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Geoffrey Chew

Biographic Data

ID1089394
NAMEGeoffrey Chew
GIVEN NAMESGeoffrey
FAMILY NAMEChew
SIGNATURECHEW G
AFFILIATIONSRoyal Holloway University of London
ORCID0000-0003-1985-8843
VERIFIEDYes
TOTAL WORKS38
TOTAL CITATIONS8
AUTHOR COUNT31
EDITOR COUNT7
FIRST PUBLICATION YEAR1970
LATEST PUBLICATION YEAR2023
H-INDEX2
  • The Music of Leoš Janáček: Motive, Rhythm, Structure Zdeněk Skoumal Eastman Studies in Music

    Open Access•Geoffrey Chew•ARTICLE•Music and Letters•2023

    Journal Article The Music of Leoš Janáček: Motive, Rhythm, StructureZdeněk Skoumal Eastman Studies in Music Get access The Music of Leoš Janáček: Motive, Rhythm, Structure. By Zdeněk Skoumal. Eastman Studies in Music. Pp. xv, 288. ( University of Rochester Press, Rochester, NY, 2020. ISBN 978-1-58046-994-4, £105.00.) Geoffrey Chew Geoffrey Chew Royal Holloway, University of London Search for other works by this author on: Oxford Academic Google S…

  • Fruits of the Cross: Passiontide Music Theater in Habsburg Vienna Robert L Kendrick

    Open Access•Geoffrey Chew•ARTICLE•Music and Letters•2023

    With this monograph on the distinctive Viennese genre of the sepolcro, Robert Kendrick has plugged a long-standing gap in our knowledge of seventeenth-century music and theatre. This repertory comprises some forty-seven rappresentazioni sacre surviving with texts and music, of about seventy performed, mainly in Vienna, between 1660 and 1711 on Maundy Thursday and Good Friday during Holy Week each year. The genre seems to owe its origin to the tas…

  • Loutna česká . The Czech Lute: Urtext. Adam Michna z Otradovic. Compositiones, 14. Ed. Petr Daněk, Adam Viktora, and Tereza Daňková

    Open Access•Geoffrey Chew•ARTICLE•Music and Letters•2021

    Of seventeenth-century Czech composers, Adam Michna z Otradovic is generally reckoned today ‘the most prolific, distinctive, and important’, as John Tyrrell put it in a recent review (Music & Letters, 98 (2017), 477–8), even though Michna spent his entire career in relative obscurity as an organist in the provincial Bohemian town of Jindřichův Hradec (Neuhaus) and much of his output is now lost. Even those of his works that have survived have bee…

  • Gott, Karel

    Karel Steinmetz, Geoffrey Chew•CHAPTER•The new Grove dictionary of music…•2020

  • Erben, Karel Jaromír

    Geoffrey Chew•CHAPTER•The new Grove dictionary of music…•2020

  • Němec, Zdeněk

    Geoffrey Chew•CHAPTER•The new Grove dictionary of music…•2019

  • Antoš [Antosch], Jan

    Michaela Freemanová, Geoffrey Chew•CHAPTER•The new Grove dictionary of music…•2018

  • Adamík, Josef

    Petr Kofroň, Geoffrey Chew•CHAPTER•The new Grove dictionary of music…•2018

  • Černušák, Gracian

    John Tyrrell, Geoffrey Chew•CHAPTER•The new Grove dictionary of music…•2018

  • Blachut, Beno

    Alena Němcová, Geoffrey Chew•CHAPTER•The new Grove dictionary of music…•2018

  • The Enchanting Music of Blades And Bullets: Visions of Violence in Janáček’s World-War Symphonic Poems

    Open Access•Geoffrey Chew•ARTICLE•Music and Letters•2018

    Two of Janáček’s symphonic poems commemorate the First World War, Taras Bulba and the Balada blanická. It has not hitherto been appreciated that their free form and final apotheoses probably represent Janáček’s reimagining of Liszt’s symphonic poems, which are the focus of a modernist manifesto for Czech music (1913) by Václav Štěpán. Moreover, the contrast between the two disguises an essential link. The main intertexts of Taras Bulba seem to be…

