Bella Brover-Lubovsky is Assistant Professor in the Department of Theory and Composition, Jerusalem Rubin Academy of Music and Dance, and a lecturer and reseach fellow in the Department of Musicology, Hebrew University.

[The] Tonal Space in the Music of Antonio Vivaldi has many strengths. It is rigorous, systematic, comprehensive, and original. . . . Brover-Lubovsky's study is based on the examination of almost all of Vivaldi's available works, currently numbered at 808. This includes substantial quantities of vocal music, some of it still unedited. In contrast to a widely held view that all of Vivaldi's music is written to one formula, she finds endless variety and nuance in his procedures.March 2010- Eleanor Selfridge-Field (Stanford University)

• ContentsPreface and AcknowledgmentsEditorial Conventions and Abbreviations IntroductionPart 1. Estro armonico1. Vivaldi's "Harmony" and the Paradox of Historical Recognition2. Theory of Tonal Organization in Eighteenth-Century ItalyPart 2. Key and Mode3. Tonality and Key Characteristics4. Modal Implications in Tonal Organization5. The Interaction of Major and Minor Modes6. Functioning of Tonality in Large-Scale CompositionPart 3. Harmony and Syntax7. Lament Bass8. Sequence9. Pedal Point10. CadencePart 4. Tonal Structure11. General Premises12. Functioning of Harmonic Degrees in Tonal Structure13. Tonal Structure and the Choice of Tonality14. Tonal Structure in Cyclic CompositionsConclusionNotesBibliographyIndex

Bella Brover-Lubovsky is Assistant Professor in the Department of Theory and Composition, Jerusalem Rubin Academy of Music and Dance, and a lecturer and reseach fellow in the Department of Musicology, Hebrew University.

[The] Tonal Space in the Music of Antonio Vivaldi has many strengths. It is rigorous, systematic, comprehensive, and original. . . . Brover-Lubovsky's study is based on the examination of almost all of Vivaldi's available works, currently numbered at 808. This includes substantial quantities of vocal music, some of it still unedited. In contrast to a widely held view that all of Vivaldi's music is written to one formula, she finds endless variety and nuance in his procedures.March 2010- Eleanor Selfridge-Field (Stanford University)

• ContentsPreface and AcknowledgmentsEditorial Conventions and Abbreviations IntroductionPart 1. Estro armonico1. Vivaldi's "Harmony" and the Paradox of Historical Recognition2. Theory of Tonal Organization in Eighteenth-Century ItalyPart 2. Key and Mode3. Tonality and Key Characteristics4. Modal Implications in Tonal Organization5. The Interaction of Major and Minor Modes6. Functioning of Tonality in Large-Scale CompositionPart 3. Harmony and Syntax7. Lament Bass8. Sequence9. Pedal Point10. CadencePart 4. Tonal Structure11. General Premises12. Functioning of Harmonic Degrees in Tonal Structure13. Tonal Structure and the Choice of Tonality14. Tonal Structure in Cyclic CompositionsConclusionNotesBibliographyIndex

Bella Brover-Lubovsky is Assistant Professor in the Department of Theory and Composition, Jerusalem Rubin Academy of Music and Dance, and a lecturer and reseach fellow in the Department of Musicology, Hebrew University.

[The] Tonal Space in the Music of Antonio Vivaldi has many strengths. It is rigorous, systematic, comprehensive, and original. . . . Brover-Lubovsky's study is based on the examination of almost all of Vivaldi's available works, currently numbered at 808. This includes substantial quantities of vocal music, some of it still unedited. In contrast to a widely held view that all of Vivaldi's music is written to one formula, she finds endless variety and nuance in his procedures.March 2010- Eleanor Selfridge-Field (Stanford University)

• ContentsPreface and AcknowledgmentsEditorial Conventions and Abbreviations IntroductionPart 1. Estro armonico1. Vivaldi's "Harmony" and the Paradox of Historical Recognition2. Theory of Tonal Organization in Eighteenth-Century ItalyPart 2. Key and Mode3. Tonality and Key Characteristics4. Modal Implications in Tonal Organization5. The Interaction of Major and Minor Modes6. Functioning of Tonality in Large-Scale CompositionPart 3. Harmony and Syntax7. Lament Bass8. Sequence9. Pedal Point10. CadencePart 4. Tonal Structure11. General Premises12. Functioning of Harmonic Degrees in Tonal Structure13. Tonal Structure and the Choice of Tonality14. Tonal Structure in Cyclic CompositionsConclusionNotesBibliographyIndex