A geometry of music: harmony and counterpoint in the extended common practice
2011; Association of College and Research Libraries; Volume: 49; Issue: 01 Linguagem: Inglês
10.5860/choice.49-0188
ISSN1943-5975
Autores Tópico(s)Music and Audio Processing
ResumoPREFACE PART I. THEORY 1. Five Components of Tonality 1.1 FIVE FEATURES. 1.2. PERCEPTION AND FIVE FEATURES. 1.3 FOUR CLAIMS. A. HARMONY AND CONSTRAIN EACH OTHER. B. SCALE, MACROHARMONY, AND CENTRICITY ARE INDEPENDENT. C. MODULATION INVOLVES VOICE LEADING. D. MUSIC CAN BE UNDERSTOOD GEOMETRICALLY. 1.4 MAGIC, AND LANGUAGE. 1.5 OUTLINE OF BOOK, AND A SUGGESTION FOR IMPATIENT READERS. 2. Harmony and Voice Leading 2.1 LINEAR PITCH 2.2 CIRCULAR PITCH-CLASS 2.3 TRANSPOSITION AND INVERSION AS DISTANCE-PRESERVING FUNCTIONS. 2.4 MUSICAL OBJECTS. 2.5 VOICE LEADINGS AND CHORD PROGRESSIONS. 2.6 COMPARING VOICE LEADINGS. 2.7 VOICE-LEADING SIZE. 2.8 NEAR IDENTITY. 2.9 HARMONY AND REVISITED. 2.10 ACOUSTIC CONSONANCE AND NEAR-EVENNESS 3. The Geometry of Chords 3.1 ORDERED PITCH 3.2 PARABLE OF ANT. 3.3 TWO-NOTE CHORD 3.4 CHORD PROGRESSIONS AND VOICE LEADINGS IN TWO-NOTE CHORD 3.5 GEOMETRY IN ANALYSIS. 3.6 HARMONIC CONSISTENCY AND EFFICIENT VOICE LEADING. 3.7 PURE PARALLEL AND PURE CONTRARY MOTION. 3.8 THREE-DIMENSIONAL CHORD 3.9 HIGHER-DIMENSIONAL CHORD SPACES. 3.10 VOICE LEADING LATTICES. 3.11 TRIADS ARE FROM MARS, SEVENTH CHORDS ARE FROM VENUS. 3.12 TWO MUSICAL GEOMETRIES. 3.13 STUDY GUIDE. 4. Scales 4.1 A SCALE IS A RULER. 4.2 SCALE DEGREES, SCALAR TRANSPOSITION, SCALAR INVERSION. 4.3 EVENNESS AND SCALAR TRANSPOSITION. 4.4 CONSTRUCTING COMMON SCALES. 4.5 MODULATION AND VOICE LEADING. 4.6 VOICE LEADING BETWEEN COMMON SCALES . 4.7 TWO EXAMPLES. 4.8 SCALAR AND INTERSCALAR TRANSPOSITION. 4.9 INTERSCALAR TRANSPOSITION AND VOICE LEADING. 4.10 COMBINING INTERSCALAR AND CHROMATIC TRANSPOSITIONS. 5. Macroharmony and Centricity 5.1 MACROHARMONY. 5.2 SMALL-GAP MACROHARMONY. 5.3 PITCH-CLASS CIRCULATION. 5.4 MODULATING RATE OF PITCH-CLASS CIRCULATION. 5.5 MACROHARMONIC CONSISTENCY. 5.6 CENTRICITY. 5.7 WHERE DOES CENTRICITY COME FROM? 5.8 BEYOND AND ATONAL. PART II. HISTORY AND ANALYSIS 6. The Extended Common Practice 6.1 DISCLAIMERS. 6.2 TWO-VOICE MEDIEVAL COUNTERPOINT. 6.3 TRIADS AND RENAISSANCE. 6.4 FUNCTIONAL HARMONY. 6.5 SCHUMANN'S CHOPIN. 6.6 CHROMATICISM. 6.7 TWENTIETH-CENTURY SCALAR MUSIC. 6.8 EXTENDED COMMON PRACTICE. 7. Functional Harmony 7.1 THIRDS-BASED GRAMMAR OF ELEMENTARY TONAL HARMONY. 7.2 VOICE LEADING IN FUNCTIONAL HARMONY. 7.3 SEQUENCES. 7.4 MODULATION AND KEY DISTANCE. 7.5 TWO LATTICES. 7.6 A CHALLENGE FROM SCHENKER. 8. Chromaticism 8.1 DECORATIVE CHROMATICISM. 8.2 GENERALIZED AUGMENTED SIXTHS. 8.3 BRAHMS AND SCHOENBERG. 8.4 SCHUBERT AND MAJOR-THIRD SYSTEM. 8.5 CHOPIN'S TESSERACT. 8.6 TRISTAN PRELUDE. 8.7 ALTERNATIVE APPROACHES. 8.8 CONCLUSION 9. Scales in Twentieth-Century Music 9.1 THREE SCALAR TECHNIQUES. 9.2 CHORD-FIRST COMPOSITION. A. GRIEG'S DROMMESYN, (VISION), OP. 62 NO. 5 (1895). B. DEBUSSY'S FETES (1899). C. MICHAEL NYMAN'S THE MOOD THAT PASSES THROUGH YOU (1993). 9.3 SCALE-FIRST COMPOSITION. A. DEBUSSY'S DES PAS SUR LA NEIGE (1910). B. JANACEK'S ON AN OVERGROWN PATH, SERIES II, NO. 1 (1908). C. SHOSTAKOVICH'S FS MINOR PRELUDE AND FUGUE, OP. 87 (1950). D. REICH'S NEW YORK COUNTERPOINT (1985). E. REICH'S THE DESERT MUSIC, MOVEMENT 1 (1984). F. WHO'S CAN'T EXPLAIN (1965) AND BOB SEGER'S TURN PAGE (1973). 9.4 SUBSET TECHNIQUE. A. GRIEG'S KLOKKEKLANG, (BELL RINGING), OP. 54 NO. 6 (1891). B. PETIT AIRS, FROM STRAVINSKY'S HISTOIRE DU SOLDAT (1918). C. REICH'S CITY LIFE (1995). D. STRAVINSKY'S OF ADOLESCENTS (1913). E. MILES DAVIS GROUP'S FREEDOM JAZZ DANCE (1966). 9.5 CONCLUSION. 10. Jazz. 10.1 JAZZ VOICINGS. 10.2 FROM THIRDS TO FOURTHS. 10.3 TRITONE SUBSTITUTION. 10.4 ALTERED CHORDS AND SCALES. 10.5 BASS AND UPPER-VOICE TRITONE SUBSTITUTIONS. 10.6 POLYTONALITY, SIDESTEPPING, AND PLAYING OUT. 10.7 BILL EVANS'S OLEO. 10.8 JAZZ AS MODERNIST SYNTHESIS. CONCLUSION APPENDIX A. MEASURING VOICE-LEADING SIZE APPENDIX B. CHORD GEOMETRY: A TECHNICAL LOOK. APPENDIX C. DISCRETE VOICE LEADING LATTICES. APPENDIX D. INTERSCALAR INTERVAL MATRIX. APPENDIX E. SCALE, MACROHARMONY, AND LERDAHL'S BASIC SPACE. APPENDIX F. SOME STUDY QUESTIONS, PROBLEMS, AND ACTIVITIES. BIBLIOGRAPHY INDEX
Referência(s)