Contemporary tone-structures /
This book undertakes two related tasks: to provide effective procedures and techniques for the analysis of contemporary tone-structures, and to demonstrate the application of those procedures and techniques in a number of intensive analysis.
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| Format: | Book |
| Language: | English |
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New York :
Teachers College, Columbia University,
1955.
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| Series: | Teachers College studies in education
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Table of Contents:
- Analysis and contemporary music
- Fundamental considerations. Some important characteristics of western tone-structures
- The postulational basis of traditional music
- The concept of triadic tonality
- Structural postulates of contemporary music
- The analytic procedure. Evaluation of individual tones in a linear context
- Interpretation; some general types of structural events
- The analytic reductions
- On terminology
- The aural sense; its role in analysis
- Igor Stravinsky. Larghetto from The Five Fingers, 1921 (score and analytic sketches) ; Preliminary survey - general characteristics ; The first reduction ; Structural roles of the individual lines ; Concurrence of structural events in the individual lines ; Overview of the work ; Structural background ; Functional relationships ; Duplication of tonal patterns in the large and small spans ; Phrasing and dynamics ; Form
- Darius Milhaud. Midi from Une Journee, 1946 (score and analytic sketches) ; The major structural events ; Techniques ; The structural background ; Structural postulates ; Aural test of the analysis ; The lower parts ; Registral relationships ; Simultaneity ; Rhythm ; Phrasing ; Dynamics
- Roger Sessions. Number III from From My Diary, 1939 (score and analytic sketches) ; Preliminary survey ; Structure of the individual lines ; Sequence of events in the total structure ; The structural background ; The germinal line ; Compositional postulates ; Functional relationships ; Techniques ; Rhythm ; Problematic aspects of the work
- Aaron Copland. Number 3 from Four Piano Blues, 1948 (score and analytic sketches) ; The analytic sketches ; Techniques ; Other aspects of the middleground ; Relative importance of individual lines ; Horizontal connections ; Rhythm ; Examination of measures 1-4 with traditional techniques ; Structural postulates ; Sequence of major structural events
- Bela Bartok. Number VIII from Fourteen Bagatelles, op. 6, 1908 (score and analytic sketches) ; Major structural events ; Recurrent motions ; Techniques ; Linear generation ; Linear continuity and discontinuity ; Structural background ; Problematic nature of the basic structure ; Re-examination of the foreground ; Concluding remarks
- Paul Hindemith. Fuga undecima in B from Ludus Tonalis, 1942 (score and analytic sketches) ; The foreground ; The basic elements ; The structural background ; Triadic tonality ; Middleground ; Concluding observations
- Arnold Schoenberg. Phantasy for Violin with Piano Accompaniment, op. 47, 1951 (analytic sketches) ; Pre-compositional procedures ; Compositional procedures ; Problems of analysis; foreground-background ; The primary set ; Synopsis of the available forms and transpositions of the set ; Sketch 53 ; Sketch 54 ; Sketches 59-65 ; Rhythm ; Major structural characteristics ; Structural development in the twelve-tone technique
- Igor Stravinsky. Petrouchka, 1911 (analytic sketches) ; Overview of the work ; Part IV in enlargement ; Two interesting features ; Summary of techniques ; The general structural concept in Petrouchka
- Bela Bartok. Fourth String Quartet (I), 1928 (analytic sketches) ; The primary unit ; The dynamic event: illusory expansion ; Structural adjustment ; Formal divisions ; The basic postulate ; The basic technique: displacement ; The general structural concept ; Tonal distance ; Rhythm
- Explanation of markings and abbreviations used in the analytic sketches.