Derrick Puffett on Music

Front Cover
Derrick Puffett, Kathryn Puffett
Ashgate, Jan 1, 2001 - History - 813 pages
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Insistent on the need of music analysis to be accompanied by a wider historical knowledge, Puffett believed strongly that the methods to be adopted on each occasion must be dictated by the music at hand. His work on Bruckner, Strauss, Webern, Zemlinksy, Delius and Debussy is of enduring importance to the study of music. With a prose style distinguished for its elegance and clarity, Puffett's writings should enhance the understanding and enjoyment of the music that he discusses amongst students and teachers alike.

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Contents

In Defence of Formalism
3
Overtures and Orchestral Music
29
Symphonia Domestica and Parergon
35
Delius
47
Arnold Bax and the Celtic Twilight
83
The Fugue from Tippetts Second String Quartet
102
Tippett and the Retreat from Mythology
138
an Analytical Offering A G 1992
159
Strausss Scenario for the Dance of the Seven Veils
356
Salome as Music Drama
362
Beginnings
398
Some Preliminary Thoughts
409
An Introduction to Der Rosenkavalier
426
VIENNA
435
The Strange Case of Zemlinskys Maeterlinck Songs
437
A Notational Peculiarity in Early Webern and its Implications
488

A Graphic Analysis of Musorgsky s Catacombs
193
The Septet Revisited
204
Debussys Ostinato Machine
231
OPERA
287
Siegfried in the Context of Wagners Operatic Writing
289
A Question of Genre
298
Some Reflections on Literaturoper
311
Berg and German Opera
314
an Introduction
341
Images of Salome
351
Gone with the Summer Wind or What Webern Lost
498
Bergs
513
Reception of Schoenbergs Pelleas und Melisande
539
Berg Mahler and the Three Orchestral Pieces Op 6
616
GERMAN MUSIC
659
Pitch Specificity in Strauss
661
The Adagio of the Ninth Symphony
687
Sources
791
Index
793
Copyright

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