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Author: Thomas Christensen Publisher: University of Chicago Press ISBN: 022662708X Category : Music Languages : en Pages : 376
Book Description
Stories of Tonality in the Age of François-Joseph Fétis explores the concept of musical tonality through the writings of the Belgian musicologist François-Joseph Fétis (1784–1867), who was singularly responsible for theorizing and popularizing the term in the nineteenth century. Thomas Christensen weaves a rich story in which tonality emerges as a theoretical construct born of anxiety and alterity for Europeans during this time as they learned more about “other” musics and alternative tonal systems. Tonality became a central vortex in which French musicians thought—and argued—about a variety of musical repertoires, be they contemporary European musics of the stage, concert hall, or church, folk songs from the provinces, microtonal scale systems of Arabic and Indian music, or the medieval and Renaissance music whose notational traces were just beginning to be deciphered by scholars. Fétis’s influential writings offer insight into how tonality ingrained itself within nineteenth-century music discourse, and why it has continued to resonate with uncanny prescience throughout the musical upheavals of the twentieth and twenty-first centuries.
Author: Thomas Christensen Publisher: University of Chicago Press ISBN: 022662708X Category : Music Languages : en Pages : 376
Book Description
Stories of Tonality in the Age of François-Joseph Fétis explores the concept of musical tonality through the writings of the Belgian musicologist François-Joseph Fétis (1784–1867), who was singularly responsible for theorizing and popularizing the term in the nineteenth century. Thomas Christensen weaves a rich story in which tonality emerges as a theoretical construct born of anxiety and alterity for Europeans during this time as they learned more about “other” musics and alternative tonal systems. Tonality became a central vortex in which French musicians thought—and argued—about a variety of musical repertoires, be they contemporary European musics of the stage, concert hall, or church, folk songs from the provinces, microtonal scale systems of Arabic and Indian music, or the medieval and Renaissance music whose notational traces were just beginning to be deciphered by scholars. Fétis’s influential writings offer insight into how tonality ingrained itself within nineteenth-century music discourse, and why it has continued to resonate with uncanny prescience throughout the musical upheavals of the twentieth and twenty-first centuries.
Author: Publisher: Pendragon Press ISBN: 9780918728999 Category : Music Languages : en Pages : 572
Book Description
Originally published in 1966, the Reeseschrift remains one of the most significant collections of musicological writings ever assembled. Its fifty-six essays, written by some of the greatest scholars of our time, range chronologically from antiquity to the 17thcentury and geographically from Byzantium to the British Isles. They deal with questions of history, style, form, texture, notation, and performance practice.
Author: Thomas Christensen Publisher: University of Chicago Press ISBN: 022662692X Category : Music Languages : en Pages : 376
Book Description
Stories of Tonality in the Age of François-Joseph Fétis explores the concept of musical tonality through the writings of the Belgian musicologist François-Joseph Fétis (1784–1867), who was singularly responsible for theorizing and popularizing the term in the nineteenth century. Thomas Christensen weaves a rich story in which tonality emerges as a theoretical construct born of anxiety and alterity for Europeans during this time as they learned more about “other” musics and alternative tonal systems. Tonality became a central vortex in which French musicians thought—and argued—about a variety of musical repertoires, be they contemporary European musics of the stage, concert hall, or church, folk songs from the provinces, microtonal scale systems of Arabic and Indian music, or the medieval and Renaissance music whose notational traces were just beginning to be deciphered by scholars. Fétis’s influential writings offer insight into how tonality ingrained itself within nineteenth-century music discourse, and why it has continued to resonate with uncanny prescience throughout the musical upheavals of the twentieth and twenty-first centuries.
Author: Edward Gollin Publisher: Oxford University Press ISBN: 0199717478 Category : Music Languages : en Pages : 628
Book Description
In recent years Hugo Riemann's ideas have thoroughly captured the music-theoretical imagination, both in the United States and abroad. Neo-Riemannian theory has proven particularly adept at explaining features of chromatic music where other theoretical approaches have failed, and in so doing has established itself as the leading theoretical approach of our time. The Oxford Handbook of Neo-Riemannian Music Theories brings together an international group of leading proponents of Riemannian and neo-Riemannian theory for a thoroughgoing exploration of the music-analytical, systematic, and historical aspects of this important new field. The volume elucidates key aspects of the field, draws connections between Riemann's original ideas and current thought, and suggests new applications and avenues for further study. A number of essays suggest connections to other fields of inquiry, such as cognitive and mathematical music theory, as well as applications in the field of metric or melodic analysis. The selection of essays is complemented by several of Hugo Riemann's key original texts, many of which appear in English translation for the first time, and is rounded off by a glossary of key concepts for easy reference.
Author: William Kinderman Publisher: U of Nebraska Press ISBN: 9780803227248 Category : Music Languages : en Pages : 302
Book Description
In 1861, a half-century before Arnold Schoenberg's break with tonality, a young composer associated with Liszt saw a threshold to musical modernism as lodged in the "suspension of the main key." As the unified tonal perspective of earlier music yielded increasingly to dualistic key structures often laden with chromaticism, the language of music was transformed. In The Second Practice of Nineteenth-Century Tonality, nine prominent theorists and historians explore aspects of this musical evolution, from Schubert to the end of the nineteenth century. Many works discussed are masterpieces of the performance repertory, ranging from Chopin's piano pieces and Wagner's music dramas to the symphonies of Bruckner. The integration of analytical and historical approaches in the essays seeks to avoid narrow specialization as well as the polemic stance of some recent studies. A critical assessment of issues including inter-textuality, narrative, and dramatic symbolism enriches this investigation of what may be described as the "second practice" of nineteenth-century tonality.
Author: William Rothstein Publisher: Oxford University Press ISBN: 0197609686 Category : Languages : en Pages : 601
Book Description
Though studying opera often requires attention to aesthetics, libretti, staging, singers, compositional history, and performance history, the music itself is central. This book examines operatic music by five Italian composers--Rossini, Bellini, Mercadante, Donizetti, and Verdi--and one non-Italian, Meyerbeer, during the period from Rossini's first international successes to Italian unification. Detailed analyses of form, rhythm, melody, and harmony reveal concepts of musical structure different from those usually discussed by music theorists, calling into question the notion of a common practice. Taking an eclectic analytical approach, author William Rothstein uses ideas originating in several centuries, from the sixteenth to the twenty-first, to argue that operatic music can be heard not only as passionate vocality but also in terms of musical forms, pitch structures, and rhythmic patterns--that is, as carefully crafted music worth theoretical attention. Although no single theory accounts for everything, Rothstein's analysis shows how certain recurring principles define a distinctively Italian practice, one that left its mark on the German repertoire more familiar to music theorists.
Author: Thomas Christensen
Author: Thomas Christensen
Author: Anthony Jay Kosar
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Author: Thomas Christensen
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Author: Edward Gollin
Author: William Kinderman
Author: François-Joseph Fétis
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Author: William Rothstein