Music Theory in Concept and Practice (häftad)
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Format
Häftad (Paperback / softback)
Språk
Engelska
Antal sidor
536
Utgivningsdatum
2009-09-01
Förlag
University of Rochester Press
Medarbetare
Neumeyer, David (contributions)/McNamee, Ann K. (contributions)/Whittall, Arnold (contributions)/Hasty, Christopher (contributions)/Harrison, Daniel (contributions)/Beach, David (contributions)/Lewin, David (contributions)/Neumeyer, David (contributions)/McNamee, Ann K. (contributions)/Whittall, Arn
Illustrationer
200 line illus.
Volymtitel
8
Dimensioner
229 x 152 x 30 mm
Vikt
785 g
Antal komponenter
1
Komponenter
2:B&W 6 x 9 in or 229 x 152 mm Perfect Bound on Creme w/Gloss Lam
ISSN
1071-9989
ISBN
9781580462259

Music Theory in Concept and Practice

av James M Baker, David Beach, Jonathan W Bernard
Häftad,  Engelska, 2009-09-01
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Historical, theoretical and analytical studies of principally 19-20c topics, reflecting current musical research. This collection of nineteen essays, all by leaders in the field of music theory, reflects the rich diversity of topics and approaches currently being explored. The contributions fall within three principal areas of study that haveremained at the heart of the discipline. One is historical research, which includes efforts to trace the development of theoretical ideas and their philosophical bases. Representing this broad category are essays dealing with issues like Scriabin's mysticism, neoclassicism, modern aesthetics, and the development of the concept of pitch collection in twentieth-century theoretical writings. The second area embraces the theory and analysis of common-practicetonality and its associated repertoire (including chromatic and 'transitional' music). Within this category are several studies related directly to or derived from Schenkerian theory, covering repertoire from Bach through Schubert and Chopin to Gershwin. Complementing these articles are a study of a chromatic work by Liszt and an essay on Schoenberg's concept of tonality. The third broad category includes the large body of work associated with the theoryand analysis of post-tonal music. Representing this extensive area of inquiry are essays dealing with voice leading in atonal music and extending Allen Forte's theory of the set complex, and analytical studies dealing with works by Schoenberg and Webern. Adding to these contributions are articles that deal with works by composers less frequently discussed in the analytical literature, Milhaud and Peter Maxwell Davies, and an empirical study of aural cognition of atonal and tonal music. These essays, all by colleagues, friends, and students of Allen Forte are intended as a celebrationof his enormous contribution to the discipline of music theory. James Baker is Professor of Music at Brown University; David Beach is Dean of the Faculty of Music at the University of Toronto; Jonathan Bernard is Professor of Music at the University of Washington.
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James M Baker, David Beach, Jonathan W Bernard

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A survey -- a celebration, indeed -- of the discipline of music theory as it stands at the start of the twenty-first century. . . . Unselfconscious and authoritative . . . accessible both to specialists, and to the general reader who wants to be made more aware of what's new and exciting in the field. -- Mark Sealey * CLASSICAL.NET * the entire review can be accessed at http://www.classical.net/music/books/reviews/1580462251a.php * . * Its nineteen essays attest to the depth and breadth of Forte's influence and show the field at its richest. This distinguished volume represents the continuation of . . . intellectual traditions that have been focused and refracted through Forte's scholarship and teaching. * NOTES, September 1998 *

Övrig information

ARNOLD WHITTALL is Professor Emeritus of Music Theory & Analysis, King's College London and one of the leading authorities on twentieth-century music and analysis. Robert W. Wason is Professor Emeritus of Music Theory and Affiliate Faculty in Jazz and Contemporary Media at the Eastman School of Music.

Innehållsförteckning

Introduction Chord, Collection, and Set in Twentieth-Century Theory - Jonathan W. Bernard Scriabin's Music: Structure as Prism for Mystical Philosophy - James M. Baker Tonality: A Conflict of Forces - Patricia Carpenter Neoclassicism and Its Definitions - Pieter C. van den Toorn Modernist Aesthetics, Modernist Music: Some Analytical Perspectives - Arnold Whittall Salient Features - John Rothgeb Synthesis and Association, Structure and Design in Multi-Movement. Compositions - David Neumeyer Tonal/Atonal: Cognitive Strategies for Recognizing Transposed Melodies - Elizabeth West Marvin Voice Leading in Atonal Music - Joseph N. Straus K, Kh, and Beyond - Robert D. Morris The Submediant as Third Divider: Its Representation at Different Structural Levels - David W. Beach The Form of Chopin's Polonaise-Fantasy - William Rothstein Chasing the Scent: Tonality in Liszt's Blume und Duft - Robert P. Morgan Reflections on a Few Good Tunes: Linear Progressions and Intervallic Patterns in Popular Song and Jazz - Steven E. Gilbert Bitonality, Pentatonicism, and Diatonicism in a Work by Milhaud - Daniel Harrison Signposts on Webern's Path to Atonality: The Dehmel Lieder (1906-08) - Robert W. Wason Some Notes on Pierrot Lunaire - David Lewin Form and Idea in Schoenberg's Phantasy - Christopher Hasty Elision and Structural Levels in Peter Maxwell Davies's Dark Angels - Ann K. McNamee Index

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