An Introduction to Musical Semantics
A Systematic Representation. Translated by Ernest Bernhardt-Kabisch
With his extensive three-volume investigation, the author has newly drawn the image of Gustav Mahler for our time. Should Mahler’s symphonies really be categorized as «absolute music»? – Little-known manuscript sources contain significant hints to the contrary: programmatic titles and catchwords or phrases, mottos, literary allusions, associations, sighs, exclamations. Mahler fully understood his symphonies as «erlebte Musik», music of experience, as autobiography in notes, and as expressions of his «weltanschauung». All the symphonies, including the purely instrumental ones, can be traced back to programs that Mahler originally made public, but suppressed later on. A knowledge of the programmatic ideas provides access to a hitherto barely sensed interior metaphysical world that is of crucial importance for an adequate interpretation of the works. This first volume uncovers the complexity of relations between Mahler’s wide-ranging reading and education, his aesthetics and his symphonic creation.
About the German edition of this book:
«One of the most thoroughgoing and comprehensive investigations of Gustav Mahler’s work and world to date.»
«The way in which Mahler’s literary background, his education, and his aesthetic and philosophical maxims are presented here indeed opens up a new approach.»
Translated by Kenneth Chalmers
Revised and Translated by Neil Moran. With a Report on «The Reception of the «Universale Neumenkunde, 1970-2010»
Modern music notation developed out of the so-called square notation and this out of the Latin neumes. The question of where these neumes came from has long been the subject of scholarly debate. As the author demonstrated in his three-volume Universale Neumenkunde published in German in 1970, there is a very close relationship between the Paleo-Byzantine notation and the Latin neumes. Although the study aroused a great deal of dispute, more recent studies have revealed that the relevance of the Neumenkunde remains essentially unchallenged after 40 years. Those path-breaking research results on the relationship of the Greek and Latin notational systems are now available for the first time in a completely revised and augmented English translation.
Beyond Avant-garde and Postmodernism. Translated by Ernest Bernhardt-Kabisch
Studies in Musical Semantics
«The second and third part of the study achieve new insights. With a consistent analysis of biographic data and, simultaneously, a careful scrutiny of musical facts (increased experience in assessing the music of the 19
(Friedrich Heller about the German edition of the book)
«The book is the result of Floros’s intensive study of Mahler, during which he found hitherto undiscovered clues to the interpretation of Brahms’s and Bruckner’s work. Most of the borrowings discussed confirm differences between the two composers in both ideologies and musical heritage. Long thought to be ‘absolute’ music, Bruckner’s compositions carry significant semantic meaning when the composer desired.» (Musical Borrowing)
Introduction to the Kondakarian Notation. Revised, Translated and with a Chapter on Relationships between Latin, Byzantine and Slavonic Church Music by Neil K. Moran
A Life for a Poetic Music. Translated by Ernest Bernhardt-Kabisch
The Language of Music and How to Interpret It. Translated by Ernest Bernhardt-Kabisch
To grasp music in its depth dimension is an art that can be learned and perfected. Categories of formal analysis here play a subordinate role – at least as important it is to be consciously aware of timbres, dynamic processes, musical characters and expressions. Following general reflections about the art of listening, the volume in hand presents exemplary work analyses. The roster of composers introduced extends from Mozart to Bernstein, that of the genres discussed from the piano piece to the opera. A detailed register and a survey of the chief works referred to make this book an indispensable companion for both scholars and laymen.
About the German edition of this book:
«In Floros’ book all these details unite to form a magnificent mosaic. Individual works discussed meet us in an entirely new light, and we begin to decipher the language of music with a different set of tools.»