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This article attempts a partial reconstruction of historical metrical hearing for late eighteenth‐century Viennese chamber music. Specifically, I build on two traits of the historical listener. First, eighteenth‐century listeners were first‐time listeners, a simple fact with significant...
Recent theories of musical energetics have typically given tonality – often a powerfully synthetic, prolongational monotonality – a decisive role in accounting for sensations of musical tension, force and attraction. Though well‐suited to music of the common practice, these models fare less well...
Dallapiccola revised his Concerto per la notte di Natale dell'anno 1956, a five‐movement work for soprano and sixteen instruments, shortly after completing it. He made small changes to the first, second and fourth movements, bigger changes in the middle movement and extensive changes in the last...
The Passacaglia finale from György Ligeti's Le Grand Macabre (1974–7, rev. 1996) has been described as a point of stylistic crisis, marking Ligeti's return to more traditional compositional means. Consonances and tonal allusions in the music are regarded as indicative of this retrospective...
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