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Edvard Grieg was enchanted by what he styled the 'dreamworld' of harmony, a magical realm whose principles the composer felt remained a mystery even to himself, and he was not alone in that the complex nature of late-Romantic harmony has proved a source of debate up to the present day. Grieg's later piano music forms a particularly profitable repertoire for focusing current concerns over the nature of tonality and tonal harmony. Building both on historical theories and more recent developments, this study develops new models for understanding the complexity of late-Romantic tonal practice and…mehr

Produktbeschreibung
Edvard Grieg was enchanted by what he styled the 'dreamworld' of harmony, a magical realm whose principles the composer felt remained a mystery even to himself, and he was not alone in that the complex nature of late-Romantic harmony has proved a source of debate up to the present day. Grieg's later piano music forms a particularly profitable repertoire for focusing current concerns over the nature of tonality and tonal harmony. Building both on historical theories and more recent developments, this study develops new models for understanding the complexity of late-Romantic tonal practice and offers a corrective to views of Grieg as a figure situated on the nationalist musical periphery.


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Autorenporträt
Benedict Taylor is Chancellor's Fellow in the Reid School of Music, University of Edinburgh. He is the author of Mendelssohn, Time and Memory: The Romantic Conception of Cyclic Form (Cambridge, 2011) and The Melody of Time: Music and Temporality in the Romantic Era, forthcoming from Oxford in 2015.