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Zusatztext Brown's insights into Iberia prove highly illuminating; his book is lucidly written and extremely generous with examples and documentation. It helps to have a score at hand , but even the most involved parts of the analysis flow easily, and one need not be either a specialist in Schenker or sketch studies to follow it. Informationen zum Autor Born in London, Matthew Brown studied at the Royal College of Music Preparatory Division and later at King's College London. He pursued a Ph.D. in musicology at Cornell University. From 1983-1986 he was a junior fellow at Harvard University. Since then, he has taught musicology at the Eastman School of Music and theory at Louisiana State University. He has served on the council of the American Musicological Society and the executive board of the Society for Music Theory. He is currently Associate Professor of Music Theory at the Eastman School of Music. Klappentext This book suggests ways in which Debussy's sketches and drafts may be used to explain how he composed one of his last great symphonic scores: Iberia (from mages for orchestra, 1903-10). Part 1 shows how we might understand the process of musical composition as a form of expert problem solving; Part 2 reconstructs the genesis of each of the three movements in turn. Zusammenfassung Matthew Brown examines Debussy's sketches and drafts to show how the composer wrote one of his last great symphonic scores: Ibéria (from Images for orchestra). He describes the work's compositional history, the various intentional goals and historical contraints that guided Debussy's thinking, and some of the technical problems Debussy faced while composing this remarkable score. Inhaltsverzeichnis Editor's Preface Preface Introduction Part 1 2.: Intentional Goals and Historical Constraints 3.: Musical Problems and Search Strategies Part 2 5.: 'Les Parfums de la nuit' 6.: 'Le Matin d'un jour de fête' Conclusion Bibliography Index ...