  • Vysloužil, Jiří

    Josef Bek, Geoffrey Chew•CHAPTER•The new Grove dictionary of music…•2001

  • Glagolitic Mass, Glagolitic chant

    Geoffrey Chew•CHAPTER•The new Grove dictionary of music…•2001

  • Příhoda, Váša

    Alena Němcová, Geoffrey Chew•CHAPTER•The new Grove dictionary of music…•2001

  • Monteverdi [Monteverde], Claudio

    Tim Carter, Geoffrey Chew•CHAPTER•The new Grove dictionary of music…•2001

  • Centonization

    Geoffrey Chew, James W Mckinnon•CHAPTER•The new Grove dictionary of music…•2001

  • Plocek, Václav

    Josef Bek, John Tyrrell et al.•CHAPTER•The new Grove dictionary of music…•2001

  • Pečman, Rudolf

    John Tyrrell, Geoffrey Chew•CHAPTER•The new Grove dictionary of music…•2001

  • Pastoral

    Geoffrey Chew, Owen Jander•CHAPTER•The new Grove dictionary of music…•2001

  • Slur

    Geoffrey Chew•CHAPTER•The new Grove dictionary of music…•2001

  • Racek, Jan

    Jiří Vysloužil, Geoffrey Chew•CHAPTER•The new Grove dictionary of music…•2001

  • Skuherský, František Zdeněk

    Jiří Fukač, Geoffrey Chew•CHAPTER•The new Grove dictionary of music…•2001

  • Cantillation

    Geoffrey Chew•CHAPTER•The new Grove dictionary of music…•2001

  • Staccato

    Geoffrey Chew, Clive Brown•CHAPTER•The new Grove dictionary of music…•2001

  • Potúček, Juraj

    Anonymous Anonymous, Geoffrey Chew•CHAPTER•The new Grove dictionary of music…•2001

Next
  • The Perfections of Modern Music: Consecutive Fifths and Tonal Coherence in Monteverdi

    Geoffrey Chew•ARTICLE•Music Analysis•1989•Cited by: 3

    According to Carl Dahlhaus,* Monteverdi is able to lay claim to the chord that is the most famous in Western music after the Tristan chord.' This is the socalled 'unprepared dominant seventh' that occurs within a few bars of the beginning of Monteverdi's best-known madrigal, 'Cruda Amarilli', from his Fifth Book of 1605 (Ex. la, b. 13). If this chord has indeed managed to defeat the rival claims of other famous chords Schoenberg's or Scriabin's, …

  • Ernst Kurth, Music as Psychic Motion and 'Tristan und Isolde: Towards a Model for Analysing Musical Instability

    Geoffrey Chew•ARTICLE•Music Analysis•1991•Cited by: 2

  • The Spice of Music: Towards a Theory of the Leading Note

    Geoffrey Chew•ARTICLE•Music Analysis•1983•Cited by: 2

    In an influential article first published in 1959 Allen Forte took up the question of the initial stepwise ascent to the first structural note of the Schenkerian fundamental line (Urlinie) and argued that a sharpened fourth degree is a necessary condition for the establishment of S as the first note of the descent in the major mode.1 His discussion offers a useful point of departure from which to develop some arguments concerning aspects of inter…

  • Lesser Concerns of Stolen Hours: Musical Structure and Rhetoric in Huygens'sPathodia Sacra et Profana Occupati(1647)

    Geoffrey Chew•ARTICLE•Dutch Crossing•1987•Cited by: 1

  • The Provenance and Date of the Caius and Lambeth Choir-Books

    Geoffrey Chew•ARTICLE•Music and Letters•1970

    THE PROVENANCE AND DATE OF THE CAIUS AND LAMBETH CHOIR-BOOKS Get access GEOFFREY CHEW GEOFFREY CHEW Search for other works by this author on: Oxford Academic Google Scholar Music and Letters, Volume LI, Issue 2, April 1970, Pages 107–117, https://doi.org/10.1093/ml/LI.2.107 Published: 01 April 1970

  • The Early Cyclic Mass as an Expression of Royal and Papal Supremacy

    Geoffrey Chew•ARTICLE•Music and Letters•1972

    THE EARLY CYCLIC MASS AS AN EXPRESSION OF ROYAL AND PAPAL SUPREMACY GEOFFREY CHEW GEOFFREY CHEW Search for other works by this author on: Oxford Academic Google Scholar Music and Letters, Volume LIII, Issue 3, July 1972, Pages 254–269, https://doi.org/10.1093/ml/LIII.3.254 Published: 01 July 1972

  • German Music Theory in the Early 17th Century: The Treatises of Johannes Lippius

    Geoffrey Chew, Benito V Rivera et al.•ARTICLE•Music Analysis•1982

  • The Spice of Music: Towards a Theory of the Leading Note

    Geoffrey Chew•ARTICLE•Music Analysis•1983•Cited by: 2

    In an influential article first published in 1959 Allen Forte took up the question of the initial stepwise ascent to the first structural note of the Schenkerian fundamental line (Urlinie) and argued that a sharpened fourth degree is a necessary condition for the establishment of S as the first note of the descent in the major mode.1 His discussion offers a useful point of departure from which to develop some arguments concerning aspects of inter…

