Music Theory and the Exploration of the Past

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Christopher Hatch, David W. Bernstein
University of Chicago Press, 1993 - 561 頁
In recent decades, increased specialization has sharply separated music theory from historical musicology. Music Theory and the Exploration of the Past brings together a group of essays—written by theorists and musicologists—that seek to bridge this gap. This collection shows that music theory can join forces with historical musicology to produce a more humanistic form of musical scholarship.

In nineteen essays dealing with musical theories from the twelfth to the twentieth century, two recurring themes emerge. One is the need to understand the historical circumstances of the writing and reception of theory, a humanistic approach that gives theory a place within social and intellectual history. The other is the advantages of applying contemporaneous theory to the music of a given period, thus linking theory to the history of musical styles and structures. The periods given principal attention in these essays are the Renaissance, the years around 1800, and the twentieth century.

Abundantly illustrated with musical examples, Music Theory and the Exploration of the Past offers models of new practical applications of theory to the analysis of music. At the same time, it raises the broader question of how historical knowledge can deepen the understanding of an art and of systematic writings about that art.

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Introduction
1
1 Music Theory and Its Histories
9
2 The Earliest Phases of Measured Polyphony
41
3 Modal Strategies in Okeghems Miss Cuiusvis Toni
59
A Step in Modal Analysis
73
5 Mode and Counterpoint
103
Prolegomena to the Defense of Don Nico
137
Mutio Effrems Censuresopra il sesto libro de madrigali di Marco da Gagliano
189
The First Movement of the Eroica Symphony
357
13 Symmetry and Symmetrical Inversion in Turnof theCentury Theory and Practice
377
Organicism and Analysis
409
Schoenbergs Old Hat
435
16 The New Education and Music Theory 19001925
449
17 Harmony as a Determinant of Structure in Weberns Variations for Orchestra
473
Conposition and Theory in the Though of Stefan Wolpe
505
Stravinskys Requiem Canticles as Russian Music
525

8 The Place of Aesthetics in Theoretical Treatises on Music
217
9 Chromaticism in Classical Music
233
10 Momignys Type de la Musique and a Treatise in the Making
309
11 Normality and Disruption in Beethovens bagatelle Op 119 No 8
341
List of Contributors
551
Index
553
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