Harmony and Monody in Chopin


Book Description

Essay from the year 2011 in the subject Musicology - Miscellaneous, grade: none, , language: English, abstract: Chopin may not have mastered every aspect of the craft of composition. His orchestration is just adequate, for example, and he seldom ventured into longer forms. But he was a master of harmony of the most subtle and original kind, and incidentally (although this is beyond the brief for this essay) of an un-academic counterpoint too, as a glance at some of the late works, such as the Nocturne Op 62 No 1, will demonstrate. His harmonic style is unique to himself and has the distinction of being not only “academically correct” when he employs familiar chord progressions-i.e. leading notes rise and 7ths fall according to the “rules” of traditional harmony, but of going beyond the norms for the early 19th century in the number of unexpected passing modulations, often to remote keys, and often employing enharmonic note-spellings; and in the dissonance level in certain examples which I will come to later.




Harmony in Chopin


Book Description

Penetrating, innovative analyses of numerous compositions by Chopin, integrating Schenkerian principles and a fresh perspective on harmony.




Chopin's Harmony


Book Description




Explorations - 20 Essays In and Around Music, Sound, Literature and Places


Book Description

Essay from the year 2012 in the subject Musicology - Miscellaneous, University of West London, language: English, abstract: The essays are divided into three sections: those featuring some of the composers whose music has been of particular significance to me; then a group of pieces on compositional matters including aspects of style and form such as minimalism, improvisation and repeats; and finally a miscellaneous group on diverse topics including education, the sonic environment and the meaning of music and art in general. The final essay entitled “Explorations” is a summary of those many enthusiasms that I have indulged in over the years, but actually, all the essays are attempts at sharing my love of music, sound, literature and places without in any way pretending to be authoritative. In fact I discovered that the more I try to write about a subject dear to me, the more aware I am of not knowing nearly enough about it. Therefore I plead guilty if it is levelled at these pages that enthusiasm outpaces concrete knowledge, although I would hope that it could not be said of them, as John Butler Yeats once said of his more famous son’s opinions, that they are drawn “from the depths of (my) ignorance”. I have tried not to theorise, feeling that there are altogether too many theories in the world. Some of these items celebrate, some explore. They are simply the results of numerous interests which I just do not want to keep to myself any longer. Whether this is wise or not - let the reader judge. The least I can hope is that I might stimulate others to explore some of the subjects which have inspired and indeed kept me going (mentally that is) through six decades.




Chopin's Musical Style


Book Description

This book shows the gradual unfolding and maturing of Chopin's musical mind, investigates the working of that mind, and isolates and defines those qualities which make Chopin's work unique in the history of music. The book will be useful to the pianist whose intelligent interpretation of Chopin will depend on a thorough knowledge of the composer's style. It will also be of use to students of harmony.




Chopin the Composer


Book Description







Critical Perspectives on Michael Finnissy


Book Description

The composer and pianist Michael Finnissy (b. 1946) is an unmistakeable presence in the British and international new music scene, both for his immeasurable generosity as prolific composer for many different types of musicians, major advocate for the works of others, and performer and conductor who has also been a driving force behind ensembles; he was also President of the International Society for Contemporary Music from 1990 to 1996. His vast and enormously varied output confounds those who seek easy categorisations: once associated strongly with the ‘new complexity’, Finnissy is equally known as composer regularly engaged with many different folk musics, for working with amateur and community musicians, for a long-term engagement with sacred music, or as an advocate of Anglo-American ‘experimental’ music. Twenty years ago, a large-scale volume entitled Uncommon Ground: The Music of Michael Finnissy gave the first major overview of the output of any ‘complex’ composer. This new volume brings a greater plurality of perspectives and critical sensibility to bear upon an output which is almost twice as large as it was when the earlier book was published. A range of leading contributors – musicologists, composers, performers and others – each grapple with particular questions relating to Finnissy’s music, often in ways which raise questions relating more widely to new music, and provide theoretical foundations for further of study both of Finnissy and other composers.







The Basic Elements of Music


Book Description

The Basic Elements of Music ""Explanations (suitable for any age) of the basic elements of music, with suggested activities for introducing the each concept to children at early elementary school level. The course may be used by instructors not trained in music; all necessary definitions and explanations are included."" -This teaching textbook includes -The Time Elements (Rhythm, Meter) -The Pitch Elements (Timbre, Melody, Harmony) -Combining Time and Pitch -The Textures of Music -An Introduction to Counterpoint -Form in Music This music textbook, authored by Catherine Schmidt-Jones, is released under a Creative Commons Attribution Share-Alike license, published by Textbook Equity without changes to the academic content. http: //textbookequity.org/category/music/