Paul Sherrill
Biographic Data
| ID | 1645197 |
|---|---|
| NAME | Paul Sherrill |
| GIVEN NAMES | Paul |
| FAMILY NAME | Sherrill |
| SIGNATURE | SHERRILL P |
| AFFILIATIONS | University of Utah |
| VERIFIED | No |
| TOTAL WORKS | 2 |
| TOTAL CITATIONS | 0 |
| AUTHOR COUNT | 2 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2018 |
| LATEST PUBLICATION YEAR | 2024 |
| H-INDEX | 0 |
A Thread of Recitative Ruffs
This article presents a schema-driven analysis of the accompanied recitative “Erbarm es, Gott” from Johann Sebastian Bach’s St. Matthew Passion . Arguing that the scene is best understood in dialogue with the conventions of the Italianate “galant” style of eighteenth-century recitative, we suggest that the music is guided by a simple thread of modulation upward through the circle of fifths. This thread is driven by repeated application of a parti…
"Susanna's "Deh vieni
This article offers an analysis of "Deh vieni non tardar," Susanna's last aria in Mozart'sLe nozze di Figaro. The aria stages a diegetic performance in which Susanna serenades an absent beloved while Figaro eavesdrops, but the aria is not simply a facsimile of Susanna's performance. Instead, the music scripts a shift of the audience's perspective, moving from a quasi-literal representation of the performance to a depiction of Susanna's affective …
No prominent works on this page.
"Susanna's "Deh vieni
This article offers an analysis of "Deh vieni non tardar," Susanna's last aria in Mozart'sLe nozze di Figaro. The aria stages a diegetic performance in which Susanna serenades an absent beloved while Figaro eavesdrops, but the aria is not simply a facsimile of Susanna's performance. Instead, the music scripts a shift of the audience's perspective, moving from a quasi-literal representation of the performance to a depiction of Susanna's affective …
A Thread of Recitative Ruffs
This article presents a schema-driven analysis of the accompanied recitative “Erbarm es, Gott” from Johann Sebastian Bach’s St. Matthew Passion . Arguing that the scene is best understood in dialogue with the conventions of the Italianate “galant” style of eighteenth-century recitative, we suggest that the music is guided by a simple thread of modulation upward through the circle of fifths. This thread is driven by repeated application of a parti…
Art (2 works) · Computer Science (2 works) · Literature (2 works) · Aesthetics (1 works) · Art history (1 works) · Concerto (1 works) · Depiction (1 works) · Epistemology (1 works) · Flute (1 works) · Linguistics (1 works)