This book presents a theory of metrical conflict and applies it to the
music of Schumann, thereby placing the composer's distinctive metrical
style in full focus. It describes the various categories of metrical
conflict that characterize Schumann's work, investigates how states of
conflict are introduced and then manipulated and resolved in his
compositions, and studies the interaction of such metrical conflict with
form, pitch structure, and text. Throughout the text, Krebs
intersperses his own theoretical assertions with Schumannesque dialogues
between Florestan and Eusebius, who comment on the theory at hand while
also discussing and illustrating relevant aspects of "their" metrical
practices.
Oxford University Press 1999 290 pages
PDF 17,4 MB
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