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"Straus, Joseph Nathan"
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The art of tonal analysis : twelve lessons in Schenkerian theory
Carl Schachter is the world’s leading practitioner of Schenkerian theory and analysis as applied to the masterworks of the tonal tradition. Although his articles and books have been broadly influential, perhaps his greatest impact has been felt in the classroom, at a variety of institutions. In fall 2012, Schachter taught a special doctoral seminar at the City of New York (CUNY) Graduate Center, where he talked about the music and the musical issues that have concerned him most deeply. This book consists of edited transcripts of those lectures.
eBook
The collected essays of milton babbitt
Like his compositions, Milton Babbitt's writings about music have exerted an extraordinary influence on postwar music and thinking about music. In essays and public addresses spanning fifty years, Babbitt has grappled profoundly with central questions in the composition and apprehension of music. These writings range from personal memoirs and critical reviews to closely reasoned metatheoretical speculations and technical exegesis. In the history of music theory, there has been only a small handful of figures who have produced work of comparable stature. Taken as a whole, Babbitt's writings are not only an invaluable testimony to his thinking--a priceless primary source for the intellectual and cultural history of the second half of the twentieth century--but also a remarkable achievement in their own right.
eBook
The Collected Essays of Milton Babbitt
Like his compositions, Milton Babbitt's writings about music have exerted an extraordinary influence on postwar music and thinking about music. In essays and public addresses spanning fifty years, Babbitt has grappled profoundly with central questions in the composition and apprehension of music. These writings range from personal memoirs and critical reviews to closely reasoned metatheoretical speculations and technical exegesis. In the history of music theory, there has been only a small handful of figures who have produced work of comparable stature. Taken as a whole, Babbitt's writings are not only an invaluable testimony to his thinking--a priceless primary source for the intellectual and cultural history of the second half of the twentieth century--but also a remarkable achievement in their own right.
Prior to this collection, Babbitt's writings were scattered through a wide variety of journals, books, and magazines--many hard to find and some unavailable--and often contained typographical errors and editorial corruptions of various kinds. This volume of almost fifty pieces gathers, corrects, and annotates virtually everything of significance that Babbitt has written. The result is complete, authoritative, and fully accessible--the definitive source of Babbitt's influential ideas.
eBook
A THEORY OF HARMONY AND VOICE LEADING IN THE MUSIC OF IGOR STRAVINSKY
A significant body of twentieth-century music--that which is organized around functional tone-centers but is not tonal in the traditional sense--continues to elude systematic analysis. No comprehensive and self-contained theory for this music yet exists comparable to Schenkerian theory for tonal music or serial theory for twelve-tone music. This study attempts to evolve such a theory for the music of Stravinsky. Through extended analysis of selected major compositions from throughout Stravinsky's career, this study addresses two principal questions: (1) What is the nature of the tone-centers in Stravinsky's music, the fundamental, referential sonorities operating at the background levels of structure? and (2) What is the means of progression between and prolongation of these background harmonies? In response to the first question, this study identifies a significant body of works by Stravinsky organized upon a tonal axis. A tonal axis is a harmonic structure consisting of two overlapping and competing triadic units. A piece constructed around a tonal axis composes-out, at the deepest levels of structure, the polarity between the constituent units of the axis. In response to the second question, this study describes an extremely prevalent feature of voice leading in Stravinsky's music which is called pattern-completion. According to this concept, Stravinsky establishes in each piece or movement a single intervallic pattern associated with a single pitch collection, generally a tetrachord. The intervallic makeup of this normative unit becomes so engrained in the listener's consciousness (through deployment in a variety of ways at all levels of structure) that the sounding of part of the pattern creates an expectation of the completion of the pattern. Through pattern-completion, tonal motion can be directed from one harmonic goal to another in the absence of tonal functionality. Finally, this study shows the close relation between harmony and voice leading, between the tonal axis and pattern-completion, both as theoretical constructs and as compositional techniques. In some of Stravinsky's most important compositions, the same close relation is shown to exist between the tonal axis and pattern-completion as exists between the tonic triad and the techniques of prolongation in the works of the tonal masters.
Dissertation