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010 a| 72087348;

035 a| (Sirsi) o00077151;

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049 a| EREM;

050 00 a| ML444.S55b| T3 1969;

082 0 a| 781.3;

100 1 a| Shirlaw, Matthew,d| 1873-1961.=| ^A646746;

245 14 a| The theory of harmony ;b| an inquiry into the natural principles of harmony, with an examination of the chief systems of harmony from Rameau to the present day /c| by Matthew Shirlaw.;

260 a| New York :b| Da Capo Press,c| 1969.;

300 a| xvi, 484 pages :b| illustrations, music ;c| 23 cm.;

336 a| text2| rdacontent;

337 a| unmediated2| rdamedia;

338 a| volume2| rdacarrier;

490 1 a| Da Capo Press music reprint series;

500 a| Reprint of the 1917 edition.;

504 a| Includes bibliographical references.;

505 0 a| PART I -- Preface -- 1. The Consonance of Polyphony : Figured Bass Schools and the Classification of Chards -- 2. Gioseffo Zarlino (1517-90) and the Generation of Harmony : Nature and Influence of his work as a Theorist -- Rene Descartes (1596-1650) -- 3, Jean Philippe Rameau (1683-1764): Traite de l'Harmonie: Harmonic Generation and the Inversion of Chords : The Minor Harmony : Origin of the THeory of Chord Generation by means of Added Thirds : Chords of the Seventh : Chords by "Supposition" : Resolution of Dissonances: Resume of Rameau's Theories of Chord Generation -- 4. Rameau's Traite de l'Harmonie (continued): The Fundamental Bass : The Cadence- Nature and Functions of Chords Determination of Key : Necessity for Dissonance in Music : Melody has its Origin in Harmony: The Nature and Constitution of the Scale -- PART II -- 5. Rameau's Noeveau Systeme de Musique Theorique : Relationship of Harmony and the Fundamental Bass to Mathematical Progressions : Theory of the Subdominant : The major and Minor Modes : The Chromatic Scale : Nature and Origin of Tone-Sytems -- 6. Rameau's Generation Harmonique and Demonstration du Principle del Harmonies : Harmony a Physico-Mathematical Science Objections to Rameau's Theories by Berlioz, Fetis, and Others -- 7. Rameau's Generation Harmonique and Demonstration (continued): The Diatonic System (Major Mode): Harmonic Dissonance: "Double Employment" of Dissonance: Chord of the "Added Sixth": Examination of Rameau's Views concerning the Origin and Nature of the Key-System: Difficulties in Connection with the Subdominant: Helmholtz's Theory of the Origin of Scales: Difficulties Connected with the Tritone: Chord of the "Added Sixth": "False Intervals" of the Scale: Temperament, its Theory and Practice -- 8. Rameau's Generation Harmonique and Demonstration (continued): The Minor Harmony: The Minor Mode: Further Development of Rameau's Views respecting the Major Harmony: Relationship of the Major and Minor Modes: Anticipation of Helmholtz's Theory of the Minor Harmony: the Chromatic Genus: Origin of the Chromatic Scale: the Enharmonic Genus: the Use made of Quarter-tones in Modern Music: Other Aspects of Rameau's Theory -- 9. Other Theoretical Works of Rameau: Code de Musique Pratique: Nouvelles Reflexions sur la Demonstration du Principe de l'Harmonie: Nouvelles Reflexions sur le Principe Sonore: The Minor Harmony: The Subdominant: Generation of the Major Mode: Origin of Dissonant Chords: Contemporary Criticism of Rameau's Doctrines: Rameau and the "Encyclopaedists" --;

