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LEADER 05045cam a2200373 a 4500

001 ocm28424168;

003 OCoLC;

005 20141212112600.0;

008 930615s1994 ilua b 001 0 eng ;

010 a| 93011540;

020 a| 0226318087 (cloth : alk. paper);

035 a| (Sirsi) o28424168;

035 a| (OCoLC)28424168;

040 a| DLCc| DLCd| EREd| UtOrBLW;

049 a| EREM;

050 00 a| ML444b| .H376 1994;

082 00 a| 781.2/52| 20;

100 1 a| Harrison, Daniel,d| 1959-=| ^A333275;

245 10 a| Harmonic function in chromatic music :b| a renewed dualist theory and an account of its precedents /c| Daniel Harrison.;

260 a| Chicago :b| University of Chicago Press,c| 1994.;

300 a| xiv, 337 pages :b| illustrations ;c| 25 cm;

336 a| text2| rdacontent;

337 a| unmediated2| rdamedia;

338 a| volume2| rdacarrier;

504 a| Includes bibliographical references (pages 323-328) and indexes.;

520 a| This exploration of late nineteenth-century music and music theory illuminates the structure and idioms of highly chromatic music, long resistant to investigation. Reanimating Hugo Riemann's notion of harmonic function the author explores the technical bases of post-Wagnerian harmony and ideas ancillary to it. He engages the work of Brahms, Franck, Strauss, Mahler, Reger, Busoni, and Wolf, creating new analytical methods to penetrate their harmonic complexities. Applicable on a wide scale not only to this repertory, the author's lucid explications of abstract theoretical concepts provide new insights into the workings of tonal systems in general. One of his central innovations is his reconstruction of the notion of harmony. He understands harmonic power to flow not from chords as such but from the constituents of chords, reckoned for the most part as scale degrees of a key. This approach allows the analyst access to any harmonic formation, not just to one recognized either by convention or by consequence of a theoretical system. His theory of harmonic function suggests three distinct analytic approaches, each attuned to different aspects of harmonic structure. The first is the conventional method of segmentation into chords or longer units. The second takes the skepticism about chords to an analytically profitable extreme and seeks to connect unusual progressions or key relations to a controlling key by focusing solely upon scale-degree constituents of chords. The third is sensitive to the varieties of functional strengths and preferences in a passage, so that a phrase which contains many dominant-functioned entities--even if they belong to different keys--could be said to have "accumulated" an overarching dominant charge. The second and third approaches constitute entirely new analytic devices. This book also contains a critical history of nineteenth-century German harmonic theory, the inspiration and foundation of the author's analytical method. Tracing the development of Riemann's ideas on dualism and harmonic function and examining aspects of Riemannian theory in the work of later theorists, it provides the first thorough coverage of the history of music theory in the period 1850-1925.;

650 0 a| Harmony.=| ^A22140;

650 0 a| Music theoryy| 19th century.=| ^A382149;

650 0 a| Music theoryy| 20th century.=| ^A382149;

650 0 a| Musicy| 19th centuryx| Analysis, appreciation.=| ^A231513;

596 a| 3;

998 a| 546995;

999 a| ML444 .H376 1994w| LCc| 1i| 30372008321207d| 11/17/2022e| 7/30/2022f| 6/27/2016g| 3l| MSTm| JMUSICn| 11p| $55.25r| Ys| Yt| MGESBKu| 5/3/1994x| BOOKz| MCIRCo| .STAFF. enhanced, moved from closed to main stacks 10/22/24 -jjab;

Harmonic function in chromatic music : a renewed dualist theory and an account of its precedents / Daniel Harrison.

Author/creator	Harrison, Daniel, 1959-
Format	Book
Publication Info	Chicago : University of Chicago Press, 1994.
Description	xiv, 337 pages : illustrations ; 25 cm
Subjects	Harmony. Music theory--19th century. Music theory--20th century. Music--19th century. --Analysis, appreciation.

Contents	Part 1. A renewed dualist theory of harmonic function. 1. Dualism and function: two postulates. The uses of dualism ; A new modal dualism ; Dual networks ; Harmonic function and its dualisms ; What is harmonic function? -- 2. Scale degree and harmonic function. Functional roles of scale degrees ; Harmonic function in scale-degree assemblies -- 3. Establishment, discharge, and chromatic behavior of functions. Position finding ; Position asserting: the rhetoric of tonic ; Tonal motion and functional discharge ; Accompaniments: voice leading as consequence of harmony -- 4. Analytic techniques. Segmental analysis ; Linking analysis ; Hugo Wolf: "An den Schlaf" ; Accumulative analysis ; Analytic essays ; César Franck: Pièce héroïque ; Max Reger: Introduktion, Passacaglia und Fuge ; Gustav Mahler: Symphony no. 2 ; Conclusion to Part 1 -- Part 2. A historical account of harmonic function and dualism. 5. Preliminaries: The theories of Hauptmann, Helmholtz, and Oettingen. Introduction ; Moritz Hauptmann: The Nature of Harmony and Metre ; Hermann von Helmholtz: On the Sensations of Tone ; Arthur von Oettingen: Harmoniesystem in dualer Entwickelung -- 6. Hugo Riemann. Riemann and dualism ; The development of Riemann's theory of harmonic function -- 7. The devolution of Riemann's theories. Conservators ; Reconcilers ; Radicals ; Afterword.
Abstract	This exploration of late nineteenth-century music and music theory illuminates the structure and idioms of highly chromatic music, long resistant to investigation. Reanimating Hugo Riemann's notion of harmonic function the author explores the technical bases of post-Wagnerian harmony and ideas ancillary to it. He engages the work of Brahms, Franck, Strauss, Mahler, Reger, Busoni, and Wolf, creating new analytical methods to penetrate their harmonic complexities. Applicable on a wide scale not only to this repertory, the author's lucid explications of abstract theoretical concepts provide new insights into the workings of tonal systems in general. One of his central innovations is his reconstruction of the notion of harmony. He understands harmonic power to flow not from chords as such but from the constituents of chords, reckoned for the most part as scale degrees of a key. This approach allows the analyst access to any harmonic formation, not just to one recognized either by convention or by consequence of a theoretical system. His theory of harmonic function suggests three distinct analytic approaches, each attuned to different aspects of harmonic structure. The first is the conventional method of segmentation into chords or longer units. The second takes the skepticism about chords to an analytically profitable extreme and seeks to connect unusual progressions or key relations to a controlling key by focusing solely upon scale-degree constituents of chords. The third is sensitive to the varieties of functional strengths and preferences in a passage, so that a phrase which contains many dominant-functioned entities--even if they belong to different keys--could be said to have "accumulated" an overarching dominant charge. The second and third approaches constitute entirely new analytic devices. This book also contains a critical history of nineteenth-century German harmonic theory, the inspiration and foundation of the author's analytical method. Tracing the development of Riemann's ideas on dualism and harmonic function and examining aspects of Riemannian theory in the work of later theorists, it provides the first thorough coverage of the history of music theory in the period 1850-1925.
Bibliography note	Includes bibliographical references (pages 323-328) and indexes.
LCCN	93011540
ISBN	0226318087 (cloth : alk. paper)

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Music	Music Stacks	ML444 .H376 1994	✔ Available	Place Hold

Harmonic function in chromatic music : a renewed dualist theory and an account of its precedents / Daniel Harrison.

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