Hearing Homophony Tonal Expectation at the Turn of the Seventeenth Century
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Auteur:
Megan Kaes Long
- Engels
- Hardcover
- 9780190851903
- 24 juli 2020
- 300 pagina's
Samenvatting
In Hearing Homophony, Megan Kaes Long presents a groundbreaking model for understanding tonality and its origins, examining it through the lens of popular songs of late-Renaissance Western Europe.
The question of tonality's origins in music's pitch content has long vexed many scholars of music theory. However, tonality is not ultimately defined by pitch alone, but rather by pitch's interaction with elements like rhythm, meter, phrase structure, and form. Hearing Homophony investigates the elusive early history of tonality by examining a constellation of late-Renaissance popular songs which flourished throughout Western Europe at the turn of the seventeenth century. Megan Kaes Long argues that it is in these songs, rather than in more ambitious secular and sacred works, that the foundations of eighteenth century style are found. Arguing that tonality emerges from features of modal counterpoint - in particular, the rhythmic, phrase structural, and formal processes that govern it - and drawing on the arguments of theorists such as Dahlhaus, Powers, and Barnett, she asserts that modality and tonality are different in kind and not mutually exclusive. Using several hundred homophonic partsongs from Italy, Germany, England, and France, Long addresses a historical question of critical importance to music theory, musicology, and music performance. Hearing Homophony presents not only a new model of tonality's origins, but also a more comprehensive understanding of what tonality is, providing novel insight into the challenging world of seventeenth-century music.
The question of tonality's origins in music's pitch content has long vexed many scholars of music theory. However, tonality is not ultimately defined by pitch alone, but rather by pitch's interaction with elements like rhythm, meter, phrase structure, and form. Hearing Homophony investigates the elusive early history of tonality by examining a constellation of late-Renaissance popular songs which flourished throughout Western Europe at the turn of the seventeenth century. Megan Kaes Long argues that it is in these songs, rather than in more ambitious secular and sacred works, that the foundations of eighteenth century style are found. Arguing that tonality emerges from features of modal counterpoint - in particular, the rhythmic, phrase structural, and formal processes that govern it - and drawing on the arguments of theorists such as Dahlhaus, Powers, and Barnett, she asserts that modality and tonality are different in kind and not mutually exclusive. Using several hundred homophonic partsongs from Italy, Germany, England, and France, Long addresses a historical question of critical importance to music theory, musicology, and music performance. Hearing Homophony presents not only a new model of tonality's origins, but also a more comprehensive understanding of what tonality is, providing novel insight into the challenging world of seventeenth-century music.
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- Bindwijze
- Hardcover
- Oorspronkelijke releasedatum
- 24 juli 2020
- Aantal pagina's
- 300
- Illustraties
- Nee
Betrokkenen
- Hoofdauteur
- Megan Kaes Long
- Hoofduitgeverij
- Oxford University Press Inc
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- Extra groot lettertype
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- Product breedte
- 239 mm
- Product hoogte
- 23 mm
- Product lengte
- 155 mm
- Studieboek
- Nee
- Verpakking breedte
- 239 mm
- Verpakking hoogte
- 23 mm
- Verpakking lengte
- 155 mm
- Verpakkingsgewicht
- 558 g
EAN
- EAN
- 9780190851903
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- Taal
- Engels
- Beschikbaarheid
- Leverbaar
- Studieboek of algemeen
- Algemene boeken
- Stroming of stijl
- Renaissance, Middeleeuwse stijl
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