In this Book

Looking for the "Harp" Quartet: An Investigation into Musical Beauty

Book
Markand Thakar
2011
summary
This book is a philosophical tour through the experience of beauty: what it is, and how the composer, performer, and listener all contribute. It explores -- with insight, patience, and humor -- profound issues at the essence of our experience. A student performance of Beethoven's String Quartet No. 10 in E-Flat Major, known as the "Harp," serves as a point of departure and a recurring theme. For the layperson the core of the book is five dialogues betweenIcarus, an inquiring student intensely concerned with fulfilling his highest potential as a musician, and Daedalus, a curmudgeonly, iconoclastic teacher who guides Icarus's search. Three technical articles, geared to the music professional and academic, treat the issues in greater depth.
Supplementary online audio files and musical examples.

Markand Thakar, music director of the Baltimore Chamber Orchestra, is an internationally renownedpedagogue of conducting. A protégé of the legendary Sergiu Celibidache and former assistant conductor of the New York Philharmonic, Thakar is author of On the Principles and Practice of Conducting (University of RochesterPress, 2016) and Counterpoint: Fundamentals of Music Making (Yale University Press, 1990).

Table of Contents

Cover

Half-Title Page, Title Page, Copyright, Dedication

pp. i-vi

Contents

pp. vii-viii

Preface

pp. ix-xii

Acknowledgments

pp. xiii-xiv

Note about Online Supporting Material

pp. xv-xvi

Part One: Dialogues

1. Looking for the "Harp" Quartet

pp. 3-18

2. Renoir and the Survival of Classical Music: On the Listener's Contribution

pp. 19-40

3. Let's Be Mookie: On the Composer's Contribution

pp. 41-76

4. Gurus: On the Performer's Contribution

pp. 77-117

5. First, Last, and Always

pp. 118-129

Part Two: Articles

6. Remembrance of Things Future: On the Listener's Contribution

pp. 132-147

7. Patterns of Energy: On the Composer's Contribution

pp. 148-162

8. Dynamic Analysis: On the Performer's Contribution

pp. 163-181

Appendix: Forms

pp. 182-195

Notes

pp. 196-201

Bibliography

pp. 202-205

Index

pp. 206-211

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