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LEADER 04364cam a2200469 i 4500

001 ocn870147546;

003 OCoLC;

005 20151103144005.0;

008 140129s2015 nyuag b 001 0 eng ;

010 a| 2014003319;

019 a| 893457368a| 907701177;

020 a| 9780199303465q| (hardback ;q| alk. paper);

020 a| 0199303460q| (hardback ;q| alk. paper);

035 a| (Sirsi) o870147546;

035 a| (OCoLC)870147546z| (OCoLC)893457368z| (OCoLC)907701177;

042 a| pcc;

049 a| EREM;

050 00 a| MT130.M25b| M66 2015;

050 4 a| ML410.M23b| M6 2015;

082 00 a| 784.2/1840922| 23;

100 1 a| Monahan, Seth.=| ^A1269281;

245 10 a| Mahler's symphonic sonatas /c| Seth Monahan.;

260 a| New York :b| Oxford University Press,c| 2015.;

300 a| x, 278 pages :b| illustrations, music ;c| 24 cm.;

336 a| textb| txt2| rdacontent;

337 a| unmediatedb| n2| rdamedia;

338 a| volumeb| nc2| rdacarrier;

490 1 a| Oxford studies in music theory;

500 a| Includes companion website with annotated short scores and larger diagrams and figures.;

504 a| Includes bibliographical references (pages 263-271) and index.;

505 00 g| Part I.t| Interpreting Mahler's sonata forms.t| Sonata form in Mahler's narrative imagination ;t| Adorno's "Novel-Symphony": the dialectic of freedom and determinism ;t| Dimensions of Mahlerian narrativity --g| Part II.t| Mahler's "Classical" sonatas.t| "A demonic Haydn": Mahler's confrontation with tradition in the first movement of the Sixth ;t| A play within a play: games of closure and contingency in the first movement of the Fourth --g| Part III.t| Mahler's "Epic" sonatas.t| The objectification of chaos: epic form and narrative multiplicity in part one of the Third ;t| Tragedy refuses a nominalist form: "Inescapable" coherence and the failure of the Novel-Symphony in the finale of the Sixth.;

520 a| Why would Gustav Mahler (1860-1911), modernist titan and so-called prophet of the New Music, commit himself time and again to the venerable sonata-allegro form of Mozart and Beethoven? How could so gifted a symphonic storyteller be drawn to a framework that many have dismissed as antiquated and dramatically inert? This book offers a striking new take on this old dilemma. Indeed, it poses these questions seriously for the first time. Rather than downplaying Mahler's sonata designs as distracting anachronisms or innocuous groundplans, the author argues that for much of his career, Mahler used the inner, goal-directed dynamics of sonata form as the basis for some of his most gripping symphonic stories. Laying bare the deeper narrative/processual grammar of Mahler's evolving sonata corpus, he pays particular attention to its recycling of large-scale rhetorical devices and its consistent linkage of tonal plot and affect. He then sets forth an interpretive framework that combines the visionary insights of Theodor W. Adorno--whose Mahler writings are examined here lucidly and at length--with elements of Hepokoski and Darcy's renowned Sonata Theory. What emerges is a tensely dialectical image of Mahler's sonata forms, one that hears the genre's compulsion for tonal/rhetorical closure in full collision with the spontaneous narrative needs of the surrounding music and of the overarching symphonic totality. It is a practice that calls forth sonata form not as a rigid mold, but as a dynamic process-rich with historical resonances and subject to a vast range of complications, curtailments, and catastrophes. With its expert balance of riveting analytical narration and thoughtful methodological reflection, this book promises to be a landmark text of Mahler reception, and one that will reward scholars and students of the late-Romantic symphony for years to come.;

600 10 a| Mahler, Gustav,d| 1860-1911.t| Symphonies.=| ^A495187;

650 0 a| Sonata form.=| ^A328255;

650 0 a| Symphoniesx| Analysis, appreciation.=| ^A50192;

830 0 a| Oxford studies in music theory.=| ^A696826;

949 o| jcdh;

994 a| C0b| ERE;

596 a| 3;

998 a| 3814625;

999 a| ML410.M23 M6 2015w| LCc| 1i| 30372016749357d| 5/2/2019e| 1/9/2019f| 3/7/2024g| 2l| MSTm| JMUSICn| 2r| Ys| Yt| MGESBKu| 10/7/2015x| BOOKz| MCIRCo| .STAFF. jcdh; enhanced 12/11/22 -jjam/jjab;

Mahler's symphonic sonatas / Seth Monahan.

Author/creator	Monahan, Seth
Format	Book
Publication Info	New York : Oxford University Press, 2015.
Description	x, 278 pages : illustrations, music ; 24 cm.
Subjects	Mahler, Gustav, 1860-1911. Symphonies. Sonata form. Symphonies--Analysis, appreciation.

Series	Oxford studies in music theory Oxford studies in music theory. ^A696826
Contents	Part I. Interpreting Mahler's sonata forms. Sonata form in Mahler's narrative imagination ; Adorno's "Novel-Symphony": the dialectic of freedom and determinism ; Dimensions of Mahlerian narrativity -- Part II. Mahler's "Classical" sonatas. "A demonic Haydn": Mahler's confrontation with tradition in the first movement of the Sixth ; A play within a play: games of closure and contingency in the first movement of the Fourth -- Part III. Mahler's "Epic" sonatas. The objectification of chaos: epic form and narrative multiplicity in part one of the Third ; Tragedy refuses a nominalist form: "Inescapable" coherence and the failure of the Novel-Symphony in the finale of the Sixth.
Abstract	Why would Gustav Mahler (1860-1911), modernist titan and so-called prophet of the New Music, commit himself time and again to the venerable sonata-allegro form of Mozart and Beethoven? How could so gifted a symphonic storyteller be drawn to a framework that many have dismissed as antiquated and dramatically inert? This book offers a striking new take on this old dilemma. Indeed, it poses these questions seriously for the first time. Rather than downplaying Mahler's sonata designs as distracting anachronisms or innocuous groundplans, the author argues that for much of his career, Mahler used the inner, goal-directed dynamics of sonata form as the basis for some of his most gripping symphonic stories. Laying bare the deeper narrative/processual grammar of Mahler's evolving sonata corpus, he pays particular attention to its recycling of large-scale rhetorical devices and its consistent linkage of tonal plot and affect. He then sets forth an interpretive framework that combines the visionary insights of Theodor W. Adorno--whose Mahler writings are examined here lucidly and at length--with elements of Hepokoski and Darcy's renowned Sonata Theory. What emerges is a tensely dialectical image of Mahler's sonata forms, one that hears the genre's compulsion for tonal/rhetorical closure in full collision with the spontaneous narrative needs of the surrounding music and of the overarching symphonic totality. It is a practice that calls forth sonata form not as a rigid mold, but as a dynamic process-rich with historical resonances and subject to a vast range of complications, curtailments, and catastrophes. With its expert balance of riveting analytical narration and thoughtful methodological reflection, this book promises to be a landmark text of Mahler reception, and one that will reward scholars and students of the late-Romantic symphony for years to come.
General note	Includes companion website with annotated short scores and larger diagrams and figures.
Bibliography note	Includes bibliographical references (pages 263-271) and index.
LCCN	2014003319
ISBN	9780199303465 (hardback ; alk. paper)
ISBN	0199303460 (hardback ; alk. paper)

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Mahler's symphonic sonatas / Seth Monahan.

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