Описание: For centuries, the augmented sixth sonority has fascinated composers and intrigued music analysts. Here, Dr Mark Ellis presents a series of musical examples illustrating the 'evolution' of the augmented sixth and the changing contexts in which it can be found. Surprisingly, the sonority emerged from one of the last remnants of modal counterpoint to survive into the tonal era: the Phrygian Cadence. In the Baroque period, the 'terrible dissonance' was nearly always associated with negative textual imagery. Charpentier described the augmented sixth as 'poignantly expressive'. J. S. Bach considered an occurrence of the chord in one of his forebear's motets 'remarkably bold'. During Bach's composing lifetime, the augmented sixth evolved from a relatively rare chromaticism to an almost commonplace element within the tonal spectrum; the chord reflects particular chronological and stylistic strata in his music. Theorists began cautiously to accept the chord, but its inversional possibilities proved particularly contentious, as commentaries by writers as diverse as Muffat, Marpurg and Rousseau reveal. During the eighteenth century, the augmented sixth became increasingly significant in instrumental repertoires - it was perhaps Vivaldi who first liberated the chord from its negative textual associations. By the later eighteenth century, the chord began to function almost as a 'signpost' to indicate important structural boundaries within sonata form. The chord did not, however, entirely lose its darker undertone: it signifies, for example, the theme of revenge in Mozart's Don Giovanni. Romantic composers uncovered far-reaching tonal ambiguities inherent in the augmented sixth. Chopin's Nocturnes often seem beguilingly simple, but the surface tranquillity masks the composer's strikingly original harmonic experiments. Wagner's much-analyzed 'Tristan Chord' resolves (according to some theorists) on an augmented sixth. In Tristan und Isolde, the chord's mercurial character - its tonal ambivalence - symbolizes the 'distortion of reality' induced by the Magic Potion. As Schoenberg wrote, the chord of the augmented sixth stands 'on the fringes of tonality'. The book concludes with a discussion of the role of the chord in the decay of the tonal system, and its 'afterlife' in the post-tonal era. This book will appeal to music analysts by providing a chronological framework for further stylistic and harmonic analysis. To ensure its accessibility in graduate classes, the author includes a straightforward introduction to the augmented sixth and its theoretical background.
Автор: Carter Название: Monteverdi`s Musical Theatre ISBN: 0300217269 ISBN-13(EAN): 9780300217261 Издательство: Wiley Рейтинг: Цена: 4118.00 р. Наличие на складе: Есть у поставщика Поставка под заказ.
Описание: Claudio Monteverdi (1567-1643) is well known as the composer of the earliest operas still performed today. His 'Orfeo', 'Il ritorno d'Ulisse in patria' and 'L'incoronazione di Poppea' are internationally popular nearly four centuries after their creation. These seminal works represent only a part of Monteverdi's music for the stage, however. He also wrote numerous works that, while not operas, are no less theatrical in their fusion of music, drama and dance. This impressive book is the first to survey Monteverdi's entire output of music for the theatre - his surviving operas, other dramatic musical compositions and lost works. Tim Carter, a leading Monteverdi expert, begins by charting the progress of early opera from the north Italian courts to the 'public' theatres of Venice. He places Monteverdi's stage works in the broader context of early seventeenth-century theatrical endeavour and explores crucial questions of genre, interpretation and performance practices, both then and now. Taking a pragmatic view of how the works were brought to life on the stage and how they were seen in their own time, Carter discusses the complex modes of production that involved a range of artists, artisans and performers. With insightful commentary on the composer's individual works and on the cultural and theatrical contexts in which they were performed, Carter casts new light on Monteverdi's remarkable achievement as a man of the theatre. Tim Carter is David G. Frey Distinguished Professor of Music at the University of North Carolina at Chapel Hill. He was previously Professor of Music at Royal Holloway, University of London.
Автор: Gordon Название: Monteverdi`s Unruly Women ISBN: 0521120268 ISBN-13(EAN): 9780521120265 Издательство: Cambridge Academ Рейтинг: Цена: 5544.00 р. Наличие на складе: Есть у поставщика Поставка под заказ.
Описание: Bonnie Gordon uses the music of Monteverdi, written at the turn of the seventeenth century, to illuminate understandings of music, science and the female body at that cultural moment. Her findings are based on singing treatises, renaissance medical writings and seventeenth-century acoustics.
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