505 0 a| PART III -- 10. Development of the Theory of Harmony from the time of Rameau up to the present day: Tartini's Trattato di Musica (1754): The Principle of Harmony is independent of human will: Resultant Tones: Physical Root of the Harmonic System: The Arithmetical as well as the Harmonic Division of the Octave, and of the Fifth, is a necessity of the Harmonic System: The Minor Harmony arises from the same Principle as the Major: Origin of the Key-System: Origin of Harmonic Dissonance. G.A. Sorge (Vorgemach der Musikalischen Komposition, 1745-47): Generation of Chords: Theoretical Importance of Chord of the Dominant Seventh. F.W. Marpurg (Systematische Einleitung in die musikalische Setzkunst, 1757, Handbuch bei dem Generalbasse und der Composition, 1755-58, etc.): Development of the Added-Third Theory of Chord Generation: Chords of the "Ninth," "Eleventh," and "Thirteenth": Sorge and Marpurg on the Origin of the Chord of the Diminished Seventh -- 11. J.P. Kirnberger (1721-83): Reaction against Marpurg's doctrines: Significance of the Leading-note: All Harmony comprised in the Triad and Chord of the Seventh: "Essential" and "Non-essential" Discords: Origin of the Chord of the Augmented Sixth. Other Theorists of the end of the 18th and beginning of the 19th centuries: P.J. Roussier: Abbe Vogler: G. Weber: L.A. Sabbatini: C.S. Catel, etc. F.J. Fetis (1784-1871) and the Doctrine of Tonality: The "Laws" of Tonality: Change from the Old to the New World of Harmonic Music brought about by Monteverde's introduction of the Chord of the Dominant Seventh: The Chord of the Dominant Seventh a Natural Discord: Chord Relationship and Succession: "Altered" and "Chromatically Altered" Chords -- 12. Moritz Hauptmann (1792-1868) and the Nature of Harmony: Rejection of the Partial-tone Theory: The real Basis of Harmony: Octave, Fifth and Major Third the only "directly intelligible" Intervals: The Key-system: Secondary Triads of the Key-system: Origin of Discords: Diminished Triads and the Chord of the "Added Sixth": Resolution of Dissonant Chords: The Chromatic Scale: The Minor Harmony: Chord Relationship and Succession. H.L.F. Helmholtz (The Sensations of Tone, 1863): The Major Harmony: Minor Harmony and the Chord of the "Added Sixth": Origin of Dissonant Chords: Tonality: Theory of Consonance and Dissonance. Ottingen and the Dual Nature of Harmony. Dr. H. Riemann (Die Natur der Harmonik, 1882; Harmony Simplified, 1893, etc.): The "Under-tone Series": The "Tonal Functions" of Chords: "Overklangs" and "Underklangs": The Key-system: Characteristic Discords: Parallel-klangs: Melodically altered Chords: Chord Succession -- 13. English Theorists: Day's Treatise on Harmony (1845): Diatonic and Chromatic Harmony: The Key-system: Natural Discords: Day's Fundamental Bass: System of "Roots": Minor Harmony and Minor Mode: The Subdominant: The Augmented Triad. Macfarren's Rudiments of Harmony (1860) and Six Lectures on Harmony (1867). Ouseley's Treatise on Harmony (1868). Stainer's Theory of Harmony (1871): The Tempered Scale: Added Third Generation of Chords: The Third "The Basis of all Harmony." E. Prout (Harmony: its Theory and Practice, 20th ed., 1903): Resuscitation of Day's Theory: Subsequent Abandonment of the Harmonic Series as the Basis of Harmony: Origin of Discords: the Subdominant: Secondary Discords: Chord Succession: "Tonality" and the "Melodic Tendencies" of the Sounds of the Scale -- 14. Resume and Conclusion.;

650 0 a| Harmony.=| ^A22140;

830 0 a| Da Capo Press music reprint series.=| ^A259341;

919 a| BOOK;

596 a| 3;

998 a| 8334;

999 a| ML444.S55 T3 1969w| LCc| 1i| 310372000053807d| 1/13/2020e| 10/20/2019f| 5/12/2025g| 4l| MCSm| JMUSICn| 8r| Ys| Yt| MCSSBKu| 1/29/1986x| BOOKz| MCIRCo| .STAFF. .note. Temporary transfer #1 to HSL Temporary transfer #2 to HSLo| .STAFF. enhanced 10/22/24 -jjabo| .STAFF. Copy Statement : c.1;

The theory of harmony ; an inquiry into the natural principles of harmony, with an examination of the chief systems of harmony from Rameau to the present day / by Matthew Shirlaw.

Author/creator	Shirlaw, Matthew
Format	Book
Publication Info	New York : Da Capo Press, 1969.
Description	xvi, 484 pages : illustrations, music ; 23 cm.
Subjects	Harmony.

