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Author: Henry Burnett Publisher: Routledge ISBN: 1351571338 Category : Music Languages : en Pages : 431
Book Description
Musicology, having been transmitted as a compilation of disparate events and disciplines, has long necessitated a 'magic bullet', a 'unified field theory' so to speak, that can interpret the steady metamorphosis of Western art music from late medieval modality to twentieth-century atonality within a single theoretical construct. Without that magic bullet, discussions of this kind are increasingly complicated and, to make matters worse, the validity of any transformational models and ideas of the natural evolution of styles is questioned and even frowned upon today as epitomizing a grotesque teleological bigotry. Going against current thinking, Henry Burnett and Roy Nitzberg claim that the teleological approach to observing stylistic change is still valid when considered from the purely compositional perspective. The authors challenge the traditional understanding of development, and advance a new theory of eleven-pitch tonality as it relates to the corpus of Western composition. The book plots the evolution of tonality and its bearing on style and the compositional process itself. The theory is not based on the diatonic aspect of the various tonal systems exploited by composers; rather, the theory is chromatically based - the chromatically inflected octave being the source not only of a highly ingenious developmental dialectic, but also encompassing the moment-to-moment progression of the musical narrative itself. Even the most profound teachings of Schenker, and the often startlingly original and worthwhile speculations of Riemann, Tovey, Dahlhaus and others, still provide no theory of development and so are ultimately unable to unite the various tendrils of the compositional organism into a unified whole. Burnett and Nitzberg move beyond existing theory and analysis to base their theory from the standpoint of chromatic 'pitch fields'. These fields are the specific chromatic pitch choices that a composer uses to inform and design a complete composition, utilizing
Author: Henry Burnett Publisher: Routledge ISBN: 1351571338 Category : Music Languages : en Pages : 431
Book Description
Musicology, having been transmitted as a compilation of disparate events and disciplines, has long necessitated a 'magic bullet', a 'unified field theory' so to speak, that can interpret the steady metamorphosis of Western art music from late medieval modality to twentieth-century atonality within a single theoretical construct. Without that magic bullet, discussions of this kind are increasingly complicated and, to make matters worse, the validity of any transformational models and ideas of the natural evolution of styles is questioned and even frowned upon today as epitomizing a grotesque teleological bigotry. Going against current thinking, Henry Burnett and Roy Nitzberg claim that the teleological approach to observing stylistic change is still valid when considered from the purely compositional perspective. The authors challenge the traditional understanding of development, and advance a new theory of eleven-pitch tonality as it relates to the corpus of Western composition. The book plots the evolution of tonality and its bearing on style and the compositional process itself. The theory is not based on the diatonic aspect of the various tonal systems exploited by composers; rather, the theory is chromatically based - the chromatically inflected octave being the source not only of a highly ingenious developmental dialectic, but also encompassing the moment-to-moment progression of the musical narrative itself. Even the most profound teachings of Schenker, and the often startlingly original and worthwhile speculations of Riemann, Tovey, Dahlhaus and others, still provide no theory of development and so are ultimately unable to unite the various tendrils of the compositional organism into a unified whole. Burnett and Nitzberg move beyond existing theory and analysis to base their theory from the standpoint of chromatic 'pitch fields'. These fields are the specific chromatic pitch choices that a composer uses to inform and design a complete composition, utilizing
Author: Vladimir Barsky Publisher: Routledge ISBN: 1134366051 Category : Performing Arts Languages : en Pages : 230
Book Description
Musical practices in the 20th century pose new and complex problems in the study of the fundamental principles of pitch organization. The analysis of basic harmonic categories, one of which is chromaticism, acquires particular importance as a means of restoring time, which has gone out of joint and identifying the logical principles in the historical process of musical development. Vladimir Barsky, in his thoroughly researched and clearly written guide, traces the progress of the concept of chromaticism throughout Western musical history, and recreates an integrated logical and historical perspective in order to make a specific study of this key subject. He identifies the dynamics of the changing historical theories of chromaticism and relates these to musical practices, applying them to the analysis of current pitch systems. This book will be an invaluable tool for readers whose aim is to come nearer to comprehending the idioms of 20th century music.
Author: Howard Boatwright Publisher: Fayetteville, N.Y. : Walnut Grove Press ISBN: Category : Music Languages : en Pages : 312
Book Description
After defining chromaticism, this work derives the 12 tones by monochord, discussing various tunings and the units of all pitch structures. It offers a theory of chromatic modes before illustrating the polyphonic-additive process and includes an entire movement of a string quartet.
