Composition Chromaticism and the Developmental Process

At the same time, we kept discussing aspects of Western music, particularly Classical-period symphonies by Joseph haydn and the ways in which certain seemingly insignificant details of Haydn's chromaticism in the opening passages of a ...

Composition  Chromaticism and the Developmental Process

Musicology, having been transmitted as a compilation of disparate events and disciplines, has long necessitated a 'magic bullet', a 'unified field theory' so to speak, that can interpret the steady metamorphosis of Western art music from late medieval modality to twentieth-century atonality within a single theoretical construct. Without that magic bullet, discussions of this kind are increasingly complicated and, to make matters worse, the validity of any transformational models and ideas of the natural evolution of styles is questioned and even frowned upon today as epitomizing a grotesque teleological bigotry. Going against current thinking, Henry Burnett and Roy Nitzberg claim that the teleological approach to observing stylistic change is still valid when considered from the purely compositional perspective. The authors challenge the traditional understanding of development, and advance a new theory of eleven-pitch tonality as it relates to the corpus of Western composition. The book plots the evolution of tonality and its bearing on style and the compositional process itself. The theory is not based on the diatonic aspect of the various tonal systems exploited by composers; rather, the theory is chromatically based - the chromatically inflected octave being the source not only of a highly ingenious developmental dialectic, but also encompassing the moment-to-moment progression of the musical narrative itself. Even the most profound teachings of Schenker, and the often startlingly original and worthwhile speculations of Riemann, Tovey, Dahlhaus and others, still provide no theory of development and so are ultimately unable to unite the various tendrils of the compositional organism into a unified whole. Burnett and Nitzberg move beyond existing theory and analysis to base their theory from the standpoint of chromatic 'pitch fields'. These fields are the specific chromatic pitch choices that a composer uses to inform and design a complete composition, utilizing

More Books:

Composition, Chromaticism and the Developmental Process
Language: en
Pages: 430
Authors: Henry Burnett
Categories: Music
Type: BOOK - Published: 2017-07-05 - Publisher: Routledge

Musicology, having been transmitted as a compilation of disparate events and disciplines, has long necessitated a 'magic bullet', a 'unified field theory' so to speak, that can interpret the steady metamorphosis of Western art music from late medieval modality to twentieth-century atonality within a single theoretical construct. Without that magic
Chromaticism
Language: en
Pages: 211
Authors: Vladimir Barsky
Categories: Performing Arts
Type: BOOK - Published: 2014-05-01 - Publisher: Routledge

First Published in 1996. Routledge is an imprint of Taylor & Francis, an informa company.
Chromaticism in Jazz: Applying Techniques and Concepts
Language: en
Pages: 82
Authors: Masaya Yamaguchi
Categories: Music
Type: BOOK - Published: 2012-09-23 - Publisher: Masaya Music

he purpose of this book is to share my thoughts with all melodic instrumentalists, to suggest an avenue into chromatic jazz improvisation. The title Chromaticism in Jazz implies the coloristic, intervallic, non-diatonic, paratonal, and superimposition styles of jazz improvisation that may be represented by the mid-60 s Miles Davis Quintet
François-Joseph Fétis' Theory of Chromaticism and Early Nineteenth-century Music
Language: en
Pages: 565
Authors: Anthony Jay Kosar
Categories: Harmony
Type: BOOK - Published: 1984 - Publisher:

Books about François-Joseph Fétis' Theory of Chromaticism and Early Nineteenth-century Music
Chromaticism
Language: en
Pages: 288
Authors: Howard Boatwright
Categories: Music
Type: BOOK - Published: 1994 - Publisher: Fayetteville, N.Y. : Walnut Grove Press

After defining chromaticism, this work derives the 12 tones by monochord, discussing various tunings and the units of all pitch structures. It offers a theory of chromatic modes before illustrating the polyphonic-additive process and includes an entire movement of a string quartet.