How do you tell the key of a piece without looking at a score? How do you know when a musical work ended before an audience applauds or a radio announcer returns on air? Was there, in fact, a "breakdown of tonality" in the nineteenth and twentieth centuries? These questions and others are the focus of Wulstan's Listen Again.
How do you tell the key of a piece without looking at a score? How do you know when a musical work ended before an audience applauds or a radio announcer returns on air? Was there, in fact, a "breakdown of tonality" in the nineteenth and twentieth centuries? These questions and others are the focus of Wulstan's Listen Again.
David Wulstan is presently Honorary Fellowship at St Peter's College, Oxford. Before then he served as Gregynog Professor of Music at University College of Wales. He is the author of various books and articles on medieval music and church history. He is widely known as the founder and director of The Clerkes of Oxenford, whose pioneering work, particularly in the restoration and interpretation of the works of John Sheppard and other Tudor composers, has since influenced the singing style of ensembles devoted to early Western music.
Inhaltsangabe
Foreword Acknowledgments Introduction Permissions Chapter 1: Some Matters of Terminology and Other Preliminaries Chapter 2: The Recognition of Key Chapter 3: Tonal Balance and Minor Tonality: The Use of Sequences; dissonance Chapter 4: The Rule of the Octave: Harmony and Rhythm Chapter 5: The Enhanced Tonic: Fugal Technique and Tonality Chapter 6: Complex Key Chapter 7: The Classical Style, Part I Chapter 8: The Classical Style, Part II Chapter 9: Classical to Romantic: Beethoven and Schubert Chapter 10: The Romantic Era, Part I: Chopin, Brahms and Mendelssohn Chapter 11: The Romantic Era, Part II: The Age of Wagner Chapter 12: The Perception of Music Chapter 13: The Twentieth Century, Part I: The Palette of Debussy Chapter 14: The Twentieth Century, Part II: Themes and Theories in the Music of Stravinsky and Some Other Composers Chapter 15:The Twentieth Century, Part III: Techniques and Treatises - Bartók, Hindemith, and Others Chapter 16: Saturday Night and Sunday Morning Chapter 17: Two Cultures Chapter 18: Mediæval to Renaissance Chapter 19: Renaissance to Baroque Chapter 20: Back to the Future
Foreword Acknowledgments Introduction Permissions Chapter 1: Some Matters of Terminology and Other Preliminaries Chapter 2: The Recognition of Key Chapter 3: Tonal Balance and Minor Tonality: The Use of Sequences; dissonance Chapter 4: The Rule of the Octave: Harmony and Rhythm Chapter 5: The Enhanced Tonic: Fugal Technique and Tonality Chapter 6: Complex Key Chapter 7: The Classical Style, Part I Chapter 8: The Classical Style, Part II Chapter 9: Classical to Romantic: Beethoven and Schubert Chapter 10: The Romantic Era, Part I: Chopin, Brahms and Mendelssohn Chapter 11: The Romantic Era, Part II: The Age of Wagner Chapter 12: The Perception of Music Chapter 13: The Twentieth Century, Part I: The Palette of Debussy Chapter 14: The Twentieth Century, Part II: Themes and Theories in the Music of Stravinsky and Some Other Composers Chapter 15:The Twentieth Century, Part III: Techniques and Treatises - Bartók, Hindemith, and Others Chapter 16: Saturday Night and Sunday Morning Chapter 17: Two Cultures Chapter 18: Mediæval to Renaissance Chapter 19: Renaissance to Baroque Chapter 20: Back to the Future
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