Author: Peter James Vivian Publisher: ISBN: Category : Languages : en Pages : 0
Book Description
It is the intention of this paper to look at some of Wheelers music from a very specific period in his career (late 1970s through to early 1980s), place it in an overall developmental process in jazz composition already underway, and to examine it using some techniques that have been devised by the author over a long period of time. It is not intended for this document to outline any sort of process that is Wheelers per se, however there is a process that will be examined here; it is that of this authors own development as an improviser. This process has had Wheeler looming over it since near the very beginning, and, as more was learned about his music along with (for lack of a better term) more mainstream music, this author found it interesting that they shared more than they differed. The differences were not so much of a kind but of a viewpoint, a viewpoint that seemed to look through the same window, but out onto a bigger landscape. This document endeavours to shed some light on the relationship of diatonicism and chromaticism, but not in a surface way. In the action of moving through this paper it is hoped that a more subtle background idea of chromaticism can be seen that is still within the realm of perceived tonality. It is an improvisers process, yet a compositional one. If one looks at each of these in terms of the manipulation of the stuff of music then they are the same. The lens through which this idea of chromaticism will be examined is what will be termed the voicing, and in defining this voicing in a very specific manner, it can be shown that it carries inside it all the structure, voice leading, functionality and coherence required for the negotiation of tonal systems, both closed (diatonic) and open (chromatic). This will be a fairly lengthy process, but one that is felt necessary in order to appreciate the local tonality vs. global chromaticism which Wheelers music exemplifies. After the process of familiarization with the voicing and some analytical techniques, two compositions of Wheelers from the late 1970s into the early 1980s will be examined using these techniques.
Author: John Spitzer Publisher: Oxford University Press ISBN: 0198164343 Category : Music Languages : en Pages : 635
Book Description
This book traces the emergence of the orchestra from 16th-century string bands to the 'classical' orchestra of Haydn, Mozart, Beethoven, and their contemporaries. Ensembles of bowed stringed instruments, several players per part plus continuo and wind instruments, were organized in France in the mid-17th century and then in Rome at the end of the century. The prestige of these ensembles and of the music and performing styles of their leaders, Jean-Baptiste Lully and ArcangeloCorelli, caused them to be imitated elsewhere, until by the late 18th century, the orchestra had become a pan-European phenomenon.Spitzer and Zaslaw review previous accounts of these developments, then proceed to a thoroughgoing documentation and discussion of orchestral organization, instrumentation, and social roles in France, Italy, Germany, England, and the American colonies. They also examine the emergence of orchestra musicians, idiomatic music for orchestras, orchestral performance practices, and the awareness of the orchestra as a central institution in European life.
Author: David Edwin Haas Publisher: ISBN: Category : Music Languages : en Pages : 328
Book Description
For a half century and more Dmitri Shostakovich and many other Soviet musicians drew inspiration from the brief period of high modernism in which they began their careers. Controversial in its own day, the modernist movement in Leningrad has been debated ever since, first within and now outside of Russia, to the point of obscuring the nature of the achievement and leaving essential questions unanswered. This book returns to the period itself to explore the issues, the creative personalities, the thought, and the music. From these studies the reader will gain a new perspective on music in the early Soviet period and insight into its lasting consequences for twentieth-century music.
Author: Ennio Morricone Publisher: Scarecrow Press ISBN: 0810892421 Category : Performing Arts Languages : en Pages : 311
Book Description
With nearly 400 scores to his credit, Ennio Morricone is one of the most prolific and influential film composers working today. He has collaborated with many significant directors, and his scores for such films as The Good, the Bad, and the Ugly; Once Upon a Time in America; Days of Heaven; The Mission; The Untouchables; Malèna; and Cinema Paradiso leave moviegoers with the conviction that something special was achieved—a conviction shared by composers, scholars, and fans alike. In Composing for the Cinema: The Theory and Praxis of Music in Film, Morricone and musicologist Sergio Miceli present a series of lectures on the composition and analysis of film music. Adapted from several lectures and seminars, these lessons show how sound design can be analyzed and offer a variety of musical solutions to many different kinds of film. Though aimed at composers, Morricone’s expositions are easy to understand and fascinating even to those without any musical training. Drawing upon scores by himself and others, the composer also provides insight into his relationships with many of the directors with whom he has collaborated, including Sergio Leone, Giuseppe Tornatore, Franco Zeffirelli, Warren Beatty, Ridley Scott, Roland Joffé, the Taviani Brothers, and others. Translated and edited by Gillian B. Anderson, an orchestral conductor and musicologist, these lessons reveal Morricone’s passion about musical expression. Delivered in a conversational mode that is both comprehensible and interesting, this groundbreaking work intertwines analysis with practical details of film music composition. Aimed at a wide audience of composers, musicians, film historians, and fans, Composing for the Cinema contains a treasure trove of practical information and observations from a distinguished musicologist and one of the most accomplished composers on the international film scene.
Author: American Musicological Society Publisher: London ; New York : Oxford University Press ISBN: Category : Language Arts & Disciplines Languages : en Pages : 862
Book Description
This volume constitutes the report of the 1971 International Josquin Festival Conference held at the Julliard School of Music in New York City. The papers assembled this collection are an elegant tribute to the study of Josquin and address biographical information, source studies, style and analysis, studies on genres, individual works, performance practice, performance and interpretation, and problems in editing Josquin's music.
Author: Henry Burnett
Author: Henry Burnett
Author: Vladimir Barsky
Author: 
Author: Howard Boatwright
Author: Peter James Vivian
Author: Arthur James Wells
Author: John Spitzer
Author: David Edwin Haas
Author: Ennio Morricone
Author: American Musicological Society