Series	Da Capo Press music reprint series Da Capo Press music reprint series. ^A259341
Contents	PART I -- Preface -- 1. The Consonance of Polyphony : Figured Bass Schools and the Classification of Chards -- 2. Gioseffo Zarlino (1517-90) and the Generation of Harmony : Nature and Influence of his work as a Theorist -- Rene Descartes (1596-1650) -- 3, Jean Philippe Rameau (1683-1764): Traite de l'Harmonie: Harmonic Generation and the Inversion of Chords : The Minor Harmony : Origin of the THeory of Chord Generation by means of Added Thirds : Chords of the Seventh : Chords by "Supposition" : Resolution of Dissonances: Resume of Rameau's Theories of Chord Generation -- 4. Rameau's Traite de l'Harmonie (continued): The Fundamental Bass : The Cadence- Nature and Functions of Chords Determination of Key : Necessity for Dissonance in Music : Melody has its Origin in Harmony: The Nature and Constitution of the Scale -- PART II -- 5. Rameau's Noeveau Systeme de Musique Theorique : Relationship of Harmony and the Fundamental Bass to Mathematical Progressions : Theory of the Subdominant : The major and Minor Modes : The Chromatic Scale : Nature and Origin of Tone-Sytems -- 6. Rameau's Generation Harmonique and Demonstration du Principle del Harmonies : Harmony a Physico-Mathematical Science Objections to Rameau's Theories by Berlioz, Fetis, and Others -- 7. Rameau's Generation Harmonique and Demonstration (continued): The Diatonic System (Major Mode): Harmonic Dissonance: "Double Employment" of Dissonance: Chord of the "Added Sixth": Examination of Rameau's Views concerning the Origin and Nature of the Key-System: Difficulties in Connection with the Subdominant: Helmholtz's Theory of the Origin of Scales: Difficulties Connected with the Tritone: Chord of the "Added Sixth": "False Intervals" of the Scale: Temperament, its Theory and Practice -- 8. Rameau's Generation Harmonique and Demonstration (continued): The Minor Harmony: The Minor Mode: Further Development of Rameau's Views respecting the Major Harmony: Relationship of the Major and Minor Modes: Anticipation of Helmholtz's Theory of the Minor Harmony: the Chromatic Genus: Origin of the Chromatic Scale: the Enharmonic Genus: the Use made of Quarter-tones in Modern Music: Other Aspects of Rameau's Theory -- 9. Other Theoretical Works of Rameau: Code de Musique Pratique: Nouvelles Reflexions sur la Demonstration du Principe de l'Harmonie: Nouvelles Reflexions sur le Principe Sonore: The Minor Harmony: The Subdominant: Generation of the Major Mode: Origin of Dissonant Chords: Contemporary Criticism of Rameau's Doctrines: Rameau and the "Encyclopaedists" --
Contents	PART III -- 10. Development of the Theory of Harmony from the time of Rameau up to the present day: Tartini's Trattato di Musica (1754): The Principle of Harmony is independent of human will: Resultant Tones: Physical Root of the Harmonic System: The Arithmetical as well as the Harmonic Division of the Octave, and of the Fifth, is a necessity of the Harmonic System: The Minor Harmony arises from the same Principle as the Major: Origin of the Key-System: Origin of Harmonic Dissonance. G.A. Sorge (Vorgemach der Musikalischen Komposition, 1745-47): Generation of Chords: Theoretical Importance of Chord of the Dominant Seventh. F.W. Marpurg (Systematische Einleitung in die musikalische Setzkunst, 1757, Handbuch bei dem Generalbasse und der Composition, 1755-58, etc.): Development of the Added-Third Theory of Chord Generation: Chords of the "Ninth," "Eleventh," and "Thirteenth": Sorge and Marpurg on the Origin of the Chord of the Diminished Seventh -- 11. J.P. Kirnberger (1721-83): Reaction against Marpurg's doctrines: Significance of the Leading-note: All Harmony comprised in the Triad and Chord of the Seventh: "Essential" and "Non-essential" Discords: Origin of the Chord of the Augmented Sixth. Other Theorists of the end of the 18th and beginning of the 19th centuries: P.J. Roussier: Abbe Vogler: G. Weber: L.A. Sabbatini: C.S. Catel, etc. F.J. Fetis (1784-1871) and the Doctrine of Tonality: The "Laws" of Tonality: Change from the Old to the New World of Harmonic Music brought about by Monteverde's introduction of the Chord of the Dominant Seventh: The Chord of the Dominant Seventh a Natural Discord: Chord Relationship and Succession: "Altered" and "Chromatically Altered" Chords -- 12. Moritz Hauptmann (1792-1868) and the Nature of Harmony: Rejection of the Partial-tone Theory: The real Basis of Harmony: Octave, Fifth and Major Third the only "directly intelligible" Intervals: The Key-system: Secondary Triads of the Key-system: Origin of Discords: Diminished Triads and the Chord of the "Added Sixth": Resolution of Dissonant Chords: The Chromatic Scale: The Minor Harmony: Chord Relationship and Succession. H.L.F. Helmholtz (The Sensations of Tone, 1863): The Major Harmony: Minor Harmony and the Chord of the "Added Sixth": Origin of Dissonant Chords: Tonality: Theory of Consonance and Dissonance. Ottingen and the Dual Nature of Harmony. Dr. H. Riemann (Die Natur der Harmonik, 1882; Harmony Simplified, 1893, etc.): The "Under-tone Series": The "Tonal Functions" of Chords: "Overklangs" and "Underklangs": The Key-system: Characteristic Discords: Parallel-klangs: Melodically altered Chords: Chord Succession -- 13. English Theorists: Day's Treatise on Harmony (1845): Diatonic and Chromatic Harmony: The Key-system: Natural Discords: Day's Fundamental Bass: System of "Roots": Minor Harmony and Minor Mode: The Subdominant: The Augmented Triad. Macfarren's Rudiments of Harmony (1860) and Six Lectures on Harmony (1867). Ouseley's Treatise on Harmony (1868). Stainer's Theory of Harmony (1871): The Tempered Scale: Added Third Generation of Chords: The Third "The Basis of all Harmony." E. Prout (Harmony: its Theory and Practice, 20th ed., 1903): Resuscitation of Day's Theory: Subsequent Abandonment of the Harmonic Series as the Basis of Harmony: Origin of Discords: the Subdominant: Secondary Discords: Chord Succession: "Tonality" and the "Melodic Tendencies" of the Sounds of the Scale -- 14. Resume and Conclusion.
General note	Reprint of the 1917 edition.
Bibliography note	Includes bibliographical references.
LCCN	72087348

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The theory of harmony ; an inquiry into the natural principles of harmony, with an examination of the chief systems of harmony from Rameau to the present day / by Matthew Shirlaw.

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