Richard Kramer | Graduate Center of the City University of New York (original) (raw)

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Papers by Richard Kramer

Current Musicology, 2002

composed his songs with two different audiences in mind. He marketed them widely to amateur singe... more composed his songs with two different audiences in mind. He marketed them widely to amateur singers, who could not be expected to partake in this process, but he also considered the Liederkreis to be a private genre, intended for an exclusive circle of refined and sophisticated musicians. At the same time, Schumann knew that his audience was not necessarily restricted to the handful of Davidsbundler and the mass of philistines whom he saw around him. (226--27) Each of these claims, avowed as if truths given to verification, is freighted with all the obscurities as to how and for whom the composer composes. To contend that Schumann "viewed the construction of musical mean ing as an interactive process" is, first of all, to suggest that Schumann sets himself apart from his contemporaries in this endeavor-that he is un usual in this regard. This in itself should raise suspicions. But that's the least of it. It doesn't take much imagination to suppose that a composer...

To contend that Schumann "viewed the construction of musical meaning as an interactive proce... more To contend that Schumann "viewed the construction of musical meaning as an interactive process" is, first of all, to suggest that Schumann sets himself apart from his contemporaries in this endeavor-that he is unusual in this regard. This in itself should raise suspicions. But that's the least of it. It doesn't take much imagination to suppose that a composer (Schumann, if you like) might anticipate that his works will elicit a response, and that the act of responding will constitute in some cases a critical act, even a performerly one. But Ferris wishes us to believe that Schumann composed as though the meaning of his works were a function of some "interactive process," by which must be meant a collaborative dialogue engaging any number of interlocutors with Schumann's text, and all that such a text implies of some shadowy authorial presence. However we think to parse such interactivity in our own minds, it would be helpful to allow that if there is ...

Music Theory Spectrum, 2018

Quodlibet Revista De Especializacion Musical, 2009

УДК 7.01 Е.Ф. Леванова ПЕРВОБЫТНАЯ АБСТРАКЦИЯ И ИСКУССТВО ПОСТ ЭПОХИ-ДВЕ СТОРОНЫ КУЛЬТУРЫ Данная ... more УДК 7.01 Е.Ф. Леванова ПЕРВОБЫТНАЯ АБСТРАКЦИЯ И ИСКУССТВО ПОСТ ЭПОХИ-ДВЕ СТОРОНЫ КУЛЬТУРЫ Данная статья представляет собой анализ двух художественных абстрактных традиций и посвящена исследованию художественных приемов абстрактного искусства. В статье рассматриваются сущность и специфика феномена абстрактного искусства в культуре первобытной эпохи и культуре постмодернизма. Обсуждаются предметная область и концептуальные основания абстрактного искусства в целом. Ключевые слова: современное абстрактное искусство, первобытная абстракция, эстетическое отношение, постмодернизм, художественный образ.

19th-Century Music, 1987

But how strange and austere even my first years of study seemed to mehow I felt when I stepped be... more But how strange and austere even my first years of study seemed to mehow I felt when I stepped behind the curtain! To think that all melodies (although they had aroused the most heterogeneous and often the most wondrous emotions in me) were based on a single inevitable mathematical law--that instead of trying my wings, I had first to learn to climb around in the unwieldy framework and cage of artistic grammar!'

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Journal of the American Musicological Society, 1999

Journal of the American Musicological Society, 1975

... BY RICHARD KRAMER ... had been an anecdote given by Franz Wegeler in his early biographical s... more ... BY RICHARD KRAMER ... had been an anecdote given by Franz Wegeler in his early biographical sketch, according to which Beethoven surprised the tenor Ferdinand Heller by devising outlandish harmonizations to the recitation tone for the Lamentations of Jeremiah as it was ...

Journal of the American Musicological Society, 1996

Journal of the American Musicological Society, 1987

The Masterwork in Music: A Yearbook, 3 Vols. Heinrich Schenker Edited by William Drabkin Translated by Ian Bent, Alfred Clayton, William Drabkin, Richard Kramer, Derrick Puffet, John Rothgeb, and Hedi Siegel Studies in Music Theory and Analysis Vols. 5, 8, and 10 Ian Bent, General Ed. New York: C...

Journal of Music Theory, 2001

1. Rameau or Beethoven? Creeping paralysis or spiritual potency in music? 2. Beethoven's Thir... more 1. Rameau or Beethoven? Creeping paralysis or spiritual potency in music? 2. Beethoven's Third Symphony: its true content described for the first time 3. Miscellanea: thoughts on art and its relationships to the general scheme of things.

Journal of Music Theory, 1983