LEADER 01342nam--2200421---450- 001 990001092220203316 005 20091207092701.0 010 $a88-17-85342-9 035 $a000109222 035 $aUSA01000109222 035 $a(ALEPH)000109222USA01 035 $a000109222 100 $a20021021d1960----km-y0itay0103----ba 101 $aita 102 $aIT 105 $ay|||z|||001yy 200 1 $a<> grandi problemi$fJohn Kenneth Galbraith 210 $aMilano$cEdizioni di comunità$d1960 215 $a182 p.$d23 cm 225 2 $aSaggi di cultura contemporanea$v1 410 $12001$aSaggi di cultura contemporanea$v1 454 1$12001$a<> liberal hour$928304 606 0 $aEconomia$xTeorie$xStoria 676 $a330.09 700 1$aGALBRAITH,$bJohn Kenneth$033228 801 0$aIT$bsalbc$gISBD 912 $a990001092220203316 951 $aXXX.A. Coll. 40/ 9 (COLL CY 1)$b159713 LM$cXXX.A. Coll. 40/ 9 (COLL CY)$d00076601 951 $aII.5. 2137(VI soc L 44)$b14748 L.M.$cVI soc 959 $aBK 969 $aUMA 979 $aCHIARA$b90$c20021021$lUSA01$h1235 979 $aCHIARA$b90$c20021021$lUSA01$h1239 979 $aPATRY$b90$c20040406$lUSA01$h1716 979 $aCOPAT6$b90$c20050525$lUSA01$h1535 979 $aRSIAV2$b90$c20091207$lUSA01$h0927 996 $aLiberal hour$928304 997 $aUNISA LEADER 04731oam 2200469I 450 001 9910969890403321 005 20251117104713.0 010 $a1-351-56973-2 010 $a1-315-09498-3 010 $a1-351-56974-0 024 7 $a10.4324/9781315094984 035 $a(CKB)4100000000772135 035 $a(MiAaPQ)EBC4907516 035 $a(OCoLC)654427007 035 $a(EXLCZ)994100000000772135 100 $a20180706e20162001 uy 0 101 0 $aeng 135 $aurcnu|||||||| 181 $2rdacontent 182 $2rdamedia 183 $2rdacarrier 200 10$aDerrick Puffett on music /$fcompiled and edited by Kathryn Bailey Puffett 210 1$aLondon :$cRoutledge,$d2016. 215 $a1 online resource (780 pages) $cillustrations 300 $aFirst published 2001 by Ashgate Publishing. 311 08$a1-138-26346-X 311 08$a0-7546-0399-7 320 $aIncludes bibliographical references and index. 327 $apart PART I: THE ANALYST SPEAKS -- chapter 1 Editorial: In Defence of Formalism -- chapter 2 Schenker's 'Eroica' -- part PART II: LINER AND PROGRAMME NOTES -- chapter 3 Wagner: Overtures and Orchestral Music -- chapter 4 Richard Strauss: Tod und Verkliirung and Don Quixote -- chapter 5 Richard Strauss: Symphonia Domestica and Parergon -- chapter 6 The 'Tawdriness' of Salome -- part PART III: ENGLISH MUSIC -- chapter 7 A Nietzschean Libretto: Delius and the Text for A Mass of Life -- chapter 8 In the Garden of Fand: Arnold Bax and the 'Celtic Twilight' -- chapter 9 The Fugue from Tippett's Second String Quartet -- chapter 10 Tippett and the Retreat from Mythology -- chapter 11. an Analytical Offering (A. G. 1992). On Goehr's Homage to Bach -- part PART IV: RUSSIAN AND FRENCH MUSIC -- chapter 12 A Graphic Analysis of Musorgsky's 'Catacombs' -- chapter 13 Eight Bars of Stravinsky: The Septet Revisited -- chapter 14 Debussy's Ostinato Machine -- part PART V: OPERA -- chapter 15 Siegfried in the Context of Wagner's Operatic Writing -- chapter 16 Schoeck's Operas: A Question of Genre -- chapter 17 Some Reflections onLiteraturoper -- chapter 18 Berg and German Opera -- chapter 19 Salome: an Introduction -- chapter 20 Images of Salome -- chapter 21 Strauss's Scenario for the 'Dance of the Seven Veils' -- chapter 22 Salome as Music Drama -- chapter 23 Elektra: Beginnings -- chapter 24 The Music of Elektra: Some Preliminary Thoughts -- chapter 25 An Introduction to der Rosenkavalier -- part PART VI: VIENNA -- chapter 26 Transcription and Recomposition: The Strange Case of Zemlinsky's Maeterlinck Songs -- chapter 27 A Notational Peculiarity in Early Webem and its Implications -- chapter 28 Gone with the Summer Wmd; or, What Webem Lost -- chapter 29 'Music that Echoes within One' for a Lifetime: Berg's Reception of Schoenberg's Pelleas und Melisande -- chapter THEMATIC ANALYSIS -- chapter EPILOGUE -- chapter 30 Berg, Mahler and the Three Orchestral Pieces, Op. 6 -- part PART VII: GERMAN MUSIC -- chapter 31 'Lasser die Musi, wo sie ist': Pitch Specificity in Strauss -- chapter 32 Bruckner's Way: The Adagio of the Ninth Symphony -- chapter Sources. 330 $a"'I listen to a piece and ask myself what has made the greatest impression on me. What has moved me the most about it, what has excited me the most, what it is I want to write about, what sets my mind working, what sets off my imagination.' derrick Puffett's description to a group of Cambridge graduate students of his approach to listening and writing about music is clearly evident in the articles reprinted in this collection. For the first time, the book makes available in one place writings previously widely dispersed amongst many journals and symposia. Resonances emerge that cross from essay to essay, with the result that a larger, coherent project is revealed. Insistent on the need of music analysis to be accompanied by a wider historical knowledge, Puffett believed strongly that the methods to be adopted on each occasion must be dictated by the music at hand. His work on Bruckner, Strauss, Webern, Zemlinsky, Delius and Debussy is of enduring importance to the study of music. With a prose style distinguished for its elegance and clarity, Puffett's writings will enhance the understanding and enjoyment of the music that he discusses amongst students and teachers alike."--Provided by publisher. 606 $aMusic$xHistory and criticism 615 0$aMusic$xHistory and criticism. 676 $a780/.9 700 $aPuffett$b Derrick$01881031 702 $aPuffett$b Kathryn Bailey 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910969890403321 996 $aDerrick Puffett on music$94495337 997 $aUNINA