An introduction to tonal theory / Westergaard, Peter

Public ISBD Titre : An introduction to tonal theory Type de document : texte imprimé Auteurs : Westergaard, Peter, Auteur Editeur : New York : W.W. Norton and Company Année de publication : c1975 Importance : viii, 435 p. Présentation : [1] folded leaf of plates : illustrations Format : 28 cm ISBN/ISSN/EAN : 978-0-393-09342-1 Langues : Anglais (eng) Catégories : Counterpoint Music theory Index. décimale : MT 40 Note de contenu : What are we talking about? : A "theory of tonal music"? What kind of theory? What do you mean, "music"? ; A "scientific" theory? ; "Why don't you just ask him what he hears?" Notes : Notes ; Pitch ; Time ; Loudness ; Timbre Lines : Lines; Repetitions, steps, and skips ; Consonance and dissonance ; Linear operations and constructs ; Triads, the tonic, and the diatonic degrees ; Tonal pitch structures Species counterpoint : What species counterpoint is and what it's for ; Constructing species lines: some operational rules ; Understanding species lines: structural ambiguity and interest ; Combining species lines: the fundamental voice-leading constraints ; Combining species lines: correspondence between linear structures Simple species : Introduction ; Two lines in first species ; Three lines in first species ; Two lines in second species ; Compound lines ; Two lines in third species ; Compound lines, continued ; Three lines in second and third species ; Two lines in fourth species ; Three lines in fourth species Combined species : Combining species ; Two lines in second species, one in first; Two lines in third species, one in first ; Two compound lines moving at the same rate ; Two lines in fourth species, one in first ; One line in first species, one in second, one in third ; Two compound lines moving at different rates ; One line in first species, one in second, one in fourth; One line in first species, one in third, one in fourth ; Dissonant skips and skips to and from dissonant notes: compound lines based on pairs of lines in a higher simple species ; Dissonant skips and skips to and from a dissonant note, continued: compound lines based on pairs of lines in combined species ; Passing tones and dissonant neighbors beginning at the same time as the stable notes against which they are dissonant: combining compound lines with lines in a higher species Notes, beats, and measures : Tonal rhythm ; Segmentation, delay, and anticipation ; Thinking of notes in terms of beats ; Secondary segmentations, delays, and anticipations ; Secondary beats ; Establishing beats ; Non-diatonic voice-leading procedures: chromatic neighbors and chromatic step motion ; Some new principles of linear generation: doubling, borrowing, and transfer Phrases, sections, and movements : Spans longer than a measure: the nature of the problem ; Phrase structure ; The cadence ; Consecutive phrases ; Non-diatonic voice-leading procedures: secondary dominants, diminished sevenths, and augmented sixth chords; mixtures ; Tonicization, structural parallelism, and large-scale span structure ; An overview and some words of warning Performance : Some problems we've been avoiding ; Articulation: what the performer does ; Articulation: effect of what the performer does on our understanding of the structure ; Contrasts of loudness and timbre ; Rubato ; Performance strategies and "understanding the structure". An introduction to tonal theory [texte imprimé] / Westergaard, Peter, Auteur . - New York : W.W. Norton and Company, c1975 . - viii, 435 p. : [1] folded leaf of plates : illustrations ; 28 cm. ISBN : 978-0-393-09342-1 Langues : Anglais (eng) Catégories : Counterpoint Music theory Index. décimale : MT 40 Note de contenu : What are we talking about? : A "theory of tonal music"? What kind of theory? What do you mean, "music"? ; A "scientific" theory? ; "Why don't you just ask him what he hears?" Notes : Notes ; Pitch ; Time ; Loudness ; Timbre Lines : Lines; Repetitions, steps, and skips ; Consonance and dissonance ; Linear operations and constructs ; Triads, the tonic, and the diatonic degrees ; Tonal pitch structures Species counterpoint : What species counterpoint is and what it's for ; Constructing species lines: some operational rules ; Understanding species lines: structural ambiguity and interest ; Combining species lines: the fundamental voice-leading constraints ; Combining species lines: correspondence between linear structures Simple species : Introduction ; Two lines in first species ; Three lines in first species ; Two lines in second species ; Compound lines ; Two lines in third species ; Compound lines, continued ; Three lines in second and third species ; Two lines in fourth species ; Three lines in fourth species Combined species : Combining species ; Two lines in second species, one in first; Two lines in third species, one in first ; Two compound lines moving at the same rate ; Two lines in fourth species, one in first ; One line in first species, one in second, one in third ; Two compound lines moving at different rates ; One line in first species, one in second, one in fourth; One line in first species, one in third, one in fourth ; Dissonant skips and skips to and from dissonant notes: compound lines based on pairs of lines in a higher simple species ; Dissonant skips and skips to and from a dissonant note, continued: compound lines based on pairs of lines in combined species ; Passing tones and dissonant neighbors beginning at the same time as the stable notes against which they are dissonant: combining compound lines with lines in a higher species Notes, beats, and measures : Tonal rhythm ; Segmentation, delay, and anticipation ; Thinking of notes in terms of beats ; Secondary segmentations, delays, and anticipations ; Secondary beats ; Establishing beats ; Non-diatonic voice-leading procedures: chromatic neighbors and chromatic step motion ; Some new principles of linear generation: doubling, borrowing, and transfer Phrases, sections, and movements : Spans longer than a measure: the nature of the problem ; Phrase structure ; The cadence ; Consecutive phrases ; Non-diatonic voice-leading procedures: secondary dominants, diminished sevenths, and augmented sixth chords; mixtures ; Tonicization, structural parallelism, and large-scale span structure ; An overview and some words of warning Performance : Some problems we've been avoiding ; Articulation: what the performer does ; Articulation: effect of what the performer does on our understanding of the structure ; Contrasts of loudness and timbre ; Rubato ; Performance strategies and "understanding the structure".

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Code-barres	Cote	Support	Localisation	Section	Disponibilité
100038359	MT 40 .W48 1975	Book	Bibliothèque principale	English Books	Disponible

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