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David Damschroder's ongoing reformulation of harmonic theory continues with a dynamic exploration of how Beethoven molded and arranged chords to convey bold conceptions. This book's introductory chapters are organized in the manner of a nineteenth-century Harmonielehre, with individual considerations of the tonal system's key features illustrated by easy-to-comprehend block-chord examples derived from Beethoven's piano sonatas. In the masterworks section that follows, Damschroder presents detailed analyses of movements from the symphonies, piano and violin sonatas, and string quartets, and compares his outcomes with those of other analysts, including William E. Caplin, Robert Gauldin, Nicholas Marston, William J. Mitchell, Frank Samarotto, and Janet Schmalfeldt. Expanding upon analytical practices from the eighteenth and nineteenth centuries and strongly influenced by Schenkerian principles, this fresh perspective offers a stark contrast to conventional harmonic analysis ? both in terms of how Roman numerals are deployed and how musical processes are described in words. Offers a radical rethinking of harmonic analysis, using Beethoven's oeuvre as a case study Explains what a thorough and penetrating analysis of a musical work might entail and offers critiques of analyses by others Guides the reader into the world of close analysis through careful demonstrations and explanations of a range of examples
Composers --- Harmony --- Symphony --- Compositeurs --- Harmonie --- Symphonie --- History --- Instruction and study. --- Histoire --- Etude et enseignement --- Beethoven, Ludwig van, --- Harmony.
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Integrating Schenkerian tools and an innovative approach to harmony, David Damschroder provides numerous penetrating analyses of works by Haydn and Mozart. A series of introductory chapters assist readers in developing their analytical capacity. Beginning with short excerpts from string quartets, the study proceeds by assessing the inner workings of twelve expositions from Haydn piano sonatas, six arias in G minor from Mozart operas, and three rondos in D major from piano concertos by Haydn and Mozart. In the Masterworks section that follows, Damschroder presents detailed analyses of six movements from symphonies, string quartets and opera by Haydn and Mozart, and compares his outcomes with those of other analysts, including Kofi Agawu, Robert O. Gjerdingen, James Hepokoski and Warren Darcy, Carl Schachter and James Webster. The book represents an important contribution to modern analytical discourse on a treasured body of music and an assessment of recent accomplishments within that realm.
Music --- Harmony. --- Musique --- Harmonie --- History and criticism. --- Analysis, appreciation. --- Histoire et critique --- Analyse et appréciation --- Haydn, Joseph, --- Mozart, Wolfgang Amadeus, --- Criticism and interpretation. --- Analyse et appréciation --- Harmony --- Art music --- Art music, Western --- Classical music --- Musical compositions --- Musical works --- Serious music --- Western art music --- Western music (Western countries) --- Music theory --- Analysis, appreciation --- History and criticism --- Mozart, Wolfgang Amadeus --- Mozart, Johannes Chrysostomus Wolfgangus Theophilus --- Gaĭdn, Ĭ., --- Gaĭdn, Ĭosif, --- Gaĭdn, Ĭozef, --- Haiden, Josip, --- Haidnas, J., --- Haidun, --- Hayden, Joseph, --- Haydn, --- Haydn, F. J. --- Haydn, Franz Josef, --- Haydn, Franz Joseph, --- Haydn, Giuseppe, --- Haydn, Ios. --- Haydn, J. --- Haydn, Jos. --- Haydn, Josef, --- Haydn, Joseph --- Heyden, Joseph, --- Khaĭdn, Ĭozef, --- היידן, י., --- Haydn, Franz