Structural hearing : tonal coherence in music / by Felix Salzer ; with a foreword by Leopold Mannes.
| Author/creator | Salzer, Felix |
| Format | Book |
| Publication Info | New York : Dover Publications, 1982, ©1962. |
| Description | 2 volumes in 1 (283, 349 pages) : music ; 22 cm. |
| Subjects |
| Series | Dover books on music, music history Dover books on music, music history. ^A291064 |
| Partial contents | V. 1. The pedagogic and systematic approach to structural hearing. The scope of elementary theory ; Musical direction as an organizing force ; The contrapuntal concept ; The harmonic concept ; Structure and prolongation ; The concept of tonality -- Implications and consequences of structural hearing -- Problematic compositions -- The historical development of tonal coherence -- The language of Western music. v. 2. Musical illustrations. |
| Contents | V. 1. Foreword / by Leopold Mannes -- Introduction -- Part I. Chord grammar, chord significance -- Music as directed motion, structure and prolongation -- Harmony and counterpoint -- Chord prolongation -- Tonality -- The implications of structure and prolongation -- Part II. The pedagogic and systematic approach to structural hearing. The scope of elementary theory -- Musical direction as an organizing force. Problems of musical continuity and synthesis -- Musical direction, structure and prolongation. Chord grammar, chord significance ; Melody, melodic direction and coherence ; Relative significance of melodic structure and prolongation ; Interdependence of melody and chord significance -- The functions of harmony and counterpoint -- The contrapuntal concept. Introduction -- Two-part counterpoint -- Three-point counterpoint -- The harmonic concept. Contrast to contrapuntal concept -- The fundamental harmonic progression and its elaborations -- Exercises -- Harmonic progressions in minor keys and the influence of mixture -- Intensification of the V by a preceding [6/4] chord -- The use of seventh chords within the harmonic progressions -- The use of two harmonic progressions in succession -- Harmonic progressions supporting melodic embellishments -- Summary and outlook -- Structure and prolongation I. Contrapuntal chords or progressions within the harmonic framework. Passing chords, voice-leading chords. Passing chords ; Passing chords improving voice leading ; Voice-leading chords ; Summary -- The chord of melodic emphasis or color chord ; The neighbor-note chord -- Chord prolongation ; Summary -- Application of chord prolongation -- Structure and prolongation -- Four-part setting of short melodic phrases -- Melodic-contrapuntal prolongations. Elementary instrumental figuration ; Motion into and out of the inner voice ; Superposition of inner voice ; Transfer of register ; Prolonged counterpoint -- Continued use of pure contrapuntal techniques -- Recognition of voice leading -- Voice-leading graphs as the systematic expression of structure and prolongation -- Exercises in prolongation, structural ear training -- The technique of interruption -- Structure and prolongation II. Harmonic prolongations. Harmonic prolongation of the tonic. Complete harmonic progression as prolongation of the tonic ; Incomplete harmonic progression as prolongation of the tonic ; Dominant prolongation of the tonic (the prolonging V) ; Dominant prolongation and incomplete harmonic progression preceding the structural tonic -- Harmonic prolongations of other harmonic chords. The applied dominant chord ; An incomplete harmonic progression as prolongation of a harmonic chord ; A complete harmonic progression as prolongation of a harmonic chord -- Harmonic prolongation of a contrapuntal chord ; The chord of harmonic emphasis -- Contrapuntal chords assuming structural significance ; Summary -- Double function of chords. Harmonic-structural chords with added prolonging significance ; Harmonic-prolonging chords with added structural significance ; Harmonic-prolonging chords with contrapuntal implications. The chord of harmonic emphasis as voice-leading chord ; Descending fifths in sequence ; Ascending fifths ; Applied dominants as passing chords (transition to chromaticism) ; Applied dominants as voice-leading chords ; Elimination of the harmonic element -- Additional versions to four-part settings -- Chromaticism. The diminished seventh chord, the dominant seventh chord, the sixth and [6/4] chord in the service of chromaticism ; Contrapuntal texture in chromatic passages ; Altered chords -- Mixture. The Neapolitan sixth or the Phrygian II ; Various uses of mixture -- The role of the submediant -- Expansion of units, the relation of structure and prolongation in longer units -- Structure and prolongation III. Problems of structural orientation -- Developments in prolongation of counterpoint and melody. Prolonged counterpoint. "Independent" voice leading ; Color chords ; "Harmonic" counterpoint ; Octaves and fifths -- Transfer of register through sequential superposition of inner voice ; Setting a postponed first structural melody tone with a non-tonic chord ; Possibilities within passing motions ; The significance of melodic analysis -- Completely contrapuntal structure -- Procedures of structural hearing -- Preparation for large dimensional hearing and planning. Extended neighbor-note and passing motions ; The development section of sonata form ; Exercises in large dimensional planning ; Two prolongations of exceptional expansion -- The concept of tonality. The complete composition, its tonal and formal organization. Introduction ; Compositions based on harmonic structure and on combined harmonic and contrapuntal structure ; Compositions based on contrapuntal structure ; Form and structure. Outer form, inner form and design ; Relation of outer form to structure. Structure-form, prolongation-form -- Significance and range of tonality -- Various types of form and their use in composition. One-part or through-composed form ; Two-part structure-form. Repetition of structure ; Division of structure ; Interruption -- Two-part prolongation-form. The main prolongation as a form section ; Segment of main prolongation as a form section -- Three-part forms. Three-part structure-form (originating in interruption) ; Three-part prolongation-form (originating in interruption) ; Genuine three-part prolongation-form ; Three-part prolongation-form (contrapuntal structure) -- Individual forms and the fantasy -- Part III. Implications and consequences of structural hearing -- Problematic compositions -- The historical development of tonal coherence -- The language of Western music -- V. 2. Musical illustrations. |
| General note | Reprint. This edition originally published in two volumes: New York : Dover Publications, 1962. |
| General note | An unabridged and corrected republication of the work originally published by Charles Boni in 1952. |
| General note | Based on Heinrich Schenker's revolutionary conceptions of tonality and musical coherence. |
| Bibliography note | Includes bibliographical references. |
| ISBN | 0486222756 |
| ISBN | 9780486222752 |