| 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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