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020 _a9783642395871
_9978-3-642-39587-1
024 7 _a10.1007/978-3-642-39587-1
_2doi
035 _ato000485158
040 _aSpringer
_cSpringer
_dRU-ToGU
050 4 _aNX260
072 7 _aH
_2bicssc
072 7 _aUB
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072 7 _aCOM018000
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072 7 _aART000000
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082 0 4 _a004
_223
100 1 _aAgmon, Eytan.
_eauthor.
_9417088
245 1 4 _aThe Languages of Western Tonality
_helectronic resource
_cby Eytan Agmon.
260 _aBerlin, Heidelberg :
_bSpringer Berlin Heidelberg :
_bImprint: Springer,
_c2013.
300 _aXXVII, 280 p. 75 illus.
_bonline resource.
336 _atext
_btxt
_2rdacontent
337 _acomputer
_bc
_2rdamedia
338 _aonline resource
_bcr
_2rdacarrier
490 1 _aComputational Music Science,
_x1868-0305
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.
650 0 _aComputer Science.
_9155490
650 0 _aInformation systems.
_9303226
650 0 _amusic.
_9566408
650 1 4 _aComputer Science.
_9155490
650 2 4 _aComputer Appl. in Arts and Humanities.
_9306361
650 2 4 _aMusic.
_9566409
710 2 _aSpringerLink (Online service)
_9143950
773 0 _tSpringer eBooks
830 0 _aComputational Music Science,
_9333307
856 4 0 _uhttp://dx.doi.org/10.1007/978-3-642-39587-1
912 _aZDB-2-SCS
999 _c358207