Joseph --- Mot︠s︡art, Volʹfgang Amadeĭ, --- Mōtsaruto, --- Mot︠s︡art, Iogann-Krizost Volʹfgang Gotlib, --- Mozart, Johann Chrysostom Wolfgang Amadeus, --- Mozart, W. A. --- Mozart, Wolfgango Amadeo, --- Mot︠s︡art, V. A. --- Mocartas, V. A., --- Motsart, Volphnkank Amedaios, --- Mot︠s︡art, Volfang Amadeus, --- Mozzart, Apollo, --- Mozart, Joannes Chrysostomus Wolfgangus Amadeus, --- Mozart, Johannes Chrisostomus Wolfgangus Theophilus, --- Mozhate, --- Моцарт, Вольфганг Амадей, --- מוצרט, --- מוצרט, וולפגנג אמדאוס, --- 莫札特, --- Mozart, Wolfgang Amadeusz, --- Mozart, W.A. --- Mot︠s︡art, Volʹfgang Amadeĭ --- Mot︠s︡art, Iogann-Krizost Volʹfgang Gotlib --- Mozart, Johann Chrysostom Wolfgang Amadeus --- Mozart, Wolfgango Amadeo --- Mocartas, V. A. --- Motsart, Volphnkank Amedaios --- Mot︠s︡art, Volfang Amadeus --- Mozzart, Apollo --- Mozart, Joannes Chrysostomus Wolfgangus Amadeus --- Mozart, Johannes Chrisostomus Wolfgangus Theophilus --- Mozhate --- Моцарт, Вольфганг Амадей --- Mozart, Wolfgang Amadeusz
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Harmony --- Music theory --- Schubert, Franz, --- Schubert, Franz --- Schubert, Franz Peter, --- Shu-po-tʻe, --- Shubert, F. --- Shubert, Frant︠s︡, --- Šubertas, F. (Francas), --- Šubertas, Francas Peteris, --- שוברט, פרנץ --- Criticism and interpretation. --- Harmony.
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Focusing on music written in the period 1800-1850, Thinking about Harmony traces the responses of observant musicians to the music that was being created in their midst by composers including Beethoven, Schubert, and Chopin. It tells the story of how a separate branch of musical activity - music analysis - evolved out of the desire to make sense of the music, essential both to its enlightened performance and to its appreciation. The book integrates two distinct areas of musical inquiry - the history of music theory and music analysis - and the various notions that shape harmonic theory are put to the test through practical application, creating a unique and intriguing synthesis. Aided by an extensive compilation of carefully selected and clearly annotated music examples, readers can explore a panoramic projection of the era's analytical responses to harmony, thereby developing a more intimate rapport with the period.
Harmony --- Music --- Musical analysis --- History. --- History and criticism. --- History --- Criticism --- Music theory --- Analysis, Musical --- Analytical guides (Music) --- Hermeneutics (Music) --- Music analysis --- Music appreciation --- Analysis, appreciation --- Analytical guides --- Instruction and study
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Chopin's oeuvre holds a secure place in the repertoire, beloved by audiences, performers, and aesthetes. In Harmony in Chopin, David Damschroder offers a new way to examine and understand Chopin's compositional style, integrating Schenkerian structural analyses with an innovative perspective on harmony and further developing ideas and methods put forward in his earlier books Thinking about Harmony, Harmony in Schubert, and Harmony in Haydn and Mozart. Reinvigorating and enhancing some of the central components of analytical practice, this study explores notions such as assertion, chordal evolution (surge), collision, dominant emulation, unfurling, and wobble through analyses of all forty-three Mazurkas Chopin published during his lifetime. Damschroder also integrates analyses of eight major works by Chopin with detailed commentary on the contrasting perspectives of other prominent Chopin analysts. This provocative and richly detailed book will help transform readers' own analytical approaches.
