AUDACIOUS EUPHONY OXSMT C

Erscheinungsjahr 2012
ISBN: 978-0-19-977269-8
Verlag: ACADEMIC

Buch, Englisch, 256 Seiten, Format (B × H): 161 mm x 240 mm, Gewicht: 552 g

Reihe: Oxford Studies in Music Theory

Music theorists have long believed that 19th-century triadic progressions idiomatically extend the diatonic syntax of 18th-century classical tonality, and have accordingly unified the two repertories under a single mode of representation. Post-structuralist musicologists have challenged this belief, advancing the view that many romantic triadic progressions exceed the reach of classical syntax and are mobilized as the result of a transgressive, anti-syntactic
impulse. In Audacious Euphony, Richard Cohn takes both of these views to task, arguing that romantic harmony operates under syntactic principles distinct from those that underlie classical tonality, but no less susceptible to systematic definition. Charting this alternative triadic syntax, Cohn reconceives
what consonant triads are, and how they relate to one another. In doing so, he shows that major and minor triads have two distinct natures: one based on their acoustic properties, and the other on their ability to voice-lead smoothly to each other in the chromatic universe. Whereas their acoustic nature underlies the diatonic tonality of the classical tradition, their voice-leading properties are optimized by the pan-triadic progressions characteristic of the 19th century. Audacious Euphony
develops a set of inter-related maps that organize intuitions about triadic proximity as seen through the lens of voice-leading proximity, using various geometries related to the 19th-century Tonnetz. This model leads to cogent analyses both of particular compositions and of historical trends across the
long nineteenth century. Essential reading for music theorists, Audacious Euphony is also a valuable resource for music historians, performers and composers.

Autoren/Hrsg.

Cohn

Cohn, Richard

Fachgebiete

• Geisteswissenschaften Musikwissenschaft Geschichte der Musik Geschichte der Musik: Romantik (ca. 1830-1900)
• Geisteswissenschaften Musikwissenschaft Geschichte der Musik Geschichte der Musik: Klassik (ca. 1750-1830)
• Geisteswissenschaften Musikwissenschaft Musikwissenschaft Allgemein Musiktheorie, Musikästhetik, Kompositionslehre

Inhaltsverzeichnis

Table of Contents
1. Mapping the Triadic Universe

Three Methods for Calculating Triadic Distance

Triads in Chromatic Space

Remarks on Syntax and Maps

2. Hexatonic Cycles: A First Preliminary Model of Triadic Space

A Minimal-Work Model of the Triadic Universe

The Hexatonic Trance

Contrary Motion and Balance

Hexatonic Progressions, Tonnetz Representations, and Voice-Leading
Transformations

Near Evenness, Minimal Voice Leading, and the Central

Role of the Augmented Triad

Remarks on Dualism

Triadic Structure Generates Pan-Triadic Syntax

Triads are Homophonous Diamorphs

3. Reciprocity

The Historical Emergence of Augmented Triads

Consonance/Dissonance Reciprocity

Two Early-Century Examples: Beethoven and Schubert

Three Late-Century Examples: Liszt, Rimsky-Korsakov, Fauré

Reciprocity in Weitzmann's Der Ubermässige Dreiklang

4. Weitzmann Regions: A Second Preliminary Model of Triadic Space

The Structure of a Weitzmann Region

Weitzmann Transformations and N/R Cycles

Remarks on the Tonnetz

Historical Origins of Weitzmann Regions

The Double-Agent Complex

Expanded N/R Chains

Weitzmann Regions without Sequences: Wagner and Strauss

5. A Unified Model of Pan-Triadic Space
How Hexatonic and Weitzmann Regions Interact

Chromatic Sequences

Transformational Substitutions

Voice Leading Zones

Remarks on Disjunction and Entropy

6. Navigating the Triadic Universe: Three Scripts

Neighborhoods and Pitch-Retention Loops

Departure Þ Return Scripts

Continuous Upshifts

7. Integrating Dissonant Harmonies into the Model
Four Eighteenth-century Approaches to Dissonance

Reduction to a Triadic Subset

Hexatonic Poles in Parsifal

The Tristan Genus as Nearly-Even Tetrachord

Circumnavigating the Tristan-Genus Universe

Scriabin's Mystic Species and Generalized Weitzmann Regions

8. Syntactic Interaction and the Convertible Tonnetz

Some Previous Proposals

The Diatonic Tonnetz

Horizontal Extensions

Vertical Extensions

The Convertible Tonnetz

Two Analytical Vignettes: Wagner and Brahms

9. Double Syntax and the Soft Revolution
A Summary Example from Schubert

Double Syntax and its Skeptics

Code Switching and Double Determination

Cognitive Opacity

The Soft Revolution

On Musical Overdetermination

Über Autor(innen)

Richard Cohn is Battell Professor of Music Theory at Yale University. His work on chromatic harmony has been the topic of a series of summer seminars convened by the late John Clough, and has been developed in about a dozen doctoral dissertations, at Chicago, Indiana, Yale, Harvard, and SUNY-Buffalo. His articles have twice earned the Society for Music Theory's Outstanding Publication Award. Cohn edits the Oxford Studies in Music Theory series. In
preparation is a general model of meter with applications for European, African, and African-diasporic music, and a co-edited collection on David Lewin's phenomenological writings.