| Contents |
Inheritance [Sergei Prokofiev Sonata for Flute, op. 94, I]. The common-practice ideal ; The social dimension ; The community in dispersion -- Overtonality. The phenomenology of tonality ; A pre-musical tonal hierarchy ; Tonality and overtonality ; Dronality [Lundberg/Bärjed Sister Surround] ; "Bugleity" [Aaron Copland Fanfare for the Common Man] ; Spectralism: a deviant case [Gérard Grisey Partiels] ; Theories for overtonality ; Carol Krumhansl's tonal hierarchy ; Fred Lerdahl's pitch space ; Hindemith's Series 1 ; Minor and overtonality ; Representing overtonality in musical analysis -- Geography. Traditional rhetoric [Arnold Schoenberg Klavierstuck op. 11 no. 2, Ferruccino Busoni Konzertmässige Interpretation] ; Harmonic fluctuation [Igor Stravinsky Ave Maria, Norman Dello Joio Piano Sonata no. 3] ; Analyzing harmonic fluctuation ; The systems of Krenek and Hindemith [Ernst Krenek Studies in Counterpoint, Paul Hindemith Craft of Musical Composition] ; Ulehla's style-based systems, and her tension graphs ; Toward more adequate measurements of harmonic fluctuation through chord voicing [Leonard Bernstein Chichester Psalms I, Germaine Tailleferre Sonata for Violin and Piano I, Olivier Messiaen "Louange a l'Eternité de Jésus" from Quatuor pour la Fin du Temps] ; Meter [Neil Diamond "Cherry Cherry," Schoenberg Variations on a Recitative, op. 40] ; Linearity [James A. Moorer THX logo theme, Messiaen Apparition de l'Eglise Eternelle, Yankee Doodle] ; Expressions of curvilinearity [Hindemith Piano Sonata no. 1] ; Chord prolongation ; Postscript: Tymoczko's five features of tonality -- Harmony. Tonic dissonance [Frédéric Chopin Mazurka op. 17 no. 4, Emil Waldteufel The Skaters, Maurice Duruflé "In Paradisium" from Requiem op. 9] ; Overtonal chords ; Pitch-space voicing, spread, and bandwidths (Functional pitch space) ; Articulated overtonal tonics (Colored triads [Béla Bartók Bagatelle op. 6 no. 4, Maurice Ravel Gaspard de la nuit, Prokofiev Sonata no. 4] ; Polychords [Darius Milhaud "Corvocado" from Saudades do Brasil] ; Chords with root representatives [Ravel Daphnis et Chloé, Stephen Flaherty "Human Heart" from Once on this Island]) ; Integrated overtonal tonics (Amplified chords [James Pankow "Colour My World," Hindemith Symphonie: Mathis der Maler, Stravinsky Petrushka]) ; Overtonal tonicity: three case studies (Special opportunities for amplified-tonics with two fills in Duruflé's Requiem ; An amplified tonic with coloring agents in Steve Reich's Octet ; Pentatonic ambiguities in Marcel Dupré's Prelude in B major, op. 7 (1912)) ; Antitonics and the ends of harmonic function -- Styles. Peak common practice: an institutional curriculum ; Irony and sincerity: contrasting attitudes toward tradition ; Prelude and Interludium [Dmitri Shostakovich Prelude in E flat, Hindemith Interludium in E flat] ; Pop and art: preferences about registration and audience ; Simple songs [Bernstein "A Simple Song" from Mass: a Theatre Piece for Singers, Players, and Dancers, Brian Wilson "Passing By"] ; Global and local: allegiances to imagined communities ; Pentatonic places and twelve-tone universes [Xiaoyong Chen "Wind, Water, and Shadows" from Diary III, Frank Martin Petite Symphonie Concertante, Samuel Barber Nocturne op. 33, David Shire The Taking of Pelham] ; Envoi: Prokofiev, Sonata for Flute, op. 94, I. |
| Abstract |
This book is about how music "in a key" is composed. Further, it is about how such music was composed when it was no longer compulsory to do so, starting a few years before the First World War. In an eclectic journey through the history of compositional technique, the author contends that the tonal system did not simply die out with the dawn of twentieth century, but continued to supplement newer techniques as a compelling means of musical organization, even into current times. Well-known art music composers such as Bartok, Hindemith, Prokofiev, and Messiaen are represented alongside composers whose work moves outside the standard boundaries of art music: Leonard Bernstein, Murice [Maurice] Duruflé, Frank Martin, Xiaoyong Chen. Along the way, the book attends to military bugle calls, a trailer before a movie feature, a recomposition of a famous piece by Arnold Schoenberg, and the music of Neil Diamond, David Shire, and Brian Wilson. A celebration of the awesome variety of musical expressions encompassed in what is called tonal music, this book is for composers seeking ideas and effects, music theorists interested in its innovations, and all those who practice the analysis of composition in all its modern and traditional variations. |
