Download A Geometry of Music: Harmony and Counterpoint in the by Dmitri Tymoczko PDF

By Dmitri Tymoczko

How is the Beatles' "Help!" just like Stravinsky's "Dance of the Adolescents?" How does Radiohead's "Just" relate to the improvisations of invoice Evans? and the way do Chopin's works make the most the non-Euclidean geometry of musical chords?
during this groundbreaking paintings, writer Dmitri Tymoczko describes a brand new framework for puzzling over track that emphasizes the commonalities between kinds from medieval polyphony to modern rock. Tymoczko identifies 5 simple musical beneficial properties that together give a contribution to the feel of tonality, and indicates how those beneficial properties recur through the background of Western song. within the strategy he sheds new mild on an age-old query: what makes song sound good?
A Geometry of song offers an obtainable advent to Tymoczko's progressive geometrical method of track conception. The e-book indicates the best way to build uncomplicated diagrams representing relationships between widely used chords and scales, giving readers the instruments to translate among the musical and visible geographical regions and revealing striking levels of constitution in in a different way hard-to-understand items.
Tymoczko makes use of this theoretical starting place to retell the historical past of Western track from the 11th century to the current day. Arguing that conventional histories concentration too narrowly at the "common practice" interval from 1680-1850, he proposes in its place that Western song contains a longer universal perform stretching from the past due center a while to the current. He discusses a bunch of universal items through a variety of composers, from Bach to the Beatles, Mozart to Miles Davis, and lots of in between.
A Geometry of track is available to a number readers, from undergraduate song majors to scientists and mathematicians with an curiosity in song. Defining its phrases alongside the way in which, it presupposes no exact mathematical history and just a uncomplicated familiarity with Western track conception. The booklet additionally includes workouts designed to augment and expand readers' knowing, in addition to a chain of appendices that discover the technical information of this fascinating new conception.

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Additional resources for A Geometry of Music: Harmony and Counterpoint in the Extended Common Practice (Oxford Studies in Music Theory)

Example text

The top system depicts the main theme of Debussy’s prelude “Le vent dans la plaine,” which uses the pitches of Ef natural minor. When the theme returns, Bf moves by semitone to Bff, producing a collection that is enharmonically equivalent to Fs melodic minor ascending. Debussy’s “modulation” is thus analogous to Clementi’s, although it involves modes that Clementi himself would never have used. Here, then, we have a familiar tonal technique appearing in the context of a significantly expanded modal vocabulary.

Can we describe as “competent” the listener who loves Beethoven, but who performs poorly on standard ear-training tests? What about the listener who hates music but perceives it very accurately? Does the “ideal” musical listener have absolute pitch? A perfect memory for every musical detail? Is the point of listening to music to experience aesthetic enjoyment, or is it to recover a kind of musical “syntax” that the composer placed in his or her music? Personally, I suspect there is no uncontroversial answer to these questions: there simply is no “competent” or “ideal” listener that is analogous to the “idealized speaker” of contemporary linguistics.

1a). This is because its notes are all reasonably far apart. To obtain conjunct melodic motion, Lyrico can therefore introduce “passing tones” that connect the chord tones by short melodic steps. ” Lyrico can now write melodies that move freely along this scale, alternating between stable and unstable notes. 1 (a) Confining a melody to the notes one day in a more ornery mood of the C major chord produces large leaps, so it is and decides to use the dissonant necessary to add “passing tones” (b).

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