George Gershwin is perhaps the most popular American composer of the twentieth century, and his short and dramatic life has been the subject of much attention. His music, however, has never been scrutinized as closely as his life, and the composer known for his show tunes has had difficulty finding a niche in the world of "serious" music. This book is the first in-depth analysis of Gershwin's entire compositional oeuvre, including his concert music. Weaving biographical material with musical analysis, Steven Gilbert presents a chronological study of the highlights of Gershwin's career. He discusses the well-known Rhapsody in Blue, Concerto in F, An American in Paris, and Porgy and Bess, as well as such popular songs as "Swanee." "S'Wonderful," "I Got Rhythm," "Love Walked In," and "Love Is Here to Stay." But he also examines relatively neglected works that are no less deserving, such as Second Rhapsody, Cuban Overture, and Pardon My English, the last of which, says Gilbert, was a failure on Broadway but was one of George and Ira Gershwin's finest collaborations. Written in a fluid, conversational style and illustrated with numerous musical examples, some of which have never before been published, this book will be enjoyed by general readers and appreciated by professional musicians and musical scholars alike.

The Music of Gershwin (Composers of the Twentieth Century Series)

Arts & Photography

Steven E. Gilbert

Music

Yale University Press

This book is intended to serve as a basic textbook on Schenkerian analysis, the analytical approach developed over a period of many years by the Austrian music theorist Heinrich Schenker (1868-1935).
The book begins with a thorough coverage of a number of elementary matters. This may be regarded either as a review or as a reorientation in preparation for the systematic presentation that follows.
Beginning in Part Two ideas that are more specifically Schenkerian are developed and applied to the analysis of short compositions. Since the book is also intended to cover all of the basic standard form it has seemed logical to use this feature in organizing the material. Thus, Part Two ends with longer forms and Part Three covers the main large forms (sonata, rondo, and so on). The various types of Schenkerian prolongations are introduced gradually and discussed and illustrated thoroughly in the text.
Each chapter ends with a set of exercises keyed to the topics that have been presented, and the student is given precise instructions for completing the exercises as well as occasional hints about pitfalls and special problems that they contain.

Introduction to Schenkerian Analysis

allen-forte

W.W.Norton&Company

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Books by Steven E. Gilbert