Harmonic Function in Chromatic Music PDF Download
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Author: Daniel Harrison
Publisher: University of Chicago Press
ISBN: 9780226318080
Category : Music
Languages : en
Pages : 364
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Book Description
Applicable on a wide scale not only to this repertory, Harrison's lucid explications of abstract theoretical concepts provide new insights into the workings of tonal systems in general.
Author: Daniel Harrison
Publisher: University of Chicago Press
ISBN: 9780226318080
Category : Music
Languages : en
Pages : 364
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Book Description
Applicable on a wide scale not only to this repertory, Harrison's lucid explications of abstract theoretical concepts provide new insights into the workings of tonal systems in general.
Author: Kyle Hutchinson
Publisher:
ISBN:
Category :
Languages : en
Pages : 0
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Book Description
That mid-to-late nineteenth-century chromatic tonality challenges diatonic-based prolongational models of tonality is a well-known assertion. Recently, the field has embraced alternative frameworks, especially neo-Riemannian and transformational approaches, to account for coherence in the works of composers such as Richard Wagner or Richard Strauss. These approaches, however, only occasionally capture the extent to which this repertoire exhibits the prolongational procedures operative in classical tonality despite the unfamiliarity of the chromatic syntax. My dissertation investigates how this chromatic syntax can be approached as an extension of familiar diatonic models. My broader theoretic basis involves recognizing a proliferation of harmonic polysemy, whereby chords that have commonplace sonorities do not function in ways traditionally associated with that sonority. To account for this disjunction, I develop a model of Functional Interval Progressions (FIPs), which proposes dominant function is a product not of sonority, nor an isolated leading tone, but rather a combination of a univalent dissonance (a tritone or diminished seventh) combined with its conventional resolution: in short, I suggest function is a product of motion. I apply this principle in various ways. Firstly, I postulate the possibility of chromatically altered diminished-seventh chords: these chords often have the sonority of commonplace tonal chords, such as dominant or half-diminished sevenths, but their behaviour is more consistent with diminished-seventh chords. The presence and resolution of a diminished-seventh interval, I posit, overwrites the centrifugal nature of the chromatic alteration. I then export this principle to triads, arguing that a similar half-enharmonic reinterpretation can explain what Lorenz (1933) refers to as apparent consonances. Contrary to Cohn (2004/2012), I view these triads then as tonal dissonances, rather than as acoustic consonances. Lastly, I argue for a contextual remodeling of chordal inversion, following Schenker's (1922) notion of "the roothood-tendency of the lowest tone," suggesting that in certain cases inverted chords project the function of their bass, rather than their root. I conclude by applying these principles to larger-scale analysis, proposing that through a more thorough understanding of the surface-level harmonic syntax, deeper-level prolongations- and their relationships to one another-can be adduced with greater certainty and clarity in highly chromatic music.
Author: David Kopp
Publisher: Cambridge University Press
ISBN: 9780521028493
Category : Music
Languages : en
Pages : 292
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Book Description
David Kopp's book develops a model of chromatic chord relations in nineteenth-century music by composers such as Schubert, Beethoven, Chopin, Schumann, and Brahms. The emphasis is on explaining chromatic third relations and the pivotal role they play in theory and practice. Drawing on tenets of nineteenth-century harmonic theory, contemporary transformation theory, and the author's own approach, the book presents a clear and elegant means for characterizing commonly acknowledged but loosely defined elements of chromatic harmony. The historical and theoretical argument is supplemented by many analytic examples.
Author: Joe Mulholland
Publisher: Hal Leonard Corporation
ISBN: 1480360856
Category : Music
Languages : en
Pages : 262
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Book Description
(Berklee Guide). Learn jazz harmony, as taught at Berklee College of Music. This text provides a strong foundation in harmonic principles, supporting further study in jazz composition, arranging, and improvisation. It covers basic chord types and their tensions, with practical demonstrations of how they are used in characteristic jazz contexts and an accompanying recording that lets you hear how they can be applied.
Author: Richard Cohn
Publisher: Oxford University Press
ISBN: 0199773211
Category : Music
Languages : en
Pages : 256
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Book Description
Music theorists have long believed that 19th-century triadic progressions idiomatically extend the diatonic syntax of 18th-century classical tonality, and have accordingly unified the two repertories under a single mode of representation. Post-structuralist musicologists have challenged this belief, advancing the view that many romantic triadic progressions exceed the reach of classical syntax and are mobilized as the result of a transgressive, anti-syntactic impulse. In Audacious Euphony, author Richard Cohn takes both of these views to task, arguing that romantic harmony operates under syntactic principles distinct from those that underlie classical tonality, but no less susceptible to systematic definition. Charting this alternative triadic syntax, Cohn reconceives what consonant triads are, and how they relate to one another. In doing so, he shows that major and minor triads have two distinct natures: one based on their acoustic properties, and the other on their ability to voice-lead smoothly to each other in the chromatic universe. Whereas their acoustic nature underlies the diatonic tonality of the classical tradition, their voice-leading properties are optimized by the pan-triadic progressions characteristic of the 19th century. Audacious Euphony develops a set of inter-related maps that organize intuitions about triadic proximity as seen through the lens of voice-leading proximity, using various geometries related to the 19th-century Tonnetz. This model leads to cogent analyses both of particular compositions and of historical trends across the long nineteenth century. Essential reading for music theorists, Audacious Euphony is also a valuable resource for music historians, performers and composers.
Author: Justine Shir-Cliff
Publisher:
ISBN:
Category : Music
Languages : en
Pages : 202
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Book Description
Author: Christopher Doll
Publisher: University of Michigan Press
ISBN: 0472053523
Category : Music
Languages : en
Pages : 331
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Book Description
An original, listener-based approach to harmony for popular music from the rock era of the 1950s to the present
Author: Gregory Fletcher
Publisher:
ISBN:
Category : Harmony
Languages : en
Pages : 56
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Book Description
Author: Robert Gauldin
Publisher: W W Norton & Company Incorporated
ISBN: 9780393101232
Category : Harmony
Languages : en
Pages : 0
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Book Description
This textbook takes a linear, functional approach to tonal music in the common-practice era, explaining how both harmonic and melodic forces contribute to the development of musical structures. Coverage includes the basic elements of music; functional diatonic harmony, modulations, and sequences; the common procedures of chromatic harmony; and advanced chromatic techniques. The second edition contains a broader range of musical examples than the first, featuring more world music, popular music, jazz, and music by women. Annotation (booknews.com).
Author: Carl Dahlhaus
Publisher: Princeton University Press
ISBN: 1400861314
Category : Music
Languages : en
Pages : 406
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Book Description
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.
