Beauty and the Bar Musician: Can you find your true love in a Chicken Wing bar? An overdue phone call made to a former bar musician reignites a dormant passion deep from within Gabrielle Douvane. The conversation detonates into yet another explosive incident which jeopardizes her reconciliation with him. Gabrielle narrates her tale by taking the reader on a journey into her not so distant past.She reminisces about her college days in the last decade of the twentieth century. However, ~Once upon a Lyrics Past ~ takes place long before the love story. In fact, it is her first recollection of her unfavorable but memorable introduction to Dylan Hayden. From here, she sets the stage for the reader to go on an emotional, 'love to hate him' roller coaster ride with her. On one uneventful night, Gabrielle's roommate takes her out to see a local bar band. Gabrielle is reacquainted with Brett, a musician in the band, Psychedelic Alligator. Up until now, he was just a mere school girl fantasy for her. Now, for the first time in her life, she might forgo her 'no musician' rule and take a chance on him.Unbeknownst to her, this is a night of destiny with Dylan. And so begins The Tale as Old as Time... when beauty meets the bar musician...
This book introduces a theory of music analysis--a language and conceptual framework--that analysts can use to delve into aspects of segmentation and associative organization in a wide range of repertoire from the Baroque to the present. Rather than a methodology, the theory provides analysts with a precise language and broad, flexible conceptual framework that they can when formulating and investigating questions of interest and develop their own interpretations of individual pieces and passages. The theory begins with a basic distinction among three domains of musical experience and discourse about it: the sonic (psychoacoustic); the contextual (or associative, sparked by varying degrees of repetition); and the structural (guided by a specific theory of musical structure or syntax invoked by the analyst). A comprehensive presentation of the theory (with copious musical illustrations) is balanced with close analyses of works by Beethoven, Debussy, Nancarrow, Riley, Feldman, and Morris. Dora A. Hanninen is associate professor of music theory at the University of Maryland. She was recipient of the 2010 Outstanding Publication Award from the Society for Music Theory.
The stylistic evolution of Mozart's Viennese instrumental repertory as a whole (1781-1791), closely tied to historical and contextual lines of enquiry, has yet to receive systematic attention. This book fills the gap through a study of stylistic re-invention, a practically- and empirically-based theory that explains how innovative, putatively inspired ideas take shape in Mozart's works and lead to stylistic re-formulation. Re-invention comprises a two-stage process: Mozart manipulates pre-existent stylistic features of his music to climactic effect, in so doing introducing a demonstrably 'new' stylistic dimension with broad aesthetic resonance; he subsequently re-appraises his style in response to the dimension in question. From close examination of a variety of Mozart's works (piano concertos, string quartets and symphonies in particular), supported by study of Mozart's other chamber and dramatic works, the author shows that stylistic re-invention is a consistent and coherent manifestation of stylistic development. Ultimately re-invention puts centre stage the interaction of intellectual and imaginative elements of Mozart's musical personality, accounting both for processes of reflection and re-appraisal and for striking conceptual leaps. SIMON P. KEEFE is James Rossiter Hoyle Chair of Music, University of Sheffield.
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