Harmony in Beethoven
Author(s)
Bibliographic Information
Harmony in Beethoven
Cambridge University Press, 2018
- : pbk
Available at 4 libraries
  Aomori
  Iwate
  Miyagi
  Akita
  Yamagata
  Fukushima
  Ibaraki
  Tochigi
  Gunma
  Saitama
  Chiba
  Tokyo
  Kanagawa
  Niigata
  Toyama
  Ishikawa
  Fukui
  Yamanashi
  Nagano
  Gifu
  Shizuoka
  Aichi
  Mie
  Shiga
  Kyoto
  Osaka
  Hyogo
  Nara
  Wakayama
  Tottori
  Shimane
  Okayama
  Hiroshima
  Yamaguchi
  Tokushima
  Kagawa
  Ehime
  Kochi
  Fukuoka
  Saga
  Nagasaki
  Kumamoto
  Oita
  Miyazaki
  Kagoshima
  Okinawa
  Korea
  China
  Thailand
  United Kingdom
  Germany
  Switzerland
  France
  Belgium
  Netherlands
  Sweden
  Norway
  United States of America
Note
Includes bibliographical references (p. 279-289) and indexes
"First published 2016. First paperback edition 2018"--T.p. verso
Description and Table of Contents
Description
David Damschroder's ongoing reformulation of harmonic theory continues with a dynamic exploration of how Beethoven molded and arranged chords to convey bold conceptions. This book's introductory chapters are organized in the manner of a nineteenth-century Harmonielehre, with individual considerations of the tonal system's key features illustrated by easy-to-comprehend block-chord examples derived from Beethoven's piano sonatas. In the masterworks section that follows, Damschroder presents detailed analyses of movements from the symphonies, piano and violin sonatas, and string quartets, and compares his outcomes with those of other analysts, including William E. Caplin, Robert Gauldin, Nicholas Marston, William J. Mitchell, Frank Samarotto, and Janet Schmalfeldt. Expanding upon analytical practices from the eighteenth and nineteenth centuries, and strongly influenced by Schenkerian principles, this fresh perspective offers a stark contrast to conventional harmonic analysis - both in terms of how Roman numerals are deployed and how musical processes are described in words.
Table of Contents
- Preface
- Part I. Methodological Orientation: Harmonielehre (The Piano Sonatas): 1. IV as intermediary between I and V
- 2. II as intermediary between I and V
- 3. A detailed look at the circle of fifths
- 4. III on the path from I to V
- 5. The mediant within the orbit of the tonic
- 6. Notable linear initiatives
- 7. Parenthetical passages
- Part II. Masterpieces: 8. String Quartet in B Major (Op. 18, No. 6), La Malinconia, in response to William J. Mitchell
- 9. Piano Sonata in D Minor (Op. 31, No. 2, 'Tempest'), movement 1, in response to William E. Caplin
- 10. Violin Sonata in A Minor (Op. 47, 'Kreutzer'), movement 1, in response to Janet Schmalfeldt
- 11. Symphony in A Major (Op. 92), movement 3, in response to Robert Gauldin
- 12. Piano Sonata in E Major (Op. 109), in response to Nicholas Marston
- 13. String Quartet in A Minor (Op. 132), movement 1, in response to Frank Samarotto
- Epilogue.
by "Nielsen BookData"