The primary focus of this book is accent which Lester argues is one of the major aspects of rhythm. The central question is not whether a note or event (rest point in time) is accented but how it is accented. This change of focus allows for the first time a thorough investigation into the factors that give rise to accent the relative importance of these factors in creating accentuation the way accents are perceived the way meter arises and the limits of metric organization on higher levels of structure.
Like many texts on musical analysis, FORMS IN TONAL MUSIC equips students to critically examine a wide range of compositions and forms. However, Green's text takes students a step further by enabling them to approach musical works unencumbered by preconceived notions of what characteristics the text should or should not have. Providing specific help on every aspect of musical analysis, this text uses many of the compositions found in Charles Burkhart's ANTHOLOGY FOR MUSICAL ANALYSIS, but it allows students the freedom to explore works that they already own.
In this book, the authors develop a theoretical framework based on a Gestalt approach, viewing rhythmic experience in terms of pattern perception or groupings. Musical examples of increasing complexity are used to provide training in the analysis, performance, and writing of rhythm.
Organized Time is the first attempt to unite theories of harmony, rhythm and meter, and form under a common idea of structured time. Building off of recent advances in music theory in essential subfields-rhythmic theory, tonal structure, and the theory of musical form--author Jason Yust demonstrates that tonal music exhibits similar hierarchical organization in each of these dimensions. Yust develops a network model for temporal structure with an application of mathematical graph theory, which leads ultimately to musical applications of a multi-dimensional polytope called the associahedron. A wealth of analytical examples includes not only the familiar tonal canon-J.S. Bach, Mozart, Schumann--but also lesser known masters of the musical Enlightenment such as C.P.E. and J.C. Bach, Boccherini, and Johann Gottlieb Graun. Yust's approach has wide-ranging ramifications across music theory, enabling new approaches to musical closure, hypermeter, formal function, syncopation, and rhythmic dissonance, as well as historical observations about the development of sonata form and the innovations of Haydn and Beethoven. Making a forceful argument for the independence of musical modalities and for a multivalent approach to music analysis, Organized Time establishes the aesthetic importance of structural disjunction, the conflict of structure in different modalities, in numerous analytical contexts.
A theoretical study of classical and romantic music from Haydn to Wagner. Explores the process by which a relatively small and regular rhythmic unit is transformed into a larger and less regular one. Expands on the work of contemporary Austrian theorist, Heinrich Schenker. Annotation copyrighted by Book News, Inc., Portland, OR
An exploration of musical harmony from its ancient fundamentals to its most complex modern progressions, addressing how and why it resonates emotionally and spiritually in the individual. W. A. Mathieu, an accomplished author and recording artist, presents a way of learning music that reconnects modern-day musicians with the source from which music was originally generated. As the author states, "The rules of music--including counterpoint and harmony--were not formed in our brains but in the resonance chambers of our bodies." His theory of music reconciles the ancient harmonic system of just intonation with the modern system of twelve-tone temperament. Saying that the way we think music is far from the way we do music, Mathieu explains why certain combinations of sounds are experienced by the listener as harmonious. His prose often resembles the rhythms and cadences of music itself, and his many musical examples allow readers to discover their own musical responses.
Textbook familiarizes readers with the signs, symbols and units of rhythmic notation. With drills, exercises, many musical examples, special sections on conducting technique, sight-singing and musical notation.
