Composition, Chromaticism and the Developmental Process : (Record no. 127954)
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| 000 -LEADER | |
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| fixed length control field | 07178nam a22004693i 4500 |
| 001 - CONTROL NUMBER | |
| control field | EBC4907072 |
| 003 - CONTROL NUMBER IDENTIFIER | |
| control field | MiAaPQ |
| 005 - DATE AND TIME OF LATEST TRANSACTION | |
| control field | 20240729131325.0 |
| 006 - FIXED-LENGTH DATA ELEMENTS--ADDITIONAL MATERIAL CHARACTERISTICS | |
| fixed length control field | m o d | |
| 007 - PHYSICAL DESCRIPTION FIXED FIELD--GENERAL INFORMATION | |
| fixed length control field | cr cnu|||||||| |
| 008 - FIXED-LENGTH DATA ELEMENTS--GENERAL INFORMATION | |
| fixed length control field | 240724s2007 xx o ||||0 eng d |
| 020 ## - INTERNATIONAL STANDARD BOOK NUMBER | |
| International Standard Book Number | 9781351571333 |
| Qualifying information | (electronic bk.) |
| 020 ## - INTERNATIONAL STANDARD BOOK NUMBER | |
| Canceled/invalid ISBN | 9780754651628 |
| 035 ## - SYSTEM CONTROL NUMBER | |
| System control number | (MiAaPQ)EBC4907072 |
| 035 ## - SYSTEM CONTROL NUMBER | |
| System control number | (Au-PeEL)EBL4907072 |
| 035 ## - SYSTEM CONTROL NUMBER | |
| System control number | (CaPaEBR)ebr11408632 |
| 035 ## - SYSTEM CONTROL NUMBER | |
| System control number | (OCoLC)993781230 |
| 040 ## - CATALOGING SOURCE | |
| Original cataloging agency | MiAaPQ |
| Language of cataloging | eng |
| Description conventions | rda |
| -- | pn |
| Transcribing agency | MiAaPQ |
| Modifying agency | MiAaPQ |
| 050 #4 - LIBRARY OF CONGRESS CALL NUMBER | |
| Classification number | ML3811 .B87 2016 |
| 082 0# - DEWEY DECIMAL CLASSIFICATION NUMBER | |
| Classification number | 781.258 |
| 100 1# - MAIN ENTRY--PERSONAL NAME | |
| Personal name | Burnett, Henry. |
| 245 10 - TITLE STATEMENT | |
| Title | Composition, Chromaticism and the Developmental Process : |
| Remainder of title | A New Theory of Tonality. |
| 250 ## - EDITION STATEMENT | |
| Edition statement | 1st ed. |
| 264 #1 - PRODUCTION, PUBLICATION, DISTRIBUTION, MANUFACTURE, AND COPYRIGHT NOTICE | |
| Place of production, publication, distribution, manufacture | Oxford : |
| Name of producer, publisher, distributor, manufacturer | Taylor & Francis Group, |
| Date of production, publication, distribution, manufacture, or copyright notice | 2007. |
| 264 #4 - PRODUCTION, PUBLICATION, DISTRIBUTION, MANUFACTURE, AND COPYRIGHT NOTICE | |
| Date of production, publication, distribution, manufacture, or copyright notice | ©2007. |
| 300 ## - PHYSICAL DESCRIPTION | |
| Extent | 1 online resource (431 pages) |
| 336 ## - CONTENT TYPE | |
| Content type term | text |
| Content type code | txt |
| Source | rdacontent |
| 337 ## - MEDIA TYPE | |
| Media type term | computer |
| Media type code | c |
| Source | rdamedia |
| 338 ## - CARRIER TYPE | |
| Carrier type term | online resource |
| Carrier type code | cr |
| Source | rdacarrier |
| 505 0# - FORMATTED CONTENTS NOTE | |
| Formatted contents note | Cover -- Half Title -- Title -- Copyright -- Contents -- List of Figures -- List of Diagrams -- List of Music Examples -- Notes on Authors -- Preface -- Acknowledgments -- Prologue: A Personal Reflection -- 1 Introduction -- I. Why is a New Theory of Tonality Necessary? -- II. The Concept of Development and its Relationship to the Compositional Process -- III. Postulates of the Theory -- 2 Eleven-Pitch-Class Tonality -- I. A New Theory of Symmetrical Divisions Underlying "Key-Centered" Tonality -- II. Eleven-Pitch-Class Systems: Their Relevance and Application to Works in the Literature -- 3 The Modal Gamut in the Sixteenth Century -- I. Introductory Remarks -- II. Sixteenth- and Early Seventeenth-Century Approaches to Chromaticism and Eleven-Pitch-Class Modality -- III. The Medieval Gamut and Three-Hexachord-System Modulation -- IV. The Properties of the Central Hexachord as Harmonic Background -- V. The Music of the Early Sixteenth Century and Three-Hexachord Gamut Systems -- VI. Modulation of Gamut Three-Hexachord Systems in Chromatic Modality -- 4 Tonality and Systems in the Seventeenth