Tonality and Atonality in Sixteenth-Century Music
Author : Edward Elias Lowinsky
Publisher : Univ of California Press
Page : 124 pages
File Size : 28,61 MB
Release :
Category :
ISBN :
Author : Edward Elias Lowinsky
Publisher : Univ of California Press
Page : 124 pages
File Size : 28,61 MB
Release :
Category :
ISBN :
Author : Edward E. Lowinsky
Publisher : Univ of California Press
Page : 188 pages
File Size : 30,41 MB
Release : 2023-11-10
Category : Music
ISBN : 0520335252
Author : Edward A. Lowinsky
Publisher :
Page : 99 pages
File Size : 46,92 MB
Release : 1961
Category : Music
ISBN :
Author : Edward E. Lowinsky
Publisher :
Page : 101 pages
File Size : 48,13 MB
Release : 2003-01-01
Category :
ISBN : 9780758127549
Author : Cristle Collins Judd
Publisher : Routledge
Page : 420 pages
File Size : 47,22 MB
Release : 2014-04-23
Category : Music
ISBN : 1135704694
Discussion of tonal structure has been one of the most problematic and controversial aspects of modern study of Medieval and Renaissance polyphony. These new essays written specifically for this volume consider the issue from historical, analytical, theoretical, perceptual and cultural perspectives.
Author : Rudolph Reti
Publisher : London : Barrie and Rockliff
Page : 192 pages
File Size : 50,8 MB
Release : 1958
Category : Atonality
ISBN :
Author : Carl Dahlhaus
Publisher : Princeton University Press
Page : 406 pages
File Size : 50,43 MB
Release : 2014-07-14
Category : Music
ISBN : 1400861314
Carl Dahlhaus was without doubt the premier musicologist of the postwar generation, a giant whose recent death was mourned the world over. Translated here for the first time, this fundamental work on the development of tonality shows his complete mastery of the theory of harmony. In it Dahlhaus explains the modern concepts of harmony and tonality, reviewing in the process the important theories of Rameau, Sechter, Ftis, Riemann, and Schenker. He contrasts the familiar premises of chordal composition with the lesser known precepts of intervallic composition, the basis for polyphonic music in the late Middle Ages and Renaissance. Numerous quotations from theoretical treatises document how early music was driven forward not by progressions of chords but by simple progressions of intervals. Exactly when did composers transform intervallic composition into chordal composition? Modality into tonality? Dahlhaus provides extensive analyses of motets by Josquin, frottole by Cara and Tromboncino, and madrigals by Monteverdi to demonstrate how, and to what degree, such questions can be answered. In his bold speculations, in his magisterial summaries, in his command of eight centuries of music and writings on music, and in his deep understanding of European history and culture, Carl Dahlhaus sets a standard that will seldom be equalled. Originally published in 1990. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
Author : Henry Burnett
Publisher :
Page : 430 pages
File Size : 27,26 MB
Release : 2016-11-15
Category :
ISBN : 9781138264779
5 Tonality and Systems in the Mid- to Late-Eighteenth Century: The Classical Ideal -- I. The Development of the Early Symphony: Vivaldi and the Ripieno Concerto, G.B. Sammartini -- II. Viennese Symphonists of the Mid-Eighteenth Century: G.C. Wagenseil and G.M. Monn -- III. Joseph Haydn and the Sonata Form: Definitions and Compositional Design Elements -- IV. Joseph Haydn and the Developmental Process: Selected Compositions -- V. Alternative Design Elements in Sonata-Form Movements: J.C. Bach and W.A. Mozart -- 6 Nineteenth-Century Approaches to Eleven-Pitch-Class Systems Derived from the Viennese Classical Tradition -- I. Beethoven, Sonata Form, the Minor Mode, and Chromatic Development at the Beginning of the Nineteenth Century -- II. Eleven-Pitch-Class Systems in the Music of Nineteenth-Century Romantic Composers: Mode Mixture and System Shifts as Pre-Compositional Determinants in Schubert's String Quintet in C major op. 163 -- 7 Eleven-Pitch-Class Systems in the Music of Mid-to Late-Nineteenth-Century Romantic Composers -- I. Felix Mendelssohn: Piano Trio in D minor op. 49, First Movement -- II. Robert Schumann: Piano Quintet in E♭ op. 44, First Movement -- III. Johannes Brahms: The Sextets, op. 18 in B♭ and op. 36 in G -- IV. Pyotr Il'yich Chaikovsky: Symphony no. 4 in F minor op. 36, First Movement -- 8 The Romantic Avant Garde and the Rumblings of Modernism -- I. Liszt and Debussy: The Romantic. Avant Garde and its Manifestation in Impressionism -- II. Debussy and Chromaticism at the Turn of the Century -- III. Chopin and Debussy Revisit J.S. Bach -- IV. Schoenberg and the Expressionist Movement -- Bibliography -- Index
Author : Megan Kaes Long
Publisher : Oxford University Press
Page : 301 pages
File Size : 30,88 MB
Release : 2020-04-28
Category : Music
ISBN : 0190851929
The question of tonality's origins in music's pitch content has long vexed many scholars of music theory. However, tonality is not ultimately defined by pitch alone, but rather by pitch's interaction with elements like rhythm, meter, phrase structure, and form. Hearing Homophony investigates the elusive early history of tonality by examining a constellation of late-Renaissance popular songs which flourished throughout Western Europe at the turn of the seventeenth century. Megan Kaes Long argues that it is in these songs, rather than in more ambitious secular and sacred works, that the foundations of eighteenth century style are found. Arguing that tonality emerges from features of modal counterpoint - in particular, the rhythmic, phrase structural, and formal processes that govern it - and drawing on the arguments of theorists such as Dahlhaus, Powers, and Barnett, she asserts that modality and tonality are different in kind and not mutually exclusive. Using several hundred homophonic partsongs from Italy, Germany, England, and France, Long addresses a historical question of critical importance to music theory, musicology, and music performance. Hearing Homophony presents not only a new model of tonality's origins, but also a more comprehensive understanding of what tonality is, providing novel insight into the challenging world of seventeenth-century music.
Author : Jeffrey Kurtzman
Publisher : Clarendon Press
Page : 626 pages
File Size : 30,63 MB
Release : 2000-01-06
Category :
ISBN : 0191590711
This is a thorough-going study of Monteverdi's Vespers, the single most significant and most widely known musical print from before the time of J.S. Bach. The author examines Monteverdi's Vespers from multiple perspectives, combining his own research with all that is known and thought of the Vespers by other scholars. The historical origin as well as the musical and liturgical context of the Vespers are surveyed; similarly the controversial historiography of the Vespers in the nineteenth and twentieth centuries is scrutinized and evaluated. A series of analytical chapters attempt to clarify Monteverdi's compositional process and the relationship between music and text in the light of recent research on modal and tonal aspects of early seventeenth century music. The final section is devoted to thirteen chapters investigating performance practice issues of the early seventeenth century and their application to the Vespers, including general and specific recommendations for performance where appropriate. The book concludes with a series of informational appendices, including the psalm cursus for Vespers of all major feasts in the liturgical calendar, texts, and structural outlines for the Vespers compositions based on a cantus firmus, an analytical discography, and bibliographies of seventeenth-century musical and theoretical sources.