MARC record from Internet Archive

LEADER: 04289cam a22006494a 4500
001 ocn704243841
003 OCoLC
005 20191109072746.6
008 110225s2012 nyuag b 001 0 eng
010 $a 2011008754
040 $aDLC$beng$cDLC$dYDX$dYDXCP$dBWX$dBDX$dUKMGB$dERASA$dIAD$dICW$dOCLCQ$dOCLCF$dOCLCQ$dCHVBK$dOCLCQ$dUEJ$dDHA$dNJR$dOCLCO$dOCLCQ
015 $aGBB1B5493$2bnb
016 7 $a015903204$2Uk
019 $a756279122$a820145242
020 $a9780199772698$q(hardback ;$qalk. paper)
020 $a019977269X$q(hardback ;$qalk. paper)
020 $a9780199832828$q(companion website)
020 $a019983282X$q(companion website)
029 1 $aAU@$b000048773952
029 1 $aCHBIS$b007033895
029 1 $aCHDSB$b005699380
029 1 $aCHVBK$b123075750
029 1 $aCHVBK$b179902105
029 1 $aNZ1$b14144608
029 1 $aUKMGB$b015903204
035 $a(OCoLC)704243841$z(OCoLC)756279122$z(OCoLC)820145242
042 $apcc
050 00 $aMT50$b.C736 2012
082 00 $a781.2/5$222
049 $aMAIN
100 1 $aCohn, Richard Lawrence,$d1955-
245 10 $aAudacious euphony :$bchromaticism and the consonant triad's second nature /$cRichard Cohn.
260 $aNew York :$bOxford University Press,$c2012.
300 $axvii, 237 pages :$billustrations, music ;$c25 cm.
336 $atext$btxt$2rdacontent
337 $aunmediated$bn$2rdamedia
338 $avolume$bnc$2rdacarrier
490 1 $aOxford studies in music theory
504 $aIncludes bibliographical references and index.
520 $aMusic 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, author 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 [Publisher description].
505 0 $aMapping the triadic universe -- Hexatonic cycles -- Reciprocity -- Weitzmann regions -- A unified model of triadic voice-leading space -- Navitating the triadic universe : three compositional scripts -- Dissonance -- Syntactic interaction and the convertible Tonnetz -- Double syntax and the soft revolution.
590 $bInternet Archive - 2
590 $bInternet Archive 2
650 0 $aHarmony.
650 0 $aTriads (Music)
650 7 $aHarmony.$2fast$0(OCoLC)fst00951531
650 7 $aTriads (Music)$2fast$0(OCoLC)fst01156251
650 7 $aDreiklang$2gnd
650 7 $aHarmonielehre$2gnd
655 7 $aTriads (Music)$2lcgft
830 0 $aOxford studies in music theory.
938 $aBrodart$bBROD$n13347683$c$35.00
938 $aErasmus Boekhandel$bERAA$nNTS0000130611
938 $aYBP Library Services$bYANK$n6961092
938 $aBlackwell Book Service$bBBUS$n6961092
994 $a92$bERR
976 $a31927002067178