and Early Eighteenth Centuries -- I. Introduction: The Emergence of Key-Centered Tonality in the Instrumental Music of the Latter Half of the Seventeenth Century -- II. Biagio Marini: Unresolved Modal-Tonal Conflicts and the Possibilities they Pose for Development -- III. Giovanni Legrenzi: Nascent Tonality -- IV. An Incipient Historical Development: Tonal Structure and Early Ritornello Design in the Instrumental and Vocal Works of Alessandro Stradella -- V. Alessandro Stradella: Tonality and the Emerging Concertino/Concerto Grosso Technique -- VI. Corelli and the Advent of Common-Practice Tonality -- VII. Common-Practice Tonality and the Late Baroque Concerto: Torelli, Vivaldi, and J.S. Bach. |
| 505 8# - FORMATTED CONTENTS NOTE | |
| Formatted contents note | 5 Tonality and Systems in the Mid- to Late-Eighteenth Century: The Classical Ideal -- I. The Development of the Early Symphony: Vivaldi and the Ripieno Concerto, G.B. Sammartini -- II. Viennese Symphonists of the Mid-Eighteenth Century: G.C. Wagenseil and G.M. Monn -- III. Joseph Haydn and the Sonata Form: Definitions and Compositional Design Elements -- IV. Joseph Haydn and the Developmental Process: Selected Compositions -- V. Alternative Design Elements in Sonata-Form Movements: J.C. Bach and W.A. Mozart -- 6 Nineteenth-Century Approaches to Eleven-Pitch-Class Systems Derived from the Viennese Classical Tradition -- I. Beethoven, Sonata Form, the Minor Mode, and Chromatic Development at the Beginning of the Nineteenth Century -- II. Eleven-Pitch-Class Systems in the Music of Nineteenth-Century Romantic Composers: Mode Mixture and System Shifts as Pre-Compositional Determinants in Schubert's String Quintet in C major op. 163 -- 7 Eleven-Pitch-Class Systems in the Music of Mid-to Late-Nineteenth-Century Romantic Composers -- I. Felix Mendelssohn: Piano Trio in D minor op. 49, First Movement -- II. Robert Schumann: Piano Quintet in E♭ op. 44, First Movement -- III. Johannes Brahms: The Sextets, op. 18 in B♭ and op. 36 in G -- IV. Pyotr Il'yich Chaikovsky: Symphony no. 4 in F minor op. 36, First Movement -- 8 The Romantic Avant Garde and the Rumblings of Modernism -- I. Liszt and Debussy: The Romantic. Avant Garde and its Manifestation in Impressionism -- II. Debussy and Chromaticism at the Turn of the Century -- III. Chopin and Debussy Revisit J.S. Bach -- IV. Schoenberg and the Expressionist Movement -- Bibliography -- Index. |
| 520 ## - SUMMARY, ETC. | |
| Summary, etc. | 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 |
| 520 8# - SUMMARY, ETC. | |
| Summary, etc. | fields are the specific chromatic pitch choices that a composer uses to inform and design a complete composition, utilizing. |
| 588 ## - SOURCE OF DESCRIPTION NOTE | |
| Source of description note | Description based on publisher supplied metadata and other sources. |
| 590 ## - LOCAL NOTE (RLIN) | |
| Local note | Electronic reproduction. Ann Arbor, Michigan : ProQuest Ebook Central, 2024. Available via World Wide Web. Access may be limited to ProQuest Ebook Central affiliated libraries. |
| 650 #0 - SUBJECT ADDED ENTRY--TOPICAL TERM | |
| Topical term or geographic name entry element | Tonality. |
| 650 #0 - SUBJECT ADDED ENTRY--TOPICAL TERM | |
| Topical term or geographic name entry element | Chromaticism (Music). |
| 655 #4 - INDEX TERM--GENRE/FORM | |
| Genre/form data or focus term | Electronic books. |
| 776 08 - ADDITIONAL PHYSICAL FORM ENTRY | |
| Relationship information | Print version: |
| Main entry heading | Burnett, Henry |
| Title | Composition, Chromaticism and the Developmental Process |
| Place, publisher, and date of publication | Oxford : Taylor & Francis Group,c2007 |
| International Standard Book Number | 9780754651628 |
| 797 2# - LOCAL ADDED ENTRY--CORPORATE NAME (RLIN) | |
| Corporate name or jurisdiction name as entry element | ProQuest (Firm) |
| 856 40 - ELECTRONIC LOCATION AND ACCESS | |
| Uniform Resource Identifier | <a href="https://ebookcentral.proquest.com/lib/orpp/detail.action?docID=4907072">https://ebookcentral.proquest.com/lib/orpp/detail.action?docID=4907072</a> |
| Public note | Click to View |
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