Musical Variation

This book offers an in-depth analysis of musical variation through a systematic approach, heavily influenced by the principles of Grundgestalt and developed variations, both created by the Austrian composer Arnold Schoenberg (1874-1951). The author introduces a new transformational-derivative model and the theory that supports it, specifically crafted for the examination of tonal music. The idea for this book emerged during a sabbatical at Columbia University, while the content is the product of extensive research conducted at the Federal University of Rio de Janeiro, resulting in the development of the Model of Derivative Analysis. This model places emphasis on the connections between musical entities rather than viewing them as separate entities. As a case study, the Intermezzo in A Major Op.118/2 by Brahms is selected for analysis. The author's goal is to provide a formal and structured approach while maintaining the text's readability and appeal for both musicians and mathematicians in the field of music theory. The book concludes with the author's recommendations for further research.

While Chopin composed only a few works in variation form, he employed variations and variation technique in the majority of his works. Multiple modified repetitions of musical units on different levels of a work are so typical of Chopin’s works that this may be considered one of the chief determinants of his style. Focusing on a broad range of Chopin’s works, this book explores the extent to which Chopin’s oeuvre is suffused with variations, the role that variation technique plays in his work, to what extent it interacts with other techniques for developing and modifying musical material, and how the variation technique itself evolved. Beginning with a comprehensively documented investigation of the concept of variation in its own right, Zofia Chechlińska employs Riemannian and Schenkerian theory to consider, in turn, the ways in which Chopin constructs variations on the level of microstructure (motif and phrase) and macrostructure (thematic areas, sections, movements and form). This is the first English translation of one of the classics of musicological literature in Poland and is essential reading for scholars of Chopin and nineteenth-century music and music analysts.

Clear, elementary explanation of basic forms, Renaissance to 1900, with many works analyzed. Nature and function of concerto, sonata, etc., clarified with nonmusical analogies; illustrated in detailed analysis of specific piece of music.

Innovation in Music: Technology and Creativity is a groundbreaking collection bringing together contributions from instructors, researchers, and professionals. Split into two sections, covering composition and performance, and technology and innovation, this volume offers truly international perspectives on ever-evolving practices. Including chapters on audience interaction, dynamic music methods, AI, and live electronic performances, this is recommended reading for professionals, students, and researchers looking for global insights into the fields of music production, music business, and music technology.

This edited book explores diverse contestations and transformations of sovereignty around the world. Sovereignty plays a central role in modern political thought and practice, but it also remains fundamentally contested. Depending on the context and perspective, it seems either omnipresent or elusive, liberating or oppressive, fading or resilient. Indeed, if in recent decades sovereignty has been expected to wane, today it is back on the agenda; not as the solid bedrock of modern – international – politics, which it never was, but as variations on a concept and institution that are ever contested and, as a result, constantly transforming. Bringing together perspectives from various disciplines, including International Relations (IR), political theory, geography, law, and anthropology, this volume: • goes beyond debates over the resilience or decline of sovereignty to instead emphasize how precisely the inherent ambiguities, tensions, and contestations in scholarship and practice spark sovereignty’s manifold transformations; • offers three theoretical chapters that examine the illusions, contradictions, transformation, and lasting appeal of sovereignty and the nation-state; • explores sovereignty from various disciplinary perspectives in 11 empirical chapters that highlight its role in different contexts around the world, from the European Union (EU) to the South China Sea, to Western Sahara and Palestine; • problematizes the interplay between theory and practice of statehood and sovereignty, as in the perception of Northern Cyprus as a ‘fake state’, scholars’ promotion of Kurdish ‘statehood’ in Iraq, and studies affirming the ‘Islamic State’. This book will be of much interest to students of statehood, sovereignty, conflict studies and International Relations. Chapters 8 of this book are available for free in Open Access at www.taylorfrancis.com. It has been made available under a Creative Commons Attribution-No Derivatives 4.0 license.