3.2. "Exposition"-"Come Sunday"

5.3.3. Thematic development and recapitulation in "Light".

5.4. Revisions: navigating the White space

6 The Symphonic Voice as Woman's Work in Smyth's The Prison

6.1. In and around Smyth's words

6.2. The eccentric coexistence of narrative, operatic, and symphonic formal design

6.2.1. Smyth's narrative reimagining

6.2.2. Symphonic formal strategies in the choral numbers

"Voices sing of immortality"

"The Voices Reply"

6.2.3. Rotational form and progressive tonality

Part I: The Prisoner's inquiry and understanding

Part II: The Prisoner's action and farewell

6.3. A queer feminist perspective on unity in The Prison

7 Repetition and Spectatorship in Coleridge-Taylor's Hiawatha's Wedding Feast

7.1. An African-Anglican composer and an Indigenous-American tale

7.2. Framing and reimagining form and narrative in Hiawatha's Wedding Feast

7.3. Repetition, hybrid design, and nonlinear narrative

7.3.1. The ritornello theme and the conventional view

7.3.2. The multidimensional, hybrid cantata-rondo

7.4. Hiawatha's cosmopolitan reception

8 Multidimensionality in Mahler's Eighth Symphony

8.1. Three dimensions of Mahler's identity: nation, religion, gender

8.2. Reconceiving narrative across the Eighth Symphony

8.2.1. Formal questions in the Symphony's reception

8.2.2. Multidimensional sonata form, tonal plot, and thematic integration

8.2.3. Uncovering the interrupted sonata form of the Schlußszene aus Faust

8.2.4. Interpreting tonal scheme between and across the Eighth Symphony's parts

8.2.5. Thematic integration and the "Love" leitmotif

8.3. The nonattainments of Mahler's Eighth

Appendix: Catalogue of Published Rehearsal Numbers

Bibliography

Index.

Notes:

Includes bibliographical references and index.

Description based on online resource and publisher information; title from PDF title page (viewed on February 28, 2025).

ISBN:

0-19-769110-2

0-19-769111-0

0-19-769109-9

OCLC:

1485652474