The Cambridge History of Western Music TheoryThomas Christensen The Cambridge History of Western Music Theory is the first comprehensive history of Western music theory to be published in the English language. A collaborative project by leading music theorists and historians, the volume traces the rich panorama of music-theoretical thought from the Ancient Greeks to the present day. Recognizing the variety and complexity of music theory as an historical subject, the volume has been organized within a flexible framework. Some chapters are defined chronologically within a restricted historical domain, whilst others are defined conceptually and span longer historical periods. Together the thirty-one chapters present a synthetic overview of the fascinating and complex subject that is historical music theory. Richly enhanced with illustrations, graphics, examples and cross-citations as well as being thoroughly indexed and supplemented by comprehensive bibliographies of the most important primary and secondary literature, this book will be an invaluable resource for students and scholars alike. |
Contents
music theory as pedagogy | |
Epistemologies of music theory | |
Greek music theory | |
The transmission of ancient music theory into the Middle Ages | |
Medieval canonics | |
PENELOPE GOUK | |
Performance theory | |
contrapuntal theory in 1725 precursors | |
Twelvetone theory | |
Time | |
Theories of musical rhythm in the eighteenth and nineteenth | |
Rhythm in twentiethcentury theory | |
Tonality | |
24 Rameau and eighteenthcentury harmonic theory | |
From acoustics to Tonpsychologie | |
Music theory and mathematics | |
A Mapping tonal spaces | |
Tonal organization in seventeenthcentury music theory | |
Dualist tonal space and transformation in nineteenthcentury | |
the AustroGerman legacy | |
A Models of music analysis | |
Thematic and motivic analysis | |
B Music psychology | |
The psychology of music | |
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Common terms and phrases
accent acoustics ancient andthe Aristides Quintilianus Aristoxenus bass Boethius breve cadence cantus chant Chapter chord chromatic composers composition concept consonance contrapunctus counterpoint diatonic discant discipline discussion dissonance eighteenth century equal temperament example facs fifth Figure fourth fugue fundamental Fux’s Greek music Guido harmonic Hauptmann Helmholtz hexachord Ibid intervallic intervals inthe istitutioni harmoniche Johann keys Leipzig major third mathematical medieval melodies mensural Mersenne meter metrical minor modal theory modes monochord monochord division music theory Musica enchiriadis Musical Thought musicians Musik nineteenthcentury notation notes octave octave species ofmusic ofthe onthe organum Palisca pedagogy perfect pitch pitch classes plagal plainchant polyphony practice Pythagorean Pythagorean tuning Rameau ratios Renaissance Renaissance Music rhythm rhythmic Riemann scale Schenker Schoenberg Scolica enchiriadis semibreves semitone seventeenth century solmization structure temperament tetrachord theoretical theorists Tinctoris tonal tones tothe tradition trans translation transposition treatises triad tuning twelvetone University Press voice writings Zarlino