Jaargang 8, nommer 2 – Augustus 2011 - LitNet

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LitNet Akademies Jaargang 8(2) – Augustus 2011 Dufrenne, M. 1973. The phenomenology of aesthetic experience. Vertaal deur Edward S. Casey. (Oorspronklike titel: Phénoménologie de l'expérience esthétique, 1953.) Evanston, Ill.: Northwestern University Press. Goehr, L. en A. Bowie. 2001. Philosophy of music III: Aesthetics. In Sadie (red.) 2001. Gossett, P. 1971. Treatise on harmony: Jean-Philippe Rameau. Vertaling, inleiding en notas deur P. Gossett. New York: Dover Publications. Guck, M.A. 2006. Analysis as interpretation: Interaction, intentionality, invention. Music Theory Spectrum, 28(2):191–209. Harris, E.C. 1981. Johann Mattheson's “Der Vollkommene Capellmeister”: A revised translation with critical commentary. Michigan: UMI Research Press. Hindemith, P. 1940. Unterweisung im Tonsatz I (Theoretischer Teil). Mainz: Schott. Ives, C.E. 1969. Essays before a sonata and other writings. Onder redakteurskap van H. Boatwright. Londen: Calder en Boyars. Johnson, B. 1980. The critical difference: Essays in the contemporary rhetoric of reading. Baltimore: John Hopkins University Press. Kramer, L. 2007. Why classical music still matters. Berkeley: University of California Press. Kerman, J. 1985. Musicology. Londen: Fontana Press. Kramer, L. 1989. Dangerous liaisons: The literary text in musical criticism. 19th-Century Music, 13(2):159–67. —. 1993. Music criticism at the postmodern turn: In contrary motion with Gary Tomlinson. Current Musicology, 53:25–35. Lang, P.H. 1941. Music in western civilization. Londen: Dent. Martin, P.J. 1995. Sounds and society: Themes in the sociology of music. Manchester: Manchester University Press. Morgan, R.P. 2005. Review of The Cambridge History of Music. Onder redakteurskap van T. Christensen. Music Analysis, 24(i-ii):283–300. Nattiez, J-J. 1990. Music and discourse: Toward a semiology of music. Vertaal deur C. Abbate. Princeton: Princeton University Press. Paddison, M. 1993. Adorno's aesthetics of music. Cambridge: Cambridge University Press. Palisca, C.V. 1993. Joachim Burmeister: Musical Poetics. Voorwoord deur die reeksredakteur. In Rivera 1993. Potter, C. 1997. Henri Dutilleux: His life and works. Londen: Ashgate. 206 ISSN 1995-5928 | Tel: 021 886 5169 | E-pos: akademies@litnet.co.za
LitNet Akademies Jaargang 8(2) – Augustus 2011 Rameau, J-P. 1971. Treatise on harmony (1722). Vertaal deur P. Gossett. New York: Dover Publications. Ricoeur, P. 1988. Time and narrative. Volume 3: Narrated time. Vertaal deur K. Blamey en D. Pellauer. (Oorspronklike titel: Temps et Récit, 1985.) Chicago: The University of Chicago Press. Rivera, B.V. 1993. Joachim Burmeister: Musical Poetics (1606). Vertaling, inleiding en notas deur B.V. Rivera. New Haven: Yale University Press. Rogers, M.R. 2004. Teaching approaches in music theory: An overview of pedagogical philosophies. Tweede hersiene uitgawe. Carbondale: Southern Illinois University Press. Sadie, S. (red.). 2001. The new Grove dictionary of music and musicians, volume 19. Londen: Macmillan. Spies, B.M. 2001. The musical magic of ambiguity in Benjamin Britten's Death in Venice. Literator, 22(3):39–57. —. 2002. Alban Berg’s Wozzeck: Revisiting a historically sedimented metaphor. South African Journal of Musicology, 20:47–61. —. 2006. The temporal musical sign: In search of extrinsic musical meaning. Semiotica, 162(1/4):195–216. —. 2008. From tonality to atonality: The function of the trichord. Musicus, 36(2):28–40. Stravinsky, I. 1947. Poetics of music in the form of six lessons. Cambridge, Mass.: Harvard University Press. Tarasti, E. 1994. A theory of musical semiotics. Bloomington: Indiana University Press. Zaminer, F. (red.). 1985–. Geschichte der Musiktheorie. Volumes 1–12. Darmstadt: Wissenschaftliche Buchgesellschaft. Partiture Britten, B. 1960. Billy Budd. Londen: Boosey & Hawkes. Dutilleux, H. 1948. Sonate Pour Hautbois et Piano. Paris: Éditions Musicales Alphonse Leduc. Ives, C.E. 1947. Piano Sonata No. 2, “Concord, Mass., 1840–1860”.Tweede uitgawe. New York: Arrow Music Press. Eindnotas 1 Hierdie artikel is gebaseer op ’n referaat wat gelewer is by ’n internasionale kongres met die tema Representation in music / Musical representation in Istanbul (Oktober 2010). Ek wil professor Daniel P. Goosen van die Universiteit van Suid-Afrika hartlik bedank 207 ISSN 1995-5928 | Tel: 021 886 5169 | E-pos: akademies@litnet.co.za
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