More than Meets the Ear A Study of the

Music, as any fine art, expresses human values, not merely musical values. In More than Meets the Ear, Gilbert R. Fischer shows what the ways are, through the work of particular composers in particular pieces, and how theoretical dogmas prevent meaningful expression.

Preface

ix

Acknowledgments

xvi

Part One: General Principles

Roots and Sources. Music Games

1

(8)

The Game of Likenesses

9

(10)

The Sound of Music

19

(4)

Symbolism and Semiotics in Music

23

(8)

The Materials of Music

31

(4)

The Rhetoric of Music

35

(8)

Musical Hermeneutics

43

(6)

Listening Historically

49

(4)

Point of View in Music

53

(6)

Part Two: Principles Specific to Music

Musical Tension

59

(20)

Other Sources of Tension

79

(6)

Song and Dance

85

(8)

Melody and Melodic Line: Some Consequences

93

(6)

Part Three: The Literature of the Piano

Introductory Remarks

99

(8)

First Analysis: Mephisto Waltz

107

(10)

Second Analysis: Two-Part Inventions in F and fm

117

(14)

Third Analysis: Reflets dans l'eau

131

(6)

Moods: Works by Bach, Byrd, Mozart, Chopin, Schubert and Rachmaninoff

137

(22)

Short Romantic Compositions

159

(32)

Short Romantic Compositions (cont.)

191

(38)

Short Classic and Baroque Compositions

229

(24)

Compositions of Intermediate Length

253

(14)

Theme and Variations

267

(24)

Beethoven Sonatas

291

(34)

The Sonata: Other Composers

325

(50)

Romantic Sonatas and Fantasies

375

(48)

Nationalism

423

(18)

Back to Bach

441

(32)

Fugue after Bach

473

(20)

Debussy and Ravel

493

(40)

More Clothes for the Emperor

533

(26)

More Clothes for the Emperor (cont.)

559

(16)

Later Developments

575

(6)

Appendix Rhetorical Figures in Music

581

(22)

Notes

603

(4)

Index

607

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More than Meets the Ear A Study of the Semantics of Music

Summary

Table of Contents

Supplemental Materials