Harmony. --- Chopin, Frédéric, --- Criticism and interpretation. --- Music theory --- Hsiao-pang, --- Шопен, Ф. --- Shopen, F. --- Shūpān, --- Shūbān, Frīdirīk, --- Szopen, Fryderyk Franciszek, --- Shopan, --- Chopin, Fryderyk Franciszek, --- Syopʻang, --- Chopin, Federico, --- Шопен, Фредерик, --- Shopen, Frederik, --- Chopin, Fr., --- Shobēn, Frētērikʻ, --- Chopin, F., --- Шопен, Фридерик, --- Shopen, Friderik, --- Chopin, Frederick, --- Chopin, Federic, --- Chopin, Fréd.,
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This innovative book continues David Damschroder's radical reformulation of harmonic theory, presenting a dynamic exploration of harmony in the compositions of Mendelssohn and Schumann, two key figures of nineteenth-century classical music. This volume's introductory chapters creatively introduce the basic tenets of the system, with reference to sound files rather than notated music examples permitting a more direct interaction between reader and music. In the Masterworks section that follows, Damschroder presents detailed analyses of movements from piano, vocal, and chamber music, and compares his outcomes with those of other analysts, including Benedict Taylor, L. Poundie Burstein, and Peter H. Smith. Expanding upon analytical practices from the eighteenth and nineteenth centuries, and strongly influenced by Schenkerian principles, this fresh perspective offers a stark contrast to conventional harmonic analysis - both in terms of how Roman numerals are deployed and how musical processes are described in words.
Music --- Art music --- Art music, Western --- Classical music --- Musical compositions --- Musical works --- Serious music --- Western art music --- Western music (Western countries) --- Analysis, appreciation --- Mendelssohn-Bartholdy, Felix, --- Schumann, Robert, --- Shuman, R. --- Shuman, Robert, --- Schumann, Robert Alexander, --- Mendelʹson-Bartolʹdi, Feliks, --- Mendelʹson, Feliks, --- Men-te-erh-sung, F., --- Mendelssohn-Bartholdy, Jakob Ludwig Felix, --- Bartholdy, Felix Mendelssohn-, --- Mendelssohn, Felix, --- Mendelssohn, F. --- Mendelssohn-Bartholdy, F. --- Mendelson-Bartoldi, F. --- Bartolʹdi, Feliks Mendelʹson-, --- Mendelson-Bertoldi, Feliḳs, --- Bertoldi, Feliḳs Mendelson-, --- Mendelssohn-Bartholdy, Jacob Ludwig Felix, --- מנדלסון־ברתולדי, פליקס --- מענדעלסאהן, פעליקס, --- Mendelsohn-Bartholdy, Felix, --- Harmony. --- Mendelssohn-Bartholdy, Felix --- Mendelssohn, Felix --- Mendelssohn-Bartholdy, Jakob Ludwig Felix --- Shumann, Robert, --- Analysis, appreciation.
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David Damschroder's ongoing reformulation of harmonic theory continues with a dynamic exploration of how Beethoven molded and arranged chords to convey bold conceptions. This book's introductory chapters are organized in the manner of a nineteenth-century Harmonielehre, with individual considerations of the tonal system's key features illustrated by easy-to-comprehend block-chord examples derived from Beethoven's piano sonatas. In the masterworks section that follows, Damschroder presents detailed analyses of movements from the symphonies, piano and violin sonatas, and string quartets, and compares his outcomes with those of other analysts, including William E. Caplin, Robert Gauldin, Nicholas Marston, William J. Mitchell, Frank Samarotto, and Janet Schmalfeldt. Expanding upon analytical practices from the eighteenth and nineteenth centuries and strongly influenced by Schenkerian principles, this fresh perspective offers a stark contrast to conventional harmonic analysis - both in terms of how Roman numerals are deployed and how musical processes are described in words.
Harmony. --- Music theory --- Beethoven, Ludwig van, --- Bītʹhūfin, --- Beethoven, L. van --- Beethoven, Louis van, --- Beethoven, Ludvig van, --- Bethovenas, L., --- Betkhoven, Li︠u︡dvig van, --- Beṭhoṿn, Ludṿig ṿan, --- Beethoven, Ludwik van, --- Betkhoven, L. van --- Bētōven, Rūtovihhi van, --- בטהובן --- בעטהאָוון, לודוויג וואן --- ベートベン, ルートビッヒ, --- 贝多芬, --- Criticism and interpretation.
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