Franz Schubert and His World

Franz Schubert and His World is the title of an essay anthology edited by Christopher H. Gibbs and Morten Solvik and recently published by Princeton University Press. Despite the title, most of the volume is devoted to what might be called Schubert sidelights, secondary topics, or even tangents. One chapter restates an already well-known position. A promising essay on Schubert and the Vienna Volkstheater descends into superficial melodic comparisons.

The great exception to the rule is John M. Gingerich's brilliant essay on the Schubert circle, "'Those of us who found our life in art': The Second-Generation Romanticism of the Schubert-Schober Circle, 1820-1825." Level-headed evaluations are greatly welcome about a number of issues--from assumptions about the Schubertkreis (which Gingerich narrows to a circle about Schubert and his friend Franz von Schober, a group with Romantic ideals about art and artists), about Schubert and money (a communitarian attitude prevailed among the group), about sexuality (Gingerich debunks the once fashionable notion of Schubert and homosexuality), and about religious non-conformity.

Administrative

I am in process of moving posts about rising gestures and cadence figures in music other than Schubert's generation or 19th century Vienna to a new blog: Ascending Cadence Gestures in Traditional Tonal Music. These are two multi-part sets: the van Eyck series and the "Kidson" series.

A few posts relating primarily to design in small compositions, and especially those concerned with William Caplin's form theory, will be moved to my blog Dance and Dance Music, 1650-1850.

Telemann, Partita for Oboe, Aria no. 2

This post has moved to my Ascending Cadence Gestures blog.

Ge Ho, Dobbin

This and four other "Kidson" posts have moved to my Ascending Cadence Gestures blog.

Peter Franck on Canons (Imitation)

This post has moved to my blog Dance and Dance Music, 1650-1850.

Additions to the literature on Caplin's form theory

This post expands on the previous one about William Caplin's form theory and the scholarly literature on it. 

For the present, this is simply a list of recently published articles. I hope to comment on individual items in future posts. I have not included work jointly published by or in response to Hepokoski and Darcy, Schmalfelt, and Caplin.

A special issue titled "Contemplating Caplin": Intersections: Canadian journal of music/Revue canadienne de musique XXXI/n1 (2010).

Peter Franck, "Canon and Its Effect on Tight-Knit Organization within Classical Themes." Intégral (Eastman School of Music) vol. 26 (2012).

Nathan Martin, "Formenlehre goes to the opera: Examples from Armida and elsewhere." Studia musicologica: An international journal of musicology of the Hungarian Academy of Sciences, 51/ns3-4 (2010): 387-404. 

Michael Oravitz, "The use of Caplin/Schoenberg thematic prototypes in melodic dictations." Journal of music theory pedagogy 26 (2012): 101-139.

Mark Richards, "Teaching sonata expositions through their order of cadences." Journal of music theory pedagogy 26 (2012): 215-252.

Mark Richards, "Viennese classicism and the sentential idea: Broadening the sentence paradigm." Theory and practice 36 (2011): 179-224.