  • Lesser Concerns of Stolen Hours: Musical Structure and Rhetoric in Huygens'sPathodia Sacra et Profana Occupati(1647)

    Geoffrey Chew•ARTICLE•Dutch Crossing•1987•Cited by: 1

  • The Perfections of Modern Music: Consecutive Fifths and Tonal Coherence in Monteverdi

    Geoffrey Chew•ARTICLE•Music Analysis•1989•Cited by: 3

    According to Carl Dahlhaus,* Monteverdi is able to lay claim to the chord that is the most famous in Western music after the Tristan chord.' This is the socalled 'unprepared dominant seventh' that occurs within a few bars of the beginning of Monteverdi's best-known madrigal, 'Cruda Amarilli', from his Fifth Book of 1605 (Ex. la, b. 13). If this chord has indeed managed to defeat the rival claims of other famous chords Schoenberg's or Scriabin's, …

  • Ernst Kurth, Music as Psychic Motion and 'Tristan und Isolde: Towards a Model for Analysing Musical Instability

    Geoffrey Chew•ARTICLE•Music Analysis•1991•Cited by: 2

  • The Platonic Agenda of Monteverdi's Seconda Pratica: A Case Study from the Eighth Book of Madrigals

    Geoffrey Chew•ARTICLE•Music Analysis•1993

    Monteverdi's late works have often seemed difficult. As early as the madrigals of Book V, the elegant ease of the madrigals of Books III and IV, which are generally placed at the centre of the Monteverdi canon, may seem to have been jettisoned in favour of an over-ascetic, rationalist aesthetics. And commentators often find the compositions in Book VIII (1638) puzzlingly fragmented. This is particularly true of the 'warlike' pieces featuring what…

  • Martinů's Three Wishes and their fulfilment: Links between Paris and Prague in music of the 1920s

    Open Access•Geoffrey Chew•ARTICLE•French Cultural Studies•2000

  • Vysloužil, Jiří

    Josef Bek, Geoffrey Chew•CHAPTER•The new Grove dictionary of music…•2001

  • Glagolitic Mass, Glagolitic chant

    Geoffrey Chew•CHAPTER•The new Grove dictionary of music…•2001

  • Příhoda, Váša

    Alena Němcová, Geoffrey Chew•CHAPTER•The new Grove dictionary of music…•2001

  • Monteverdi [Monteverde], Claudio

    Tim Carter, Geoffrey Chew•CHAPTER•The new Grove dictionary of music…•2001

  • Centonization

    Geoffrey Chew, James W Mckinnon•CHAPTER•The new Grove dictionary of music…•2001

  • Plocek, Václav

    Josef Bek, John Tyrrell et al.•CHAPTER•The new Grove dictionary of music…•2001

  • Pečman, Rudolf

    John Tyrrell, Geoffrey Chew•CHAPTER•The new Grove dictionary of music…•2001

  • Pastoral

    Geoffrey Chew, Owen Jander•CHAPTER•The new Grove dictionary of music…•2001

  • Slur

    Geoffrey Chew•CHAPTER•The new Grove dictionary of music…•2001

  • Racek, Jan

    Jiří Vysloužil, Geoffrey Chew•CHAPTER•The new Grove dictionary of music…•2001

  • Skuherský, František Zdeněk

    Jiří Fukač, Geoffrey Chew•CHAPTER•The new Grove dictionary of music…•2001

  • Cantillation

    Geoffrey Chew•CHAPTER•The new Grove dictionary of music…•2001

  • Staccato

    Geoffrey Chew, Clive Brown•CHAPTER•The new Grove dictionary of music…•2001

  • Potúček, Juraj

    Anonymous Anonymous, Geoffrey Chew•CHAPTER•The new Grove dictionary of music…•2001

  • Axman, Emil

    Jan Trojan, Geoffrey Chew•CHAPTER•The new Grove dictionary of music…•2001

  • Song

    Geoffrey Chew, Thomas J Mathiesen et al.•CHAPTER•The new Grove dictionary of music…•2001

Art (19 works) · Computer Science (16 works) · Musicology and Musical Analysis (10 works) · Education, Psychology, and Social Research (8 works) · Art history (7 works) · Literature (7 works) · Philosophy (7 works) · History (5 works) · Visual arts (5 works) · Historical and Cultural Studies of Poland (4 works)

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