Longmans german Composition by J.Ulrich Ransom, B.A.(Lond).

1. OUTLINE German has the three main perfect constructions which are illustrated in (1. 1). 1 In each of these constructions, the verb appears in the past participial form and is combined with an auxiliary - in this case, haben ('have'); other verbs form their perfect constructions with the auxiliary sein ('be'). 2 The auxiliary can then be com bined with a tense -Le. the present tense as in (Ua), the past tense as in (b), or the future tense as in (c). 3 (1. 1) a. PRESENT PERFECT: Die Eule hat die Schule verlassen. the owl has the school left b. PAST PERFECT: Die Eule hatte die Schule verlassen. the owl had the school left c. FUTURE PERFECT: Die Eule wird die Schule verlassen haben. the owl will the school left have As will shortly become clear, the present perfect is the most intricate of the perfect constructions in German. It has been investigated intensely in the past, with the result that today there is little doubt about what the core problems concerning its semantics are.

Can an abstract theory of Empfindsamkeit aesthetics have any value to a musician wishing to study composition in the classical style? The eighteenth-century German theorist and pedagogue Heinrich Koch showed how this question could be answered with a resounding yes. Starting with the systematic aesthetic theory of the Swiss encyclopedist Johann Sulzer, Koch was creatively able to adapt Sulzer's conservative ideas on ethical mimesis and rhetoric to concrete problems of music analysis and composition. In this collaborative study, Thomas Christensen and Nancy Baker have translated and analysed selected writings of Sulzer and Koch respectively, bringing to life a little-known confluence of philosophical and musical thought from the German Enlightenment. Koch's appropriation of Sulzer's ideas to the service of music represents an important development in the evolution of Western musical thought.

Perfect little workbook for a German learner. It offers a space to build and improve on German sentence structure, and use vocabulary in a practical, purposeful, and fun context. Students write10 brief essays and demonstrate their German language skills, and their unique personalities. Much of the student-created content is useful for the entire class, in form of a presentations or a base for discussions. This workbook was eagerly used and tested at couple of different universities by at least 10 generations of intermediate students.

Reprint of the original, first published in 1874.

“A valuable resource for musicologists, theorists, pianists, and aestheticians interested in reading about Schumann’s views on virtuosity.” —Notes Considered one of the greatest composers—and music critics—of the Romantic era, Robert Schumann (1810–1856) played an important role in shaping nineteenth-century German ideas about virtuosity. Forging his career in the decades that saw abundant public fascination with the feats and creations of virtuosos (Liszt, Paganini, and Chopin among others), Schumann engaged with instrumental virtuosity through not only his compositions and performances but also his music reviews and writings about his contemporaries. Ultimately, the discourse of virtuosity influenced the culture of Western “art music” well beyond the nineteenth century and into the present day. By examining previously unexplored archival sources, Alexander Stefaniak looks at the diverse approaches to virtuosity Schumann developed over the course of his career, revealing several distinct currents in nineteenth-century German virtuosity and the enduring flexibility of virtuosity discourse.

The first two volumes of Heinrich Schenker's masterwork Neue musikalische Theorien und Phantasien, Harmonielehren (1906), and Kontrapunkt (1910 and 1922), laid the foundations for the harmonic aspect of his theory. The specific voice-leading component was a later development, progressing with brilliance over the last 15 years of his life. It is in Free Composition (Freie Satz, 1935) that the idea of voice-leading receives its most detailed and precise formulation. Pendragon Press is honored to make this distinguished reprint available once again, with a new preface by Carl Schacter.