Books by Benjamin Ayotte
This bibliography and guide consists of over 1,500 citations to both primary sources and the burg... more This bibliography and guide consists of over 1,500 citations to both primary sources and the burgeoning secondary literature, annotated and subdivided by category. The list is supplemented with indices cross-referencing entries according to individual works and analytical topic. Reviews of many of the books cited are included, as are discussions stemming from certain articles. Appendices include a chronology of Schenker's life and information on symposia dedicated to his life and works. A multilingual glossary of Schenkerian terms and an index of authors concludes the volume. This volume promises to fulfill the needs of both students and professionals in the field of music theory.
Part I of this book will serve as an introduction to
Heinrich Schenker as a composer and to the... more Part I of this book will serve as an introduction to
Heinrich Schenker as a composer and to the
theoretical and philosophical bases of the
subsequent analysis by surveying the development of
the organic metaphor throughout his writings. It
consists of (1) a biographical sketch highlighting
experiences and relationships pertinent to his
development as a composer; (2) an overview of his
compositions; (3) an examination of contemporaneous
critical reaction based on archival research; and
(4) an account of the genesis of the concepts of
monotonality and the organic metaphor through his
theoretical work illustrated by examples from the
standard repertoire. Part II, the analytical
component, consists of (1) a presentation of the
main compositional techniques to be discussed,
namely incomplete transferences of the Ursatzformen
and hidden motivic repetition, as found in
Schenker’s writings and illustrated by examples
drawn from both the standard repertoire and
Schenker’s own works; and (2) demonstrations, via
analytical commentary and graphic analyses, that
several of Schenker’s unpublished vocal works show
his dramatic and poetic use of auxiliary cadence
progressions.
Papers by Benjamin Ayotte
Heinrich Schenker, 2020
During the early Vedic period Indian women enjoyed equal status with men in all field of life. Th... more During the early Vedic period Indian women enjoyed equal status with men in all field of life. They enjoyed freedom in selecting their life partners. They had the right to get education. Remarriage of widows were permitted. Men did not have the right to divorce their wives. They were given the complete freedom in all aspect of family matters. There was no pardha system in hindu society. However their position got deteriorated during Mughal rule in India as they had not been paid sufficient attention which they deserved. Thereafter, the status of women in the beginning of the British rule reached at the worst level. However in mid nineteenth century some socio-religious reforms movements started by Raja Ram Mohan Rai, Swami Dayanand, and Swamy Vivekanand. Due to their efforts the position and status of women started improving in some instances. Thus, when the Constitution of India was being framed the constitution makers took inspiration from these eminent personalities and expressly provided special provisions in the various parts of the constitution which provides equality for women in all aspects of their life. This paper depicts the issues and challenges in empowering the women and suggests some ways of empowering women. This paper also highlights the role of law in empowering women.
Page 1. Benjamin McKay Ayotte Page 2. Page 3. HEINRICH SCHENKER This On&a... more Page 1. Benjamin McKay Ayotte Page 2. Page 3. HEINRICH SCHENKER This On< R3YJ-W7X-X1R9 Page 4. Routledge Music Bibliographies SERIES EDITOR: BRAD EDEN COMPOSERS Isaac Albeniz( 1998) Walter A. Clark ...
"Vom Erkennen des Erkannten": Musi kalische Analyse und Editionsphilologie. Edited by F... more "Vom Erkennen des Erkannten": Musi kalische Analyse und Editionsphilologie. Edited by Friedericke Weissmann, Thomas Ahrend, and Heinz von Loesch. Wiesbaden, Leipzig, and Paris: Breitkopf und Hartel, 2007. [568 pages. ISBN 978-3-7651-0361-2. $77.95] This collection of forty-six essays, entitled "Vom Erkennen des Erkannten": Musikalische Analyse und Editionsphilologie is dedicated to Christian Martin Schmidt as a Festschrift. Its content stems from a musicological symposium of the same name, organized by Katharina Steinbeck and held at the Charlottenburg campus of the Technische Universitat Berlin on 9 and 10 November 2007, the occasion of Schmidt's sixty-fifth birthday. It "unites--according to the central research focus of Christian Martin Schmidt ... texts on musical editions and analysis. The spectrum of themes, arising from the question, 'what is a score?', discusses editorial problems of Medieval Russian Church music, from works of Bach, Mendelssohn, Brahms, Schonberg and many others [u. v. a. , i.e., "und viele andere"] to the question of editions of electroacoustic music" (back cover). Al though this volume is intended for a German-speaking readership, four essays (by Rem brandt Wolpert, James Webster, Allen Forte, and Robert Pascall) are in English. The opening interview with Robert Chailly, moreover, is also written in English. The title of the volume, Vom Erkennen des Erkannten, ["on the recognition of the recognizable"] "serves as a current paraphrase of [August Boeckh's] definition of philological understanding as a recognition of the production of the human spirit, i.e., the recognizable" and examines "the reciprocal relationship between the learning process on the analyst's part and the process of accumulating knowledge of the work under examination" (p.14). The essays in the volume, therefore, treat the relationship between musicology/ musical analysis (broadly defined) and historical-critical "Urtext" editions. As with most Festschriften, a complete catalogue of Christian Martin-Schmidt's publications (6 books, 98 articles, 13 dictionary entries, 9 score commentaries, 11 recording commentaries, 17 program note entries, 22 book reviews and, of