Tymoczko, Dmitri - Tonality

    Catalogue No: 9780197577103
    An Owner's Manual

    Product FormatBook
    AuthorTymoczko, Dmitri
    £25.99
    Typically dispatched in 3-4 working days
    SeriesOXFORD STUDIES IN MUSIC THEORY
    Pages632
    Publication Date14 December 2023
    ISBN9780197577103 (0197577105)
    EAN9780197577103

      Features novel geometrical models of musical structure to help the reader understand the basic mechanics underlying a vast range of music
    • Rethinks fundamental concepts of musical theory that reveal commonalities among styles that seem different on the surface
    • Includes almost 700 musical examples

    Wide-ranging in scope, and with almost 700 musical examples from the Middle Ages to the present day, Tonality: An Owner's Manual weaves philosophy, mathematics, statistics, and computational analysis into a new and truly twenty-first century theory of music. It proposes a sweeping reformulation of the basic concepts of Western music theory, revealing simple structures underlying a wide range of practices from the Renaissance to contemporary pop. Each of its central chapters re-examines a basic music-theoretical concept such as voice leading, repetition, nonharmonic tones, the origins of tonal harmony, the grammar of tonal harmony, modulation, and melody.

    Contents

    1. Preface and Acknowledgements
    2. 1. Implicit musical knowledge
    3. 1. Gesualdo's trick
    4. 2. The quadruple hierarchy
    5. 3. Philosophy
    6. 4. Statistics
    7. 5. Schema
    8. 6. Outline
    9. Prelude: transposition along a collection
    10. 2. Rock logic
    11. 1. A melodic principle
    12. 2. A harmonic principle
    13. 3. A first chord-loop family
    14. 4. Two more families
    15. 5. Shepard-tone passacaglias
    16. 6. Minor triads and other trichords
    17. 7. A fourth family
    18. 8. Other modalities
    19. 9. Function and retrofunction
    20. 10. Continuity or reinvention?
    21. Prelude: the Tinctoris transform
    22. 3. Line and configuration
    23. 1. The imperfect system
    24. 2. Voice exchanges
    25. 3. Other intervals
    26. 4. The circle of diatonic triads
    27. 5. Voice exchanges and multiple chord types
    28. 6. Four-voice triadic counterpoint
    29. 7. Counterpoint within the chord
    30. 8. Seventh chords
    31. 9. Harmony and counterpoint
    32. Prelude: sequence and function
    33. 4. Repetition
    34. 1. Repetition reimagined
    35. 2. Repeating contrapuntal patterns
    36. 3. The geometry of two-voice sequences
    37. 4. Three voices and the circle of triads
    38. 5. Three voices arranged 2+1
    39. 6. Four voices
    40. 7. Contrary-motion sequences
    41. 8. Melodic sequences and near sequences
    42. 9. Near sequences
    43. 10. Sequences as reductional targets
    44. Prelude: three varieties of analytical reduction
    45. 5. Nonharmonic tones
    46. 1. The first practice and the SNAP system
    47. 2. Schoenberg's critique
    48. 3. Monteverdi's Ohime
    49. 4. The standardized second practice
    50. 5. A loophole
    51. 6. After nonharmonicity
    52. Prelude: functional and scale-degree analysis
    53. 6. The origins of functional harmony
    54. 1. The logical structure of protofunctionality
    55. 2. Similarities and differences
    56. 3. Origin and meaning
    57. 4. Harmony and polyphony
    58. 5. The Pope Marcellus Kyrie
    59. 6. A broader perspective
    60. 7. I Cannot Follow
    61. Prelude: could the Martians understand our music?
    62. 7. Functional progressions
    63. 1. A theory of harmonic cycles
    64. 2. A more principled view
    65. 3. Rameau and Bach
    66. 4. Functional melody, functional harmony
    67. 5. Fauxbourdon and linear idioms
    68. 6. Sequences
    69. 7. Bach the dualist
    70. Prelude: chromatic or diatonic?
    71. 8. Modulation
    72. 1. Two models of key distance
    73. 2. Enharmonicism and loops in scale space
    74. 3. Minor keys
    75. 4. Modulatory schemas
    76. 5. Up and down the ladder
    77. 6. Modal homogenization and scalar voice leading
    78. 7. Generalized set theory
    79. Prelude: hearing and hearing-as
    80. 9. Melodic strategies
    81. 1. Strategy and reduction
    82. 2. Two models of the phrase
    83. 3. Chopin and the Prime Directive
    84. 4. An expanded vocabulary of melodic templates
    85. 5. Simple harmonic hierarchy
    86. 6. The four-part phrase
    87. 7. Grouping, melody, harmony
    88. 8. Beyond the phrase: hierarchy at the level of the piece
    89. Prelude: why Beethoven?
    90. 10. Beethoven theorist
    91. 1. Meet the Ludwig
    92. 2. From schema to flow
    93. 3. The Tempest
    94. 4. The Fifth Symphony
    95. 5. The Pastorale sonata, op. 28
    96. 6. Schubert's Quartettsatz
    97. 7. The prelude to Lohengrin
    98. 11. Conclusion
    99. 12. Appendix 1: Fundamentals
    100. 13. Appendix 2: Deriving the spiral diagrams
    101. 14. Appendix 3: From sequence to transformation
    102. 15. Appendix 4: Music theory and corpus analysis
    103. Terms and Abbreviations
    104. Bibliography
    9780197577103