Buch, Englisch, 400 Seiten, Format (B × H): 204 mm x 231 mm, Gewicht: 632 g
Reihe: B&B Music
Buch, Englisch, 400 Seiten, Format (B × H): 204 mm x 231 mm, Gewicht: 632 g
Reihe: B&B Music
ISBN: 978-0-07-293624-7
Verlag: McGraw-Hill Education - Europe
Understanding Post-Tonal Music explores the compositional and musical processes of twentieth-century post-tonal music. The book is intended for undergraduate or general graduate courses on the theory and analysis of twentieth-century music. The aim of the book is to increase the accessibility of post-tonal music by providing students with tools for understanding issues like pitch organization, rhythm and meter, form, texture, and aesthetics. By presenting the music first and then deriving the theory, Understanding Post-Tonal Music leads students to greater understanding and appreciation of this challenging and important repertoire.
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About the AuthorPrefaceAcknowledgements Introduction: An Overview of Twentieth-Century Compositional Styles The Century of Plurality: Tonal, Post-tonal, Atonal, and Other StylesThe Stylistic MosaicChapter 1. Pitch Centricity and Composition with Motivic Cells Diatonic CollectionsPentatonic CollectionsAnalysis 1.1. Debussy, "La cathedrale engloutie," from Preludes, Book I (Anthology, No. 1)Analysis 1.2. Stravinsky, Introduction to Part I, from The Rite of Spring (Anthology, No. 4)Chapter 2. Pitch Centricity and Symmetry Interval Cycles and Equal Divisions of the OctaveSymmetrical Motivic CellsSymmetry Around an AxisSymmetrical ScalesAnalysis 2.1. Bartok, "Song of the Harvest," from Forty-four Violin Duets (Anthology, No. 5)Analysis 2.2. Bartok, "Whole-tone Scale," from Mikrokosmos, Vol. 5 (Anthology, No. 6)Chapter 3. Introduction to Pitch-Class-Set Theory Preliminary ConceptsPitch-Class Sets: Orderings and Basic RelationshipsPitch-Class Sets: Further Properties and RelationshipsChapter 4. Analyzing Atonal Music Analyzing Atonal MusicAnalysis 4.1. Webern, "Five Movements for String Quartet," Op. 5, III (Anthology, No. 10)Analysis 4.2. Schoenberg "Angst und Hoffen," No. 7 from Book of the Hanging Gardens, Op. 15 (Anthology, No. 11)Chapter 5. Drawing on (and Reinterpreting) the Past. Analysis 5.1. Stravinsky, Agnus Dei, from Mass (Anthology, No. 13)Hindemith's Theoretical and Compositional PremisesAnalysis 5.2. Hindemith, Interlude in G, from Ludus tonalis (Anthology, No. 14)Chapter 6. And Inventing the Future Ives and Musical BorrowingAnalysis 6.1. Ives, "The Cage" (Anthology No. 17)Analysis 6.2. Crawford, Diaphonic Suite No. 4, III (Anthology No. 18)Chapter 7. Twelve-Tone Music I: An Introduction Basic PrinciplesBuilding a RowLabeling Row FormsBuilding a Twelve-Tone MatrixIdentifying Given Row Forms Without Using a MatrixAnalysis 7.1. Dallapiccola, "Contrapunctus secundus," from Quaderno musicale di Annalibera (Anthology No. 19)Analysis 7.2. Dallapiccola, "Quartina," from Quaderno Musicale Di Annalibera (Anthology No. 20)Chapter 8. Twelve-Tone Music II: Invariance, Symmetry, and Combinatoriality InvarianceWebern and Row SymmetryAnalysis 8.1. Webern, Piano Variations, Op. 27, II (Anthology No. 22)Hexachordal CombinatorialityAnalysis 8.2. Schoenberg, Klavierstuck, Op. 33a (Anthology No. 23)Chapter 9.Serialism: Developments After 1945 Stravinsky and SerialismAnalysis 9.1. Stravinsky, "Lacrimosa," from Requiem Canticles (Anthology No. 24)Analysis 9.2. Boulez, Structures Ia (Anthology No. 25)Milton Babbitt's Serial MethodsAnalysis 9.3. Babbitt, Composition for Twelve Instruments (Anthology No. 26)Chapter 10. Expanding the Limits of Musical Temporality Rhythmic and Metric Irregularities in Post-tonal MusicTemporal Issues in the Music of MessiaenAnalysis 10.1. Messiaen, Introduction, from Turangalila Symphony (Anthology, No. 27)Tempo as a Structural Element in the Music of Elliott CarterAnalysis 10.2. Musical Characters in the Second String Quartet, I (Anthology No. 28)Analysis 10.3. Stockhausen, Stimmung (Anthology No. 29)Chapter 11. Aleatory Music, Sound Mass, and Beyond John Cage's Creative JourneyAnalysis 11.1. Cage, Winter Music (Anthology No. 30)Analysis 11.2. Lutoslawki, Jeux venitiens, I (Anthology No. 31)Analysis 11.3. Ligeti, Ramifications, Mm. 1-38 (Anthology No. 32)Chapter 12. Where Past and Future Meet. George Rochberg and the Use of the PastAnalysis 12.1. Rochberg, Music for the Magic Theater, Reh. 1-17 (Anthology No. 33)Analysis 12.2. Berio, Sinfonia, III ("In ruhig fliessender Bewegung"), mm. 1-20 (Anthology no. 34)Chapter 13. Simplifying M