course, 34 critical editions of music) is included in the back. It is unfortunate that references to Heinrich Schenker's writings on editorial practice, especially his essay "Weg mit den Phrasierungsbogen" from Das Meisterwerk in der Musik, are nowhere to be found in this volume, for Schenker was an early advocate of the Urtext edition based on the composer's manuscripts and with a minimum of editorial intervention and, in that sense, a founder of modern editorial practice. Of the forty-six essays in the Festschrift (which was published before the symposium in order that it be ready for presentation to Prof. Schmidt), only thirteen were presented at the symposium. The others (with the exception of a paper by Hiromi Hoshino on Mendelssohn's F major violin sonata that was presented but not included in the Festschrift) were apparently prepared especially for publication and were not presented at the conference. In terms of its production values, the book is very well constructed and laid out. The spacing and typeface is easy to read and the musical examples are engraved with a remarkable consistency. Where historical editions are used, or where manuscript sources are cited, these examples are photographed at a high resolution that is clear and easy to read. Although no editorial groupings of essays is indicated, the contributions tend to fall into two broad categories: sixteen of the essays are discussions of methodological, analytical, or philosophical topics concerning edition philology, and the remaining thirty are studies of the works of individual composers placed roughly chronologically. Of this latter group, two essays each are devoted to J. S. Bach, Handel, Mozart, Schonberg, and Ligeti; five to Mendelssohn; three to Brahms; and one each to Haydn, Beethoven, Schumann, Bruckner, Sousa, Glazunov, Varese, Honegger, Hanns Eisler, and Paul Dessau. …
Selected Correspondence of Charles Ives. Edited by Tom C. Owens. Berkeley: University of Californ... more Selected Correspondence of Charles Ives. Edited by Tom C. Owens. Berkeley: University of California Press, 2007. [ix, 400 pages. ISBN 978-0-520-24606-5; 0-520-24606-3.$47] The invitation to review this selection of the correspondence of Charles Ives prompts me to reflect on the media of social communication in general. The first letter in this collection was written by Ives at the age of seven and addressed to his grandmother. He was certainly encouraged from the start to become a man of letters. Such values seem quaint in today's rapid-fire "business at the speed of thought" society. The problem with such an approach as today's is that thoughts usually require time to percolate and coalesce before they are committed to paper. To many researchers, the study of diaries and of correspondence to and from famous, infamous, even non-famous and soon-to-be-famous persons, allows us a rare glimpse into their daily life: their joys and sorrows, their successes and failures,...
Fontes Artis Musicae, Oct 1, 2009
Choice Reviews Online, 2008
ROTH FAMILY FOUNDATION Music in America Imprint Michael P. Roth and Sukey Garcetti have endowed t... more ROTH FAMILY FOUNDATION Music in America Imprint Michael P. Roth and Sukey Garcetti have endowed this imprint to honor the memory of their parents, Julia and Harry Roth, whose deep love of music they wish to share with others. FGP1-67Z-0L65 ... The publisher gratefully ...
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Books by Benjamin Ayotte
Heinrich Schenker as a composer and to the
theoretical and philosophical bases of the
subsequent analysis by surveying the development of
the organic metaphor throughout his writings. It
consists of (1) a biographical sketch highlighting
experiences and relationships pertinent to his
development as a composer; (2) an overview of his
compositions; (3) an examination of contemporaneous
critical reaction based on archival research; and
(4) an account of the genesis of the concepts of
monotonality and the organic metaphor through his
theoretical work illustrated by examples from the
standard repertoire. Part II, the analytical
component, consists of (1) a presentation of the
main compositional techniques to be discussed,
namely incomplete transferences of the Ursatzformen
and hidden motivic repetition, as found in
Schenker’s writings and illustrated by examples
drawn from both the standard repertoire and
Schenker’s own works; and (2) demonstrations, via
analytical commentary and graphic analyses, that
several of Schenker’s unpublished vocal works show
his dramatic and poetic use of auxiliary cadence
progressions.
Papers by Benjamin Ayotte
Heinrich Schenker as a composer and to the
theoretical and philosophical bases of the
subsequent analysis by surveying the development of
the organic metaphor throughout his writings. It
consists of (1) a biographical sketch highlighting
experiences and relationships pertinent to his
development as a composer; (2) an overview of his
compositions; (3) an examination of contemporaneous
critical reaction based on archival research; and
(4) an account of the genesis of the concepts of
monotonality and the organic metaphor through his
theoretical work illustrated by examples from the
standard repertoire. Part II, the analytical
component, consists of (1) a presentation of the
main compositional techniques to be discussed,
namely incomplete transferences of the Ursatzformen
and hidden motivic repetition, as found in
Schenker’s writings and illustrated by examples
drawn from both the standard repertoire and
Schenker’s own works; and (2) demonstrations, via
analytical commentary and graphic analyses, that
several of Schenker’s unpublished vocal works show
his dramatic and poetic use of auxiliary cadence
progressions.
self-paced work using the drill software MacGamut 2003. You will email score files to
me as email attachments according to a schedule to be determined (please do not
reformat them as text files). Note that you will be covering in approximately six weeks
what undergraduate classes cover in four semesters. You should plan on spending 2-4
hours every week doing these assignments.