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020 _a9783642395871
_99783642395871
024 7 _a10.1007/9783642395871
_2doi
035 _avtls000361808
039 9 _a201509030625
_bVLOAD
_c201405070320
_dVLOAD
_y201402210956
_zstaff
040 _aMX-SnUAN
_bspa
_cMX-SnUAN
_erda
050 4 _aNX260
100 1 _aAgmon, Eytan.
_eautor
_9348498
245 1 4 _aThe Languages of Western Tonality /
_cby Eytan Agmon.
264 1 _aBerlin, Heidelberg :
_bSpringer Berlin Heidelberg :
_bImprint: Springer,
_c2013.
300 _axxvii, 280 páginas 75 ilustraciones
_brecurso en línea.
336 _atexto
_btxt
_2rdacontent
337 _acomputadora
_bc
_2rdamedia
338 _arecurso en línea
_bcr
_2rdacarrier
347 _aarchivo de texto
_bPDF
_2rda
490 0 _aComputational Music Science,
_x1868-0305
500 _aSpringer eBooks
505 0 _aChap. 1  Prototonal Theory: Tapping into Ninth-Century Insights -- Part I  Prototonality -- Chap. 2  Preliminaries -- Chap. 3  Communicating Pitches and Transmitting Notes -- Chap. 4  The Conventional Nomenclatures for Notes and Intervals -- Chap. 5  Communicating the Primary Intervals -- Chap. 6  Receiving Notes -- Chap. 7  Harmonic Systems -- Chap. 8  Prototonality -- Part II  The Languages of Western Tonality -- Chap. 9  Tonal Preliminaries -- Chap. 10  Modal Communication -- Chap. 11  Topics in Dyadic and Triadic Theory -- Chap. 12  Modes, Semikeys, and Keys: A Reality Check -- Chap. 13  A Neo-Riepelian Key-Distance Theory -- Chap. 14  Tonal Communication -- Chap. 15  The Tonal Game -- App. A  Mathematical Preliminaries -- App. B  Z Modules and Their Homomorphisms -- Index.
520 _aTonal music, from a historical perspective, is far from homogenous; yet an enduring feature is a background "diatonic" system of exactly seven notes orderable cyclically by fifth. What is the source of the durability of the diatonic system, the octave of which is representable in terms of two particular integers, namely 12 and 7? And how is this durability consistent with the equally remarkable variety of musical styles — or languages — that the history of Western tonal music has taught us exist? This book is an attempt to answer these questions. Using mathematical tools to describe and explain the Western musical system as a highly sophisticated communication system, this theoretical, historical, and cognitive study is unprecedented in scope and depth. The author engages in intense dialogue with 1000 years of music-theoretical thinking, offering answers to some of the most enduring questions concerning Western tonality. The book is divided into two main parts, both governed by the communicative premise. Part I studies proto-tonality, the background system of notes prior to the selection of a privileged note known as "final." After some preliminaries that concern consonance and chromaticism, Part II begins with the notion "mode." A mode is "dyadic" or "triadic," depending on its "nucleus." Further, a "key" is a special type of "semi-key" which is a special type of mode. Different combinations of these categories account for tonal variety. Ninth-century music, for example, is a tonal language of dyadic modes, while seventeenth-century music is a language of triadic semi-keys. While portions of the book are characterized by abstraction and formal rigor, more suitable for expert readers, it will also be of value to anyone intrigued by the tonal phenomenon at large, including music theorists, musicologists, and music-cognition researchers. The content is supported by a general index, a list of definitions, a list of notation used, and two appendices providing the basic mathematical background.
590 _aPara consulta fuera de la UANL se requiere clave de acceso remoto.
710 2 _aSpringerLink (Servicio en línea)
_9299170
776 0 8 _iEdición impresa:
_z9783642395864
856 4 0 _uhttp://remoto.dgb.uanl.mx/login?url=http://dx.doi.org/10.1007/978-3-642-39587-1
_zConectar a Springer E-Books (Para consulta externa se requiere previa autentificación en Biblioteca Digital UANL)
942 _c14
999 _c308557
_d308557