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Author: Joseph Riepel
Publisher: Harmonologia
ISBN: 9781576472453
Category : Music
Languages : en
Pages : 471
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Book Description
This book offers a clear and consistent English translation of Riepel's first two volumes, which contain a substantially complete presentation of the first and most influential comprehensive compositional and analytical theory that relates to the major homophonic instrumental forms of the eighteenth century, the symphony, concerto, and sonata. Used in conjunction with the glossary of translated terms, this translation offers new illumination of Riepel's theory, even for native German speakers. The five chapters of commentary demonstrate that Riepel conceived of macrorhythms at the phrase and period level based on the dynamics of implication and realization; that he distilled this theory from his study of works by Benda and the Grauns, their teacher Pisendel, and, to some extent, his teacher Vivaldi; that Leopold Mozart used Riepel's approach to train his young son, Wolfgang; that Koch's theory of symphonic composition is essentially a partial modernization of Riepel's; and that Riepel's theory of analysis amounts to a kind of parsing that does not depend on intention for its validity. Riepel's focus on the Absatz ("comma") and cadence as segment-defining punctuations simplifies the task of informed listening for the modern student and provides a secure, consistent, and non-essentialist foundation for period-sensitive analysis and criticism.
Author: Joseph Riepel
Publisher: Harmonologia
ISBN: 9781576472453
Category : Music
Languages : en
Pages : 471
Get Book Here
Book Description
This book offers a clear and consistent English translation of Riepel's first two volumes, which contain a substantially complete presentation of the first and most influential comprehensive compositional and analytical theory that relates to the major homophonic instrumental forms of the eighteenth century, the symphony, concerto, and sonata. Used in conjunction with the glossary of translated terms, this translation offers new illumination of Riepel's theory, even for native German speakers. The five chapters of commentary demonstrate that Riepel conceived of macrorhythms at the phrase and period level based on the dynamics of implication and realization; that he distilled this theory from his study of works by Benda and the Grauns, their teacher Pisendel, and, to some extent, his teacher Vivaldi; that Leopold Mozart used Riepel's approach to train his young son, Wolfgang; that Koch's theory of symphonic composition is essentially a partial modernization of Riepel's; and that Riepel's theory of analysis amounts to a kind of parsing that does not depend on intention for its validity. Riepel's focus on the Absatz ("comma") and cadence as segment-defining punctuations simplifies the task of informed listening for the modern student and provides a secure, consistent, and non-essentialist foundation for period-sensitive analysis and criticism.
Author: Alexander Rehding
Publisher: Oxford University Press
ISBN: 019045475X
Category : Music
Languages : en
Pages : 600
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Book Description
Music Theory has a lot of ground to cover. Especially in introductory classes a whole range of fundamental concepts are introduced at fast pace that can never be explored in depth or detail, as other new topics become more pressing. The short time we spend with them in the classroom belies the complexity (and, in many cases, the contradictions) underlying these concepts. This book takes the time to tarry over these complexities, probe the philosophical assumptions on which these concepts rest, and shine a light on all their iridescent facets. This book presents music-theoretical concepts as a register of key terms progressing outwards from smallest detail to discussions of the music-theoretical project on the largest scale. The approaches individual authors take range from philosophical, historical, or analytical to systematic, cognitive, and critical-theorical-covering the whole diverse spectrum of contemporary music theory. In some cases authors explore concepts that have not yet been widely added to the theorist's toolkit but deserve to be included; in other cases concepts are expanded beyond their core repertory of application. This collection does not shy away from controversy. Taken in their entirety, the essays underline that music theory is on the move, exploring new questions, new repertories, and new approaches. This collection is an invitation to take stock of music theory in the early twenty-first century, to look back and to encourage discussion about its future directions. Its chapters open up a panoramic view of the contemporary music-theoretical landscape with its expanding repertories and changing guiding questions, and offers suggestions as to where music theory is headed in years to come.
