Richard Cohn

David Bard-Schwarz

Arguably one of the most influential and revered figures in contemporary music theory, David Lewin (1933-2003) revolutionized the field through his work on transformational theory and theoretical methodology. David Lewin's Morgengruß: Text, Context, Commentary presents in print for the first time Lewin's legendary 1974 essay on Franz Schubert's "Morgengruß," from the composer's song cycle, Die Schöne Müllerin. The essay was central to Lewin's graduate teaching, and copies of it have circulated by hand through the music-scholarly community for decades. This book presents the original text of Lewin's essay along with over 200 graphical illustrations. Lewin's ability to present an artful and rich argument, based on a close reading of a short, "simple" score is but one of the wonders to behold in his masterful essay. At once deeply nuanced and widely accessible, Lewin's "Morgengruß" offers insight into Schubert's composition as well as the analytical process itself. Along with the full text of Lewin's essay, this book includes a small but pointed collection of essays interpreting the content and significance of Lewin's "Morgengruß." Drawing on current research as well as personal reflection, editors Richard Cohn and David Bard-Schwarz, along with contributors Brian Kane and Henry Klumpenhouwer, elaborate on the analytical, pedagogical, and philosophical contexts of Lewin's work. Taken together, the editors and contributors offer a compelling account of the enduring significance of Lewin's writing. David Lewin's Morgengruß is a must-have for anyone with an interest in Lewin's career, Schubert's music, or music theory generally.

Text, Context, Commentary

David Lewin's Morgengruß

David Lewin

David Schwarz

David Lewin's Morgengruss

The marriage of words and images creates a multidimensional experience for the reader, both physical and emotional. As you connect with the visual three dimensional form, you simultaneously align with the feelings that will carry you to a place of being one with the letters and words. A place where there is no separation between poet, artist and you. What you experience through this book is meant to be repeated and appreciated many times. The intent is to provide you a holistic, ongoing moment that will touch on all levels, from the heart of the authors to your heart. The thoughts, emotions and feelings expressed in the words and in the art are there for you to savor and enjoy and share with someone you love, especially yourself. May this book lead you to explore your heart and the depth of your soul, as you let love be the magic that opens the unknown.

JOURNEY OF LOVE

Music theorists have long believed that 19th-century triadic progressions idiomatically extend the diatonic syntax of 18th-century classical tonality, and have accordingly unified the two repertories under a single mode of representation. Post-structuralist musicologists have challenged this belief, advancing the view that many romantic triadic progressions exceed the reach of classical syntax and are mobilized as the result of a transgressive, anti-syntactic impulse. In Audacious Euphony, author Richard Cohn takes both of these views to task, arguing that romantic harmony operates under syntactic principles distinct from those that underlie classical tonality, but no less susceptible to systematic definition. Charting this alternative triadic syntax, Cohn reconceives what consonant triads are, and how they relate to one another. In doing so, he shows that major and minor triads have two distinct natures: one based on their acoustic properties, and the other on their ability to voice-lead smoothly to each other in the chromatic universe. Whereas their acoustic nature underlies the diatonic tonality of the classical tradition, their voice-leading properties are optimized by the pan-triadic progressions characteristic of the 19th century. Audacious Euphony develops a set of inter-related maps that organize intuitions about triadic proximity as seen through the lens of voice-leading proximity, using various geometries related to the 19th-century Tonnetz. This model leads to cogent analyses both of particular compositions and of historical trends across the long nineteenth century. Essential reading for music theorists, Audacious Euphony is also a valuable resource for music historians, performers and composers.

Richard Cohn

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