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Performing Expressive Closure in Structurally Open Contexts: Chopin’s Prelude in A minor and the Last Two Dances of Schumann’sDavidsbündlertänze
11 references·2 citing·33 second hop
Performing Expressive Closure in Structurally Open Contexts: Chopin’s Prelude in A minor and the Last Two Dances of Schumann’sDavidsbündlertänze (2014)Performing Expressive Closure in Structur…Classical and Romantic Performing Practice (2025)Classical and Romantic Perfor…Music in the Galant Style (2007)Music in the Galant StyleInterpreting musical gestures, topics, and tropes: Mozart, Beethoven, Schubert (2005)Interpreting musical gestures…Fantasy pieces: metrical dissonance in the music of Robert Schumann (2000)Fantasy pieces: metrical diss…Fantasy Pieces (1999)Fantasy PiecesRobert Schumann (1997)Robert SchumannThe Triad as Place and Action (1995)The Triad as Place and ActionThe Romantic Generation (1995)The Romantic GenerationMusical Meaning in Beethoven (1994)Musical Meaning in BeethovenMusic as Cultural Practice, 1800-1900 (1991)Music as Cultural Practice, 1…Principles of Formal Structure in Schumann's Early Piano Cycles (1989)Principles of Formal Structur…Harmony in Chopin (2015)Harmony in ChopinOn Performing Chopin’s Barcarolle (2014)On Performing Chopin’s Barcar…Structural 'Highpoints' in Schumann's 'Dichterliebe' (1984)Directional Tonality in Schumann’s Early Works (2012)Tonal Structures in Bellini (2012)Musical Causality and Schubert’s Piano Sonata in A Major, D 959, First Movement (2016)The Rhythmic Structure of Music (1961)Structural Functions in Music (1977)The time of music: new meanings, new temporalities, new listening strategies (1989)Beat-Class Modulation in Steve Reich's Music (2003)Hugo Riemann and the Birth of Modern Musical Thought (2003)Formal Functions of Metric Dissonance in Rock Music (2014)Dictionnaire de musique (1913)The New Grove Dictionary of Music and Musicians (1981)“To Play as if from the Soul of the Composer”: The Idea of the Performer in Early Romantic Aesthetics (2005)Beyond the score: music as performance (2014)Classical music as enforced Utopia (2016)The Keyboard Sonatas of Domenico Scarlatti and Eighteenth-Century Musical Style (2003)Form, Program, and Metaphor in the Music of Berlioz (2009)A Cultural History of the Irish Novel, 1790–1829 (2011)The End of Early Music (2007)Choreomusical Conversations: Facing a Double Challenge (2011)Action and Agency Revisited (2013)Metric Manipulations in Haydn and Mozart: Chamber Music for Strings, 1787–1791 (2009)Towards a generative syntax of tonal harmony (2011)M eyer's Anvil: Revisiting the Schema Concept (2012)Schumann and Romantic Distance (1997)Extraordinary Measures (2011)Uncanny Resemblances: Tonal Signification in the Freudian Age (2004)Music Education and Cultural Identity (2005)Performing History: The Importance of Occasions (2005)Riff Schemes, Form, and the Genre of Early American Hardcore Punk (1978–83) (2015)Perceiving Irony in Music (2016)Tonality as Topic (2017)An Empirical Study of Syncopation in American Popular Music, 1890?1939 (2006)
this work references cited by second hop

References

  • 2007Music in the Galant Style432 cited
  • 2005Interpreting musical gestures, topics, and tropes: Mozart, Beethoven, Schubert426 cited
  • 2025Classical and Romantic Performing Practice264 cited
  • 2000Fantasy pieces: metrical dissonance in the music of Robert Schumann255 cited
  • 1991Music as Cultural Practice, 1800-1900230 cited
  • 1995The Romantic Generation222 cited
  • 1999Fantasy Pieces199 cited
  • 1997Robert Schumann123 cited
  • 1989Principles of Formal Structure in Schumann's Early Piano Cycles51 cited
  • 1994Musical Meaning in Beethoven49 cited
  • 1995The Triad as Place and Action33 cited

Cited by

  • 2015Harmony in Chopin5 cited
  • 2014On Performing Chopin’s Barcarolle4 cited

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