LEADER 04236cam  2200337 i 4500001    ocm03001962
005    20141211213554.0
008    770509s1977    inua          000 0 eng  
010       77074447
020    0253370116
035    (Sirsi) o03001962
035    (OCoLC)3001962
040    DLC |cDLC |dERE |dm.c. |dUtOrBLW
049    EREM
050 00 MT90.K9 |bT6
082 0  780/.15
100 1  Kresky, Jeffrey, |d1948- |=^A93022
245 10 Tonal music : |btwelve analytic studies / |cJeffrey Kresky.
260    Bloomington : |bIndiana University Press, |c©1977.
300    xiii, 167 pages : |billustrations ; |c24 cm
336    text |2rdacontent
337    unmediated |2rdamedia
338    volume |2rdacarrier
505 00  |gPreface -- |gIntroduction -- |tAnalysis of a typical tonal progression -- |tAnalysis of a theme from a Haydn symphony [1st theme from 1st movement of Symphony no. 104 "London"] -- |tAnalysis of a complete melody by Corelli [violin line of the Sarabande movement of the Sonata for violin and cembalo, op. 5 no. 8] -- |tAnalysis of Chopin: Prelude in E minor, opus 28, no. 4 -- |tAnalysis of Bach: Two-part invention in D minor -- |tAnalysis of a Schubert song [Heidenröslein = Wild rose] -- |tAnalysis of Chopin: Mazurka in F, opus 68, no. 3 (Posth.) -- |tAnalysis of Beethoven: Piano Sonata in C minor, opus 13 ("Pathétique"), second movement -- |tAnalysis of Mozart: Piano Sonata in G, K. 283, first movement -- |tAnalysis of Brahms: Intermezzo, opus 76, no. 7 for piano -- |tA study of the end of Act I of Wagner's Die Walküre -- |tAnalysis of Debussy: Prelude VIII for piano (Book I).
520    A frequent approach to musical analysis is to consider one term or concept at a time, illustrating it with fragments of several compositions. But the format of this original and lucidly written book features entire tonal compositions, one per chapter, analyzed on several levels simultaneously. The author builds up from very simple musical forms, skillfully leading the reader through a measure-by-measure, indeed often beat-by-beat or note-by-note, analysis. The literature chosen for study is that of the standard common-practice period, ranging from Corelli to Debussy, and hence illustrates both the flexibility and the historical development of the tonal system. At the same time, the author suggests a structural view of the tonal system, and the pieces come to be viewed as instances of tonal language. Hence, each chapter addresses the two questions, 'What makes this item a piece?' and, more specifically, 'What makes it a tonal piece?' A concluding essay projects the development of music into the twentieth century, with implications for the analysis of nontonal music. The music discussed in five of the twelve chapters is supplied; the rest of the compositions are standard works. The analyses center on the pitch information of the pieces, with the various non-pitch compositional elements (primarily rhythm; secondarily dynamics, texture, timbre, and register) playing reinforcing roles. Pitch is studied vertically, for a detailed as well as an overall harmonic view, and horizontally, for a local as well as a long-range view. Ultimately, the author joins both approaches in an embracing two-dimensional summary of compositional unity. As a series of connecting essays, this book is intended both for classroom use and for professional reading. In the classroom, the work can serve as a principal text in an undergraduate or graduate analysis course or seminar, or as an adjunct text in a variety of places in the theory and counterpoint curriculum. As professional reading, the book brings the reader through various pieces of music according to the observations of one listener who is sensitive and concerned, as both composer and teacher, about musical coherence.
650  0 Musical analysis. |=^A113364
919    BOOK
596    3
998    118386