Cambridge Composer Studies - Series page

pp ii-ii

Wagner Studies - Title page

pp iii-iii

Copyright page

pp iv-iv

Contents

pp v-vi

Figures

pp vii-vii

Tables

pp viii-viii

Music Examples

pp ix-x

Notes on Contributors

pp xi-xiv

Introduction: Analysing Wagner

pp 1-6

Part I - Orientations

pp 7-48

1 - ‘Wo sind wir?’ Tristan Disorientations

pp 9-27

2 - Bottoming for Wagner: Listening, Analysis and (Gay-Male) Subjectivity

pp 28-48

Part II - Form, Drama and Convention

pp 49-112

3 - Wagner and the Uses of Convention? La solita forma from Die Feen through Lohengrin

pp 51-66

4 - Elsa, Ortrud, the Grail and the Forbidden Question: Formal Functions and Rotational Form in Lohengrin

pp 67-92

5 - Scena, Form and Drama in Act 1 of Die Walküre

pp 93-112

Part III - Time, Texture and Tonality

pp 113-180

6 - Time, Sound and Regression in Tristan und Isolde

pp 115-137

7 - Waltraute’s Plaint: Riemannian Tonal Function and Dramatic Narrative

pp 138-159

8 - Wagner’s Late Counterpoint

pp 160-180

Part IV - Reception

pp 181-226

9 - Silence and Gesture in Mahler’s Ninth Symphony and Wagner’s Parsifal

pp 183-201

10 - Wagner’s Early Analysts

pp 202-226

Bibliography

pp 227-240

Index

pp 241-246