Author: Jason Yust
Publisher: Oxford University Press
ISBN: 0190696508
Category : Music
Languages : en
Pages : 464
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Book Description
Organized Time is the first attempt to unite theories of harmony, rhythm and meter, and form under a common idea of structured time. Building off of recent advances in music theory in essential subfields-rhythmic theory, tonal structure, and the theory of musical form--author Jason Yust demonstrates that tonal music exhibits similar hierarchical organization in each of these dimensions. Yust develops a network model for temporal structure with an application of mathematical graph theory, which leads ultimately to musical applications of a multi-dimensional polytope called the associahedron. A wealth of analytical examples includes not only the familiar tonal canon-J.S. Bach, Mozart, Schumann--but also lesser known masters of the musical Enlightenment such as C.P.E. and J.C. Bach, Boccherini, and Johann Gottlieb Graun. Yust's approach has wide-ranging ramifications across music theory, enabling new approaches to musical closure, hypermeter, formal function, syncopation, and rhythmic dissonance, as well as historical observations about the development of sonata form and the innovations of Haydn and Beethoven. Making a forceful argument for the independence of musical modalities and for a multivalent approach to music analysis, Organized Time establishes the aesthetic importance of structural disjunction, the conflict of structure in different modalities, in numerous analytical contexts.
Author: Ignacio Prats-Arolas
Publisher: Taylor & Francis
ISBN: 1003846408
Category : Music
Languages : en
Pages : 304
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Book Description
This volume explores the possibilities of cognate music theory, a concept introduced by musicologist John Walter Hill to describe culturally and historically situated music theory. Cognate music theories offer a new way of thinking about music theory, music history, and the relationship between insider and outsider perspectives when researchers mediate between their own historical and cultural position, and that of the originators of the music they are studying. With contributions from noted scholars of musicology, music theory, and ethnomusicology, this volume develops a variety of approaches using the cognate music theory framework and shows how this concept enables more nuanced and critical analyses of music in historical context. Addressing topics in music from the seventeenth to nineteenth centuries, this volume will be relevant to musicologists, music theorists, and all researchers interested in reflecting critically on what it means to construct a theory of music. Chapter 9 of this book is freely available as a downloadable Open Access PDF at http://www.taylorfrancis.com under a Creative Commons [Attribution-Non Commercial-No Derivatives (CC-BY-NC-ND)] 4.0 license.
Author: Yoel Greenberg
Publisher: Oxford University Press
ISBN: 0197526284
Category : History
Languages : en
Pages : 265
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Book Description
Traditional approaches to musical form have always adopted a top-down perspective whereby a work's form organizes and unifies the individual parts of the work through an overarching logic. How Sonata Forms turns this view on its head, proposing instead that it was the parts that conditioned and enabled the whole. Relying on a corpus of over a thousand works, author Yoel Greenberg illustrates how the elements of sonata form arose independently of one another, with an overarching idea of form only emerging at the tail end of its formative period during the eighteenth century. Appreciation of the bottom-up nature of sonata form's evolution reveals it not as a stable package of features that all serve a common aesthetic or formal goal, but rather as an unstable collection of disparate and sometimes even contradictory common practices. The resolution of these contradictions presents a challenge to composers, rendering form a creative catalyst in itself, rather than as a compositional convenience. More generally, the deeply diachronic perspective of How Sonata Forms offers an alternative to the traditional synchronic outlook that pervades music theory in general and the study of form in particular. Rather than focus on definitions and taxonomies, How Sonata Forms proposes a focus on the motion of the system of form as a whole, suggesting that it is often more productive to appreciate the dynamics of a system than it is to rigorously define its parts.
Author: L. Poundie Burstein
Publisher: Oxford University Press
ISBN: 0190084006
Category : Music
Languages : en
Pages : 272
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Book Description
Ever since the nineteenth century, descriptions of musical form have tended to rely heavily on architectonic analogies. In contrast, earlier discussions more often invoked the metaphor of a journey to describe the structure of a composition. In Journeys Through Galant Expositions, author L. Poundie Burstein encourages readers to view the form of Galant music through this earlier metaphorical lens, much as those who composed, performed, improvised, and listened to music in the mid-1700s would have experienced it. By elucidating eighteenth-century ideas regarding musical form and applying them to works by a wide range of composers including Haydn and Mozart, as well as a host of others who are often overlooked this innovative study provides an accessible new window into the music of this time. Rather than dissecting concepts from the 1700s as a mere historical exercise or treating them as a precursor of later theories, Burstein invigorates the ideas of theorists such as Heinrich Christoph Koch and shows how they can directly impact our understanding and appreciation of Galant music as audiences and performers.
