Irish musical analysis

Irish musical studies 11

I. From Schubert to Bartók

The ‘tightened bow’: analysing the juxtaposition of drama and lyricism in Schubert’s paratactic sonata-form movements
Anne M. Hyland

Schenkerian Ursatz and temporal meaning in Chopin’s Prelude Op. 28, No. 5
Antonio Cascelli

Shared compositional strategies in Chopin’s Nocturnes Op. 48
Alison Hood

Brahms, Bruckner and the concept of thematic process
Julian Horton

The sense of an ending: Adorno, Brahms and music’s return to the land of childhood
Nicole Grimes

Nielsen and Sibelius ‘between temperament and tradition’
Úna-Frances Clarke

Formal structure in the finale of Bartók’s Sonata for Two Pianos and Percussion
Michael Russ

II. Twentieth-Century Irish Composition

Technical focus and ‘stylistic cleansing’ in E.J. Moeran’s Sonata for Two Violins and String Trio
Fabian Huss

The bar of legitimacy? Serialism in Ireland
Gareth Cox

The ‘serial’ works of A.J. Potter
Patrick Zuk

Serial procedures in the early symphonies of John Kinsella
Séamas de Barra

Irish folk tunes and minimalist techniques in Eric Sweeney’s Concerto for Guitar (2004)
Hazel Farrell

Music as image: the impact of visual stimuli on the music of Kevin Volans
Adrian Smith

Multiplicities of musical language and select compositional devices in Roger Doyle’s Babel (1989–99)
Barbara Jillian Dignam

On constructing a sonic gangbang: system and subversion in Gerald Barrys’ Chevaux-de-frise
Mark Fitzgerald