MARC Record from marc_columbia

LEADER: 03217cam a2200361Ii 4500
001 12054727
005 20160919154720.0
008 150818s2016 enkg b 001 0 eng d
020 $a1107134587
020 $a9781107134584
035 $a(OCoLC)ocn918925010
035 $a(OCoLC)918925010
035 $a(NNC)12054727
040 $aYDXCP$beng$erda$cYDXCP$dOCLCQ$dBTCTA$dCDX$dNLE$dOCLCO$dOCLCF$dVGM$dCHVBK$dPIT
050 4 $aML444$b.D36 2016
082 04 $a781.2/5$223
100 1 $aDamschroder, David,$eauthor.
245 10 $aHarmony in Beethoven /$cDavid Damschroder.
264 1 $aCambridge, United Kingdom :$bCambridge University Press,$c2016.
300 $axiii, 292 pages :$bmusic ;$c26 cm
336 $atext$btxt$2rdacontent
337 $aunmediated$bn$2rdamedia
338 $avolume$bnc$2rdacarrier
504 $aIncludes bibliographical references and indexes.
505 0 $aPart I: Methodological Orientation: Harmonielehre (The Piano Sonatas) -- IV as intermediary between I and V -- II as intermediary between I and V -- A detailed look at the cirlce of fifths -- III on the path from I to V -- The mediant within the orbit of the tonic -- Notable linear initiatives -- Parenthetical passages ; Part II: Masterpieces -- String Quartet in B♭ Major (op. 18, no. 6), La Malinconia in response to William J. Mitchell -- Piano Sonata in D Minor (op. 31, no. 2, "Tempest"), movement 1 in response to William E. Caplin -- Violin Sonata in A Minor (op. 47, "Kreutzer"), movement 1 in response to Janet Schmalfeldt -- Symphony in A Major (op. 92), movement 3 in response to Robert Gauldin -- Piano Sonata in E Major (op. 109) in response to Nicholas Marston -- String Quartet in A Minor (op. 132), movement 1 in response to Frank Samarotto.
520 $a"David Damschroder's ongoing reformulation of harmonic theory continues with a dynamic exploration of how Beethoven molded and arranged chords to convey bold conceptions. This book's introductory chapters are organized in the manner of a nineteenth-century Harmonielehre, with individual considerations of the tonal system's key features illustrated by easy-to-comprehend block-chord examples derived from Beethoven's piano sonatas. In the masterworks section that follows, Damschroder presents detailed analyses of movements from the symphonies, piano and violin sonatas, and string quartets, and compares his outcomes with those of other analysts, including William E. Caplin, Robert Gauldin, Nicholas Marston, William J. Mitchell, Frank Samarotto, and Janet Schmalfeldt. Expanding upon analytical practices from the eighteenth and nineteenth centuries and strongly influenced by Schenkerian principles, this fresh perspective offers a stark contrast to conventional harmonic analysis - both in terms of how Roman numerals are deployed and how musical processes are described in words."
600 10 $aBeethoven, Ludwig van,$d1770-1827$xHarmony.
650 0 $aHarmony.
600 17 $aBeethoven, Ludwig van,$d1770-1827.$2fast$0(OCoLC)fst00042803
650 7 $aHarmony.$2fast$0(OCoLC)fst00951531
600 17 $aBeethoven, Ludwig van,$d1770-1827.$0(DE-588)118508288$2gnd
650 7 $aHarmonik.$0(DE-588)4129030-6$2gnd
852 00 $bmus$hML444$i.D356 2016g