Author: Nola Reed Knouse
Publisher:
ISBN:
Category : Composition (Music)
Languages : en
Pages : 242
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Book Description
Joseph Riepel's theoretical writings had a profound effect upon later theorists who discussed musical form. This study focuses on Riepel's theories of form contained in the five chapters of his Anfangsgrunde zur musicalischen Setzkunst (1752-1768). Though Riepel never completed this work as originally conceived (ten chapters), he wrote other treatises which are also cited in this study. Chapter 1 of this study contains an introduction to Riepel's basic concepts and a survey of earlier theories of form. Chapter 2 contains his ideas concerning small-scale rhythmic and metric organization; Chapter 3, his treatment of small-scale pitch organization (e.g., classifications of phrases and chords); and Chapter 4, his discussions of larger forms. In Chapter 5 Riepel's contributions to the theory of form are evaluated as well as his influences on later writers, especially Kirnberger, Koch, and Daube. Riepel sees melody as the most important aspect of a composition, studying the construction of melodies with respect to both their pitch and rhythmic structure. For Riepel a melody is constructed of short segments put together following the principles of balance and coherence; these segments (and thus the structure of the entire melody) are articulated by harmony. To facilitate his examination of melodic and harmonic structure, Riepel classifies phrases based on their harmonic cadences and defines three melodic-harmonic formulas often used in the second part of a two-reprise form. In addition to small dance forms, Riepel discusses symphonies, arias, and concertos, examining both rhythmic structure on the small scale and matters of style, applying his analytical and compositional techniques to larger works. Wherever possible, Riepel's concepts are compared to related ideas of earlier and later theorists. In most cases it is difficult to prove direct influence, with the exception of Heinrich Christoph Koch, who gives credit to Riepel for many of the ideas in his own Versuch einer Anleitung zur Composition (1782-1793). In relation to earlier writings, many of Riepel's ideas and terms seem to be original; however, he does on occasion borrow examples from other writers. - Abstract.
Author: Danuta Mirka
Publisher: Oxford University Press
ISBN: 019538492X
Category : Music
Languages : en
Pages : 349
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Book Description
Combining historical music theory with the cognitive study of music, Playing with Meter traces metric manipulations and strategies in Haydn and Mozart's string chamber music from 1787 to 1791. Her analysis shed new light on this repertoire and redefine the role of meter and rhythm in Classical music.
Author: Deborah Stein
Publisher: Oxford University Press
ISBN: 0199890161
Category : Music
Languages : en
Pages : 432
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Book Description
Focusing on the music of the great song composers--Schubert, Schumann, Brahms, Wolf, and Strauss--Poetry Into Song offers a systematic introduction to the performance and analysis of Lieder . Part I, "The Language of Poetry," provides chapters on the themes and imagery of German Romanticism and the methods of analysis for German Romantic poetry. Part II, "The Language of the Performer," deals with issues of concern to performers: texture, temporality, articulation, and interpretation of notation and unusual rhythm accents and stresses. Part III provides clearly defined analytical procedures for each of four main chapters on harmony and tonality, melody and motive, rhythm and meter, and form. The concluding chapter compares different settings of the same text, and the volume ends with several appendices that offer text translations, over 40 pages of less accessible song scores, a glossary of technical terms, and a substantial bibliography. Directed toward students in both voice and theory, and toward all singers, the authors establish a framework for the analysis of song based on a process of performing, listening, and analyzing, designed to give the reader a new understanding of the reciprocal interaction between performance and analysis. Emphasizing the masterworks, the book features numerous poetic texts, as well as a core repertory of songs. Examples throughout the text demonstrate points, while end of chapter questions reinforce concepts and provide opportunities for directed analysis. While there are a variety of books on Lieder and on German Romantic poetry, none combines performance, musical analysis, textual analysis, and the interrelation between poetry and music in the systematic, thorough way of Poetry Into Song.
Author: Norman Lee Wick
Publisher:
ISBN:
Category :
Languages : en
Pages : 232
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Book Description
