Wörner / Rupprecht / Scheideler Tonality 1900–1950

Concept and Practice
1. Auflage 2012
ISBN: 978-3-515-10206-3
Verlag: Franz Steiner
Format: PDF
Kopierschutz: 1 - PDF Watermark

E-Book, Deutsch, Englisch, 276 Seiten, E-Book-Text

Tonality – or the feeling of key in music – achieved crisp theoretical definition in the early 20th century, even as the musical avant-garde pronounced it obsolete. The notion of a general collapse or loss of tonality, ca. 1910, remains influential within music historiography, and yet the textbook narrative sits uneasily with a continued flourishing of tonal music throughout the past century. Tonality, from an early 21st-century perspective, never did fade from cultural attention; but it remains a prismatic formation, defined as much by ideological-cultural valences as by its role in technical understandings of musical practice. brings together new essays by 15 leading American and European scholars.

Autoren/Hrsg.

Wörner, Felix

Rupprecht, Philip

Scheideler, Ullrich

Fachgebiete

• Geisteswissenschaften Musikwissenschaft Musikwissenschaft Allgemein Musiktheorie, Musikästhetik, Kompositionslehre
• Geisteswissenschaften Musikwissenschaft Geschichte der Musik Geschichte der Musik: Klassische Musik des 20./21. Jahrhunderts

Inhaltsverzeichnis

1;Contents;6
2;Contributors;8
3;Introduction;12
4;Tonality as Concept and Category;24
4.1;Weighing, Measuring, Embalming Tonality: How we Became Phonometrographers;26
4.2;Peter, the Wolf, and the Hexatonic Uncanny;48
4.3;The Legacy of German Rule – Some Reflections on Another Musical Iceberg in the Transatlantic Relationships of Music History;64
4.4;Concepts of T onality in Hindemith’s Unterweisung im Tonsatz and in His Late Writings;82
5;Tonality in Austro-German Theory;98
5.1;Concepts of Tonality in Schoenberg’s Harmonielehre;100
5.2;Schoenberg’s Harmonielehre: Psychology and Comprehensibility;114
5.3;Construc tive and Destructive Forces: Ernst Kurth’s Concept of Tonality;126
6;Practices of Tonality;142
6.1;Defending Tonality: The Musical Thought of Milhaud and Koechlin;144
6.2;“Autant de compositeurs, autant de polytonalités différentes”: Polytonality in French Music Theory and Composition of the 1920s;158
6.3;Nocturne in Blue, Black and Poppy Red: Tonal and Formal Dramaturgy in the third movement of Ravel’s Sonate pour violon et violoncelle;174
6.4;Tonality on the Town: Orchestrating the Metropolis in Vaughan Williams’s A London Symphony;188
6.5;Between Archaism and Modernism: Tonality in Music for Amateurs in Germany around 1930;204
6.6;Among the Ruined Languages: Britten’s Triadic Modernism, 1930–1940;224
6.7;Roy Harris and the Crisis of Consonance;248
6.8;Samuel Barber’s Nocturne: An Experiment in Tonal Serialism;262

Über Autor(innen)

Rupprecht, Philip
Philip Rupprecht is Professor of Music at Duke University. He is the author of British Musical Modernism: the Manchester Group and their Contemporaries and editor of Rethinking Britten.

Wörner, Felix
Felix Wo¨rner is a research associate and Lecturer in the Music Department of the University of Basel and serves as co-editor of the Zeitschrift der Gesellschaft fu¨r Musiktheorie.

Scheideler, Ullrich
Ullrich Scheideler is Head of Music Theory at Humboldt-University in Berlin and a former editor of the Arnold Schoenberg Critical Edition.