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Hearing homophony [electronic resources]: tonal expectation at the turn of the seventeenth century
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Hearing homophony [electronic resources]: tonal expectation at the turn of the seventeenth century
상세정보
- 자료유형
- 전자책(국외)
- 미국국회도서관 청구기호
- ML1402-.L66 2020
- 자관 청구기호
- 기본표목-개인명
- 표제와 책임표시사항
- Hearing homophony [electronic resources]: tonal expectation at the turn of the seventeenth century / Megan Kaes Long.
- 발행, 배포, 간사 사항
- 형태사항
- 1 online resource (viii, 288 pages) : illustrations, maps.
- 총서사항
- Oxford studies in music theory
- 서지 등 주기
- Includes bibliographical references and index.
- 요약 등 주기
- 요약"This book examines a repertoire of homophonic vernacular partsongs composed around the turn of the seventeenth century, and considers how these partsongs exploit rhythm, meter, phrase structure, and form to craft harmonic trajectories. Giovanni Giacomo Gastoldi, Thomas Morley, Hans Leo Hassler, and their contemporaries engineered a particular kind of centricity that is distinctively tonal: they strategically deployed dominant harmonies at regular periodicities and in combination with poetic, phrase structural, and formal cues, thereby creating expectation for tonic harmonies. Homophony provided an ideal venue for these experiments: spurred by an increasing demand for comprehensible texts, composers of partsongs developed rigid text setting procedures that promoted both metrical regularity and consistent phrase rhythm. This rhythmic consistency had a ripple effect: it encouraged composers to design symmetrical phrase structures and to build comprehensive, repetitive, and predictable formal structures. Thus, homophonic partsongs create and exploit trajectories from dominants to tonics on multiple scales, from cadence to sub-phrase to phrase to form. Ultimately, this book argues for a model of tonality-and of tonality's history-that centers not pitch, but rhythm and meter. Metrically oriented harmonic trajectories encourage tonal expectation. And we can locate these trajectories in a variety of repertoires, including those that we traditionally understand as "modal." ""--해제Provided by publisher.
- 주제명부출표목-일반주제명
- 주제명부출표목-일반주제명
- 주제명부출표목-일반주제명
- 주제명부출표목-일반주제명
- 주제명부출표목-일반주제명
- 주제명부출표목-일반주제명
- 기타형태저록
- Print version Long Megan Kaes Hearing homophony
- 총서부출표목-통일표제
- Oxford studies in music theory.
- 전자적 위치 및 접속
- 링크정보보기
MARC
008220118s[202 us s 00 eng c■001on1122685491
■003OCoLC
■00520200618080049.3
■006m d
■007cr |||||||||||
■010 ▼a 2019044908
■020 ▼a9780190851910
■020 ▼a0190851910
■020 ▼a9780190851934
■020 ▼a0190851937
■020 ▼a9780190851927
■020 ▼a0190851929
■020 ▼z9780190851903
■035 ▼a2440720
■035 ▼a(OCoLC)1122685491
■040 ▼aDLC▼beng▼erda▼cDLC▼dOCLCO▼dOCLCF▼dEBLCP▼dOCLCQ▼dN$T▼dYDX
■042 ▼apcc
■05004▼aML1402▼b.L66 2020
■08200▼a782.4209/032▼223
■090 ▼a전자도서
■1001 ▼aLong, Megan Kaes▼eauthor.
■24510▼aHearing homophony ▼h[electronic resources]:▼btonal expectation at the turn of the seventeenth century /▼cMegan Kaes Long.
■260 ▼aNew York, NY▼bOxford University Press▼c[2020]
■300 ▼a1 online resource (viii, 288 pages) ▼billustrations, maps.
■4901 ▼aOxford studies in music theory
■504 ▼aIncludes bibliographical references and index.
■520 ▼a"This book examines a repertoire of homophonic vernacular partsongs composed around the turn of the seventeenth century, and considers how these partsongs exploit rhythm, meter, phrase structure, and form to craft harmonic trajectories. Giovanni Giacomo Gastoldi, Thomas Morley, Hans Leo Hassler, and their contemporaries engineered a particular kind of centricity that is distinctively tonal: they strategically deployed dominant harmonies at regular periodicities and in combination with poetic, phrase structural, and formal cues, thereby creating expectation for tonic harmonies. Homophony provided an ideal venue for these experiments: spurred by an increasing demand for comprehensible texts, composers of partsongs developed rigid text setting procedures that promoted both metrical regularity and consistent phrase rhythm. This rhythmic consistency had a ripple effect: it encouraged composers to design symmetrical phrase structures and to build comprehensive, repetitive, and predictable formal structures. Thus, homophonic partsongs create and exploit trajectories from dominants to tonics on multiple scales, from cadence to sub-phrase to phrase to form. Ultimately, this book argues for a model of tonality-and of tonality's history-that centers not pitch, but rhythm and meter. Metrically oriented harmonic trajectories encourage tonal expectation. And we can locate these trajectories in a variety of repertoires, including those that we traditionally understand as "modal." ""--▼cProvided by publisher.
■648 7▼a1500-1699▼2fast
■650 0▼aVocal music▼y16th century▼xHistory and criticism.
■650 0▼aVocal music▼y16th century▼xAnalysis, appreciation.
■650 0▼aVocal music▼y17th century▼xHistory and criticism.
■650 0▼aVocal music▼y17th century▼xAnalysis, appreciation.
■650 7▼aVocal music.▼2fast▼0(OCoLC)fst01168379
■650 7▼aVocal music▼xAnalysis, appreciation.▼2fast▼0(OCoLC)fst01168380
■655 7▼aCriticism, interpretation, etc.▼2fast▼0(OCoLC)fst01411635
■655 4▼aElectronic books.
■77608▼iPrint version▼aLong, Megan Kaes.▼tHearing homophony▼dNew York : Oxford University Press, 2020.▼z9780190851903▼w(DLC) 2019044907
■830 0▼aOxford studies in music theory.
■85640▼3EBSCOhost▼uhttps://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&db=nlabk&AN=2440720
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